Latest / The Kulturecast / The Visitors Trilogy (1993–2016) & Just Visiting (2001) — "Courage is my creed."

Transcript

The Visitors Trilogy (1993–2016) & Just Visiting (2001) — "Courage is my creed." · The Kulturecast

• 0:00
  Speaker 1: Yes, we're in way.
• 0:52
  Speaker 2: Je Tebou the sixth and his his loyal servant andres.
• 0:55
  Speaker 3: Stupid pleasant, Thank you, sir.
• 0:59
  Speaker 2: Are about to discover that a little magic can go
• 1:03
  Speaker 2: a long way.
• 1:08
  Speaker 1: I've lost them in the corridors of time. Let's go.
• 1:18
  Speaker 1: They're strangers in a strange land.
• 1:21
  Speaker 3: It's a dragon. It's a red dragon.
• 1:23
  Speaker 1: At top.
• 1:24
  Speaker 3: The hell are you doing? We have killed it, but
• 1:28
  Speaker 3: with a little help, I need to just understand what
• 1:31
  Speaker 3: has happened to you?
• 1:31
  Speaker 1: I am ely sixth. The wizard sent us in the future. Wow,
• 1:36
  Speaker 1: they just might make it all.
• 1:38
  Speaker 3: Hi, honey, this is.
• 1:42
  Speaker 1: My god. Run behind the chariots.
• 1:44
  Speaker 4: You can't run behind the car.
• 1:46
  Speaker 1: He's very fat. He can run sovny miles an hour.
• 1:48
  Speaker 3: Can you have good boots this spring?
• 1:53
  Speaker 1: I need to find a wizard. Now, do you mind
• 1:55
  Speaker 1: if I get some coffee?
• 1:56
  Speaker 3: Fruit?
• 1:57
  Speaker 1: Time will travel. I've never written the l quite like
• 2:03
  Speaker 1: this before. And the future is history.
• 2:10
  Speaker 4: Dale.
• 2:12
  Speaker 1: Wow, the gentleman CONTI talk the floor. He's my servant
• 2:16
  Speaker 1: and he's not worthy of our comedy. Thank you, Master,
• 2:24
  Speaker 1: just visiting?
• 2:25
  Speaker 3: What is it?
• 2:26
  Speaker 1: Master? Clean water? They're bathing in the toilet. The loan
• 2:34
  Speaker 1: towel has a good Fragrance.
• 2:41
  Speaker 3: So, Mike, you and I spent a fair amount of
• 2:45
  Speaker 3: time twenty twenty five watching French comedies, and not just
• 2:50
  Speaker 3: French comedies, but American remakes of French comedies. When I
• 2:54
  Speaker 3: think of French comedies that have American remake, there is
• 2:57
  Speaker 3: literally only one film I think of.
• 2:59
  Speaker 4: It is.
• 3:02
  Speaker 3: Trace Ombas trays Ombres unonino. No, that would be the
• 3:06
  Speaker 3: Spanish language of Spanish. No, I think of Just Visiting,
• 3:12
  Speaker 3: but I guess more aptly, I think of the original
• 3:15
  Speaker 3: film from nineteen ninety three List Visit Tours, which then
• 3:18
  Speaker 3: had a sequel, The Visitors to the Corridors of Time,
• 3:21
  Speaker 3: which then had a sequel, The Visitor's Bastille Day, which
• 3:25
  Speaker 3: also had an American language remake, which came out not
• 3:28
  Speaker 3: after the first film, but after the second film. That
• 3:30
  Speaker 3: film is titled Just Visiting, also directed by Jean Marie Poier,
• 3:35
  Speaker 3: which is wild that he directed all four films, including
• 3:39
  Speaker 3: the American language remake, which is not really a thing.
• 3:42
  Speaker 3: I mean it, I mean it isn't really and I
• 3:45
  Speaker 3: don't know if well, well, we'll talk about it when
• 3:47
  Speaker 3: we get there. But Mike White of the Projection Booth,
• 3:50
  Speaker 3: this was a project that you and I had kind
• 3:52
  Speaker 3: of taken on under my advisement because I wanted to
• 3:54
  Speaker 3: talk about these movies with you, and you had never
• 3:56
  Speaker 3: seen them. So I am very excited to talk with
• 4:00
  Speaker 3: you about these movies because you picked out some French
• 4:03
  Speaker 3: comedies last year, and so I decided why not kick
• 4:06
  Speaker 3: off twenty twenty six with some French comedies of my own? Okay, Okay,
• 4:14
  Speaker 3: I hate I'm just kidding. I don't hate it. But
• 4:17
  Speaker 3: what's the term diminishing? Is that what it means?
• 4:20
  Speaker 2: Oh?
• 4:20
  Speaker 4: God, I think you're thinking of a cliff?
• 4:23
  Speaker 3: Yeah.
• 4:23
  Speaker 4: Oh, because this first movie, The Visitors from nineteen ninety three, wonderful,
• 4:30
  Speaker 4: wonderful film. Holy cow, was this fun? I had the
• 4:33
  Speaker 4: best time watching this movie. Was tickled pink through the
• 4:38
  Speaker 4: entire experience.
• 4:39
  Speaker 3: Good night, folks.
• 4:40
  Speaker 4: Yeah, then we got the sequels, but yeah, we'll get there. Chris,
• 4:44
  Speaker 4: When did you first see this one?
• 4:45
  Speaker 3: So? I saw just visiting the original, like the original
• 4:50
  Speaker 3: American remake, not the movie The Visitor. I saw that film, oh,
• 4:55
  Speaker 3: April of two thousand and one.
• 4:56
  Speaker 4: Wow, So you went backwards into it.
• 4:59
  Speaker 3: I saw just visiting first.
• 5:01
  Speaker 1: Wow.
• 5:02
  Speaker 3: I saw the American language remake first. I saw that
• 5:05
  Speaker 3: when I was eleven years old in theaters I saw
• 5:08
  Speaker 3: that either it wouldn't have been the same weekend, but
• 5:12
  Speaker 3: I definitely saw it in the same movie theme as
• 5:15
  Speaker 3: another film that kind of made an impression on me
• 5:18
  Speaker 3: that I think. I think you and I have talked
• 5:20
  Speaker 3: about it from time to time, but I don't know
• 5:22
  Speaker 3: how you feel about it. Well, that's not true. I
• 5:24
  Speaker 3: do know how you feel about it in some capacity.
• 5:26
  Speaker 3: Do you remember the film Evolution? Ooh, the Ivan Rightman
• 5:30
  Speaker 3: film with David Ole right right, Yes, your friends have
• 5:34
  Speaker 3: flower Sitter Orlando Jones.
• 5:36
  Speaker 4: Yes, yes, yeah, that was kind of like the It
• 5:39
  Speaker 4: was like Ghostbusters and Men in Black had a baby,
• 5:43
  Speaker 4: and the baby had a lot of birth effects.
• 5:46
  Speaker 3: Right. Yes, I like Evolution a lot, but that's just me.
• 5:50
  Speaker 3: I also understand for the most part, it's not a
• 5:52
  Speaker 3: great film. I distinctly remember watching Evolution and just visiting
• 5:56
  Speaker 3: in the same movie theater at the AMC in Grapevine,
• 5:59
  Speaker 3: Texas at the Grapevine Mills mall, right next to the
• 6:02
  Speaker 3: Game Works, which was that Steven Spielberg arcade, which I
• 6:06
  Speaker 3: thought was just the coolest fucking thing at the time.
• 6:08
  Speaker 3: So just visiting has made a large impression on me.
• 6:12
  Speaker 3: Like I said, I saw it in theaters. I actually
• 6:14
  Speaker 3: a long ago, in a pre the Before Times, but
• 6:17
  Speaker 3: like the before before times, if you've listened to this
• 6:19
  Speaker 3: show with any sort of frequency, you'll know. I covered
• 6:22
  Speaker 3: American psychoa a very long time ago, and I interviewed
• 6:24
  Speaker 3: Matt Ross about American Psycho. He was one of the
• 6:28
  Speaker 3: people I talked to, and I asked him about just
• 6:30
  Speaker 3: visiting at the end of the interview, because he's in
• 6:33
  Speaker 3: the American remake, and I'm not sure anyone's ever asked
• 6:37
  Speaker 3: him about just visiting, since I wouldn't be surprised if
• 6:40
  Speaker 3: anyone had, so. Yes, I came into this backwards, but
• 6:44
  Speaker 3: I saw the the Visitors Less Visit tours the French
• 6:49
  Speaker 3: film six months ago. Oh okay, it was recent, like
• 6:52
  Speaker 3: it was after we had watched our French films for
• 6:55
  Speaker 3: Mike White. It was March or May last year. I
• 6:58
  Speaker 3: was like, okay, like I really like just visiting. I
• 7:01
  Speaker 3: should rewatch that. And then I was like, right, it's
• 7:04
  Speaker 3: a remake of a French language film. I don't feel
• 7:08
  Speaker 3: as like arms length with French language comedies anymore, given
• 7:12
  Speaker 3: that we watched all those, you know, Francis Webber Films
• 7:14
  Speaker 3: last year, so I fell into this backwards recently, but
• 7:18
  Speaker 3: just visiting the film made a large impression on me
• 7:21
  Speaker 3: when I was in my formative years as an eleven
• 7:24
  Speaker 3: year old and look movies directed by the same director.
• 7:26
  Speaker 3: It's also it's also you know, the same actors, so.
• 7:30
  Speaker 4: It's a small it's a small ish club when it
• 7:34
  Speaker 4: comes to directors directing the remakes of their own work.
• 7:38
  Speaker 4: It's a lot larger than I thought it was. I
• 7:41
  Speaker 4: did some research on that last year. I always think
• 7:44
  Speaker 4: of like The Vanishing or Funny Games. But looking back,
• 7:48
  Speaker 4: especially in the early days of cinema, when people are
• 7:50
  Speaker 4: just like, oh, well, I had the silent film, I'm
• 7:52
  Speaker 4: going to remake it with sound or those things, that's
• 7:55
  Speaker 4: a huge swath of films. But even past that, there
• 7:59
  Speaker 4: were a lot of films where the filmmakers are like, oh, yeah, yeah,
• 8:01
  Speaker 4: I want to redo this. I mean, the most famous
• 8:04
  Speaker 4: one probably is Hitchcock with the Man who Knew Too Much.
• 8:07
  Speaker 3: Right well, and you know all of the the remake
• 8:11
  Speaker 3: of it. Aside, Also, this movie has a weird distinction
• 8:13
  Speaker 3: of being John Hughes's last movie, which is also very strange,
• 8:17
  Speaker 3: so there's just like weird stuff about the American remake
• 8:20
  Speaker 3: that make this movie kind of worth talking about, kind
• 8:23
  Speaker 3: of in a just roundabout way. But for me, I
• 8:25
  Speaker 3: fell into this backward. So I'm curious, Mike, you had
• 8:28
  Speaker 3: seen none of these You heard them right?
• 8:31
  Speaker 4: You know, we talked about this a little while ago.
• 8:34
  Speaker 4: I was getting this mixed up with I think it
• 8:37
  Speaker 4: was called The Navigators. It was a want to say,
• 8:40
  Speaker 4: in an Australian or New Zealand film. It was one
• 8:45
  Speaker 4: of the guys, Vince Ward, who was one of the
• 8:47
  Speaker 4: people that was set to direct Alien three. He was
• 8:52
  Speaker 4: the one that came up with the whole idea of
• 8:54
  Speaker 4: a wooden planet where all of these monks live. So
• 8:57
  Speaker 4: this whole idea of like the prisoners kind of came
• 9:00
  Speaker 4: from him, but instead in his they were monks. And yeah,
• 9:04
  Speaker 4: there's a movie that he made called The Navigators where
• 9:06
  Speaker 4: somehow there's a portal in time and these people go
• 9:09
  Speaker 4: from the dark ages to probably the eighties or nineties
• 9:14
  Speaker 4: whenever that movie came out, Whereas this somehow I had
• 9:18
  Speaker 4: heard of maybe just visiting, I mean it at pretty
• 9:21
  Speaker 4: good cast and you know, it was two thousand and one,
• 9:24
  Speaker 4: so I was kind of paying attention to things, or
• 9:26
  Speaker 4: maybe i'd heard of the Visitors once, but I was
• 9:28
  Speaker 4: not very familiar with this whatsoever. So and I know
• 9:33
  Speaker 4: I've seen a few of Jean Renaud's French films. I
• 9:37
  Speaker 4: mostly I think that the first time I saw him
• 9:39
  Speaker 4: and really recognized him was probably in Latham Nikita. But
• 9:44
  Speaker 4: then I went back through a lot of Lupa Song's
• 9:46
  Speaker 4: earlier works and he was in one called The Final
• 9:50
  Speaker 4: Battle that I want to say was and I love
• 9:53
  Speaker 4: movies where they don't speak at all, they'll just make noises,
• 9:56
  Speaker 4: and it was him versus another guy at the end
• 9:59
  Speaker 4: of the world, old kind of thing, and I remember
• 10:01
  Speaker 4: really enjoying it. So when I heard Genrenau was in this,
• 10:04
  Speaker 4: I was like, yeah, please sign me up, especially to
• 10:06
  Speaker 4: see him speaking French, which is something I don't generally
• 10:10
  Speaker 4: do because I'm more familiar with his American films big time.
• 10:13
  Speaker 4: I mean, starting with the first Mission Impossible film onward,
• 10:19
  Speaker 4: he's just been kind of an ever present figure. You
• 10:22
  Speaker 4: want to know what I saw genre in first, You're
• 10:24
  Speaker 4: gonna laugh Leon the Professional, nineteen ninety eight's cinematic classic Godzilla.
• 10:31
  Speaker 4: Oh right, He wasn't that wasn't he.
• 10:33
  Speaker 3: Yeah, the King, That's what I remember genre as as
• 10:38
  Speaker 3: that character, a Frenchman who loves Elvis, And that's right,
• 10:43
  Speaker 3: you know what. Say what you will about nineteen ninety
• 10:45
  Speaker 3: eight's Godzilla, and people have said plenty. I don't hate
• 10:48
  Speaker 3: that movie. It has a very special place in my heart. Frankly,
• 10:52
  Speaker 3: I remember a lot about it. But Genrenau is good
• 10:55
  Speaker 3: in that movie. He's funny in that movie. Again, say
• 10:57
  Speaker 3: which you will about the movie, Say which you will
• 10:58
  Speaker 3: about Baby raptor Godzilla in Madison Square Garden and all
• 11:01
  Speaker 3: that wild, wild, wild decision making that in this day
• 11:05
  Speaker 3: and age feels dangerous compared to the kind of shit
• 11:08
  Speaker 3: we get now. I mean it really, I mean in
• 11:11
  Speaker 3: a lot of ways, like nobody would be doing anything
• 11:14
  Speaker 3: like that with Godzilla now, like you you're crucified. Literally,
• 11:18
  Speaker 3: you'd be crucified if you did anything like that now
• 11:20
  Speaker 3: with Godzilla.
• 11:21
  Speaker 4: Well, what you have to do is just renamed it
• 11:23
  Speaker 4: as Cloverfield and kind of get out of there.
• 11:25
  Speaker 3: You know.
• 11:27
  Speaker 4: The first Cloverfield Monster is basically their first Cloverfield movie
• 11:31
  Speaker 4: is basically America's Godzilla. And it's kind of a shame
• 11:34
  Speaker 4: that we never got back there again. I mean those
• 11:37
  Speaker 4: other Cloverfield movies. The second one was good. I gotta
• 11:40
  Speaker 4: talk about the third one, or.
• 11:42
  Speaker 3: Or possibly a fourth one, a fifth one.
• 11:46
  Speaker 4: God, maybe maybe Cloverfield meets Stranger Things and Netflix can
• 11:50
  Speaker 4: just have a big old party.
• 11:52
  Speaker 3: Yeah, milk that cow guy. Speaking of cow milking, there
• 11:56
  Speaker 3: are two sequels to The Visitors. We'll talk about the sequels,
• 12:02
  Speaker 3: but let's talk about the original first, and I think
• 12:05
  Speaker 3: the remake I think will probably take up Those two
• 12:07
  Speaker 3: will probably take up a lot of the time, but
• 12:09
  Speaker 3: the second and third they have some things to talk about.
• 12:12
  Speaker 3: You enjoyed the first one the front Yes, same. I
• 12:17
  Speaker 3: would say it's if you look at the original and
• 12:20
  Speaker 3: you look at the remake. It's interesting that the remake
• 12:22
  Speaker 3: came out after the second movie but has nothing from
• 12:25
  Speaker 3: the second movie in it whatsoever, which I actually think
• 12:28
  Speaker 3: really works to the benefit of the remake, because the
• 12:30
  Speaker 3: remake is not bad. I actually think the remake is
• 12:33
  Speaker 3: fun and everybody in it kind of shows up, and shockingly,
• 12:38
  Speaker 3: it has Tara Reid in it, and and she's not
• 12:41
  Speaker 3: a complete mess. She's not known for being a great actress,
• 12:43
  Speaker 3: but she kind of plays charming as well. I think
• 12:46
  Speaker 3: It's funny that they really practiced restraint with the remake
• 12:50
  Speaker 3: of the American the remake American version to not have
• 12:53
  Speaker 3: any of the stuff from the second film, because the
• 12:55
  Speaker 3: first film, I think of all of these films, is
• 12:58
  Speaker 3: the best one, and I think it it not only
• 13:01
  Speaker 3: nails the tone of this kind of like Monty Python adjacent.
• 13:05
  Speaker 3: I watched the film with my friend Lindsay and she
• 13:07
  Speaker 3: was like, this is kind of like Monty Python ish
• 13:09
  Speaker 3: and I was like, that's about the closest thing you
• 13:11
  Speaker 3: could compare it to because and this is just me.
• 13:14
  Speaker 3: And again, I wonder where you come in with this,
• 13:16
  Speaker 3: Like French comedies, comedies in general, of the non English variety,
• 13:21
  Speaker 3: be it Hindi comedies, be it German comedy films or
• 13:24
  Speaker 3: Mexican comedy films, there is something lost in the translation.
• 13:28
  Speaker 3: Comedy films, comedy films of foreign languages are not films
• 13:32
  Speaker 3: I search out because they are the hardest sometimes to understand.
• 13:36
  Speaker 3: Not because what they're saying is hard, not because what
• 13:38
  Speaker 3: they're saying is complicated, not because what they're saying is challenging,
• 13:41
  Speaker 3: but because sometimes there is just something lost in the
• 13:43
  Speaker 3: cultural translation of what it is. I'm just not French.
• 13:47
  Speaker 3: There are some things that are just French isms that
• 13:50
  Speaker 3: I will never understand, and some of this movie traffics
• 13:53
  Speaker 3: in that. So this was probably a harder ask for
• 13:56
  Speaker 3: either one of us than it seems, because comedies are
• 13:58
  Speaker 3: hard to talk about. Then foreign language comedies tend to
• 14:02
  Speaker 3: be really I mean, I love Hindi films, but even
• 14:04
  Speaker 3: I don't search out Hindi comedies because the ones that
• 14:07
  Speaker 3: I've seen, I'm kind of like, I think I must
• 14:09
  Speaker 3: be missing something, like and I can't do anything about it,
• 14:12
  Speaker 3: Like there's nothing I can change about that. I can't
• 14:14
  Speaker 3: magically become French overnight.
• 14:16
  Speaker 4: Well, Hans heads off, I should say to the subtitlers
• 14:21
  Speaker 4: and the translators, because they captured quite a lot the
• 14:24
  Speaker 4: whole thing of the Well, we'll get into the characters,
• 14:28
  Speaker 4: but the one character's name basically being Shakas and just knowing,
• 14:33
  Speaker 4: like reading that and I'm like, oh, okay, his name's Jackass,
• 14:36
  Speaker 4: all right, I get this, And some of those play
• 14:38
  Speaker 4: on words I thought translated very well when it came
• 14:42
  Speaker 4: to that. I think it helps that it's say Roman language,
• 14:45
  Speaker 4: you know, French, so we're not completely lost from it.
• 14:49
  Speaker 4: But yeah, I'm sure that there's a lot of jokes
• 14:51
  Speaker 4: that I did not get at all, but what I
• 14:54
  Speaker 4: got was wonderful.
• 14:55
  Speaker 3: And I do like how violent the French film is,
• 14:59
  Speaker 3: Like we'd be violent comparatively to the American one, Like
• 15:03
  Speaker 3: they they don't, they don't pull any punches, Like I
• 15:05
  Speaker 3: think within the first five minutes of the movie you
• 15:07
  Speaker 3: have a guy getting decapitated in a woman just being
• 15:09
  Speaker 3: point blanked with a crossbow. Yes, yeah, and then a
• 15:13
  Speaker 3: hilarious freeze frame afterwards. Like I appreciate that this film
• 15:17
  Speaker 3: is just kind of like slapsticky violence too, which kind
• 15:20
  Speaker 3: of works in its favor given the theory that you know,
• 15:23
  Speaker 3: Christian Clavillier and Genrea are too medieval, you know, Squire
• 15:27
  Speaker 3: and Night, so violence is not something that they're unused to.
