Latest / Movie Meltdown / How about a Date with Phil Lamarr?

Transcript

How about a Date with Phil Lamarr? · Movie Meltdown

• 0:02
  Speaker 1: It's Orlando Jones, and you're listening to Movie Meltdown. Put.
• 0:06
  Speaker 2: I said you're listening to movie.
• 0:08
  Speaker 3: I didn't say you were texting while listening to Movie Meltdown.
• 0:12
  Speaker 4: Jackass.
• 0:31
  Speaker 5: This episode is rated M for Misty. Yes, that's right,
• 0:34
  Speaker 5: this is a Misty episode, so it will be laced
• 0:36
  Speaker 5: with profanity even more than usual. If you're not comfortable
• 0:39
  Speaker 5: with this level of profanity, perhaps this isn't the episode
• 0:42
  Speaker 5: for you. But we have many other episodes to choose
• 0:44
  Speaker 5: from that do not feature Misty and will probably be
• 0:47
  Speaker 5: far less offensive. Okay, maybe. With that having been said,
• 0:51
  Speaker 5: on with the show.
• 1:02
  Speaker 6: It's showtime, folks. Enjoy the show.
• 1:08
  Speaker 2: Our nuclear reactor pumping out one million kilowatts of power.
• 1:38
  Speaker 2: Provide more cooling in the containment chambers.
• 1:40
  Speaker 6: To your stations, we have a movie meltdown.
• 1:42
  Speaker 1: Oh man, I shot Marvin in the face.
• 1:44
  Speaker 2: Why the fuck'd you do that? I didn't mean to
• 1:46
  Speaker 2: do it, it was an accident.
• 1:56
  Speaker 1: What's up and welcome to Movie Meltdown. I'm Brian.
• 1:59
  Speaker 3: I'm Misty.
• 2:00
  Speaker 1: And we're coming to you live, a digital recording from
• 2:02
  Speaker 1: the outskirts of Indie PopCon.
• 2:04
  Speaker 7: Woo!
• 2:05
  Speaker 1: Misty, how's it going?
• 2:06
  Speaker 3: It's going pretty good.
• 2:08
  Speaker 1: It's been a good day.
• 2:09
  Speaker 3: It's been a very good day.
• 2:10
  Speaker 1: We've had a lot of fun here at Indie Popcorn.
• 2:14
  Speaker 1: Speaking of pop, I bought a little stuffed dude that
• 2:17
  Speaker 1: looks like popcorn.
• 2:18
  Speaker 3: I bought stuff too, but it has nothing to do
• 2:20
  Speaker 3: with any food type item. Although we did buy pizza.
• 2:24
  Speaker 1: That's true, we had pizza. That's also food oriented. I'm
• 2:27
  Speaker 1: not normally a stuffed food kind of a guy, but
• 2:29
  Speaker 1: being the movie geek I am, I have a lot
• 2:31
  Speaker 1: of popcorn related things. And buckets. Popcorn. I'm a sucker
• 2:38
  Speaker 1: for it.
• 2:39
  Speaker 2: What are you going to do?
• 2:39
  Speaker 3: I've decided I am now like my thing is enamel pins.
• 2:43
  Speaker 3: I don't know what my obsession is. I fucking love
• 2:46
  Speaker 3: enamel pins.
• 2:46
  Speaker 1: It's kind of a thing now anyway. Which works out
• 2:49
  Speaker 1: good for me. That's what I was going to say.
• 2:51
  Speaker 1: It's a good time for that to become your thing
• 2:53
  Speaker 1: because suddenly it's become a thing in general and I
• 2:55
  Speaker 1: see a lot of them so there are a lot
• 2:57
  Speaker 1: of options now.
• 2:58
  Speaker 3: Today I bought four pins. You're out of control. I
• 3:01
  Speaker 3: only bought four.
• 3:03
  Speaker 1: Only 47.
• 3:04
  Speaker 2: Only four.
• 3:06
  Speaker 3: They were on sale.
• 3:08
  Speaker 1: There was a bargain going on.
• 3:09
  Speaker 3: Two for ten.