• 15:31
  Speaker 3: It's kind of just part of their daily life. You know,
• 15:33
  Speaker 3: he's hit, he's genre no, hits Christian Clublier quite a
• 15:37
  Speaker 3: bit in this movie, or kicks him and you know,
• 15:40
  Speaker 3: punches him or pushes him with some force like those
• 15:43
  Speaker 3: those things. I think, like that's kind of what's missing
• 15:45
  Speaker 3: a little bit from the American one. Like this movie
• 15:47
  Speaker 3: is kind of mean in a way, Like and I
• 15:50
  Speaker 3: like that it's mean, because I think that maybe that's
• 15:52
  Speaker 3: the americanness of the other one, Like the American one
• 15:54
  Speaker 3: feels a little too nice, you know, like the French
• 15:58
  Speaker 3: one feels a little mean, which I appreciate tonally.
• 16:00
  Speaker 4: I think even the sequels aren't nearly as mean as
• 16:04
  Speaker 4: this first movie. I feel like the sequels they were like, oh,
• 16:07
  Speaker 4: this is a hugely popular film, let's let children into
• 16:11
  Speaker 4: the audience, and they just kind of dummed everything down.
• 16:14
  Speaker 4: That's how I feel anyway. Watching this the first one,
• 16:17
  Speaker 4: I'm like, oh, this is actually pretty sophisticated. I like
• 16:21
  Speaker 4: this relationship. It's not just relying on how bad these
• 16:24
  Speaker 4: guys smell, because that becomes the thing to go to
• 16:28
  Speaker 4: for the sequels and even a lot with the American
• 16:31
  Speaker 4: remake is these people smell.
• 16:34
  Speaker 3: Bad, right, which is a like the lowest of low
• 16:37
  Speaker 3: hanging fruit when it comes to Jos with this kind
• 16:39
  Speaker 3: of stuff.
• 16:39
  Speaker 4: And especially because as an audience member in a movie theater,
• 16:42
  Speaker 4: unless you're seeing this in Odorama, I'm not getting that.
• 16:45
  Speaker 4: So I just have to think to myself, I wonder
• 16:48
  Speaker 4: how bad these guys smell. I imagine it's pretty bad.
• 16:50
  Speaker 4: But other than seeing people's faces react. They don't. They
• 16:54
  Speaker 4: don't do that like a Ryan Reynolds where you try
• 16:56
  Speaker 4: to describe the smell all these different ways, you know,
• 16:59
  Speaker 4: the the way that they described Deadpool looking when he
• 17:03
  Speaker 4: got of his cancer and everything. You don't have that
• 17:05
  Speaker 4: type of thing where it's like, oh, it smells like
• 17:07
  Speaker 4: a monk just threw up into you know, like something
• 17:10
  Speaker 4: like that. You know, like I have no frame of reference.
• 17:12
  Speaker 4: I'm like, okay, I guess they smell bad then okay.
• 17:15
  Speaker 3: Right, yeah, it smells like the inside of King Louis's
• 17:18
  Speaker 3: bedpan or something like that. There's right, there's none of
• 17:20
  Speaker 3: that like I always think of Anchor Man, you know,
• 17:23
  Speaker 3: you know it smells like bigfoot stick or when they're
• 17:25
  Speaker 3: talking about Black Panther by Odeon. It's like, that's how
• 17:28
  Speaker 3: you do that scene, like short sweet to the point
• 17:32
  Speaker 3: you did it like four or five times, and you
• 17:35
  Speaker 3: pick the one that vibed the best, that worked the best,
• 17:38
  Speaker 3: like that fucking Ghostbusters twenty sixteen film. Not no so,
• 17:43
  Speaker 3: but yeah, this movie has like those moments that like
• 17:46
  Speaker 3: are like maybe not the first one, but definitely the
• 17:49
  Speaker 3: second and third one where it's just like you could
• 17:50
  Speaker 3: have done so much more in those moments. But you're
• 17:52
  Speaker 3: just like, they smell bad. It's like, again, are we
• 17:54
  Speaker 3: missing something like maybe in the translation and they are
• 17:57
  Speaker 3: saying that, and the subtitlers just aren't catching it and
• 18:01
  Speaker 3: they're just dumbing it down so they don't have to
• 18:03
  Speaker 3: type everything out like that could be it. But I
• 18:05
  Speaker 3: can't imagine that's it all the time, right, I just
• 18:08
  Speaker 3: I also can't imagine that the same people who wrote
• 18:11
  Speaker 3: the first film wrote the second and third film, and
• 18:13
  Speaker 3: the jokes in the second and third film are lesser
• 18:16
  Speaker 3: jokes of the first film. It suffers from that thing
• 18:19
  Speaker 3: that so many comedy sequels do, which is, oh, it
• 18:21
  Speaker 3: was funny the first time, Well it won't it be
• 18:23
  Speaker 3: funny the second and third and fourth and fifth time.
• 18:25
  Speaker 3: It's like, I mean, yes, but it won't be as funny.
• 18:28
  Speaker 3: And maybe if you belabor the point, you can bring
• 18:31
  Speaker 3: it back around and you can get back there. And
• 18:34
  Speaker 3: that does I mean that can happen. It does happen.
• 18:37
  Speaker 3: They just never get there, at least not on the
• 18:39
  Speaker 3: second and third one. The first one they kind of
• 18:41
  Speaker 3: do with some of the gift, but not in the
• 18:42
  Speaker 3: second and third one.
• 18:43
  Speaker 4: Well, it is interesting, so you mentioned directed by Jean
• 18:45
  Speaker 4: Marie Foire, and then you've got the writers of him
• 18:49
  Speaker 4: and Christian Clavier, who is also Jacas in the film.
• 18:54
  Speaker 4: And he's the most troublesome character to me, And I
• 18:58
  Speaker 4: just wonder is he tempted more and more or is it,
• 19:02
  Speaker 4: like Jean Reno said, you know what, I'll be in
• 19:04
  Speaker 4: your sequels. But I just don't want to be the
• 19:07
  Speaker 4: star of the sequels because it feels like between the
• 19:09
  Speaker 4: first and second movies, we flip who we're seeing the most,
• 19:13
  Speaker 4: and we just get so much Chakas and so little
• 19:17
  Speaker 4: pap in Cord or Compty or whatever his name is. Yeah,
• 19:24
  Speaker 4: so it's like we don't even see Jaquas until like
• 19:28
  Speaker 4: five minutes maybe into the first movie, and it's not
• 19:32
  Speaker 4: him just mugging for the camera. And I really like
• 19:36
  Speaker 4: him in this first movie. I just want to make
• 19:37
  Speaker 4: that clear. I think he is great in this first film.
• 19:41
  Speaker 4: I think he adds the right amount of lunacy, but
• 19:44
  Speaker 4: a little bit of him goes a long way, and
• 19:47
  Speaker 4: you see that in the sequels where you're just like, wow,
• 19:49
  Speaker 4: can he be any louder? I mean some of the
• 19:52
  Speaker 4: jokes in the I want to say, it's the second
• 19:55
  Speaker 4: film with the microphone, it's like this loud guy, are
• 20:00
  Speaker 4: is given a microphone. That's the last thing this guy
• 20:02
  Speaker 4: needs because he is so fucking loud, and it's just like,
• 20:05
  Speaker 4: get him off of the screen, give me more genre
• 20:08
  Speaker 4: nou And this first film really fills that grief.
• 20:12
  Speaker 3: I think Christian Clavalier is like the gentleman that we
• 20:16
  Speaker 3: saw earlier this year than those Francis Feber films Na
• 20:19
  Speaker 3: Gerard Mardiux the other one right where he is like
• 20:23
  Speaker 3: so clearly a French icon at this point because he
• 20:26
  Speaker 3: is I don't know how much research you did into
• 20:28
  Speaker 3: Christian Clavalier, but Emil Macron in twenty twenty three said,
• 20:32
  Speaker 3: you have been all the faces of the families of France,
• 20:35
  Speaker 3: the infatuated son in law, the elite, the bewildered uncle,
• 20:38
  Speaker 3: the pretentious cousin, the jealous husband, the cantankerous father. We
• 20:42
  Speaker 3: have grown an age with you, and our children will
• 20:45
  Speaker 3: grow an age with you. That's what Macron said not
• 20:48
  Speaker 3: three years ago about Christian Clavalia. So for me, I
• 20:51
  Speaker 3: agree with you, like it feels like almost like you
• 20:54
  Speaker 3: have put your the horse before the cart with those
• 20:56
  Speaker 3: second and third movies, However, I'll say this much, if
• 20:59
  Speaker 3: people willing to talk about you that way, it's probably
• 21:02
  Speaker 3: because you may have oh yeah, let it kind of
• 21:05
  Speaker 3: not go to your head. But like, it's hard to
• 21:08
  Speaker 3: practice restraint when people talk about you that way. It's
• 21:11
  Speaker 3: hard to practice restraint when you know that people are
• 21:14
  Speaker 3: showing up because you're in the movie. And I think
• 21:16
  Speaker 3: that the second and third movies really show a lack
• 21:18
  Speaker 3: of restraint from from the director, who, again, like you mentioned,
• 21:22
  Speaker 3: wrote the film. You know, Jean Rouie Prae writes the
• 21:25
  Speaker 3: second and third and first film and the American language
• 21:28
  Speaker 3: one as well. They practice a lot more restraint in
• 21:31
  Speaker 3: this first film than they did in the second and
• 21:32
  Speaker 3: third one. And to your point, Jean Renau is such
• 21:35
  Speaker 3: a big part in this movie but not in the
• 21:36
  Speaker 3: second and third one, and it is so noticeable that
• 21:39
  Speaker 3: you do wonder like was he just like I'll only
• 21:42
  Speaker 3: come back if I'm at a like very much like
• 21:45
  Speaker 3: whatever the minimum is for this participation that you expect
• 21:49
  Speaker 3: out of me, because he doesn't feel like he's part
• 21:50
  Speaker 3: of the second movie. Third movie really doesn't like the
• 21:53
  Speaker 3: second movie, I think just kind of wastes his character
• 21:56
  Speaker 3: because the first movie is kind of so novel with
• 21:58
  Speaker 3: the oh and he's meeting his like descendant, and then
• 22:01
  Speaker 3: there's also a descendant of the other guy who's played
• 22:04
  Speaker 3: by him. We haven't really mentioned that, by the way,
• 22:06
  Speaker 3: speaking of Indian cinema and speaking of Eddie Murphy, you
• 22:11
  Speaker 3: know the Eddie Murphy of it all. Christian Clavllier technically
• 22:14
  Speaker 3: plays two different characters in this movie, and then in
• 22:16
  Speaker 3: the next movie he plays three different characters, and then
• 22:20
  Speaker 3: in the last movie he plays once again only two
• 22:23
  Speaker 3: different characters. But in this movie, the best one, he
• 22:26
  Speaker 3: plays himself, the surf to gen Renau, and then he
• 22:30
  Speaker 3: plays Jacques Henrie, who owns Jean Renaud's castle. Now, so
• 22:36
  Speaker 3: the whole play is the servant. The family of the
• 22:39
  Speaker 3: servant now owns the castle of the master's castle. That's
• 22:42
  Speaker 3: kind of the joke that they go back to several times.
• 22:45
  Speaker 3: I'm with you, I don't think I even needed him
• 22:48
  Speaker 3: twice in this movie. However, this is where it's done.
• 22:51
  Speaker 3: The best for Shure is definitely not in the second one,
• 22:54
  Speaker 3: and in a lot of ways, I'm glad they didn't
• 22:57
  Speaker 3: do that. In the American Lie, the Matt Ross character
• 22:59
  Speaker 3: is a well the change to the way the plot
• 23:02
  Speaker 3: kind of works in on itself.
• 23:04
  Speaker 4: Yeah, that's true, and that he's not a snooty hotel manager,
• 23:08
  Speaker 4: because you get so much with this being two guys
• 23:12
  Speaker 4: from the Middle Ages coming to modern times. When this
• 23:15
  Speaker 4: was released, you get all of the you know, the
• 23:19
  Speaker 4: comedy of errors, the misunderstanding, all those kinds of things,
• 23:22
  Speaker 4: and then also the class stuff because you've got a
• 23:26
  Speaker 4: master and a servant coming forward in time. And it's
• 23:29
  Speaker 4: just like, okay, this is a different type of relationship.
• 23:34
  Speaker 4: Well we call it by other things.
• 23:35
  Speaker 3: Now, that's right.
• 23:39
  Speaker 4: We don't literally throw scraps to poor people. We just
• 23:44
  Speaker 4: figuratively throw scraps to poor people in these days, we
• 23:48
  Speaker 4: rightno do that, yes, so, but yeah, to have that
• 23:52
  Speaker 4: relationship too, and to have you know, the the other Jakanda,
• 23:55
  Speaker 4: as you said, the who's the snooty hotel guy. So
• 23:59
  Speaker 4: it's like, oh, okay, or is that a hotel or
• 24:01
  Speaker 4: is that the.
• 24:02
  Speaker 3: Yeah, it's it's well it's but it's it's the castle
• 24:04
  Speaker 3: that right turned into a hotel into a hotel, and
• 24:07
  Speaker 3: he can't manage it at all, Like he can't keep
• 24:09
  Speaker 3: it in working order at all.
• 24:11
  Speaker 4: Right, And that's where all of their stuff is secreted away.
• 24:15
  Speaker 4: I mean I do like that as well, this kind
• 24:17
  Speaker 4: of bill and tedness of it where it's like, oh,
• 24:20
  Speaker 4: we left this thing here, you know, a century ago
• 24:23
  Speaker 4: or a millennium ago, because it's what like eleven thirty
• 24:26
  Speaker 4: something that they're coming from, so like it's.
• 24:29
  Speaker 3: Like a thousand years almost a thousand years later.
• 24:31
  Speaker 4: Yeah, so it's like, oh, we left this thing here,
• 24:34
  Speaker 4: you know, and we've got this and they know the
• 24:35
  Speaker 4: whole layout. Like once they break through that wall, they're like, okay, yeah,
• 24:39
  Speaker 4: I can, I can navigate all this stuff. I mean,
• 24:41
  Speaker 4: I really like this. The the inciting incident, even in
• 24:46
  Speaker 4: the first film is so much better than some of
• 24:48
  Speaker 4: these others where it's like, uh, you know, it's a
• 24:51
  Speaker 4: he and I love this stuff with the witch that
• 24:53
  Speaker 4: they capture this witch and they put her in this
• 24:55
  Speaker 4: little wicker cave cage. How you were talking about Monty
• 24:58
  Speaker 4: Python and it feels very Monty Python us. There's also
• 25:01
  Speaker 4: a little bit of like check comedy in here for me,
• 25:03
  Speaker 4: especially when she's in the cage and you see your
• 25:06
  Speaker 4: arms start to extend out so she can put this
• 25:09
  Speaker 4: stuff into yeah, put this stuff into his flask, and
• 25:12
  Speaker 4: that he gets this whole like hallucinating that a bear
• 25:17
  Speaker 4: is chasing his fiance and he shoots the bear, but
• 25:20
  Speaker 4: it was actually her father, right, and so then it's like, fuck, now,
• 25:24
  Speaker 4: we got to go back in time and undo that incident.
• 25:28
  Speaker 4: And it was interesting that they never do the what
• 25:31
  Speaker 4: happens if you meet yourself from an earlier timeline because
• 25:33
  Speaker 4: I think they're always going backwards and forwards the right
• 25:36
  Speaker 4: way that they wouldn't run into themselves. But that whole
• 25:39
  Speaker 4: idea of we got to go back, we got to
• 25:41
  Speaker 4: go back, and then they fuck up the formula, and
• 25:43
  Speaker 4: then that whole fuck up the formula thing becomes the
• 25:46
  Speaker 4: motivating factor for like so much of this and the sequels,
• 25:50
  Speaker 4: and it's like, oh god, we really don't need that,
• 25:53
  Speaker 4: Like fucking up one time that's all. That's that's all
• 25:56
  Speaker 4: we need. We don't need to have all of these
• 25:58
  Speaker 4: different ways. And it just see, it seems like such
• 26:01
  Speaker 4: a big deal in this first film to get this
• 26:04
  Speaker 4: wizard to make time travel formula that in the rest
• 26:08
  Speaker 4: of these it's like, oh, well, you know, the lady,
• 26:11
  Speaker 4: she can just make it. Oops, she put in Grand Marnier.
• 26:13
  Speaker 4: Shouldn't have done that.
• 26:15
  Speaker 3: Yeah, it uh, you know what it feels like. It
• 26:16
  Speaker 3: feels very evil Dead. Yes, yeah, it's like, oh, you know,
• 26:20
  Speaker 3: like a Klawtu of Breda, like you know, it's like that.
• 26:24
  Speaker 3: I mean, like, but there's a little bit of that
• 26:25
  Speaker 3: at the end of Army of Darkness. You know, spoilers
• 26:28
  Speaker 3: for a movie that's like thirty plus years old. But
• 26:30
  Speaker 3: I mean at the end of Army of Darkness, he
• 26:32
  Speaker 3: doesn't well, I.
• 26:33
  Speaker 4: Slept too long. Yeah, it just depends on which episode
• 26:36
  Speaker 4: or which version you're watching.
• 26:37
  Speaker 3: Well, I guess technically there is only one that's canon now,
• 26:39
  Speaker 3: which is whatever the one that Ash versus Evil Dead
• 26:42
  Speaker 3: follows off of, because that's canon. So I assume it's
• 26:46
  Speaker 3: I think he gets back to it's whatever, it's whatever,
• 26:49
  Speaker 3: it gets back to smart. But there are those endings
• 26:52
  Speaker 3: in an Evil Dead or wh an Army of Darkness
• 26:53
  Speaker 3: where he sleeps too long or he's and you know
• 26:56
  Speaker 3: this movie, like this series traffics in that. Like, be
• 26:59
  Speaker 3: honest with you, I actually appreciate the American remake for
• 27:02
  Speaker 3: not doing any sort of chicanery at the end. It's like,
• 27:05
  Speaker 3: and that's it. That's the end of the story. Like,
• 27:08
  Speaker 3: I actually kind of appreciated that like, given that the
• 27:11
  Speaker 3: second film just kind of I really struggled to understand
• 27:14
  Speaker 3: what was going on in the second film.
• 27:16
  Speaker 4: It's fascinating because I kept thinking when I was watching
• 27:19
  Speaker 4: the second film, it just felt so halfass. I was like,
• 27:23
  Speaker 4: did they do a Back to the Future two and three?
• 27:27
  Speaker 4: Did they film this and the next one altogether? Because
• 27:31
  Speaker 4: it just feels like there's so much stuff missing from
• 27:35
  Speaker 4: part two that I'm like, oh, yeah, well, they'll just
• 27:38
  Speaker 4: roll right into part three, not realizing that there was
• 27:41
  Speaker 4: an eighteen year lapse between the two films. Because then
• 27:45
  Speaker 4: when I'm watching the third film, not knowing when it
• 27:48
  Speaker 4: came out, I'm just like, holy shit, these guys look
• 27:51
  Speaker 4: so old.
• 27:52
  Speaker 3: What happened?
• 27:53
  Speaker 4: And then they explained it away in the plot they go, oh, yeah,
• 27:57
  Speaker 4: the corridors of time, they're really screwy. They'll be aging
• 28:00
  Speaker 4: ten years every day or something. And that really never
• 28:05
  Speaker 4: comes back until right at the end when they start
• 28:08
  Speaker 4: to get the big nose and the Goydert kind of thing.
• 28:11
  Speaker 4: Otherwise it's just, oh, yeah, these guys are twenty years
• 28:15
  Speaker 4: older than they were in the last film.
• 28:17
  Speaker 3: I can't imagine being someone who enjoyed the second film,
• 28:20
  Speaker 3: which a lot of people did, made a lot of money.
• 28:22
  Speaker 3: Second alum, I'm sure film in nineteen ninety eight and going,
• 28:25
  Speaker 3: oh my god that we're left at of a cliffhanger
• 28:28
  Speaker 3: here that's not gonna be answered for damn near twenty years.
• 28:32
  Speaker 4: Mm hmm. Well, and I'm still waiting for the end
• 28:34
  Speaker 4: of three now, Oh.
• 28:35
  Speaker 3: My god, right right, because hey, because when given the
• 28:38
  Speaker 3: opportunity just end this fucking thing, we pivot once again.