• 3:10
  Speaker 1: That's a pretty good deal.
• 3:11
  Speaker 3: I know, right? So I got Sam, Dean, Cass, and
• 3:14
  Speaker 3: Liv Moore.
• 3:16
  Speaker 1: Do love me some Liv Moore.
• 3:17
  Speaker 3: She is super adorable. I love that show.
• 3:19
  Speaker 1: Oh, my God. She is quite adorable. We've seen her
• 3:23
  Speaker 1: in the real world.
• 3:24
  Speaker 3: She is the cutest thing ever.
• 3:26
  Speaker 1: That was a different convention, though. So, we were trying
• 3:31
  Speaker 1: to keep track of some of the ridiculous things we
• 3:34
  Speaker 1: saw and heard. would you like to discuss the yo-yo festival?
• 3:39
  Speaker 3: Oh my god, there was a yo-yo festival! I had
• 3:40
  Speaker 3: no idea this was going to be going on, and
• 3:42
  Speaker 3: I don't know why, but it's like juggling on a string,
• 3:44
  Speaker 3: and you know.
• 3:46
  Speaker 1: You're all fired up for some yo-yos.
• 3:48
  Speaker 3: I was like, holy shit, I didn't even notice at first.
• 3:50
  Speaker 3: I'm like, is this fucking yo-yo world over here?
• 3:52
  Speaker 1: And then I pointed at the yo-yo challenge going on
• 3:55
  Speaker 1: on the stage, and you're like.
• 3:58
  Speaker 3: Oh, I guess it is. I was on the ball
• 4:02
  Speaker 3: on that one, and I was just like, I stared, like,
• 4:05
  Speaker 3: I didn't realize it was so serious.
• 4:07
  Speaker 1: Dudes had special yo-yo gloves.
• 4:09
  Speaker 3: There was not even just like there was like several variations.
• 4:11
  Speaker 3: There was a full hand.
• 4:13
  Speaker 1: Cool guy black ones. And then the full hand version,
• 4:17
  Speaker 1: most of which were the same. There was a black
• 4:18
  Speaker 1: one that you were like serious business.
• 4:20
  Speaker 3: And you had the three handed. That means.
• 4:22
  Speaker 1: Then there was the cutouts. Oh yeah. The one had
• 4:25
  Speaker 1: like two fingers cut out. Or three?
• 4:29
  Speaker 3: No, he had three fingers. He had these three fingers.
• 4:30
  Speaker 3: I guess the pinky and the ring finger are useless
• 4:32
  Speaker 3: when it comes to yoga.
• 4:33
  Speaker 1: Or maybe he needs his finger, like his actual exposed
• 4:35
  Speaker 1: skin for extra gripping.
• 4:37
  Speaker 3: Or less gripping.
• 4:38
  Speaker 1: I don't know which is supposed to be better. If
• 4:41
  Speaker 1: you're supposed to have more grip with this magical glove,
• 4:43
  Speaker 1: I don't know.
• 4:44
  Speaker 3: It's the aesthetics.
• 4:45
  Speaker 1: It does make you look like you're up to something.
• 4:47
  Speaker 1: Like you've got some business to attend to because you
• 4:50
  Speaker 1: have a special glove.
• 4:51
  Speaker 3: And you've got ones and you're like, hold on, this
• 4:52
  Speaker 3: guy's wearing no gloves.
• 4:53
  Speaker 1: Is this good or bad?
• 4:54
  Speaker 3: Because I have no idea. I don't know what the
• 4:56
  Speaker 3: regulations are.
• 4:57
  Speaker 1: He's freestyling. Look at him.
• 4:58
  Speaker 3: He is going bare on this one. I have no idea.
• 5:01
  Speaker 1: No protection. That is not recommended or endorsed by this show.
• 5:08
  Speaker 1: Protect yourself, kids.
• 5:09
  Speaker 3: I saw the first guy up there.
• 5:11
  Speaker 1: I'm like, whoa, shit.
• 5:12
  Speaker 3: Got gloves. Maybe this is the standard. This is what
• 5:17
  Speaker 3: I should expect.