• 28:44
  Speaker 3: I was kind of disappointed at the end of the
• 28:46
  Speaker 3: third movie. I'm by kind of, I mean I was
• 28:48
  Speaker 3: immensely disappointed at the end of the third movie. I
• 28:51
  Speaker 3: was immensely disappointed at the end of the second movie
• 28:54
  Speaker 3: because the end of the second movie was that back
• 28:56
  Speaker 3: to the future too, where it's like, oh so, now
• 28:57
  Speaker 3: this is not even a complete thing, right now, we
• 29:01
  Speaker 3: have to come back to this at some point to
• 29:03
  Speaker 3: see how this story wraps up, because no second movie
• 29:07
  Speaker 3: could ever just be another movie. It has to be
• 29:09
  Speaker 3: a story that must be wrapped up in the third film.
• 29:12
  Speaker 3: I was watching an interview recently with I would say
• 29:15
  Speaker 3: someone we both probably think very highly of, seventy five
• 29:17
  Speaker 3: year old Ron Pearlman, who talked about speaking of third
• 29:20
  Speaker 3: movies never getting made that third hell Boy movie, and
• 29:23
  Speaker 3: he was like, I would still do it today as
• 29:26
  Speaker 3: a seventy five year old. He's like, the fans deserve it,
• 29:28
  Speaker 3: the fans are owed it, and you know what, like,
• 29:30
  Speaker 3: if you watch this second movie, I don't know how
• 29:32
  Speaker 3: you couldn't feel owed a third movie, given that the
• 29:34
  Speaker 3: filmmakers left it completely wide open again and for how
• 29:39
  Speaker 3: successful this franchise seemingly is in France, like, but then
• 29:43
  Speaker 3: to wait eighteen years and for it to be whoa wow,
• 29:47
  Speaker 3: what you get after eighteen years, which is, oh yeah,
• 29:49
  Speaker 3: the third movie is I get what they were going for.
• 29:52
  Speaker 3: I actually appreciate that they're going back to something they
• 29:55
  Speaker 3: mentioned in the first movie, which is, you know, oh, well,
• 29:58
  Speaker 3: you know, Jean Renaud had this descendant who was alive
• 30:02
  Speaker 3: in the revolution and he, you know, he fought for
• 30:06
  Speaker 3: the rights of the servants and the rights of the people,
• 30:09
  Speaker 3: and that got him killed. And Jean Renaud's goes good, right,
• 30:13
  Speaker 3: which is fucking hilarious for them, we throwaway gag to
• 30:16
  Speaker 3: then be an entire movie and it never even gets
• 30:19
  Speaker 3: nearly as funny as that throwaway gag is a shame
• 30:23
  Speaker 3: because it is it is smart to go after that
• 30:25
  Speaker 3: gag because I wouldn't expect it, but as a whole movie,
• 30:28
  Speaker 3: but like you don't do anything with it, and that's
• 30:30
  Speaker 3: kind of a shame really, m M. Yeah, it just it.
• 30:35
  Speaker 4: It did not do anything for me the whole I mean,
• 30:39
  Speaker 4: like I was saying, Jacash just gets louder and louder
• 30:42
  Speaker 4: and more and more in the center with all of
• 30:45
  Speaker 4: these and yeah, playing the dual roles again. And the
• 30:51
  Speaker 4: thing I liked about the first movie, just to go
• 30:53
  Speaker 4: back to that is the pacing of it and just
• 30:57
  Speaker 4: how wild the movie moves. Like as I was watching it,
• 31:01
  Speaker 4: it felt like my head was spinning a little bit
• 31:03
  Speaker 4: in a good way where I was just like, wow,
• 31:06
  Speaker 4: they are not letting any air between these scenes. They're
• 31:09
  Speaker 4: just move and move and moving, and you know, it's
• 31:12
  Speaker 4: what a good cow many does where we set up
• 31:14
  Speaker 4: a basically a little bit of a setup and then
• 31:17
  Speaker 4: a punchline set up in a punchline, and each one
• 31:20
  Speaker 4: of these scenes it feels like it's very skit, like
• 31:23
  Speaker 4: you know, very very much, just a little vignette, yes,
• 31:27
  Speaker 4: and it's they add up. They keep going, they keep moving,
• 31:31
  Speaker 4: they go back to each other. Sometimes you have the
• 31:33
  Speaker 4: whole thing of like the husband. So they end up
• 31:36
  Speaker 4: going to this house or they find this woman, and
• 31:39
  Speaker 4: I think it's through like because of what they're wearing
• 31:43
  Speaker 4: or what they're speaking. And it's been like I watched
• 31:46
  Speaker 4: the other three this week, the first one I watched
• 31:50
  Speaker 4: a few weeks ago, and so if I forget a
• 31:52
  Speaker 4: couple of the details, I apologize. But they end up
• 31:55
  Speaker 4: being with this family I think it's Jeannette maybe employees,
• 32:00
  Speaker 4: Jeanpierre or something, and they they're like a normal family
• 32:03
  Speaker 4: and they've got kids and this whole thing of like
• 32:05
  Speaker 4: them they do have kids, right, yeah, no, they do that, yes, okay,
• 32:10
  Speaker 4: because the kids kind of disappear and.
• 32:13
  Speaker 3: Maybe thirty seconds okay, hey, you see them, and then
• 32:15
  Speaker 3: they get referenced at the end when Jean Renault's like,
• 32:18
  Speaker 3: you know, I will be with you always through your children,
• 32:20
  Speaker 3: and you like, right, your kids that we saw once, yes,
• 32:24
  Speaker 3: which is fine, Like I don't need kids in a comedy,
• 32:26
  Speaker 3: like kids in movies don't necessarily add to anything.
• 32:29
  Speaker 1: No, and not with these jokes.
• 32:31
  Speaker 4: And that's the thing, is like, because if you had
• 32:32
  Speaker 4: the kids, then the kids would be like, oh here,
• 32:34
  Speaker 4: let me explain to you medieval person how this works.
• 32:37
  Speaker 4: Whereas adults are just like, well, here's the toilet, and
• 32:40
  Speaker 4: then they leave the room and next thing you know,
• 32:42
  Speaker 4: they're splashing their face and drinking out of the toilet
• 32:45
  Speaker 4: because it's fresh water for them. And it's like a
• 32:48
  Speaker 4: kid would be like, no, no, no, no, but let
• 32:49
  Speaker 4: me let me help you out here, because this was
• 32:52
  Speaker 4: me a few years ago kind of thing, whereas adults
• 32:54
  Speaker 4: are just like, these are two adult men who are
• 32:56
  Speaker 4: in this world, and they just talk in a very
• 32:58
  Speaker 4: strange way, dressed very oddly, but I'm just going to
• 33:01
  Speaker 4: kind of let them walk around and not give them
• 33:04
  Speaker 4: the adult supervision, but the whole thing of like the
• 33:07
  Speaker 4: husband who's a dentist, and I love that the dentist
• 33:11
  Speaker 4: office is in the house, which is very true to Europe,
• 33:14
  Speaker 4: where you go to somebody's house for that service rather
• 33:17
  Speaker 4: than to an office, which is fascinating.
• 33:19
  Speaker 3: To Meco factory.
• 33:21
  Speaker 4: Yeah, yeah, exactly. So it's like, this is really kind
• 33:24
  Speaker 4: of cool. I like all of that stuff, and you
• 33:27
  Speaker 4: just drop almost all of that when it comes to
• 33:29
  Speaker 4: the rest of these films. And it's just especially like
• 33:33
  Speaker 4: just the relationships between the family that we get with
• 33:38
  Speaker 4: the French Revolution. I don't know how these people are
• 33:40
  Speaker 4: related to each other. I can't really figure out what
• 33:43
  Speaker 4: the relationships are because it feels like we just get
• 33:46
  Speaker 4: dropped into the middle of five French people that I
• 33:50
  Speaker 4: don't know what their motivations are, right, other than we
• 33:53
  Speaker 4: are rich and we're running away from the peasants who
• 33:57
  Speaker 4: are now killing all of us, which in twenty twenty
• 34:01
  Speaker 4: six I'm like, okay, yes, please.
• 34:04
  Speaker 3: Right, I know that was that was the thing that
• 34:07
  Speaker 3: made me laugh. You know, The Visitors three came out
• 34:09
  Speaker 3: in like twenty sixteen, so we're we're a little far
• 34:12
  Speaker 3: removed from it. But yeah, I'm just like, yeah, fucking
• 34:15
  Speaker 3: roast them. Who cares eat them alive?
• 34:16
  Speaker 4: Yeah, I'm like, yeah, I know. Robe Spears is not
• 34:18
  Speaker 4: supposed to be a good guy, but he's kind of
• 34:20
  Speaker 4: the hero of this story to me. And the whole
• 34:22
  Speaker 4: thing is like when they go to the restaurant or
• 34:25
  Speaker 4: the inn, I guess it is, and they're like throwing
• 34:30
  Speaker 4: their noses up when it comes to the nettle soup,
• 34:33
  Speaker 4: and it's just like, oh, this is so disgusting. It's like, yeah,
• 34:36
  Speaker 4: this is what regular people eat. You know, sorry about that,
• 34:40
  Speaker 4: you know, lady who has the inflatable wig, which might
• 34:44
  Speaker 4: have been my favorite gag in the entire thing, her
• 34:46
  Speaker 4: riding wig versus her day to day wig. But otherwise
• 34:50
  Speaker 4: I'm like, yeah, I don't care about any of this stuff.
• 34:53
  Speaker 4: And the way that they escape, you know, That's what
• 34:55
  Speaker 4: I was saying about the pacing, is that this has
• 34:58
  Speaker 4: that same breakneck pace but doesn't really seem to ever
• 35:02
  Speaker 4: circle back.
• 35:02
  Speaker 1: You know.
• 35:03
  Speaker 4: It feels like, Okay, we escaped from the gendarmes in
• 35:06
  Speaker 4: this courtroom, but they're really not after us after five minutes.
• 35:10
  Speaker 4: It's just like we have to be careful of peasants
• 35:13
  Speaker 4: with red hats.
• 35:13
  Speaker 3: And that's about it, right, Yeah, the uh it's funny.
• 35:17
  Speaker 3: You know. The second movie does that typical thing that
• 35:20
  Speaker 3: so many second movies do, which is like try to
• 35:22
  Speaker 3: like bring in complicated stuff for no reason other than
• 35:25
  Speaker 3: because and like the second movie is overly complicated for
• 35:29
  Speaker 3: a comedy about two time travelers. There's well, his dad
• 35:33
  Speaker 3: is gonna die, and his dad is dying because of
• 35:35
  Speaker 3: the timeline, because that's like, wow, we're not even ten
• 35:39
  Speaker 3: minutes into the movie, and I'm already confused because again,
• 35:42
  Speaker 3: like they just it wants to be high concept, when
• 35:45
  Speaker 3: what made the first one so great wasn't a high concept.
• 35:47
  Speaker 3: It was the kind of ensemble comedy of it all.
• 35:50
  Speaker 3: It was the Jean Renau and Christian Clavallier like back
• 35:52
  Speaker 3: and forth. It wasn't the like, oh, the kind of
• 35:55
  Speaker 3: halfway sci fi time traveling. That was not the draw,
• 35:59
  Speaker 3: and that seems trying to be the second the drawn.
• 36:01
  Speaker 3: The second movie, it's like, oh, it's like time travel
• 36:03
  Speaker 3: and more time travel, and they're going backwards and forwards
• 36:06
  Speaker 3: and he's stuck in the past. Now he's stuck in
• 36:08
  Speaker 3: the future, and now they go all the way to
• 36:10
  Speaker 3: the revolution time and it's just like, oh my god,
• 36:13
  Speaker 3: like what will it ever end? And no, in the
• 36:15
  Speaker 3: third movie, it's now a fucking period piece. And I
• 36:19
  Speaker 3: think the third movies not only suffers from it being
• 36:22
  Speaker 3: a period piece and not necessarily being very funny, because
• 36:25
  Speaker 3: it's not that the French Revolution isn't funny, but they
• 36:27
  Speaker 3: don't do anything overtly funny with it. No. Uh, it
• 36:31
  Speaker 3: really suffers from not having some modern day goings on
• 36:35
  Speaker 3: in twenty sixteen. I would love to see these two
• 36:38
  Speaker 3: bozos interacting with the world of the iPhone and the
• 36:41
  Speaker 3: world of all kinds of things, and they're just like no, no, no,
• 36:45
  Speaker 3: see like the French Revolution, that's what you were wanting
• 36:47
  Speaker 3: to see, and it's like, no, that's not what I
• 36:50
  Speaker 3: wanted to see. And I really don't want to see
• 36:52
  Speaker 3: them in Nazi times either, which was just like the
• 36:57
  Speaker 3: when I saw that there were Nazi flags about the castle,
• 36:59
  Speaker 3: I was like, this is the hardest left turn possible.
• 37:02
  Speaker 3: But it also tracks with the twenty sixteen of it all,
• 37:04
  Speaker 3: and here come the Nazis, Like of course, of course
• 37:08
  Speaker 3: twenty sixteen was full of Nazis in more ways than one,
• 37:11
  Speaker 3: and it's not surprising that they've come for just visiting, right.
• 37:15
  Speaker 3: But the Third One practice is the least amount of
• 37:18
  Speaker 3: restraint of this franchise, because the Third One really just
• 37:22
  Speaker 3: has nothing of value or substance to add at all,
• 37:26
  Speaker 3: like literally, and.
• 37:27
  Speaker 4: It's like they're playing around with historical figures. I mean
• 37:29
  Speaker 4: marat Is in this film, which was making me laugh,
• 37:32
  Speaker 4: and they make reference to Napole again and sometimes Jackass's
• 37:39
  Speaker 4: relative looks like Napole again.
• 37:41
  Speaker 3: Well, and they at the end of the second movie
• 37:43
  Speaker 3: it is Napoleon is right, Okay, yeah, that's what I thought.
• 37:48
  Speaker 3: So bizarre are like it's yeah, it's the third movie
• 37:51
  Speaker 3: would have totally been fine if it had come out
• 37:53
  Speaker 3: in two thousand and one, right, yeah, and then you
• 37:56
  Speaker 3: would have gotten, like, you know what you would have
• 37:57
  Speaker 3: gotten in twenty sixteen, you would have gotten like just
• 38:00
  Speaker 3: visiting for where it's like you know the fourth one,
• 38:03
  Speaker 3: where it's kind of this return to form and they're
• 38:06
  Speaker 3: you know, coming into the now times and you're not
• 38:09
  Speaker 3: having to like tie up the loose ends of the
• 38:12
  Speaker 3: previous film. Like that's the other thing. They're tying up
• 38:14
  Speaker 3: the loose ends of a movie that's twenty years old.
• 38:17
  Speaker 4: Wow right, wow, Well that many of them no loose
• 38:21
  Speaker 4: ends to tie up, you know, and when they do,
• 38:23
  Speaker 4: it's like I don't care about this stuff.
• 38:25
  Speaker 3: Well the loose end of them being in the revolution
• 38:27
  Speaker 3: time and that's about it, which could have been solved
• 38:30
  Speaker 3: very easily, like oh god, yes, it wasn't a requirement
• 38:33
  Speaker 3: that could have happened off screen for God's sakes, Like
• 38:35
  Speaker 3: I I don't find the Revolution to be particularly uh
• 38:39
  Speaker 3: interesting as a setting, like ley Miz is not something
• 38:42
  Speaker 3: that resonates with me particularly particularly, so this is kind
• 38:45
  Speaker 3: of again like this third movie is again kind of
• 38:47
  Speaker 3: further afield than I would like to get with French history.
• 38:50
  Speaker 3: I find the third movie outside of the History of
• 38:53
  Speaker 3: it All to just be kind of interminable, like there's
• 38:56
  Speaker 3: it is no laughs, there's no jokes. It's a period
• 39:00
  Speaker 3: piece that's not funny, but it's supposed to be funny.
• 39:04
  Speaker 3: The intent is to be funny, and yet it is
• 39:06
  Speaker 3: so unfunny that it feels like a waste of time.
• 39:09
  Speaker 3: And I hate to say this, and I know we've
• 39:11
  Speaker 3: had this conversation before on many podcasts, but I'll say
• 39:13
  Speaker 3: it here again because we're talking about a comedy, which
• 39:15
  Speaker 3: we don't do very frequently. Last time we talked about
• 39:17
  Speaker 3: a comedy was Naked Gun. The Naked Gun Liam Neesen film. Right,
• 39:21
  Speaker 3: a comedy that is unfunny might be the worst kind
• 39:24
  Speaker 3: of movie.
• 39:25
  Speaker 4: Oh god, Yeah, it was like in my Skin Crawl.
• 39:28
  Speaker 4: And I felt bad because I enjoyed that first movie
• 39:31
  Speaker 4: so much and was just looking forward to these other ones.
• 39:35
  Speaker 4: By the time we got to the end of the
• 39:36
  Speaker 4: second one, my wife's like, how many more are there?
• 39:40
  Speaker 4: And I'm like, well, a direct remake and a remake
• 39:43
  Speaker 4: and then a direct sequel. She's like, oh okay, so
• 39:47
  Speaker 4: I got up early yesterday to watch the third one,
• 39:50
  Speaker 4: just to try to help her not have to see
• 39:53
  Speaker 4: the third one. And yeah, I was like, it just
• 39:56
  Speaker 4: felt It's only an hour and forty nine minutes, but
• 39:59
  Speaker 4: it felt like is five hours long. It felt like
• 40:01
  Speaker 4: we were watching Lemez or something.
• 40:03
  Speaker 3: Yeah, the third The third one is one of those
• 40:06
  Speaker 3: like I have seen it now and I never need
• 40:09
  Speaker 3: to watch it again. And frankly, it is now probably
• 40:12
  Speaker 3: on a very short list of things that are some
• 40:15
  Speaker 3: of the worst things I've seen for a podcast. And
• 40:19
  Speaker 3: I'm not gonna lie if if you ask me to
• 40:21
  Speaker 3: name some of those things. Their comedy Funny Money's up there.
• 40:25
  Speaker 3: This is now in contention with Funny Money for one
• 40:27
  Speaker 3: of the worst things I've seen. This third Visitors Casino
• 40:30
  Speaker 3: Royale the original also a comedy, one of the worst,
• 40:34
  Speaker 3: like something I would never want to watch again. I
• 40:36
  Speaker 3: would dread rewatch it. Oh yeah, because I've done two
• 40:38
  Speaker 3: episodes on it now and I would never want to
• 40:40
  Speaker 3: watch it again. This third Visitors movie is up there,
• 40:43
  Speaker 3: and frankly the second one too. Like the second one,
• 40:45
  Speaker 3: the second one is the longest of the and it
• 40:48
  Speaker 3: not only feels that way, it it acts like it too.
• 40:51
  Speaker 3: It acts like it has something to say, it acts
• 40:53
  Speaker 3: like it has some point that it's doing some fun,
• 40:57
  Speaker 3: kind of high concept thing, and it's ultimately not. Like
• 41:00
  Speaker 3: the film ends is so uninteresting. And then to know
• 41:03
  Speaker 3: that the third movie does nothing with it ultimately just
• 41:07
  Speaker 3: makes it that much worse. It makes it makes the
• 41:09
  Speaker 3: American Remake seem so much more desirable if you want
• 41:13
  Speaker 3: to watch a sequel to the original, because you know
• 41:15
  Speaker 3: it's a remake, but it is different enough from the
• 41:18
  Speaker 3: original that you can enjoy it for its own reasons.
• 41:22
  Speaker 3: And they're still funny. Jean Renaud and Christian Clavillier are
• 41:25
  Speaker 3: funny in the American Remake. They're not funny in the
• 41:27
  Speaker 3: second and third sequels, and that's shocking. I think the
• 41:31
  Speaker 3: most shocking thing is that the remake came out after
• 41:33
  Speaker 3: the second one.
• 41:34
  Speaker 4: Yeah, the timeline, I was just like, am I reading
• 41:37
  Speaker 4: this right? This doesn't seem right at all? But yeah,
• 41:40
  Speaker 4: And then, like I said, I had no idea. When
• 41:42
  Speaker 4: they showed up and they looked so old, I was like, oh,
• 41:45
  Speaker 4: all right, I guess we're this is how we're doing
• 41:48
  Speaker 4: it now eighteen years later.
• 41:50
  Speaker 3: And let's also, you know, they they also pulled a
• 41:53
  Speaker 3: Mummy to Mummy three here. So in the first movie
• 41:58
  Speaker 3: is so good as be A or Frenegonde, whichever character
• 42:01
  Speaker 3: you want to call her. But Muriel Robine in the
• 42:04
  Speaker 3: second film is not the chemistry that she is with
• 42:09
  Speaker 3: Jon Renau is not the same, and it is noticeable.
• 42:11
  Speaker 3: She doesn't even have the same uh chemistry with Jean Pierre,
• 42:15
  Speaker 3: her husband in the second film. Like it's so noticeably different.
• 42:19
  Speaker 4: I mean, she's probably a great actress, but like that
• 42:22
  Speaker 4: they went with such a different build for her, and
• 42:26
  Speaker 4: she has a different attitude to everything. She's so much
• 42:29
  Speaker 4: more like, oh, gotta take care of this, oh yo,
• 42:33
  Speaker 4: and the other one seemed genuinely distressed, and I like that.