• 5:18
  Speaker 1: And last, of course, you really love your yo-yo. And
• 5:21
  Speaker 1: you're in a committed relationship.
• 5:22
  Speaker 3: Is this guy wearing a shirt that has his own
• 5:24
  Speaker 3: face on it?
• 5:26
  Speaker 1: Now, you can't really call him out because earlier today
• 5:31
  Speaker 1: I suggested that we get our own faces done in
• 5:34
  Speaker 1: enamel pins. And you said I would wear my enamel pins.
• 5:38
  Speaker 1: I would, but this guy... He does have a giant
• 5:42
  Speaker 1: image of himself on his own t-shirt.
• 5:43
  Speaker 3: We're in the same hat that he's currently wearing.
• 5:45
  Speaker 1: He probably only has that one hat. I mean, he
• 5:48
  Speaker 1: looks like the kind of dude who only has that
• 5:50
  Speaker 1: one hat. Dude, did we just see that?
• 5:53
  Speaker 3: We just saw that.
• 5:53
  Speaker 1: Yeah. He actually doesn't surprise me. He's probably like one
• 5:57
  Speaker 1: of seven guys in that room that was like that.
• 5:59
  Speaker 3: I'm more surprised that I didn't have time to get
• 6:01
  Speaker 3: my camera out and get a picture.
• 6:02
  Speaker 1: That is the weird part. I mean, normally you're right
• 6:06
  Speaker 1: there with the stalker photos, so.
• 6:09
  Speaker 3: I've been failing lately because apparently there's this guy who
• 6:13
  Speaker 3: dances in our neighborhood.
• 6:14
  Speaker 1: This is not the knockoff... This is not fake Feldman.
• 6:19
  Speaker 2: Feldman. No.
• 6:20
  Speaker 1: Who... Has he disappeared altogether?
• 6:22
  Speaker 3: Jay says he's seen him, but I haven't seen him.
• 6:24
  Speaker 2: All right.
• 6:24
  Speaker 1: That's going way back for you new guys.
• 6:26
  Speaker 3: No, apparently there's this guy, the Burger King on the corner, like,
• 6:32
  Speaker 3: went out towards my house. There's that Burger King.
• 6:34
  Speaker 5: All right.
• 6:35
  Speaker 3: Where the Kmart used to be.
• 6:36
  Speaker 1: Sure.
• 6:37
  Speaker 3: Almost every other day when I come home from work,
• 6:39
  Speaker 3: he is, like, out by one of the signs. Like,
• 6:43
  Speaker 3: not like, dancing like with a sign like you can
• 6:46
  Speaker 3: see it like little caesars.
• 6:47
  Speaker 1: Not one of those fancy spinning dancing signs.
• 6:49
  Speaker 3: No no no this guy is up in the parking
• 6:50
  Speaker 3: lot by one of the poles i think he has
• 6:52
  Speaker 3: his radio set up and we're talking like sleeveless t-shirt
• 6:56
  Speaker 3: half mullet older dude full out body rocking he is
• 7:02
  Speaker 3: dancing like nobody's fucking watching and i've been trying to
• 7:04
  Speaker 3: get video of this but it's like i don't.
• 7:06
  Speaker 1: Know if he sees me my question is does he
• 7:09
  Speaker 1: have specialized gloves I.
• 7:11
  Speaker 3: Did not see any gloves, but he has a sleeveless
• 7:13
  Speaker 3: shirt for more easily movement.
• 7:14
  Speaker 1: I feel like he needs fingerless gloves. If he's going
• 7:17
  Speaker 1: to be cool and body rocking.
• 7:18
  Speaker 3: Dude, he fucking needs some leg warmers for this shit.
• 7:20
  Speaker 3: He is flash dancing. Dude, seriously.
• 7:24
  Speaker 1: He is. He's a maniac.
• 7:25
  Speaker 3: He is, dude. And it's like, it's majestic.
• 7:27
  Speaker 1: He's never danced before.