• 42:37
  Speaker 1: I would.
• 42:38
  Speaker 4: Yeah, she was pitch perfect in that first movie, and
• 42:40
  Speaker 4: I was like, what are we doing now, Like, okay,
• 42:43
  Speaker 4: we're just gonna call this woman by the same name.
• 42:45
  Speaker 4: But she looks nothing like the other woman, not even
• 42:47
  Speaker 4: the color of her hair.
• 42:48
  Speaker 3: Yeah. When no, when I was when I was watching
• 42:51
  Speaker 3: it with my friend, I was like, oh, by the way,
• 42:54
  Speaker 3: like that is the same character. She's like, that's what
• 42:56
  Speaker 3: I thought. But I was in surre and I was like, yeah,
• 42:58
  Speaker 3: you could you could be mistaken for not realizing it,
• 43:00
  Speaker 3: given that the movie doesn't fucking do anything, And look,
• 43:04
  Speaker 3: how does one do something like that? Like there's you know,
• 43:07
  Speaker 3: I think what Iron Man two is gets a little
• 43:09
  Speaker 3: cheeky with it. Uh what is it?
• 43:11
  Speaker 4: Like?
• 43:12
  Speaker 3: Don Chiedold says something like, yeah, something you look different,
• 43:16
  Speaker 3: masks different, something something. Speaking of the Mummy, they never
• 43:19
  Speaker 3: mention it at all. They don't even draw notice to
• 43:22
  Speaker 3: it at all, which which will be amusing if they
• 43:24
  Speaker 3: draw attention to it in the fourth Mummy movie. That right,
• 43:26
  Speaker 3: that's undoubtedly making where they're coming back and recasting Rachel Weiss.
• 43:30
  Speaker 3: So it's it's weird because sometimes it doesn't matter and
• 43:34
  Speaker 3: it doesn't add or detract. In this film, the second
• 43:37
  Speaker 3: film's case, it detracts completely, like it's yeah. And the
• 43:40
  Speaker 3: only part of the third movie that I actually was like, oh, okay,
• 43:43
  Speaker 3: that's that's kind of nice was when Marie Marie Ann
• 43:47
  Speaker 3: Chazelle comes back, who plays Jeanette in the first two films,
• 43:50
  Speaker 3: when she comes back in the third one, uh for
• 43:53
  Speaker 3: a little while, and she's married to like a black
• 43:55
  Speaker 3: guy who is just like one of the more interesting
• 43:57
  Speaker 3: characters in the movie. But ultimately not even anything to do.
• 44:01
  Speaker 3: Like she's the most interesting part of that third movie
• 44:04
  Speaker 3: because again, like she's technically the only returning cast member
• 44:07
  Speaker 3: other than Clavalier and Renault.
• 44:09
  Speaker 4: And am I getting this right? That in the second
• 44:11
  Speaker 4: movie they think that she's from the past, but yeah, okay.
• 44:16
  Speaker 3: Well Clavalier, the version from the present, is convinced that
• 44:20
  Speaker 3: she is also from medieval time.
• 44:22
  Speaker 4: Right, just because she is. Yeah, it also very loud, right,
• 44:27
  Speaker 4: got the missing tooth and all that, and yeah, she's
• 44:30
  Speaker 4: she's basically a bag of the lady in the firste oh,
• 44:32
  Speaker 4: just kind of forget that. By the time we get
• 44:35
  Speaker 4: to the second movie. It's like, Okay, now they're I
• 44:37
  Speaker 4: guess because they're living well because of the jewels and
• 44:40
  Speaker 4: that kind of stuff.
• 44:41
  Speaker 3: But I don't know. That's the logic that the American
• 44:45
  Speaker 3: films right, right, that's me and that's and I think
• 44:48
  Speaker 3: that's probably what's informing the way I think about the
• 44:50
  Speaker 3: French film, right because written by the same people ostensibly
• 44:53
  Speaker 3: other than John Hughes. So I do like the idea
• 44:56
  Speaker 3: at the end of the American film where they're in Vegas.
• 44:58
  Speaker 3: I'm like, these two people in Vegas together with this
• 45:01
  Speaker 3: money is a bad idea, and also like they will
• 45:04
  Speaker 3: not be able to make this last and they will
• 45:06
  Speaker 3: just become hobos and like drug addicts. The story doesn't
• 45:09
  Speaker 3: have a happy ending.
• 45:10
  Speaker 4: Folks like, so should we talk about the remake?
• 45:13
  Speaker 3: If you want to? Yeah, I didn't. I didn't know
• 45:15
  Speaker 3: kind of what you're you know, like, if you had
• 45:17
  Speaker 3: any more thoughts on those first three, I think you're
• 45:20
  Speaker 3: to your point. The first movie is the best one.
• 45:23
  Speaker 3: The second one I think as very little of value
• 45:26
  Speaker 3: other than that scene with the firefighters where they're getting
• 45:28
  Speaker 3: shot through the windows by the Hosen, which is very funny,
• 45:31
  Speaker 3: practical comedy. The third movie, like I said, is one
• 45:33
  Speaker 3: of the worst things I've seen in it. In some
• 45:35
  Speaker 3: times it's just it's an unfunny movie. Like and that's
• 45:39
  Speaker 3: what else does one need to say about a comedy
• 45:40
  Speaker 3: If a comedy doesn't make you laugh like that right there,
• 45:43
  Speaker 3: failed the assignment. I can't do anything else. If if
• 45:46
  Speaker 3: I ask you to bake me a cake and you
• 45:47
  Speaker 3: bring me a burrito, what the fuck do you expect
• 45:49
  Speaker 3: me to do? I'll eat the burrito. It might taste good,
• 45:51
  Speaker 3: but it's not a cake, And that in and of itself,
• 45:53
  Speaker 3: I can't do anything with it. If your comedy's not funny,
• 45:55
  Speaker 3: I can't help you. And it's like it's not just me,
• 45:58
  Speaker 3: it's you as well. So if you want to move
• 46:00
  Speaker 3: on to the remake, we can. I didn't know how
• 46:02
  Speaker 3: much else you want to say about those first three.
• 46:03
  Speaker 4: Well, I think we'll probably fall into that as we
• 46:05
  Speaker 4: move forward talking about the remake, because there are so
• 46:08
  Speaker 4: many market differences. And I was shocked as hell to
• 46:12
  Speaker 4: find out yesterday that there are two pretty distinct versions
• 46:18
  Speaker 4: of The Visitors. One's The Visitors and the other one
• 46:21
  Speaker 4: is Li visitur Ina Emerque, where there's a whole different
• 46:27
  Speaker 4: opening to the film. I don't know if you got
• 46:29
  Speaker 4: a chance to look that link that I sent you yesterday,
• 46:32
  Speaker 4: but the opening of the film is at the museum
• 46:35
  Speaker 4: where we have Christina Applegate, and I'll probably refer to
• 46:38
  Speaker 4: everybody by their actor names, since I know most of
• 46:41
  Speaker 4: these actors. All she is donating this part of a
• 46:46
  Speaker 4: castle that she owns, and we get that later on
• 46:49
  Speaker 4: that that's what's going on. But this is what introduces
• 46:53
  Speaker 4: George Plimpton to the film. This is what has you know,
• 46:57
  Speaker 4: the introduction of her and of her fiance big Bear,
• 47:03
  Speaker 4: and just like then we moved to the past, and
• 47:07
  Speaker 4: even the order of events in the past is in
• 47:10
  Speaker 4: a different order. Like there's the attack on the village
• 47:15
  Speaker 4: first where the our hero genre No sees some wrongdoings
• 47:20
  Speaker 4: going on, and then it moves into that, and then
• 47:22
  Speaker 4: it moves into the now we're taking the the carriage
• 47:27
  Speaker 4: to the castle thing where they like kick Jacquas off
• 47:31
  Speaker 4: of the back of the carriage and all this stuff.
• 47:33
  Speaker 4: So all of that stuff is in complete different order.
• 47:37
  Speaker 4: It's a lot later that we get the one guy
• 47:40
  Speaker 4: who goes to the witch to get the potion to
• 47:44
  Speaker 4: basically make sure that Genre know or sorry that his
• 47:48
  Speaker 4: fiancee goes crazy and that who I thought, well she
• 47:52
  Speaker 4: is played by Christina Applegate, that she would go crazy
• 47:55
  Speaker 4: and something something something, But instead we get the switch
• 47:58
  Speaker 4: aroar with the glasses. So yeah, it's so different throughout
• 48:02
  Speaker 4: that and then even just through little bits and pieces.
• 48:05
  Speaker 4: But yeah, definitely we'll talk about the ending as well,
• 48:08
  Speaker 4: because that ending is really different for this French version.
• 48:11
  Speaker 3: So and that's so that's the difference between the UK
• 48:15
  Speaker 3: cinema cut and the French DVD cut, which is which yeah,
• 48:19
  Speaker 3: like it's what's funny is like you said, like there
• 48:22
  Speaker 3: is there are huge differences, but at the same time,
• 48:24
  Speaker 3: like I don't think it changes the makeup of the
• 48:27
  Speaker 3: movie so much. Is just like changes the order of things,
• 48:30
  Speaker 3: you know. And and like you said, like they still
• 48:32
  Speaker 3: kind of address some of the stuff that's missing from
• 48:34
  Speaker 3: that alter, you know, the original cut versus the alternate cut.
• 48:37
  Speaker 3: They still mention some of the stuff about the castle
• 48:39
  Speaker 3: and things, so they still address it. But I'm very
• 48:42
  Speaker 3: curious what did you think of the American language remake,
• 48:45
  Speaker 3: because we I kind of haven't asked you, so what
• 48:47
  Speaker 3: did you think of it?
• 48:48
  Speaker 4: So real quick, I just want to paint you a
• 48:50
  Speaker 4: picture of me with my laptop on, watching the American
• 48:55
  Speaker 4: version with my headphones on, and then having the French
• 48:58
  Speaker 4: version on my television and occasually having to fast forward
• 49:01
  Speaker 4: one or pause the other, just so I could watch
• 49:04
  Speaker 4: the French version with the American voice.
• 49:07
  Speaker 3: Amaze, so amazing.
• 49:08
  Speaker 4: That's what I was doing with this film, Brains. I
• 49:14
  Speaker 4: thought that it was decent. I thought it was a
• 49:17
  Speaker 4: decent film. There are parts that I wish were a
• 49:21
  Speaker 4: little bit different. I mean, I really the whole idea
• 49:25
  Speaker 4: of her selling the castle and the money that's motivating it.
• 49:30
  Speaker 4: I guess it is much more of an American thing.
• 49:33
  Speaker 4: But at the same time, the one thing that I
• 49:34
  Speaker 4: kept thinking of was, gosh, when it came to the
• 49:38
  Speaker 4: French film, the French have been living in that country
• 49:41
  Speaker 4: for so long that they could go back and forth
• 49:44
  Speaker 4: for you know, a thousand years, whereas America being such
• 49:47
  Speaker 4: a young nation for US invaders that came over. I mean, yeah, okay,
• 49:53
  Speaker 4: you go back in America's history to eleven hundred, You're
• 49:57
  Speaker 4: not seeing a whole lot of white people. It's not
• 49:59
  Speaker 4: the my descendants or my predecessors did not live here
• 50:03
  Speaker 4: a thousand years ago. So such a marked difference when
• 50:07
  Speaker 4: it comes to just that the premise has to change
• 50:11
  Speaker 4: so much that I guess that their souls are entwined
• 50:15
  Speaker 4: with the castle bricks themselves. Thus they can travel from
• 50:20
  Speaker 4: France in the eleven hundreds to Chicago. There's mister Hughes's influence.
• 50:25
  Speaker 4: I suppose Chicago of two thousand and one did this
• 50:29
  Speaker 4: come out?
• 50:29
  Speaker 3: So yeah, two thousand, two thousand and one. Yeah, So
• 50:32
  Speaker 3: it was just like, why is it a Chicago folks?
• 50:34
  Speaker 3: Because John Hughes and.
• 50:36
  Speaker 4: We get to see that Fountain from Married with Children
• 50:40
  Speaker 4: and Christina Applegate's there, so I'm laughing about that. So
• 50:43
  Speaker 4: that was a nice little inside Joe Well.
• 50:45
  Speaker 3: And it's just, you know, like it feels if you know,
• 50:48
  Speaker 3: what's a John Hughes movie. There are parts of it
• 50:50
  Speaker 3: that feels very John hughesy in and like, you know,
• 50:53
  Speaker 3: the Chicago of it all kind of like they you know,
• 50:55
  Speaker 3: I mean, because John Hughes was John Hughes was not
• 50:59
  Speaker 3: unknown for high concept stuff. I mean when I think
• 51:02
  Speaker 3: of some of the stuff that people really resonate with
• 51:04
  Speaker 3: John Hughes, I mean, one of the things I think
• 51:06
  Speaker 3: about is Weird Science, and that's a pretty weird out
• 51:10
  Speaker 3: there movie.
• 51:11
  Speaker 4: And oh yeah he wrote especially when Anthony Michael Hall
• 51:14
  Speaker 4: turns into a black man at one point. No, no,
• 51:18
  Speaker 4: when he starts talking about I called her every day
• 51:21
  Speaker 4: on the telephone, that whole thing. Do you not remember
• 51:24
  Speaker 4: the scene I'm talking about.
• 51:26
  Speaker 3: I haven't seen Weird Science at a long time.
• 51:28
  Speaker 4: He's doing the worst racist black voice you could possibly
• 51:31
  Speaker 4: admit the ship.
• 51:32
  Speaker 3: I thought you were just making a a c Thomas
• 51:35
  Speaker 3: Howell sol Man. No, No, I was like, is he
• 51:37
  Speaker 3: just doing a soul? Is he Riffing on soul Man
• 51:39
  Speaker 3: once again. No no, no, no crossover the new weirding
• 51:42
  Speaker 3: Way Media podcast Riffing on soul Man with Hiking Chris.
• 51:46
  Speaker 4: That's all we do is just riff about it for
• 51:48
  Speaker 4: like a few hours. We come back the next week,
• 51:49
  Speaker 4: we riff about it again, next week, riff about it still.
• 51:54
  Speaker 4: And the funny thing is it was all just a marathon,
• 51:57
  Speaker 4: forty eight hour riffing session that we cut into our
• 52:00
  Speaker 4: long chunks.
• 52:01
  Speaker 3: You think, how long do you think you could riff
• 52:03
  Speaker 3: about that for only four minutes? It's just could you
• 52:10
  Speaker 3: could you riff that long about something like that? Could you?
• 52:12
  Speaker 3: Could you? Could you pull out a nice long riff? No?
• 52:15
  Speaker 3: I don't think so.
• 52:15
  Speaker 4: I could probably do an episode on it, so I
• 52:18
  Speaker 4: could talk for at least an hour and a half
• 52:20
  Speaker 4: about it, and but I'd probably be focusing at least
• 52:24
  Speaker 4: in a half an hour on Chet and the grease
• 52:27
  Speaker 4: sya pork sandwich served in a dirty ash tray. I
• 52:31
  Speaker 4: would definitely be talking about the Michael Berryman character and
• 52:35
  Speaker 4: how he's a teacher.
• 52:37
  Speaker 3: Yeah really what about O time?
• 52:40
  Speaker 4: Talking about Boy and Go yes of course, and how
• 52:43
  Speaker 4: they use that sample from Brida Frankenstein. Yeah, oh yeah,
• 52:47
  Speaker 4: that's right.
• 52:48
  Speaker 3: Yeah.
• 52:48
  Speaker 4: So there's there's your three segments right there. All right,
• 52:50
  Speaker 4: we'll be back right after these brief messages, that's right.
• 52:53
  Speaker 4: And then then all right, we're back and we're talking
• 52:56
  Speaker 4: about weird science. I really want to talk about these
• 52:59
  Speaker 4: science of weird science. Do you think that. Well, let's
• 53:03
  Speaker 4: see in a modern day where we've got Megan too
• 53:07
  Speaker 4: and companions, and there was that one with Megan Fox
• 53:11
  Speaker 4: that was recent. I mean, let's talk about.
• 53:17
  Speaker 3: Where she plays a giant chicken. So does that count maybe?
• 53:21
  Speaker 4: But yeah, the whole idea of these pseudo females, which
• 53:25
  Speaker 4: is interesting that they do, go all the way back
• 53:27
  Speaker 4: to Briana Frankenstein. But really, we could even go back
• 53:30
  Speaker 4: to science fiction's earliest film adaptations of Yeah, I'm Metropolis here.
• 53:38
  Speaker 1: Yeah, so there we go.
• 53:39
  Speaker 4: There's there's a little taste of the Projection Booth episode
• 53:42
  Speaker 4: for you.
• 53:43
  Speaker 3: Of Weird Science. Somebody, somebody please donate at whatever level
• 53:46
  Speaker 3: forces Mike to do things.
• 53:48
  Speaker 4: Yeah, become the assistant to the regional manager on my Patreon.
• 53:52
  Speaker 3: That's right. Good lord. I'm glad we watched the remake
• 53:56
  Speaker 3: because I think the remake actually makes a case for
• 53:58
  Speaker 3: being the only other thing of this you should watch.
• 54:01
  Speaker 1: I agree.
• 54:02
  Speaker 4: I did love the remake, but I liked it quite
• 54:06
  Speaker 4: a bit, and it's different enough, Like they don't just
• 54:10
  Speaker 4: do a straight recycling of jokes for the most part,
• 54:14
  Speaker 4: and when they do recycle one joke, I'm just like,
• 54:17
  Speaker 4: it's not funny in this For whatever reason, it's very
• 54:20
  Speaker 4: funny in the first movie when Jacas is grabbing the
• 54:26
  Speaker 4: sconce on the wall and rips it out and then
• 54:29
  Speaker 4: it goes out and he's just like so puzzled about it,
• 54:31
  Speaker 4: and then he walks along and he grabs another one
• 54:33
  Speaker 4: and keeps doing that. That's very funny in the first movie.
• 54:36
  Speaker 4: And I think it's because it's at that very posh
• 54:38
  Speaker 4: hotel and we can tell how angry the other guy's
• 54:42
  Speaker 4: going to get because it's his hotel and Jakas is
• 54:45
  Speaker 4: destroying it. In this movie, it doesn't make a lick
• 54:47
  Speaker 4: a fucking difference. And I'm just like, this, Okay, it's
• 54:50
  Speaker 4: the same joke, but in the context, it is not
• 54:53
  Speaker 4: funny whatsoever.
• 54:54
  Speaker 3: No, And that's that's when they're at the restaurant, right, right,
• 54:57
  Speaker 3: And who cares about the restaurant Because I think tell
• 55:00
  Speaker 3: a better version of I think they tell a better
• 55:02
  Speaker 3: version of the lamb leg joke in the restaurant with
• 55:04
  Speaker 3: the chicken a la umbrella where there where he's where
• 55:08
  Speaker 3: the mader he is walking around with the umbrella with
• 55:10
  Speaker 3: the chicken on fire. That I think actually kind of
• 55:12
  Speaker 3: works better than the leg of Lamb, which ends it
• 55:15
  Speaker 3: doesn't it doesn't. Like the only thing that's funny is
• 55:17
  Speaker 3: I'm convinced the actor actually burned himself in that moment,
• 55:20
  Speaker 3: because his reaction seems like a genuine one where he's like, oh,
• 55:24
  Speaker 3: I fucking got it so hot. I'm like, it's pretty
• 55:26
  Speaker 3: sure he's actually touched. It's like that Leonardo DiCaprio and
• 55:30
  Speaker 3: Django moment where it's like, I think he's actually hurt himself.
• 55:33
  Speaker 3: The thing that I appreciate about the American one that
• 55:36
  Speaker 3: the French one does and the French one does, I
• 55:38
  Speaker 3: think we've mentioned a lot. The American one doesn't have
• 55:41
  Speaker 3: Christian Clavalier playing multiple characters, right, And I actually appreciate
• 55:45
  Speaker 3: that because, like you said, I think for me, the
• 55:48
  Speaker 3: best version of his character is the one in the
• 55:50
  Speaker 3: American one, because it's the most carried down and kind
• 55:54
  Speaker 3: of focused version of it where it's just that morning.
• 55:58
  Speaker 1: Yeah.
• 55:59
  Speaker 3: Yeah, he's the serve. It's just him, there's nothing else.
• 56:02
  Speaker 3: Genrenau is more of the focus. You actually like because
• 56:05
  Speaker 3: you have Malcolm McDowell in the movie, you do actually
• 56:08
  Speaker 3: get the Wizard character as more of a character, which
• 56:11
  Speaker 3: I think is also interesting. And Christina Applegate and Jean
• 56:14
  Speaker 3: Renau have really good chemistry together. Like surprisingly, I actually
• 56:17
  Speaker 3: like the two of them, like they actually kind of
• 56:19
  Speaker 3: work as like descendant and like great great great great
• 56:22
  Speaker 3: great great granddaughter or whatever. I actually think they have
• 56:25
  Speaker 3: really good chemistry, which helps with I mean again, so
• 56:28
  Speaker 3: does he has really good chemistry with Beatrice in the
• 56:30
  Speaker 3: French film. But there were some things that the remake
• 56:33
  Speaker 3: of voids kind of either by design or just by luck,
• 56:37
  Speaker 3: that make it a much better movie than say another
• 56:40
  Speaker 3: French remake, the Jungle to Jungle, which is a remake
• 56:44
  Speaker 3: of Little Indian Big City, I believe, which that movie
• 56:48
  Speaker 3: compared to the original is. I mean, like, I like
• 56:50
  Speaker 3: Jungle to Jungle, but it's not a good movie co
• 56:53
  Speaker 3: bit to the original. Just visiting, I think is a
• 56:55
  Speaker 3: good movie. Not a great movie, but I think it's
• 56:58
  Speaker 3: a good movie and it's better than better than some
• 57:00
  Speaker 3: of those Francis have we ever remakes? We saw Oh
• 57:03
  Speaker 3: that's for sure, which is again not hard in some respects,
• 57:06
  Speaker 3: but it is hard in a lot of others.
• 57:08
  Speaker 4: You're absolutely right that having Malcolm mcdowan here, and I
• 57:12
  Speaker 4: was afraid it was going to be one and done,
• 57:15
  Speaker 4: like one scene, you know, maybe maybe one day of
• 57:18
  Speaker 4: shooting for Malcolm, that kind of thing. But when they
• 57:21
  Speaker 4: bring him back and he travels time, I was just like, Okay,
• 57:24
  Speaker 4: this is a good twist. I like that they're doing
• 57:26
  Speaker 4: this and not sticking so much to the original. I mean,
• 57:30
  Speaker 4: I like the Wizard in the original, and I think
• 57:33
  Speaker 4: that they handle the original perfectly. But when it comes
• 57:35
  Speaker 4: to if we're going to need to make changes, you
• 57:38
  Speaker 4: got Malcolm McDowell bring him into this movie more, and
• 57:41
  Speaker 4: I just love how easily he gets along in the
• 57:45
  Speaker 4: modern world. He figures it out so fast that basically
• 57:49
  Speaker 4: the first time you see him, he's coming out of
• 57:51
  Speaker 4: a store and he's got his arms just full of
• 57:54
  Speaker 4: all the stuff that he's going to use to make
• 57:55
  Speaker 4: this potion, and those amazing American boots that he's got
• 58:01
  Speaker 4: American flag boots, and he's got the big fucking Wizard
• 58:04
  Speaker 4: Beard still, but he's got a cowboy hat on. I'm
• 58:07
  Speaker 4: just like, this is great. He looks amazing and well,
• 58:11
  Speaker 4: I mean, Malcolm McDowell always does. But Cowboy Wizard. Ah
• 58:15
  Speaker 4: that I would like to see a movie just of
• 58:17
  Speaker 4: Cowboy Wizard please.
• 58:19
  Speaker 3: Yeah, thank you by the way that you resonated as
• 58:21
  Speaker 3: much with the Malcolm McDowell character as I hoped you would,
• 58:24
  Speaker 3: because he, for me, low key is probably the best
• 58:26
  Speaker 3: part of these movies. Like he's so funny and so
• 58:30
  Speaker 3: weirdly iconic looking like it's Merlin. It's Cowboy Merlin as
• 58:34
  Speaker 3: played by Malcolm McDowell. Like that's not a thing I
• 58:37
  Speaker 3: ever knew I wanted, but now that I've gotten it, like,
• 58:39
  Speaker 3: fucking give me that, please, Like, in whatever formatt possible,
• 58:43
  Speaker 3: I would like to.
• 58:44
  Speaker 4: See Cowboy Merlin meet techno Viking. I think that would
• 58:47
  Speaker 4: be a great crossover.
• 58:50
  Speaker 3: Played by Chris Hemsworth.
• 58:51
  Speaker 4: Oh yeah, of course, he's got the belt.
• 58:54
  Speaker 3: I think he could do. Yeah, I think I think
• 58:56
  Speaker 3: he plays characters like that professionally. Sometimes.
• 58:59
  Speaker 4: That's one of the things that's missing from the American
• 59:02
  Speaker 4: or UK cut of this is there's a shot of
• 59:05
  Speaker 4: Malcolm McDowell after he explodes, you get the his torso,
• 59:11
  Speaker 4: like you see his torso later on when he pulls
• 59:14
  Speaker 4: himself back together, but you get this shot of his
• 59:16
  Speaker 4: torso like sitting up and then it heels over and
• 59:20
  Speaker 4: then I think he might wink before he dies. Maybe
• 59:23
  Speaker 4: I'm just the can of anaconda. But like you get
• 59:26
  Speaker 4: one more shot, and I guess it was just too
• 59:27
  Speaker 4: much for the UK audience to have, like this torso
• 59:31
  Speaker 4: before the armless legless torso just keel over, which I
• 59:35
  Speaker 4: thought it was a great shot and I really wish
• 59:37
  Speaker 4: that they had kept that.
• 59:38
  Speaker 3: I really and I'm a huge fan of that. The
• 59:42
  Speaker 3: imagery of him being like a T one thousand, Yes,
• 59:46
  Speaker 3: like a great liquid Merlin cowboy Malcolm McDowell. Now we're
• 59:50
  Speaker 3: just adding even more qualifiers in Yeah, the I will
• 59:53
  Speaker 3: say we didn't. We haven't really talked about it with
• 59:55
  Speaker 3: any of the movies. But there are some interesting special
• 59:57
  Speaker 3: effects being used, both in the French one because we
• 1:00:01
  Speaker 3: have a headless body kind of wiggling and walking around
• 1:00:04
  Speaker 3: at one point, we have them kind of transforming when
• 1:00:07
  Speaker 3: they drink the potion. Like those things are all I
• 1:00:10
  Speaker 3: actually think they work kind of well and they're very
• 1:00:12
  Speaker 3: like interesting and well done. The third movie doesn't really
• 1:00:15
  Speaker 3: have anything like that, like the second one has a
• 1:00:17
  Speaker 3: little bit. I but I do like those scenes where
• 1:00:19
  Speaker 3: they're time traveling and how they like transform into things.
• 1:00:22
  Speaker 3: I think the American one also does it really well,
• 1:00:25
  Speaker 3: like it's yeah, I think the.
• 1:00:27
  Speaker 4: First the first time that they that they travel time,
• 1:00:30
  Speaker 4: they just turn into big piles of shit.
• 1:00:32
  Speaker 3: Well, and I know that Pavoer does for sure.
• 1:00:34
  Speaker 4: Okay, and yeah, and they use that joke again in
• 1:00:37
  Speaker 4: one of these I don't remember which, but yeah, I agree,
• 1:00:41
  Speaker 4: especially I like in this American remake when he becomes
• 1:00:43
  Speaker 4: just a head bouncing around and then Jean Renau becomes
• 1:00:47
  Speaker 4: an ice stashe statue and sorry ice cristachue and explodes. Yeah,
• 1:00:52
  Speaker 4: I thought that those were great.
• 1:00:54
  Speaker 3: It's it's it's interesting imagery, like it's very fun unique
• 1:00:57
  Speaker 3: kind of it's it's an interesting choice that you don't
• 1:01:00
  Speaker 3: really see in a lot of I mean again, like
• 1:01:03
  Speaker 3: ever like fantasy stuff, sometimes fantasy stuff can get weird,
• 1:01:07
  Speaker 3: like and then this I think is one of them.
• 1:01:08
  Speaker 3: The scene where Matthew Ross goes back in time also
• 1:01:11
  Speaker 3: fucking strange, like it sucks his face into a hole
• 1:01:15
  Speaker 3: and then his whole body goes into it. Like it's
• 1:01:17
  Speaker 3: so weird, but at work. I will say, also, I
• 1:01:19
  Speaker 3: appreciate that they have an externalized villain in this movie,
• 1:01:22
  Speaker 3: that it's not just like, oh, it's the character playing
• 1:01:25
  Speaker 3: played by the same actor. Like I like that Matthew
• 1:01:28
  Speaker 3: Ross is a villain. He's kind of like a Christopher
• 1:01:30
  Speaker 3: MacDonald type, like a very easy to hate, you know,
• 1:01:34
  Speaker 3: late nineties, early two thousands comedy villain. Like he works
• 1:01:37
  Speaker 3: really well. Like I like Matt Ross. Bridget Wilson is fun.
• 1:01:40
  Speaker 3: Like Tara Reid. Surprisingly don't dislike her at all, Like
• 1:01:44
  Speaker 3: I think she's great, Like.
• 1:01:46
  Speaker 4: Oh yeah, I think that she can be great on point.
• 1:01:49
  Speaker 4: She can be wonderful when you see here in something
• 1:01:51
  Speaker 4: like Josie and the pussy Cat. She's perfect in that role.
• 1:01:55
  Speaker 4: But yeah, I think one of these days somebody's gonna
• 1:01:58
  Speaker 4: realize or like the Zeke is gonna come around and
• 1:02:01
  Speaker 4: it's gonna be wow. Christina Applegate is a really good
• 1:02:05
  Speaker 4: actress because she is it's so funny every time I
• 1:02:08
  Speaker 4: see herself. I mean, we just talked about her in vacation.
• 1:02:12
  Speaker 4: She's so good in the.
• 1:02:13
  Speaker 3: Showing that fucking movie she's like the funniest part of
• 1:02:16
  Speaker 3: that movie. Does I mean, does it all or whatever?
• 1:02:20
  Speaker 3: The fuck? Like that whole scene is so funny because
• 1:02:22
  Speaker 3: of her.
• 1:02:23
  Speaker 4: Oh god, when she bounced and I know it's probably
• 1:02:25
  Speaker 4: a stunt woman, but when she bounces off of that
• 1:02:28
  Speaker 4: drinking game thing and lands on the lawn and just
• 1:02:30
  Speaker 4: starts the vomit everywhere, I mean, that's not a stock
• 1:02:34
  Speaker 4: double the vomiting she has great when it comes to that.
• 1:02:38
  Speaker 3: Mm hmm. She's no Christina Applegate is an actress who
• 1:02:41
  Speaker 3: this is. This was the first thing I ever saw
• 1:02:43
  Speaker 3: her in, like and and you know this is we're
• 1:02:47
  Speaker 3: what like two years removed from I think the thing
• 1:02:49
  Speaker 3: that when I think about her as an actress, I
• 1:02:51
  Speaker 3: think it's I think it's one of my favorite It's
• 1:02:53
  Speaker 3: probably my favorite thing that she's in it, which is Anchorman. Like,
• 1:02:56
  Speaker 3: she's so funny opposite Will Ferrell. It's one of those
• 1:02:59
  Speaker 3: things where you could watch that movie and just focus
• 1:03:02
  Speaker 3: on her character and it would be just as funny
• 1:03:05
  Speaker 3: of a movie in a completely different way than it
• 1:03:07
  Speaker 3: is if you focus on Will Ferrell. But her and
• 1:03:09
  Speaker 3: Will Ferrell are so funny in that scene where they're
• 1:03:11
  Speaker 3: just going back and forth. You always smell like a
• 1:03:14
  Speaker 3: like like that back and forth, like it's so funny.
• 1:03:17
  Speaker 3: She's she's really funny and able to stand up against
• 1:03:21
  Speaker 3: Will Ferrell, who at the time is like the biggest
• 1:03:24
  Speaker 3: fucking comedic actor and she's just standing up to him.
• 1:03:27
  Speaker 3: Like she's a really good comedic actress, like and an
• 1:03:29
  Speaker 3: actress in general, but comedically very gifted and like you said, underrated.
• 1:03:34
  Speaker 4: I really like that the villain is sleeping around with
• 1:03:39
  Speaker 4: Bridgard Wilson, but then you find out that he's also
• 1:03:42
  Speaker 4: been sleeping with Tara Reid as well, so it's like, Okay, oh,
• 1:03:46
  Speaker 4: he's really getting around, so cheating on the person that
• 1:03:49
  Speaker 4: he's cheating with, you know, it was really nice. And
• 1:03:52
  Speaker 4: then yeah, like you said, the relationship that Jean Renaud
• 1:03:57
  Speaker 4: has with Christina Applegate, that chemistry of those two on
• 1:04:00
  Speaker 4: screen together really well done. And it's not such a
• 1:04:04
  Speaker 4: like May December type of thing like where I'm like, oh, well,
• 1:04:09
  Speaker 4: she better and not fall in love with him. I'm like, hell,
• 1:04:11
  Speaker 4: it'd be okay if she fell in love with this guy.
• 1:04:13
  Speaker 4: It'd be weird because they're relatives and everything. But it's
• 1:04:15
  Speaker 4: just like, Okay, he's very very charming, and she's so charming,
• 1:04:20
  Speaker 4: and her fiance is just such an asshole, and I
• 1:04:23
  Speaker 4: love that he just is asshole from the first moment.
• 1:04:25
  Speaker 4: I mean that we basically, I mean, depending on what
• 1:04:29
  Speaker 4: cut you watch, we basically meet him when he's got
• 1:04:32
  Speaker 4: Bridgie Wilson Wilson crawling across the desk and talking to
• 1:04:38
  Speaker 4: Christina Applegate on the phone at the.
• 1:04:40
  Speaker 3: Same time Bridget Wilson Samprass by the way, Oh yes, sorry,
• 1:04:44
  Speaker 3: been married to Pete Sampras this whole time. Yeah, yeah,
• 1:04:47
  Speaker 3: I love Bridget Wilson. I mean, I just I always
• 1:04:49
  Speaker 3: think of her as Sonia Blade from Mortal coh of
• 1:04:51
  Speaker 3: course sa or most famous role, or or I guess,
• 1:04:55
  Speaker 3: as a one third of the best part of Billy Madison,
• 1:04:59
  Speaker 3: the other third being fucking Darren mcgaffin, which is a
• 1:05:05
  Speaker 3: weird thing. But she also is able to I mean,
• 1:05:08
  Speaker 3: she's funny. They just don't get They don't give her
• 1:05:10
  Speaker 3: much to do unfortunately in this movie. But that's when
• 1:05:12
  Speaker 3: you're kind of like the secondary villain. I guess right. Yeah,
• 1:05:16
  Speaker 3: we didn't mention Christina Applegate. They do have her pulling
• 1:05:19
  Speaker 3: double duty in this movie. She's the only one that
• 1:05:21
  Speaker 3: pulls double duty because her playing the genre no love
• 1:05:26
  Speaker 3: interest at the beginning of the movie, which I actually
• 1:05:29
  Speaker 3: think here works better than in the French one because
• 1:05:32
  Speaker 3: their chemistry kind of works better and their their relationship
• 1:05:35
  Speaker 3: is a little bit more defined. And I think it
• 1:05:38
  Speaker 3: also works better because she's not married, right, It feels
• 1:05:41
  Speaker 3: very different when it's she already has a husband, Like
• 1:05:44
  Speaker 3: there is some chemistry here that I think, actually, yes,
• 1:05:47
  Speaker 3: they're relatives. But let's just ask a theoretical question. We
• 1:05:51
  Speaker 3: all agree this situation in Back to the Future where
• 1:05:53
  Speaker 3: Marty McFly's mom's trying to fuck him is weird, right, Like, oh, yeah,
• 1:05:57
  Speaker 3: that's because it's his direct mother, right, Yeah, this this
• 1:06:01
  Speaker 3: scenario if Jean Renault and Christina Applegate got together in
• 1:06:05
  Speaker 3: modern times, not that weird. Yeah, it might be so far,
• 1:06:10
  Speaker 3: so far removed though, right, I'm more speaking to the
• 1:06:13
  Speaker 3: immediacy of it, like he's really just a thousand years
• 1:06:16
  Speaker 3: yeah right, Well, and again she.
• 1:06:17
  Speaker 4: Looks exactly and that's the thing He's It's so interesting
• 1:06:22
  Speaker 4: because that's where you get the grandfather paradox thing, right,
• 1:06:24
  Speaker 4: because it's like, okay, well, obviously you know that you're
• 1:06:28
  Speaker 4: going to succeed in going back in time, because this
• 1:06:32
  Speaker 4: woman looks exactly like you're soon to be wife. So
• 1:06:36
  Speaker 4: there's no way that she can look like you're soon
• 1:06:38
  Speaker 4: be wife unless you've been pregnant impregnated that person.
• 1:06:42
  Speaker 3: You can't fail here. Your failure has been predetermined as
• 1:06:46
  Speaker 3: not happening.
• 1:06:47
  Speaker 4: Right, because she's got the same like last name and
• 1:06:50
  Speaker 4: all that, right, Right, So I'm just like, because I'm like, no,
• 1:06:54
  Speaker 4: it's not like she just had she marries some other
• 1:06:57
  Speaker 4: guy and has a great great great great great grand
• 1:07:00
  Speaker 4: daughter who looks like this. It has to be in
• 1:07:03
  Speaker 4: that family because and so I'm just saying, like every
• 1:07:05
  Speaker 4: single time we get into one of these movies and
• 1:07:07
  Speaker 4: you realize, like, oh, his line carried on, because that's
• 1:07:10
  Speaker 4: the thing in the first movies. He's just like, Hey,
• 1:07:13
  Speaker 4: I need a son because I want my line to continue.
• 1:07:16
  Speaker 4: Obviously it has, so you might as well just sit
• 1:07:18
  Speaker 4: there and go, Okay, Well, at some point, I'm going
• 1:07:20
  Speaker 4: to go back in time because this succeeds, you know, right,
• 1:07:25
  Speaker 4: she wouldn't be here unless I succeed in fulfilling my mission, right.
• 1:07:30
  Speaker 3: Which I mean, Rob's the movie of its stakes. But
• 1:07:33
  Speaker 3: at the same time, like that's the stakes that the
• 1:07:35
  Speaker 3: movie has to navigate because if you sit and ask
• 1:07:38
  Speaker 3: that too quickly, like you said, like, how could she
• 1:07:40
  Speaker 3: look that way if she's not the woman that he
• 1:07:43
  Speaker 3: succeeds in marrying, which means he went back in time
• 1:07:46
  Speaker 3: and succeeded like or four we right it, yeah it.
• 1:07:49
  Speaker 3: You know. That's the thing that this movie gets into
• 1:07:52
  Speaker 3: trouble with that the original doesn't, but it technically does
• 1:07:55
  Speaker 3: because the same actress is playing Frontigone that is playing
• 1:07:57
  Speaker 3: Beatrice so or Beatrice, So they are kind of getting
• 1:08:01
  Speaker 3: themselves into that murky water with with that. I just
• 1:08:03
  Speaker 3: think the American one, I don't know, the American one
• 1:08:06
  Speaker 3: pears down so much of the French one. The French
• 1:08:09
  Speaker 3: one has some like like the signet ring in the
• 1:08:12
  Speaker 3: first movie, like completely unnecessary, kind of goes nowhere.
• 1:08:15
  Speaker 4: I like that.
• 1:08:16
  Speaker 3: The joke in the second one is that she's still
• 1:08:18
  Speaker 3: driving that goddamn car that the ring blew out of
• 1:08:21
  Speaker 3: the ceiling, right that that is very funny. And then
• 1:08:24
  Speaker 3: at one point the Janette is like throwing the silverwear
• 1:08:27
  Speaker 3: into the car through the hole in the top of
• 1:08:29
  Speaker 3: the car is funny. That's a funny carry through joke,
• 1:08:32
  Speaker 3: but like the thing that the American one does. And
• 1:08:34
  Speaker 3: I probably have to give the credit to John Hughes,
• 1:08:36
  Speaker 3: given that all things were considered the same across the board.
• 1:08:39
  Speaker 3: He kind of streamlined away some of the unnecessary stuff
• 1:08:42
  Speaker 3: from the French one, like the hidden treasure in the
• 1:08:45
  Speaker 3: basement of the house, like some of those things, like again,
• 1:08:48
  Speaker 3: they kind of just don't go anywhere, like you could
• 1:08:51
  Speaker 3: have gotten there in a different direction, and you kind
• 1:08:53
  Speaker 3: of in the French one, like that's such a huge
• 1:08:56
  Speaker 3: plot point, like that cast will becomes such a huge
• 1:08:58
  Speaker 3: sticking point, a huge plot point that it almost feels like,
• 1:09:02
  Speaker 3: at least with the first and second movie, like those
• 1:09:04
  Speaker 3: movies are both just set in this castle and nowhere else.