• 7:30
  Speaker 3: But he does it every other couple of days, so
• 7:31
  Speaker 3: technically he probably hasn't before.
• 7:32
  Speaker 1: Well, maybe he takes it to a new level each time.
• 7:35
  Speaker 3: Okay, back to where we were.
• 7:37
  Speaker 1: I don't even know where that was.
• 7:39
  Speaker 3: Stalker pictures.
• 7:40
  Speaker 1: You want your own picture of yourself done in enamel.
• 7:44
  Speaker 3: I do. It would be awesome.
• 7:46
  Speaker 1: If you guys are interested in that, I can check
• 7:48
  Speaker 1: into it. I don't know that anyone wants that aside
• 7:51
  Speaker 1: from us.
• 7:52
  Speaker 3: Me.
• 7:53
  Speaker 1: But I've made many a product over the years of
• 7:56
  Speaker 1: our show that nobody else cared about but me. So
• 7:58
  Speaker 1: I have no problem doing it again. You just let
• 8:01
  Speaker 1: me know if you want one.
• 8:02
  Speaker 3: Way went off track on that one. That guy totally
• 8:04
  Speaker 3: distracted me. Derailed all my trains of thought.
• 8:06
  Speaker 5: Yo-Yo Festival.
• 8:07
  Speaker 3: The collision. Yo-Yo Festival. It was mesmerizing. Seriously. The only
• 8:13
  Speaker 3: thing that drug me away was the promise of finding
• 8:15
  Speaker 3: enamel pins. And I made it myself. I'm like, I'm
• 8:18
  Speaker 3: going to find some enamel pins and I'll be damned.
• 8:20
  Speaker 1: I'll be damned. It took you a while.
• 8:21
  Speaker 3: It took me three tries because they were like back
• 8:23
  Speaker 3: in the back of a booth.
• 8:25
  Speaker 1: She had them hidden. She was kind of hiding them.
• 8:26
  Speaker 1: I was thinking, like, people love enamel pins. Why aren't
• 8:29
  Speaker 1: these shoved all the way out front by the sidewalk
• 8:31
  Speaker 1: area here?
• 8:31
  Speaker 3: This was way in the back. Back in the back,
• 8:33
  Speaker 3: like the last row. And back in the back of
• 8:36
  Speaker 3: her aisle, I'm like, you are not pimping yourself, girlfriend.
• 8:39
  Speaker 3: Let me tell you.
• 8:39
  Speaker 1: She was pretty sneaky about her enamel pins.
• 8:41
  Speaker 3: No, she did not.
• 8:42
  Speaker 1: And she had a sail going. You'd think you'd be
• 8:44
  Speaker 1: out there spinning a sign or something.
• 8:46
  Speaker 3: Unless that was just her regular price and she just
• 8:47
  Speaker 3: told me it was a sale so I had to
• 8:48
  Speaker 3: go special, which I don't care.
• 8:49
  Speaker 1: That's fine. To me, that's part of the pitch. Like,
• 8:51
  Speaker 1: if you can convince people that what you're getting is
• 8:54
  Speaker 1: a special deal, then they feel like it is a
• 8:55
  Speaker 1: special deal.
• 8:56
  Speaker 2: That's all that matters.
• 8:57
  Speaker 1: You're still paying the same price.
• 8:58
  Speaker 3: Two for ten.
• 8:59
  Speaker 1: That's a deal. That is a damn bargain.
• 9:01
  Speaker 3: Fucking A it is.
• 9:03
  Speaker 1: We also, let's see, I was trying to take notes
• 9:05
  Speaker 1: of some of these things.
• 9:06
  Speaker 3: Hold on, what did I hear a guy call his friend?
• 9:08
  Speaker 3: Let me try to remember it first before you remind
• 9:10
  Speaker 3: me what it was. Raging Wiener? Yes.
• 9:13
  Speaker 2: Yes.
• 9:14
  Speaker 1: I was trying to remember things we needed to address.
• 9:17
  Speaker 1: It says right here, raging wiener.
• 9:19
  Speaker 3: I was just like, dude, you're a raging wiener. I'm like, wow,
• 9:23
  Speaker 3: that's your insult?