• 1:09:07
  Speaker 4: Well, it is interesting too in the first movie that
• 1:09:10
  Speaker 4: where they end up when when they get picked up
• 1:09:13
  Speaker 4: by Beatrice is a very Beatrice right is the nice
• 1:09:18
  Speaker 4: lady right right when they get picked up by her,
• 1:09:21
  Speaker 4: that she lives in a pretty pastoral place. It's not
• 1:09:25
  Speaker 4: the big city. Whereas this one you get the double
• 1:09:27
  Speaker 4: dip of I'm coming out of the you know, the
• 1:09:30
  Speaker 4: Middle Ages, and I'm walking into Chicago and the overwhelmingness
• 1:09:35
  Speaker 4: of Chicago. I mean I can't imagine if they saw
• 1:09:37
  Speaker 4: the bean, Thank goodness that wasn't there at that time,
• 1:09:40
  Speaker 4: because they probably just freak out and attack it.
• 1:09:42
  Speaker 3: Well, that's what That's what I always say. Was. I
• 1:09:45
  Speaker 3: was sharing cigars with a friend of mine a couple
• 1:09:47
  Speaker 3: of weeks ago, and I was like, can you imagine
• 1:09:48
  Speaker 3: if someone from like nineteen fifty was dropped into the
• 1:09:51
  Speaker 3: world right now? They'd have a hard time understanding like iPhones,
• 1:09:55
  Speaker 3: let alone like some of the other things we take
• 1:09:57
  Speaker 3: for granted. But anyone from like a hundred plus us
• 1:10:00
  Speaker 3: years ago would have the hardest time at dealing with
• 1:10:04
  Speaker 3: any of Their heads would explode before you could even
• 1:10:06
  Speaker 3: explain to them, like a car like or or you know,
• 1:10:11
  Speaker 3: like motorized vehicles, or even like television or photographs, for
• 1:10:15
  Speaker 3: fuck's sake, in a lot of ways, like color photography,
• 1:10:17
  Speaker 3: moving pictures like and yet like these guys are just like, hey,
• 1:10:20
  Speaker 3: look a car, let's stab it, like right, the im
• 1:10:23
  Speaker 3: medior response is violence, which I appreciate, that's very inkeeping
• 1:10:27
  Speaker 3: with the characters. But yeah, no, like, I don't think
• 1:10:29
  Speaker 3: these guys would be having as good of a time
• 1:10:31
  Speaker 3: as they're having. By the third movie, they're like where
• 1:10:34
  Speaker 3: are the cars at? And it's like, Okay, you guys
• 1:10:36
  Speaker 3: have been desensitized to cars now, but let's not pretend
• 1:10:39
  Speaker 3: two movies ago that you guys were down with motor
• 1:10:41
  Speaker 3: vehicles because you attack them.
• 1:10:43
  Speaker 4: So no, Well it's funny because I just you know,
• 1:10:47
  Speaker 4: we were talking about Hammerhouse of Horror before we started recording.
• 1:10:50
  Speaker 4: I think it's the very first episode of that. It's
• 1:10:53
  Speaker 4: a witch from like the Witch Trials in England coming
• 1:10:58
  Speaker 4: forward into more modern day and the guy is freaking
• 1:11:02
  Speaker 4: her out by turning the lights on and it's just
• 1:11:05
  Speaker 4: like so she's like, oh gosh, and he's like, oh,
• 1:11:08
  Speaker 4: turning him on and off and stuff. So when they
• 1:11:09
  Speaker 4: did the exact same joke in this, I was like,
• 1:11:12
  Speaker 4: where did I just see this recently? So, because yeah,
• 1:11:15
  Speaker 4: it's like they are so fascinated by the smallest things.
• 1:11:18
  Speaker 4: I love when they're taking the bath and they've got
• 1:11:21
  Speaker 4: the huge bottle of Chanelle number five and mixing that
• 1:11:24
  Speaker 4: with like toilet cleaner and all that just anything that
• 1:11:28
  Speaker 4: they can do to try to make this smell better.
• 1:11:30
  Speaker 4: And then you're just like, what does good smell smell
• 1:11:33
  Speaker 4: like to them? Because they've never had to that cleaner
• 1:11:37
  Speaker 4: or perfume in the past. I'm sure they had some
• 1:11:39
  Speaker 4: sort of perfume in the eleven hundreds.
• 1:11:41
  Speaker 3: I do love him using that entire bottle Chanelle number
• 1:11:44
  Speaker 3: five yes, yes, and then just four more of this yes, honestly,
• 1:11:50
  Speaker 3: like the the jokes that have stuck with me from
• 1:11:53
  Speaker 3: just visiting are the urinal cake that Christian Clavillier snags
• 1:11:58
  Speaker 3: and he's offering to people when they leave the restaurant.
• 1:12:00
  Speaker 3: That one is stuck with me. How he describes the
• 1:12:05
  Speaker 3: potion tasting in the American one, it tastes of the
• 1:12:08
  Speaker 3: shit of the pork. I don't know why that makes
• 1:12:10
  Speaker 3: me laugh so hard, but Christian clolle he is like delivery,
• 1:12:15
  Speaker 3: is very funny. But I do find that for me,
• 1:12:19
  Speaker 3: you know, and you can't tell just the things I've mentioned.
• 1:12:22
  Speaker 3: Most of what works for me in the American film
• 1:12:26
  Speaker 3: is the Christian clovill Yay character, which is funny because
• 1:12:29
  Speaker 3: I find for me those second and third films really
• 1:12:33
  Speaker 3: don't work because of his character and like you said,
• 1:12:35
  Speaker 3: the over commitment to it. But in the American one,
• 1:12:38
  Speaker 3: it's like the it's like the pulling back. It's the
• 1:12:41
  Speaker 3: restraint that's practiced, and I think it's also maybe because
• 1:12:44
  Speaker 3: then you know, this could be another part of it.
• 1:12:45
  Speaker 3: Christian Clovill, Yeah, means nothing to American audiences, right, right,
• 1:12:49
  Speaker 3: he's getting paid good money. Oh yeah, fucking way, but
• 1:12:52
  Speaker 3: he doesn't have the same meaning to you and me,
• 1:12:54
  Speaker 3: Like it's it's the it's the Chow yun fat thing, right,
• 1:12:57
  Speaker 3: like chiw un fat doesn't mean much American audience, but
• 1:13:00
  Speaker 3: to Chinese audiences, like to Hong Kong cinema, he's a god.
• 1:13:05
  Speaker 3: And Christian cloviellie same thing. It's like he has no
• 1:13:08
  Speaker 3: cachet in the United States, so it's okay to kind
• 1:13:11
  Speaker 3: of sideline him in the American one, and it kind
• 1:13:13
  Speaker 3: of works in that film's favor really because again, like
• 1:13:16
  Speaker 3: I see now what the second and third movie looks
• 1:13:18
  Speaker 3: like if you over commit to his character and it's
• 1:13:21
  Speaker 3: just interminable.
• 1:13:22
  Speaker 4: Oh yeah, no, I totally agree. And I don't know
• 1:13:24
  Speaker 4: if it's that he's now speaking English. I mean he
• 1:13:28
  Speaker 4: speaks in English incredibly well, so fluent as well as
• 1:13:32
  Speaker 4: as I don't know, of course we know, but I
• 1:13:34
  Speaker 4: wonder if that makes him slow down a little bit
• 1:13:38
  Speaker 4: or tone it down a little bit, if he can't
• 1:13:40
  Speaker 4: maybe yell in that or whatever. But yeah, he has
• 1:13:43
  Speaker 4: taken this performance from an eleven back down to like
• 1:13:46
  Speaker 4: an eight or nine, which I that gives him a
• 1:13:49
  Speaker 4: little bit of room to go up when before he
• 1:13:52
  Speaker 4: was just playing to the hilt all the time. Not
• 1:13:55
  Speaker 4: in the first movie, but in the second and third movie.
• 1:13:57
  Speaker 4: He just gets so out of control and it becomes,
• 1:14:02
  Speaker 4: you know, the jacquessque show, and it's just like, no,
• 1:14:04
  Speaker 4: I find Jeanrenaud to be a lot more interesting. You
• 1:14:07
  Speaker 4: are the comic relief. The comic relief shouldn't have center stage.
• 1:14:12
  Speaker 3: I would go as far as even to say with
• 1:14:13
  Speaker 3: something like the American version versus the French version. In
• 1:14:17
  Speaker 3: the American version, like the Christian Clavalier character is so
• 1:14:23
  Speaker 3: empathetic compared to the one in the French one, Like
• 1:14:26
  Speaker 3: he's so empathetic and like you really feel for him.
• 1:14:29
  Speaker 3: He's really like like you said, in the French one,
• 1:14:32
  Speaker 3: they okay, Like that is just like got the fuck up, dude,
• 1:14:36
  Speaker 3: Like it's it's a bit much, like it becomes a
• 1:14:39
  Speaker 3: bit much in the terms of like the joke being
• 1:14:41
  Speaker 3: like driven into the ground and then the strike trained
• 1:14:44
  Speaker 3: at the core of the earth, like you've you've belabored
• 1:14:47
  Speaker 3: the point at this point in the American one, they
• 1:14:50
  Speaker 3: there's like, there's a little bit of that, but there ain't.
• 1:14:52
  Speaker 3: It ain't that like repeated over and over and over again.
• 1:14:55
  Speaker 3: It's it's weird again. Like I do like the French version,
• 1:14:59
  Speaker 3: but I I might actually say this is a weird thing.
• 1:15:01
  Speaker 3: I actually think the American version is better than the
• 1:15:03
  Speaker 3: French one in terms of like approachability for like, for
• 1:15:07
  Speaker 3: not just American audiences, but I think a lot of
• 1:15:08
  Speaker 3: the people who would be watching this movie now. I
• 1:15:11
  Speaker 3: think it removes the things that the French movie doesn't
• 1:15:14
  Speaker 3: do well in the first one and does worse in
• 1:15:16
  Speaker 3: the second and third. But I think in terms of
• 1:15:18
  Speaker 3: making it something that doesn't have the things that would
• 1:15:22
  Speaker 3: ultimately go on to ruin this franchise, being Christian Calavlier
• 1:15:25
  Speaker 3: just kind of running rampant. The American one has him
• 1:15:28
  Speaker 3: in the least amount.
• 1:15:29
  Speaker 4: Oh yeah, well, they do a really smart thing when
• 1:15:31
  Speaker 4: it comes to in the first movie, and we get
• 1:15:35
  Speaker 4: that in the title of the second movie, the Corridors
• 1:15:37
  Speaker 4: of Time, and it becomes this whole thing. You mentioned
• 1:15:40
  Speaker 4: the hidden treasure, and really, if he hid the treasure,
• 1:15:43
  Speaker 4: there shouldn't be any sort of temporal problem with him
• 1:15:46
  Speaker 4: having the treasure in the modern day, but it becomes
• 1:15:49
  Speaker 4: this big deal in the first movie where it's like, oh,
• 1:15:52
  Speaker 4: you have to have all the treasure and you have
• 1:15:55
  Speaker 4: to have and I think that's even more in the
• 1:15:56
  Speaker 4: second movie, that you have to make sure you get
• 1:15:59
  Speaker 4: every single bit this treasure. It's very uh versus the
• 1:16:02
  Speaker 4: black Pearl.
• 1:16:02
  Speaker 3: Right pearl. Yeah, it's very It's very Johnny Depp Pirates
• 1:16:07
  Speaker 3: of the Caribbean.
• 1:16:08
  Speaker 4: Do you like French vises?
• 1:16:11
  Speaker 1: You're in one.
• 1:16:11
  Speaker 3: That's right, that's right.
• 1:16:14
  Speaker 4: So, and then it's also, well, you have to have
• 1:16:17
  Speaker 4: Jacas come back with you, and Jacas is like listen no,
• 1:16:20
  Speaker 4: And it feels much more heartfelt in this where it's
• 1:16:22
  Speaker 4: like listen no, I have status here, like there is
• 1:16:26
  Speaker 4: no more feudal surf kind of shit that's going on
• 1:16:29
  Speaker 4: with me. I have this now and I've got this
• 1:16:32
  Speaker 4: beautiful girlfriend, like let me stay here. And in the
• 1:16:36
  Speaker 4: first movie they're just like, yeah, know what, fuck you
• 1:16:38
  Speaker 4: know you're gonna go back with me. And that's what
• 1:16:40
  Speaker 4: sets off everything, which is the cousin or the descendants. Sorry,
• 1:16:44
  Speaker 4: it looks so much like Jakas that he gussies him
• 1:16:48
  Speaker 4: up and he goes back in time, which ruins the
• 1:16:51
  Speaker 4: whole quarters of time balance and YadA, YadA, YadA. And
• 1:16:55
  Speaker 4: with the American remake, it doesn't matter. He doesn't have
• 1:16:59
  Speaker 4: to go back. There is no like there's a little
• 1:17:01
  Speaker 4: bit of treasure, but he stole it in the past
• 1:17:03
  Speaker 4: brought it to the future. Apparently that's not a problem either.
• 1:17:06
  Speaker 4: That's time he's had on him the whole time. He's
• 1:17:09
  Speaker 4: not going to ruin the courridors of time by him
• 1:17:13
  Speaker 4: spending this treasure and by him going off with Tara
• 1:17:16
  Speaker 4: Reid at the end of the movie. It's so much
• 1:17:19
  Speaker 4: easier that way, and I think that it's nice. I
• 1:17:21
  Speaker 4: imagine they didn't think we're going to get a sequel,
• 1:17:24
  Speaker 4: so they just trimmed all those loose ends so they
• 1:17:26
  Speaker 4: don't have that automated Oh you have to have a
• 1:17:30
  Speaker 4: sequel to this thing, we better set it up a
• 1:17:32
  Speaker 4: mile away. I've seen movies without a sequel.
• 1:17:36
  Speaker 3: Well, the first one didn't really like it kind of
• 1:17:39
  Speaker 3: did just end.
• 1:17:40
  Speaker 4: You have just hard back in time.
• 1:17:43
  Speaker 3: Yeah, but that's punishment at the end of that first movie,
• 1:17:46
  Speaker 3: just like with Matt Ross's character at the end of
• 1:17:49
  Speaker 3: just visiting. That's just punishment for his character. Like that's
• 1:17:52
  Speaker 3: just you know, the way the movie's metering out the
• 1:17:54
  Speaker 3: punishment to his character. It becomes so much more when
• 1:17:57
  Speaker 3: you expound upon it in that second film. And then
• 1:18:00
  Speaker 3: it's like, okay, so what were the stakes then, like
• 1:18:03
  Speaker 3: so you fucked everything up by doing this?
• 1:18:05
  Speaker 4: Okay, well, and then it's they give you know, I
• 1:18:08
  Speaker 4: was talking about this whole idea of in you know,
• 1:18:10
  Speaker 4: the first movie where he's like, listen, I've got this agency.
• 1:18:13
  Speaker 4: The second, the remake, they really hit that with like
• 1:18:16
  Speaker 4: you know, hey, stand up for yourself and the way
• 1:18:18
  Speaker 4: that Tara Reid is talking with him and just like
• 1:18:20
  Speaker 4: you really need to set the record straight and let
• 1:18:23
  Speaker 4: him know that you're no longer the servant and then
• 1:18:25
  Speaker 4: he kind of cowers a one point. She's disappointed him.
• 1:18:28
  Speaker 4: It's like an actual plot, if you can believe that.
• 1:18:31
  Speaker 4: And then you come to the third movie, uh, you
• 1:18:34
  Speaker 4: know obviously the the least one, and it's all about
• 1:18:38
  Speaker 4: class relationships and what's going on with the French Revolution,
• 1:18:42
  Speaker 4: and it's like this is your chance, Shakas like do it,
• 1:18:45
  Speaker 4: like talk talk about like how you want to be
• 1:18:48
  Speaker 4: your own man, and that you had that in the
• 1:18:50
  Speaker 4: previous film. You know, it's like where was that? Where
• 1:18:54
  Speaker 4: is that stuff that was happening? Then you've now got
• 1:18:58
  Speaker 4: this beautiful stage of trying to level the playing field
• 1:19:01
  Speaker 4: between the haves and the have nots, and you don't
• 1:19:05
  Speaker 4: really use that opportunity whatsoever.
• 1:19:07
  Speaker 3: Somehow the American film does a better job.
• 1:19:10
  Speaker 4: Yes, which is weird, Yeah it is.
• 1:19:13
  Speaker 3: I guess it's that whole.
• 1:19:14
  Speaker 4: You know, anybody can grow up to be precedent, even
• 1:19:16
  Speaker 4: if you have thirty four felony accounts.
• 1:19:18
  Speaker 3: That's right, you know what they say, it's a level
• 1:19:20
  Speaker 3: playing it really is.
• 1:19:22
  Speaker 4: Oh, of course it's America, right anybody. Yeah, anybody can
• 1:19:26
  Speaker 4: can be a millionaire sure, sure, or a billionaire or trillionaire.
• 1:19:30
  Speaker 3: Now so, I mean if you're if you're a French
• 1:19:32
  Speaker 3: surf who stole some jewels and pawted a pawn shop,
• 1:19:36
  Speaker 3: you can live off that for a while.
• 1:19:37
  Speaker 4: You know what, you could have your father own an
• 1:19:40
  Speaker 4: Emerald mind and see all the proceeds to you.
• 1:19:44
  Speaker 1: That would be pretty good.
• 1:19:46
  Speaker 3: Or speaking of nepotism, your father could just be Emerald.
• 1:19:48
  Speaker 4: Yeah, there you go, Emeral Lagasi. Okay, it's true.
• 1:19:52
  Speaker 3: His son has a two Michelin Star restaurant named Emeralds
• 1:19:55
  Speaker 3: in New Orleans, which his father opened and got Michelin
• 1:19:58
  Speaker 3: stars for it. Now he just took over.
• 1:20:00
  Speaker 4: Oh really, Okay, that's hot, but I mean, you know, you.
• 1:20:02
  Speaker 3: Got to maintain those Michelin stars. Baby, I went and
• 1:20:05
  Speaker 3: had a Michelin Star meal last year. That was a
• 1:20:07
  Speaker 3: three Michelin Star restaurant. It is now a two Michelin
• 1:20:09
  Speaker 3: star restaurant. I no kidding, I'm dead serious.
• 1:20:13
  Speaker 4: Are you watching Culinary Class Wars on?
• 1:20:17
  Speaker 3: Haven't? I want to?
• 1:20:18
  Speaker 1: Though?
• 1:20:18
  Speaker 4: It is amazing, and you as an Iron Chef fan,
• 1:20:22
  Speaker 4: I would just watch it in the English dub and
• 1:20:24
  Speaker 4: just some of those voices sound like some of the
• 1:20:27
  Speaker 4: old voices from Iron Chef.
• 1:20:28
  Speaker 3: Oh my god, you've you make my heart flutter when
• 1:20:31
  Speaker 3: you talk about Iron Chef. I've got I forget how
• 1:20:35
  Speaker 3: much of the stuff I watched growing up was foreign
• 1:20:37
  Speaker 3: language or foreign language adjacent, because I kid you, not
• 1:20:40
  Speaker 3: my family, and I still quote just visiting now as
• 1:20:43
  Speaker 3: adults twenty four years on, twenty five years on, and
• 1:20:47
  Speaker 3: it is a remake of a foreign language film like
• 1:20:49
  Speaker 3: that I didn't see for twenty four years. Like I
• 1:20:53
  Speaker 3: think that, but I think that actually speaks to the
• 1:20:55
  Speaker 3: quality of just visiting as a movie that like I
• 1:20:57
  Speaker 3: never thought to myself, let me go watch those.
• 1:21:00
  Speaker 4: No, it doesn't have that touch of strangeness that sometimes
• 1:21:04
  Speaker 4: you get with American remakes of foreign films. I mean
• 1:21:07
  Speaker 4: that was we saw that forward. Yeah, oh yeah, this
• 1:21:11
  Speaker 4: really feels and again it's probably hats off to John Hughes,
• 1:21:15
  Speaker 4: just really americanified this whole thing.
• 1:21:18
  Speaker 3: And yeah, it does not have that.
• 1:21:21
  Speaker 4: Oh gosh, I wonder what the original is like, Like
• 1:21:23
  Speaker 4: every time True Lies comes up on TV and just
• 1:21:27
  Speaker 4: like I got to go back and watch the original.
• 1:21:29
  Speaker 4: I imagine the original was so much better than this,
• 1:21:32
  Speaker 4: because this just doesn't feel right. It doesn't And I
• 1:21:35
  Speaker 4: don't know if it's a James Cameron, I don't know
• 1:21:38
  Speaker 4: if it's the anti air racism that's going on, but
• 1:21:41
  Speaker 4: something just doesn't feel true to me. And sometimes I
• 1:21:45
  Speaker 4: think it's that whole idea of the uh, the Bill
• 1:21:48
  Speaker 4: Paxton character, because he feels like a French character who
• 1:21:53
  Speaker 4: escaped into an American movie.