• 9:24
  Speaker 1: That is a hell of a comeback. I don't know
• 9:26
  Speaker 1: what he just said to you, but you put him
• 9:28
  Speaker 1: in his place.
• 9:31
  Speaker 3: What warrants being called a raging wiener?
• 9:33
  Speaker 1: You saw that guy, right?
• 9:34
  Speaker 2: No.
• 9:34
  Speaker 1: He probably had a picture of himself on his shirt
• 9:36
  Speaker 1: because that guy looked like a raging wiener.
• 9:41
  Speaker 3: I'm like, what did I just hear? Did I just
• 9:43
  Speaker 3: hear that? I had to turn back. I'm like, did
• 9:44
  Speaker 3: you hear what I just heard?
• 9:46
  Speaker 1: Like not really but let me know what it is
• 9:48
  Speaker 1: because we need to address it later probably oh what
• 9:53
  Speaker 1: else are you 12 i heard well the girl that
• 9:56
  Speaker 1: walked by was just like again the levels of geekdom
• 10:00
  Speaker 1: that come into play in a convention of this sort.
• 10:03
  Speaker 1: All of them, really. But it's always impressive when you
• 10:06
  Speaker 1: get into a group of people of your own kind.
• 10:09
  Speaker 1: I certainly put myself right in the middle of this.
• 10:11
  Speaker 3: No, these aren't my people. Take me to a horror
• 10:14
  Speaker 3: con or a straight convention.
• 10:15
  Speaker 1: But there still are level of dork. Like, we're... slightly
• 10:20
  Speaker 1: different flavor but we're still all in the same big
• 10:22
  Speaker 1: ice cream shop here so this one.
• 10:25
  Speaker 3: No no i'm gelato their ice cream you're not even
• 10:28
  Speaker 3: italian i.
• 10:29
  Speaker 8: Don't care like i like gelato the uh so yeah
• 10:34
  Speaker 8: the girl walks by and goes well i didn't even
• 10:37
  Speaker 8: get my first tamagotchi till i was 12 and i
• 10:39
  Speaker 8: promptly killed it.
• 10:41
  Speaker 1: Like there's so many levels of dorky right there like
• 10:45
  Speaker 1: on purpose I don't think so. I think she was
• 10:47
  Speaker 1: just like, I immediately sucked as a parent and killed it.
• 10:51
  Speaker 1: But I just like that.
• 10:53
  Speaker 3: Most people at 12 suck as parents and should not
• 10:55
  Speaker 3: be trusted.
• 10:56
  Speaker 1: Then why do they keep having children? That's a whole
• 10:58
  Speaker 1: other issue. Once again, protection kids. But the fact that
• 11:02
  Speaker 1: she almost said it with a hint of like, I
• 11:05
  Speaker 1: should be so ashamed. I didn't get my first Tamagotchi
• 11:09
  Speaker 1: till I was 12.
• 11:10
  Speaker 3: That was the bad part, not that she killed it.
• 11:12
  Speaker 1: I feel like, yeah, I feel like that was like
• 11:15
  Speaker 1: the joke end of it was, haha, and I killed it.
• 11:17
  Speaker 1: But the shameful part was, I was almost 12 before
• 11:22
  Speaker 1: I got my first Tamagotchi. And I killed it. But
• 11:26
  Speaker 1: I mean, whatever.
• 11:28
  Speaker 2: Stupid.
• 11:29
  Speaker 3: We did see some Tamagotchis there. I was like, wait,
• 11:30
  Speaker 3: was that a Tamagotchi? And you were like, what? And
• 11:31
  Speaker 3: I'm like, Tamagotchi?
• 11:32
  Speaker 1: And I was like, oh, yeah, we'll bring this up later.
• 11:35
  Speaker 1: We have an entire discussion based around Tamagotchis.
• 11:38
  Speaker 3: We do, but I didn't hear that first part.
• 11:40
  Speaker 1: Um, we've got many a scantily clad girl. Spider girl.
• 11:47
  Speaker 1: What was the girl with her ass hanging out? I
• 11:48
  Speaker 1: don't even remember, because all I saw was just.
• 11:50
  Speaker 3: Dude, I don't even know. All you see is ass
• 11:51
  Speaker 3: under courage.
• 11:52
  Speaker 2: It was.
• 11:53
  Speaker 3: Ass under courage.
• 11:54
  Speaker 1: It was just like, what? I believe my comment was,
• 11:57
  Speaker 1: she needs a shorter skirt.
• 11:59
  Speaker 3: If it was any shorter, it would have been a belt.
• 12:00
  Speaker 1: It kind of was a belt, because I was like,
• 12:02
  Speaker 1: you caught it from the side. Come back over here.
• 12:04
  Speaker 1: I'm like, oh no, that's just all ass. Look, you
• 12:06
  Speaker 1: can see nothing but ass on this side. Girl, put
• 12:09
  Speaker 1: some pants on.
• 12:10
  Speaker 3: At least she was cute.
• 12:11
  Speaker 1: She could pull off. I mean, I'll say that with
• 12:14
  Speaker 1: a couple of girls this time. I'm like, usually you
• 12:16
  Speaker 1: get like, I'm doing this because at a convention is
• 12:20
  Speaker 1: the A, only place I can probably get away with this,
• 12:22
  Speaker 1: and B, I get attention here that I don't get
• 12:24
  Speaker 1: from regular-ish guys, from normal jock douchebags in the real
• 12:28
  Speaker 1: world would have issues, but like the geeks here think
• 12:31
  Speaker 1: I am a fine chick. So, sometimes that comes into play.
• 12:35
  Speaker 3: She's their goddess.
• 12:36
  Speaker 2: But.
• 12:37
  Speaker 1: A couple of these girls, I was like, you, I
• 12:40
  Speaker 1: don't even know what you're doing here. Like, you can
• 12:41
  Speaker 1: go out in the real world and get attention looking
• 12:42
  Speaker 1: like that. So, I don't know. Sometimes regular girls wander in,
• 12:47
  Speaker 1: and I don't know what they're doing there. Sometimes they
• 12:49
  Speaker 1: dress like Spider-Girl. They might be booth babes, but I
• 12:52
  Speaker 1: don't know.
• 12:53
  Speaker 3: Hey, Spider-Girl was at least covered.
• 12:54
  Speaker 1: Fully.
• 12:55
  Speaker 3: Head to toe.
• 12:56
  Speaker 1: Fully covered.
• 12:58
  Speaker 3: It was skin tight, but she was covered.
• 12:59
  Speaker 1: It was like yoga pants material, so it left nothing
• 13:03
  Speaker 1: to the imagination.
• 13:04
  Speaker 3: But she was actually covered.
• 13:05
  Speaker 1: She was fully covered. physically technically covered i am covered
• 13:11
  Speaker 1: in skin much the same way she is covered in
• 13:12
  Speaker 1: that material that's pretty much how it worked i believe
• 13:17
  Speaker 1: even our guests walked by and went i don't know
• 13:19
  Speaker 1: how to spider-man dresses but we'll get to him later
• 13:23
  Speaker 1: in the meantime misty yes have you seen any movies late.
• 13:27
  Speaker 3: Holy shit i watched a movie just last night and
• 13:31
  Speaker 3: what was this movie uh the girl with all the gifts.
• 13:34
  Speaker 1: Which you referenced earlier. And I went, that sounds made up.
• 13:38
  Speaker 1: And then you were like, no, I showed you the trailer.
• 13:39
  Speaker 1: I'm like, wait, I remember this trailer. I do not
• 13:42
  Speaker 1: remember that being the name. And maybe that's a strike
• 13:44
  Speaker 1: against it in its marketing campaign. Because I feel like
• 13:47
  Speaker 1: that seems like you're going to forget. And I did.
• 13:50
  Speaker 1: So does that actually fit it when you're watching the movie?
• 13:54
  Speaker 1: Does she in fact have all the gifts?