• 1:21:54
  Speaker 3: Yeah. Well, and I was going to say like that
• 1:21:57
  Speaker 3: that for me, is the weirdness in True Lies is
• 1:22:02
  Speaker 3: the you know, slowly like all of that, like all
• 1:22:04
  Speaker 3: of the Bill Paxton, all the stripping in the room,
• 1:22:07
  Speaker 3: like all of that feels very very and none of
• 1:22:10
  Speaker 3: this movie had like this movie is so unFrench that
• 1:22:15
  Speaker 3: you know, like like I've been mentioning, like I watched
• 1:22:17
  Speaker 3: the first three movies with a friend of mine and
• 1:22:18
  Speaker 3: by the end of it, I was like, Okay, we
• 1:22:20
  Speaker 3: will watch the last one together after all of these,
• 1:22:24
  Speaker 3: and it will redeem these last two, because I did
• 1:22:26
  Speaker 3: not expect the last two to be bad, but I
• 1:22:28
  Speaker 3: was like, at the end of it, I was also like,
• 1:22:29
  Speaker 3: it's also, I think, probably in a lot of ways,
• 1:22:33
  Speaker 3: the most approachable, accessible, but also the most odd because
• 1:22:37
  Speaker 3: these kinds of things, like you said, don't work rarely
• 1:22:40
  Speaker 3: do they work with the same director. So this movie's
• 1:22:43
  Speaker 3: in like a weird, like small list of things where
• 1:22:46
  Speaker 3: it's like it's a remake of the film, directed by
• 1:22:49
  Speaker 3: the original director, written by the original writers, plus one
• 1:22:52
  Speaker 3: of the most well known American comedy writers of the
• 1:22:55
  Speaker 3: eighties and nineties. Plus on top of everything else, it's
• 1:22:58
  Speaker 3: two of the original actors. Ostensibly, the two main actors
• 1:23:01
  Speaker 3: are also in it, and they're not sequelized versions of themselves.
• 1:23:06
  Speaker 3: This is a reboot or remake completely, like I would
• 1:23:10
  Speaker 3: have rather seen a sequel to the American film than
• 1:23:12
  Speaker 3: the French one, if you're asking me what I'd rather see,
• 1:23:14
  Speaker 3: given that the where they leave the American one, there
• 1:23:17
  Speaker 3: is no imminently obvious sequel like with the and with
• 1:23:21
  Speaker 3: the French one there really wasn't either. But when they
• 1:23:23
  Speaker 3: did that back to the future stuff with the second one,
• 1:23:25
  Speaker 3: it's just like, oh, okay, now we know what the
• 1:23:27
  Speaker 3: third one is going to be if they ever make it,
• 1:23:29
  Speaker 3: and if they ever make a fourth one, which God
• 1:23:31
  Speaker 3: willingly they will, you know, it'll be them in Nazi times,
• 1:23:35
  Speaker 3: which okay, yeah.
• 1:23:36
  Speaker 4: I'm hoping maybe they start there and quickly like do
• 1:23:40
  Speaker 4: a voice over, you know, maybe get Alicia Witt or no,
• 1:23:45
  Speaker 4: Virginia Madsen to come in and say, you know, in
• 1:23:47
  Speaker 4: the two standard years that followed, they defeated all the
• 1:23:51
  Speaker 4: Nazis and retook Alsance Lorraine.
• 1:23:54
  Speaker 1: You know something.
• 1:23:55
  Speaker 3: Wh wouldn't they get the narrator from the American version?
• 1:23:58
  Speaker 3: Oh yes, mister.
• 1:24:01
  Speaker 4: Grammar there. That's also a nice thing is there's no
• 1:24:03
  Speaker 4: narrator in the French version either, especially to know Kelsey Grammar.
• 1:24:08
  Speaker 3: Thank you, Kelsey Grammer. Just doing what I can only
• 1:24:10
  Speaker 3: imagine is like his best side show Bob as William Shakespeare. Yes,
• 1:24:16
  Speaker 3: Kelsey Grammer, like d bart d like oh my god, dude,
• 1:24:23
  Speaker 3: Like I always every time I watch just visiting, I
• 1:24:25
  Speaker 3: always forget that Kelsey Grammar is just like front and
• 1:24:28
  Speaker 3: center getting of the movie and it just it might Okay,
• 1:24:32
  Speaker 3: it is the worst part of the American without a doubt.
• 1:24:34
  Speaker 3: It makes it is. But you know what, like I
• 1:24:37
  Speaker 3: think it's the worst part, but it totally works because
• 1:24:40
  Speaker 3: it it gets you where you need to be at
• 1:24:42
  Speaker 3: the beginning of the movie. And then it drops out
• 1:24:45
  Speaker 3: and doesn't come back.
• 1:24:46
  Speaker 4: Yeah, yeah, yeah, I was really glad that it doesn't
• 1:24:48
  Speaker 4: come back, like its.
• 1:24:49
  Speaker 3: Deadly do writing of it all where it's like now
• 1:24:51
  Speaker 3: to see what tebaw was doing, like which I mean
• 1:24:54
  Speaker 3: look like I mean George of the Jungle Dudley do
• 1:24:57
  Speaker 3: write very funny movies. I just don't think that have
• 1:25:00
  Speaker 3: worked here. But you know again, like if you have
• 1:25:03
  Speaker 3: Kelsey Grammar as the narrator of your movie, it might
• 1:25:05
  Speaker 3: have there might have been some restraint being practiced to
• 1:25:07
  Speaker 3: not have him be more present in the movie. Because
• 1:25:10
  Speaker 3: two thousand and one, Kelsey Grammar popular popular, popular guy,
• 1:25:14
  Speaker 3: Like there's a reason he's narrating this movie because Fraser
• 1:25:17
  Speaker 3: is very popular.
• 1:25:18
  Speaker 4: And David Hyde Pierce had like a whole side business
• 1:25:22
  Speaker 4: of narrating things for quite.
• 1:25:24
  Speaker 3: A while and things together right now as well.
• 1:25:27
  Speaker 4: Now I think Kelsey Grammar is just going to be
• 1:25:29
  Speaker 4: you know, talking about true social or some some sort
• 1:25:32
  Speaker 4: of right wing cause if he is going to do
• 1:25:34
  Speaker 4: any voiceovers these days.
• 1:25:36
  Speaker 3: Or spoiling MCU movies or falling off of stages. So yeah,
• 1:25:41
  Speaker 3: take their pick, right whatever mister the Big kg's up to.
• 1:25:46
  Speaker 3: It is weird that they added narration, but I think again,
• 1:25:48
  Speaker 3: like in terms of this being high concept, it helps
• 1:25:52
  Speaker 3: ease you into the story. It makes it feel kind
• 1:25:55
  Speaker 3: of like a like a like a fairy tale, like
• 1:25:57
  Speaker 3: like story book adjacent, which I mean again, like the
• 1:26:00
  Speaker 3: tone of the American one is so flights of fancy
• 1:26:04
  Speaker 3: and not as kind of like serious, Like the violence
• 1:26:07
  Speaker 3: isn't there. Women aren't being murd hurt, men aren't being caffecated,
• 1:26:10
  Speaker 3: which I don't have any issue with. I actually prefer
• 1:26:13
  Speaker 3: a little bit of like edge to my comedies. But
• 1:26:15
  Speaker 3: the American one is so kind of like fairy taily
• 1:26:18
  Speaker 3: that I think that it actually like the tone totally
• 1:26:21
  Speaker 3: works with what they're getting at with the American one. Yeah.
• 1:26:24
  Speaker 4: I mean, the one real act of violence that I
• 1:26:26
  Speaker 4: can think of as a guy getting an axe in
• 1:26:28
  Speaker 4: his chest. But then they use a willhelm, and they
• 1:26:30
  Speaker 4: use a premature wilhelm. He screams before he gets hit
• 1:26:34
  Speaker 4: by that axe. So that's right, that was weird. I
• 1:26:37
  Speaker 4: want to talk about the end of this movie and
• 1:26:39
  Speaker 4: all of the different endings because they have to wrap
• 1:26:42
  Speaker 4: up everything and there's a little bit extra on the
• 1:26:45
  Speaker 4: French one.
• 1:26:46
  Speaker 3: It's like Return of the King in a way.
• 1:26:47
  Speaker 4: Really Yeah, yeah, exactly. You know, you bow for no
• 1:26:50
  Speaker 4: man so or no one, I should.
• 1:26:52
  Speaker 3: Say, Christian Flablier. Everyone is bowing to him. Yeah, right, short, right,
• 1:26:56
  Speaker 3: He's a bit diminutive, one might say.
• 1:26:59
  Speaker 4: So the endings are similar, they're in a different order.
• 1:27:03
  Speaker 4: The French one ends in so it starts in medieval times.
• 1:27:08
  Speaker 4: When they go back, you've got Malcolm McDowell still wearing
• 1:27:10
  Speaker 4: his cowboy hat. You've got Genrena kissing everyone back awake.
• 1:27:17
  Speaker 4: They're like statues, and he kisses Christina Applegate and then everyone.
• 1:27:21
  Speaker 4: He doesn't have to kiss everyone. That would be kind
• 1:27:23
  Speaker 4: of weird, but everyone in the entire world he has
• 1:27:26
  Speaker 4: to kiss them awake. That's the rest of his life,
• 1:27:28
  Speaker 4: is kissing awake these people. Yes, but no, he kisses her.
• 1:27:32
  Speaker 4: Everyone comes back, including the King, who looks like the
• 1:27:35
  Speaker 4: King from Burger King very much to me for real.
• 1:27:38
  Speaker 3: By the way, thank you for fucking mentioning that. That
• 1:27:41
  Speaker 3: is like the like the last time I watched this
• 1:27:43
  Speaker 3: movie is like, doesn't that character look like Burger King?
• 1:27:45
  Speaker 3: Is like wait, what the fuck? Is like no, like
• 1:27:47
  Speaker 3: like literally like really, like it's not an accident. I've like,
• 1:27:52
  Speaker 3: I haven't done interviews for episodes in a very long time,
• 1:27:55
  Speaker 3: but if I could interview the production designer of this movie, like, so,
• 1:27:58
  Speaker 3: I'm just us a curious yeah, as a curious mind.
• 1:28:04
  Speaker 3: This guy's a redhead and he looks.
• 1:28:06
  Speaker 4: Like the and there's like the Sheriff of Nottingham type character.
• 1:28:10
  Speaker 4: We never really get a good backstory for this guy.
• 1:28:12
  Speaker 4: But Genre's like, oh, go ahead, try this wine, and
• 1:28:16
  Speaker 4: the King is like, yeah, you should try that wine.
• 1:28:18
  Speaker 4: And he basically backs himself out of a window. Genredau
• 1:28:22
  Speaker 4: does not kill anyone. He just backs him out of
• 1:28:25
  Speaker 4: a window and he falls out, and then we.
• 1:28:27
  Speaker 3: Still let Sean Connery ask gooflag, Oh he did. That's
• 1:28:33
  Speaker 3: essentially the gag.
• 1:28:34
  Speaker 4: And then we've got Matt Ross as the fiance has
• 1:28:37
  Speaker 4: Big Bear drinking his drink, his protein thing, and I'm
• 1:28:42
  Speaker 4: glad that she mentions that very early on that they
• 1:28:44
  Speaker 4: taste disgusting, and he's the only one that drinks this,
• 1:28:47
  Speaker 4: so he slams this stuff and then just happens to
• 1:28:51
  Speaker 4: lift up the the Latin spell that's there just laying
• 1:28:56
  Speaker 4: on the counter. Thank you, Malcolm MacDowell for leaving that. Yeah,
• 1:28:59
  Speaker 4: he goes back in time in a really grotesque way
• 1:29:03
  Speaker 4: with that mouth opening like a train tunnel. That was
• 1:29:06
  Speaker 4: so strange. And then cut to Tara Reid and Jaccas
• 1:29:12
  Speaker 4: going across the country and yeah, just having a good
• 1:29:16
  Speaker 4: old time. But then you then and I know this
• 1:29:19
  Speaker 4: is a different order in the US one, but then
• 1:29:22
  Speaker 4: you have the whole thing of Christina Applegate in the
• 1:29:25
  Speaker 4: present visiting the castle that she owns and meeting that
• 1:29:29
  Speaker 4: very handsome lawyer dude. I mean, he's cute. I don't
• 1:29:31
  Speaker 4: know if he's handsome, But then you go back to
• 1:29:34
  Speaker 4: the medieval times and he gives her this little hair
• 1:29:38
  Speaker 4: clip that he clips onto it's a gift from her
• 1:29:41
  Speaker 4: great great great great granddaughter, from Christina Applegate to Christina
• 1:29:45
  Speaker 4: Applegate with love, and we pull out from there. But
• 1:29:49
  Speaker 4: then you get the credits, and the credits go over
• 1:29:52
  Speaker 4: a whole scene of it, a little bit longer than
• 1:29:56
  Speaker 4: the one in the US, and this is again it's
• 1:29:58
  Speaker 4: under the credits, and it's Matt Ross being dumped back
• 1:30:02
  Speaker 4: in time. And at first he's Matt Ross, but then
• 1:30:05
  Speaker 4: at first he's the character, but then he is Matt Ross.
• 1:30:09
  Speaker 4: He like breaks through the fourth wall. I don't think
• 1:30:12
  Speaker 4: that's in the US version.
• 1:30:13
  Speaker 3: No, it is not.
• 1:30:14
  Speaker 4: Yeah, he's like screaming and yelling, and unfortunately, this is
• 1:30:18
  Speaker 4: the one thing I couldn't get in English. So because
• 1:30:22
  Speaker 4: I'm listening to the American version and watching the French version,
• 1:30:25
  Speaker 4: so he's just yelling in French. I have no idea
• 1:30:28
  Speaker 4: why he's yelling. And it's so strange because the credits
• 1:30:31
  Speaker 4: start to fast forward. He gets in a car, he
• 1:30:34
  Speaker 4: drives away, and it's just like this goes on for
• 1:30:37
  Speaker 4: a long damn time before they finally go into outtakes
• 1:30:42
  Speaker 4: from the movie. And again I don't think are those
• 1:30:44
  Speaker 4: in the American version.
• 1:30:46
  Speaker 3: No, I was gonna say, I am pretty sure that
• 1:30:49
  Speaker 3: that is a direct reference to U something that I've
• 1:30:52
  Speaker 3: already brought up. I believe that that might be a
• 1:30:54
  Speaker 3: reference to my Python and the Holy Grail.
• 1:30:55
  Speaker 4: Okay, all right, yeah, yeah, that does make sense, and
• 1:30:59
  Speaker 4: driving off, yeah, and just breaking the fourth wall for
• 1:31:02
  Speaker 4: no reason, like yeah, yeah, yeah, and then yeah, like
• 1:31:06
  Speaker 4: the outtake stuff, which are actually pretty funny. Again, if
• 1:31:10
  Speaker 4: I could hear them in English, who would probably be
• 1:31:12
  Speaker 4: a little bit funnier, because if somebody blows their line,
• 1:31:15
  Speaker 4: I'm not really gonna know it, right, It might be outtakes,
• 1:31:19
  Speaker 4: It might just be small clips from the very from
• 1:31:21
  Speaker 4: the movie itself. But at the very very end, you
• 1:31:24
  Speaker 4: get Christina Applegate saying like, oh, you mean for the
• 1:31:30
  Speaker 4: our words, and she goes, sorry, I had to say that.
• 1:31:33
  Speaker 4: And at the time, in two thousand and one or
• 1:31:36
  Speaker 4: two thousand and three, whenever this came out, it would
• 1:31:38
  Speaker 4: have been funny. Two thousand and one, sorry, it would
• 1:31:40
  Speaker 4: have been funny. But you know, by today's twenty twenty
• 1:31:42
  Speaker 4: six standards, you can't say that word anymore. So, but yeah,
• 1:31:46
  Speaker 4: that was a good way to end it. It's like, okay, yeah,
• 1:31:49
  Speaker 4: you give her the last line of the whole thing.
• 1:31:51
  Speaker 3: Well, and you know again, like I think we both
• 1:31:53
  Speaker 3: would agree, Christina Applegate very funny in this movie.
• 1:31:56
  Speaker 4: Oh god, yes, yeah.
• 1:31:58
  Speaker 3: Did you see when this film came out on VHS
• 1:32:00
  Speaker 3: and DVD No.
• 1:32:02
  Speaker 4: Nine eleven, two thousand and one, It sure did.
• 1:32:04
  Speaker 3: Oh jees, Mike White, ladies and gentlemen would have gotten
• 1:32:09
  Speaker 3: that final Jeopardy question right and I didn't even have
• 1:32:11
  Speaker 3: to give you a hint. Wow. Wow, Where were you
• 1:32:14
  Speaker 3: when the world stopped turning? Mike buying Just Visiting on DVD? Yeah,
• 1:32:19
  Speaker 3: of course that's what Alan Jackson was not expecting my
• 1:32:21
  Speaker 3: answer to be. I was in line at Tower Records
• 1:32:24
  Speaker 3: waiting to pick a lear special edition version of Just
• 1:32:26
  Speaker 3: Visiting on DVD.
• 1:32:27
  Speaker 4: You're, mister Jackson. As a fan of you and your music,
• 1:32:31
  Speaker 4: I just wanted to share my story of where I
• 1:32:34
  Speaker 4: was that faithful day.
• 1:32:35
  Speaker 3: I was buying my favorite French comedy remade in English
• 1:32:40
  Speaker 3: language on DVD and he goes, you know what soun
• 1:32:43
  Speaker 3: me too, me too, That's where I was when the
• 1:32:46
  Speaker 3: world's to upturn it Good lord, what a wild thing
• 1:32:51
  Speaker 3: to think about that this was the last thing to
• 1:32:53
  Speaker 3: come out on one of the last things that come
• 1:32:55
  Speaker 3: out on DVD in a pre nine to eleven world.
• 1:32:57
  Speaker 3: Technically one might even say on that day. I don't
• 1:32:59
  Speaker 3: know what else came out on that day, but this
• 1:33:01
  Speaker 3: is part of a very small list of things that
• 1:33:03
  Speaker 3: are the last things that come out on DVD before
• 1:33:05
  Speaker 3: the world starting. World heard, Yeah, the world started falling apart.
• 1:33:10
  Speaker 3: Oh my god, good Lord. I'm so glad we watched
• 1:33:13
  Speaker 3: this movie, Mike. There are some comedies from my upbringing
• 1:33:17
  Speaker 3: that I have always wondered how they would play in
• 1:33:20
  Speaker 3: a modern day setting. Just Visiting is not a film
• 1:33:23
  Speaker 3: I ever thought I would cover, and it is a
• 1:33:25
  Speaker 3: film that I am glad I have covered with you
• 1:33:27
  Speaker 3: because I appreciate that you ever enjoyed it. Because I
• 1:33:30
  Speaker 3: know that comedies can kind of be hard, like I.
• 1:33:33
  Speaker 3: You know, if I were to pick a movie for
• 1:33:35
  Speaker 3: you and I to do, comedies wouldn't be at the
• 1:33:37
  Speaker 3: top of that list unless it's something where I like,
• 1:33:39
  Speaker 3: I know I haven't in with, Like I have an
• 1:33:40
  Speaker 3: idea for something else that I think we should talk
• 1:33:42
  Speaker 3: about that would be fun. That's another like comedy, but
• 1:33:45
  Speaker 3: it's a thing where it's like I know you like
• 1:33:47
  Speaker 3: the thing or the person already, because like comedies are
• 1:33:50
  Speaker 3: just so hard. Like you know, we've talked about them
• 1:33:53
  Speaker 3: a lot, and I think we've gotten better at doing it,
• 1:33:55
  Speaker 3: especially having done like Airplane and top or not top
• 1:33:59
  Speaker 3: gun but top secret top secret, and then all of
• 1:34:02
  Speaker 3: the naked gun stuff with Mark Begley, and then I mean, really,
• 1:34:05
  Speaker 3: I feel like the thing that kind of put our
• 1:34:06
  Speaker 3: ability to talk comedies to the test was our Chevy
• 1:34:09
  Speaker 3: Chase podcast, which we're coming to the very quick end
• 1:34:12
  Speaker 3: of finally. But comedies are not something that up until
• 1:34:15
  Speaker 3: recently I really talked about on the Culture Cast because
• 1:34:18
  Speaker 3: most of the time it's just, hey, remember this funny joke,
• 1:34:20
  Speaker 3: which ain't analysis, ain't anything other than just regourging. And again,
• 1:34:25
  Speaker 3: when a lot of the comedies tend to not be good,
• 1:34:28
  Speaker 3: it's hard to find anything else to enjoy with them
• 1:34:30
  Speaker 3: if they're not eve at least making you laugh, which
• 1:34:32
  Speaker 3: is like the lowest of low bars to cross in
• 1:34:34
  Speaker 3: my opinion, Right.
• 1:34:35
  Speaker 4: Yeah, yeah, And like you said, there's nothing worse than
• 1:34:38
  Speaker 4: a bad comedy really really sucks. So I'm just really
• 1:34:43
  Speaker 4: glad that I got to see both just visiting and
• 1:34:45
  Speaker 4: the visitors. I think the visitors really need to be
• 1:34:48
  Speaker 4: checked out by more people if they haven't obviously, like
• 1:34:51
  Speaker 4: I said before, one of the top grossing films in France,
• 1:34:54
  Speaker 4: or you might have said that, right, And I can
• 1:34:56
  Speaker 4: see why. I can see why this was just eaten
• 1:34:59
  Speaker 4: up by public. And yeah, I'm actually going to go
• 1:35:03
  Speaker 4: back now and check out some of these other things
• 1:35:05
  Speaker 4: that Clavier and Fire made together. There's one right before
• 1:35:10
  Speaker 4: this with Jean Renau as well, called Operation Corned Beef.
• 1:35:15
  Speaker 4: I think it is, so I think I'm definitely gonna
• 1:35:19
  Speaker 4: put that at the top of my watch list. And
• 1:35:22
  Speaker 4: that's like of the four films that come up with
• 1:35:24
  Speaker 4: Puare's IMDb, it's the visitors just visiting the visitors. Two
• 1:35:29
  Speaker 4: Quarridors in time three doesn't make it. Operation corn Beef
• 1:35:33
  Speaker 4: does well.
• 1:35:34
  Speaker 3: I was looking at two. Another interesting connection to two.
• 1:35:37
  Speaker 3: Two sold eight more than eight million tickets in France
• 1:35:41
  Speaker 3: and it was the second highest grossing film in nineteen
• 1:35:44
  Speaker 3: ninety eight behind Take a Guess, a film you and
• 1:35:48
  Speaker 3: I have talked about that came out in nineteen ninety
• 1:35:50
  Speaker 3: eight as well. Le Diner Ducontes.
• 1:35:52
  Speaker 4: Oh, yes, the classic.
• 1:35:55
  Speaker 3: Yes, I would say the best thing of all the
• 1:35:57
  Speaker 3: things we watched.
• 1:35:57
  Speaker 4: Really like, I think you're right which is hilarious because
• 1:36:00
  Speaker 4: it was Pierre Richard than that.
• 1:36:02
  Speaker 3: No, no, no, that's the one that he was the
• 1:36:04
  Speaker 3: only one that doesn't have it.
• 1:36:06
  Speaker 4: Yeah, yeah, yeah, no, And I've been since we talked
• 1:36:09
  Speaker 4: about those movies, I have seen more of those Vepper
• 1:36:11
  Speaker 4: films and I've actually watched some more of those Pierre
• 1:36:14
  Speaker 4: Richard films as well. So yeah, it's it's not going away,
• 1:36:19
  Speaker 4: the sickness of watching French comedies, It's still going to
• 1:36:22
  Speaker 4: be there.
• 1:36:22
  Speaker 1: I'd like you.
• 1:36:23
  Speaker 4: I'm afraid of diving into other brands of comedy other countries.
• 1:36:28
  Speaker 4: I've heard that the Italian ones are very tough to
• 1:36:31
  Speaker 4: get into, so these French ones seem to be, you know,
• 1:36:35
  Speaker 4: kind of by my level, even if I don't know
• 1:36:37
  Speaker 4: everything about French history.
• 1:36:39
  Speaker 3: Well, Mike White, March or May this year could be
• 1:36:41
  Speaker 3: French comedies once again. We could do a little Asterix
• 1:36:44
  Speaker 3: and Obelix, do a little Christian Clavalier. He seems like
• 1:36:48
  Speaker 3: the less problematic Gerard de Pardue. I mean, I mean
• 1:36:52
  Speaker 3: Christian Clavalier. Big Schnaz as well as a big Schnaz
• 1:36:56
  Speaker 3: have her myself from one Big Schnaz over to another.
• 1:36:59
  Speaker 3: Gerard Diparty is the problematic big schnaz Haver. Christian Klavalier
• 1:37:02
  Speaker 3: doesn't seem to be as problematic or is I think
• 1:37:05
  Speaker 3: the word on the internet is rapie, yeah allegedly.
• 1:37:09
  Speaker 1: Yeah.
• 1:37:10
  Speaker 4: Well I don't know about the rapee with Depardue, but
• 1:37:14
  Speaker 4: the pinging on the airplane that was that seems.
• 1:37:16
  Speaker 1: A little much.
• 1:37:17
  Speaker 3: Oh, Girard Depardu has been like arrested for like sexual
• 1:37:19
  Speaker 3: assault stuff recently.
• 1:37:21
  Speaker 4: Right right, wonderful?
• 1:37:23
  Speaker 3: Well, you know what they say, never meet your heroes
• 1:37:25
  Speaker 3: and if you do, run.
• 1:37:27
  Speaker 4: I did love the bit on We Hate Movies years
• 1:37:30
  Speaker 4: ago where it was imagine people who have moved to
• 1:37:34
  Speaker 4: Russia or basically cast themselves out. So it was Steven Sagal,
• 1:37:39
  Speaker 4: Gerard Depardieu, and Edward Snowden all sharing an apartment.
• 1:37:44
  Speaker 3: And yes, to clarify, Gerard Depardue in May of twenty
• 1:37:47
  Speaker 3: twenty five was convicted of sexual assault against two women.
• 1:37:50
  Speaker 3: So they're very rape yeah, very right, so great, So yeah,
• 1:37:53
  Speaker 3: maybe some more Christian Clavalier films. I don't know. I mean,
• 1:37:55
  Speaker 3: Mike White March, we haven't even talked about it, but
• 1:37:57
  Speaker 3: this was this was something that we were talking about
• 1:37:59
  Speaker 3: doing last year and it just kind of fell off
• 1:38:02
  Speaker 3: the wagon. And so you know, this year, it's an
• 1:38:04
  Speaker 3: interesting way to start the year talking about French comedies.
• 1:38:07
  Speaker 3: But it does feel like a little bit of a
• 1:38:08
  Speaker 3: holdover from last year, given that to Mike White, the
• 1:38:12
  Speaker 3: Mike White Month was French comedies replete with them. So yeah, oh,
• 1:38:18
  Speaker 3: thank you for joining me. This was a fun episode.
• 1:38:20
  Speaker 3: I'm glad we glad we watched it. I'm glad you
• 1:38:22
  Speaker 3: enjoyed them. I'm kind of disappointed that the second and
• 1:38:25
  Speaker 3: third ones weren't great, but their sequels to comedies, Jesus
• 1:38:28
  Speaker 3: we talked about. I talked about how good Christine Applegay
• 1:38:30
  Speaker 3: was an anchorman. Has anyone seen Anchorman too?
• 1:38:33
  Speaker 4: Don't Ah could nak it through the first one?
• 1:38:36
  Speaker 3: Yeah, mean my weaknesses, I get it, I understand that,
• 1:38:40
  Speaker 3: But let me put it this way. A sequel to
• 1:38:42
  Speaker 3: a comedy that comes out five to ten or more
• 1:38:45
  Speaker 3: than that years later, boy, ain't the success that you've
• 1:38:48
  Speaker 3: set yourself up for is not there? And so yeah,
• 1:38:51
  Speaker 3: when you have a comedy coming out eighteen years after
• 1:38:54
  Speaker 3: the second film, it would be ten years now if
• 1:38:57
  Speaker 3: they made another one. It's been ten years since they
• 1:38:59
  Speaker 3: made the last. Just visiting him that's that's wild to me.
• 1:39:03
  Speaker 4: Ain't getting any younger either.
• 1:39:05
  Speaker 3: Is Christian Claville. He's seventy seven, and I think Renault
• 1:39:08
  Speaker 3: is like seventy three. Maybe like they're both You know,
• 1:39:12
  Speaker 3: this isn't Indiana Jones. They could do it one more
• 1:39:14
  Speaker 3: time they age them. You gotta answer the story of
• 1:39:18
  Speaker 3: where the fuck what happened? You know? Gen Renau. By
• 1:39:22
  Speaker 3: the way, Jean Renau is seventy seven as well. So okay,
• 1:39:26
  Speaker 3: uh question before we end this, do you know what
• 1:39:29
  Speaker 3: nationality Jean Renaud's parents were?
• 1:39:31
  Speaker 4: Actually, no, I don't you know.
• 1:39:32
  Speaker 3: What Gean Renau's real name is. I just had my
• 1:39:35
  Speaker 3: mind blown.
• 1:39:35
  Speaker 1: What's that?
• 1:39:36
  Speaker 3: Jean Renaud's name is Juan Mareno here Jimenez Wrence. We're
• 1:39:42
  Speaker 3: Spanish because he's fucking Spanish, because he's not h ethnically French.
• 1:39:47
  Speaker 3: I guess. So okay, So now that I look at
• 1:39:50
  Speaker 3: pictures of him, he does just look like an old
• 1:39:52
  Speaker 3: Hispanic man. That's very funny. Wow, Gen Renau otherwise known
• 1:39:57
  Speaker 3: as Jean or juanam Reno. Fun that's fun. I didn't
• 1:40:01
  Speaker 3: know that. Good for him.
• 1:40:03
  Speaker 4: Interesting. Yeah, I think he's going to be going time
• 1:40:06
  Speaker 4: traveling again in his next movie. I'm looking at his
• 1:40:08
  Speaker 4: AMDB and there's a Netflix trailer and uh, looks like
• 1:40:13
  Speaker 4: medieval Times. Maybe they get sucked into a game a
• 1:40:16
  Speaker 4: la Jumanji.
• 1:40:17
  Speaker 3: Oh, that'd be fun. I was gonna say, like, I
• 1:40:19
  Speaker 3: believe Jean Renau made a film with a penguin that
• 1:40:22
  Speaker 3: looked rather charming called Mike. Oh that really was.
• 1:40:25
  Speaker 4: That was very charming. I got to interview him and
• 1:40:28
  Speaker 4: the director at the same time. I forgot I interviewed
• 1:40:31
  Speaker 4: him before.
• 1:40:32
  Speaker 3: Yeah we're in the waning moments of this episode.
• 1:40:35
  Speaker 4: Oh by the way, yeah, yeah, because I got to
• 1:40:38
  Speaker 4: talk to him about that penguin film. That's my penguin friend.
• 1:40:41
  Speaker 3: Jean Renaul is super nice. I hope he was.
• 1:40:43
  Speaker 4: He was really nice. Yeah, And it was so tough
• 1:40:46
  Speaker 4: to just stay on target with him because he's been
• 1:40:48
  Speaker 4: in so many things I Love.
• 1:40:50
  Speaker 3: And Boy and out and hey, now's now another thing.
• 1:40:53
  Speaker 3: I mean, like, like I said this, this would have
• 1:40:55
  Speaker 3: been the thing for me. It would have been this,
• 1:40:57
  Speaker 3: or hilariously The Da Vinci Code, which he's actually pretty
• 1:41:01
  Speaker 3: good at. He's really out that, yeah. Or he's also
• 1:41:04
  Speaker 3: really funny in The Pink Panther with Steve Martin like
• 1:41:07
  Speaker 3: I think Jean Renau has some like his comedy chops
• 1:41:09
  Speaker 3: are pretty well rounded as an actor, I feel.
• 1:41:13
  Speaker 4: Oh absolutely, but you know, and he's been in he's
• 1:41:16
  Speaker 4: been in a lot of shit, but he's always good
• 1:41:18
  Speaker 4: in it. He's kind of like a little bit of
• 1:41:19
  Speaker 4: a Gene Hackman in that way, like he was in
• 1:41:22
  Speaker 4: that awful roller Ball remake.
• 1:41:24
  Speaker 3: You know. So yeah, it's like all right, great, but.
• 1:41:29
  Speaker 4: Yeah stuff like Ronan or I mentioned, uh, mission impossible,
• 1:41:34
  Speaker 4: you know, like, yeah, he's he's been great and so
• 1:41:36
  Speaker 4: many things, and whenever he shows up, he just adds
• 1:41:39
  Speaker 4: a lot to whatever he's doing. I think that's why
• 1:41:41
  Speaker 4: he works so well. When it comes to the La
• 1:41:45
  Speaker 4: fam Nikita, he's the best part of the movie. He
• 1:41:48
  Speaker 4: shows up five minutes before the end. He's the best
• 1:41:50
  Speaker 4: part of the movie. And he basically is the character
• 1:41:53
  Speaker 4: that Harvey Kaiitel plays in both Point and Overturn, the
• 1:41:57
  Speaker 4: direct remake of Nikita, but also mister pulp fiction. Right,
• 1:42:02
  Speaker 4: he's the guy that comes in to clean up the situation.
• 1:42:05
  Speaker 4: It's one of those like oh, mister Wolf's on it,
• 1:42:07
  Speaker 4: like you know, hey, I'm good, you know, as Joel says,
• 1:42:10
  Speaker 4: so like he he means business man, the Leon the
• 1:42:15
  Speaker 4: or was it Leon the Cleaner? Vincent the Cleaner is
• 1:42:18
  Speaker 4: just such a great character.
• 1:42:20
  Speaker 3: Yeah, you're You're totally right, like genre no, just he's done.
• 1:42:24
  Speaker 3: His range is very wide, and I think there are
• 1:42:27
  Speaker 3: a lot of people in the States who would know
• 1:42:29
  Speaker 3: him for like you said, just action stuff, Florida action
• 1:42:33
  Speaker 3: adjacent stuff. But then there are the just visitings or
• 1:42:36
  Speaker 3: the Black Panther or if you're me, like one of
• 1:42:39
  Speaker 3: the early things I saw after this, so it would
• 1:42:41
  Speaker 3: have been Godzilla than this. And then the other thing
• 1:42:44
  Speaker 3: I saw was he was in on Amusha three Demon Siege,
• 1:42:47
  Speaker 3: which is a video game about samurais where the third
• 1:42:50
  Speaker 3: game takes place somehow, and he's a Frenchman in there,
• 1:42:54
  Speaker 3: and like it's you get to play a genre no,
• 1:42:56
  Speaker 3: and in game killing demon like Japanese demons. It wow
• 1:43:00
  Speaker 3: in like two thousand and four, like it's you know,
• 1:43:03
  Speaker 3: this is long before people were really integrating actors in
• 1:43:06
  Speaker 3: a big way into video games. But I remember Jean
• 1:43:09
  Speaker 3: Renau was like front and center, like his likeness and
• 1:43:12
  Speaker 3: his voice like nice yeah, like again like it's weird,
• 1:43:15
  Speaker 3: Jean Renau is just an actor who, like I don't
• 1:43:18
  Speaker 3: know if he does or doesn't get his due, but
• 1:43:20
  Speaker 3: I don't think enough Americans. He reminds me of Chalian
• 1:43:22
  Speaker 3: fat in a lot of ways, Like he's massive where
• 1:43:24
  Speaker 3: he's from, but here it's like who I mean?
• 1:43:27
  Speaker 4: Unfortunately, I think most people would know him from the
• 1:43:29
  Speaker 4: professional And you mentioned the word rape before.
• 1:43:32
  Speaker 3: I mean that movie just weird.
• 1:43:34
  Speaker 4: Movie gives me bad vibes. There's great things about it,
• 1:43:37
  Speaker 4: like I use that gift of Gary Oldman saying everyone
• 1:43:41
  Speaker 4: quite a few times a day. But yeah, I really
• 1:43:45
  Speaker 4: like him showing up in things. But I didn't like
• 1:43:47
  Speaker 4: that movie. I've got one that's gonna go on my
• 1:43:50
  Speaker 4: to watch list, which is called The Jaguar, where he
• 1:43:54
  Speaker 4: stars and it's written in directed by Francis Feber, and
• 1:43:57
  Speaker 4: it's not a remake of Weber's own film.
• 1:44:00
  Speaker 3: Hey, I'd watch it. I'm I'm strangely French film, Like
• 1:44:04
  Speaker 3: is it's interesting we watched that, didn't We watch that
• 1:44:06
  Speaker 3: French film a couple of years ago? You and I
• 1:44:08
  Speaker 3: that one where it was like the actor like he
• 1:44:11
  Speaker 3: was like going and like playing all these different roles
• 1:44:13
  Speaker 3: and he was getting back here. Oh yeah, motors, Yeah,
• 1:44:16
  Speaker 3: the motors. Another French film, Like, French film's very interesting,
• 1:44:20
  Speaker 3: Like you know, I'm I'm not. I'm not opposed to
• 1:44:23
  Speaker 3: watching international film. I know a lot of people are,
• 1:44:25
  Speaker 3: because you know, you actually have to pay attention and
• 1:44:27
  Speaker 3: watch the movie and you can't just do something else
• 1:44:30
  Speaker 3: and listen, which again I could. Most people don't even listen,
• 1:44:32
  Speaker 3: so I get it. But some titled movies you have
• 1:44:34
  Speaker 3: to sit and read and like, I get it. Like
• 1:44:36
  Speaker 3: for some people that might be asking too much. But
• 1:44:39
  Speaker 3: if you're gonna sit and enjoy film like and push
• 1:44:42
  Speaker 3: yourself as a film watcher, like, you should be watching
• 1:44:44
  Speaker 3: international film. And Jean Renau is like one of the
• 1:44:47
  Speaker 3: bigger names in French film, like and you can do
• 1:44:50
  Speaker 3: worse than picking up his filmography and running with it.
• 1:44:53
  Speaker 3: Oh yeah, So, Mike, when you and I aren't talking
• 1:44:56
  Speaker 3: about French film or possibly talking about French film, where
• 1:44:59
  Speaker 3: can people find you and the things that you work on?
• 1:45:01
  Speaker 4: You can hear me talk about French film and a
• 1:45:02
  Speaker 4: whole lot more over at the Projection Booth, which is
• 1:45:05
  Speaker 4: available at Projection Booth podcast dot com, or everything that
• 1:45:08
  Speaker 4: I do with Chris and without over at Weirdingwaymedia dot com.
• 1:45:14
  Speaker 4: Except for the one thing that we do with Richard HadAM,
• 1:45:17
  Speaker 4: which is our Patreon exclusive over at the ten dollars
• 1:45:20
  Speaker 4: and above level. That's at patreon dot com slash Projection
• 1:45:24
  Speaker 4: Booth and patreon dot com slash Culturecast. And that's our
• 1:45:26
  Speaker 4: show about James Bond called Ranking on Bond. So by
• 1:45:30
  Speaker 4: the time you hear this, it might be ova we're
• 1:45:32
  Speaker 4: there with the uh Daniel Craig era. So depending on
• 1:45:36
  Speaker 4: how quickly this one comes out. And I know I've
• 1:45:39
  Speaker 4: ummed and udded through quite a bit of it, so
• 1:45:41
  Speaker 4: I apologize for that, Chris, But yeah, so come and
• 1:45:44
  Speaker 4: check that out.
• 1:45:44
  Speaker 1: How about you, Chris.
• 1:45:45
  Speaker 3: You can find me over Weirdingwaymedia dot com as well,
• 1:45:48
  Speaker 3: where this show and all the other shows that I
• 1:45:49
  Speaker 3: work on can be found. We're rolling out some new
• 1:45:52
  Speaker 3: stuff this year. We're picking up some things that have
• 1:45:54
  Speaker 3: been sitting around for a while that nobody's done anything
• 1:45:56
  Speaker 3: with read me and yeah, it's there's a lot going on.
• 1:46:01
  Speaker 3: I'm really excited about the new year over Weirdingway Media
• 1:46:04
  Speaker 3: and some new opportunities, some new ideas, and that's all
• 1:46:08
  Speaker 3: rolling right now. That's all in the works now, that's
• 1:46:10
  Speaker 3: all happening right now. So If that is something that
• 1:46:12
  Speaker 3: you're interested in, head on over to weirdingwaymedia dot com
• 1:46:15
  Speaker 3: and check that out. Like Mike said, Patreon is a
• 1:46:17
  Speaker 3: good way to support us financially, but like rate and
• 1:46:20
  Speaker 3: review the show wherever you get it, please let that
• 1:46:23
  Speaker 3: be on iTunes because iTunes seems to be the way
• 1:46:25
  Speaker 3: that people find us. iTunes seems to be the way
• 1:46:26
  Speaker 3: that we engage. We're also on YouTube and Spotify. Those
• 1:46:29
  Speaker 3: are places you can can engage with us as well,
• 1:46:31
  Speaker 3: but iTunes is preferred if you're going to ask. So Mike,
• 1:46:35
  Speaker 3: thank you so much for joining me. This was fun.
• 1:46:37
  Speaker 3: I'm glad we talked about four movies in one episode.
• 1:46:39
  Speaker 3: That's the thing we haven't done in a while. But yeah, yeah,
• 1:46:43
  Speaker 3: but I enjoy it. I mean, like we now we
• 1:46:44
  Speaker 3: never have to talk about these again. That's done. You know,
• 1:46:48
  Speaker 3: check markin a long list of boxes that neither one
• 1:46:51
  Speaker 3: of us even knew we had. Yeah, and as as always,
• 1:46:55
  Speaker 3: we'll catch up on the next episode. By the bisidsstsssssssc
• 1:47:15
  Speaker 3: The brings to the Boost the Boss for the books
• 1:47:19
  Speaker 3: for Bo