• 13:57
  Speaker 3: I'm not really sure. I mean, I understand. I could
• 14:00
  Speaker 3: break it down. I'm not sure if that's giving too
• 14:01
  Speaker 3: much away. It's set in a far in the future where...
• 14:06
  Speaker 3: It's a zombie outbreak.
• 14:09
  Speaker 1: Like you have.
• 14:11
  Speaker 3: But it's a slightly different take on it. It's a
• 14:13
  Speaker 3: fungal infection where somehow the fungus wraps itself around your brain.
• 14:19
  Speaker 3: And you turn into the stereotypical zombie.
• 14:24
  Speaker 1: But can they clear it up?
• 14:25
  Speaker 2: No.
• 14:26
  Speaker 1: If you get some sort of anti-fungus brain?
• 14:28
  Speaker 2: No.
• 14:28
  Speaker 1: Some sort of jock itch?
• 14:29
  Speaker 6: No.
• 14:30
  Speaker 3: That's not how it works.
• 14:31
  Speaker 1: But anyways.
• 14:33
  Speaker 3: Those that were infected while in utero. Like, when they
• 14:40
  Speaker 3: come out, they eat their ways out.
• 14:43
  Speaker 1: They ate their way out.
• 14:45
  Speaker 9: Yeah.
• 14:45
  Speaker 1: That girl had a baby in it, ate its way out.
• 14:47
  Speaker 1: It did.
• 14:48
  Speaker 3: But apparently the second wave of these zombies can maintain
• 14:52
  Speaker 3: some level of human, like, thought. And, you know, so, like,
• 14:59
  Speaker 3: this level of kids that are probably all around the
• 15:01
  Speaker 3: 10 or 11... They can communicate and be normal.
• 15:06
  Speaker 1: Using the iZombie scale of eating brains, they're functional zombies.
• 15:11
  Speaker 3: They're functional. As long as they don't smell people.
• 15:17
  Speaker 1: So if they quarantine you off and just have a
• 15:19
  Speaker 1: bunch of little zombie kids.
• 15:20
  Speaker 3: All the adults cover themselves in this blocker gel. It's
• 15:24
  Speaker 3: a blocker gel that prohibits the kids from being able
• 15:27
  Speaker 3: to smell their human smell.
• 15:30
  Speaker 1: Anti-zombie sunblocker.
• 15:31
  Speaker 3: And they already strap these kids down the wheelchairs. They're
• 15:34
  Speaker 3: all pretty much restrained pretty much all the time.
• 15:36
  Speaker 1: Seems like a lot of trouble.
• 15:37
  Speaker 2: Yeah.
• 15:38
  Speaker 1: I feel like if the government was involved, they'd just
• 15:39
  Speaker 1: ice all these kids.
• 15:40
  Speaker 3: Well, I guess they're trying to figure out a cure.
• 15:41
  Speaker 3: Because that's what the scientists, what they're trying to get to,
• 15:44
  Speaker 3: is trying to figure out a way to cure the problem.
• 15:47
  Speaker 3: You know, and that's what the kids are for. But
• 15:49
  Speaker 3: they're still trying to teach them.
• 15:50
  Speaker 1: So guinea pigs.
• 15:51
  Speaker 3: But they're still trying to teach them to see if
• 15:53
  Speaker 3: they can.
• 15:54
  Speaker 1: Learn and guinea pigs. Yeah.
• 15:55
  Speaker 3: Learn and all that stuff.
• 15:57
  Speaker 10: Yeah.
• 15:58
  Speaker 3: But then there's the scientist who, that's her job, is
• 16:00
  Speaker 3: to try to dissect them and try to figure out what,
• 16:04
  Speaker 3: if they can cure this. Well, they go for the
• 16:06
  Speaker 3: main girl, the main little girl, and that's when the
• 16:08
  Speaker 3: zombies break into the compound. So they have to try
• 16:11
  Speaker 3: to escape.
• 16:12
  Speaker 2: Sneaky.
• 16:14
  Speaker 3: So it's the girl and like a couple military guys
• 16:17
  Speaker 3: and her teacher and the scientist who wants to dissect her.
• 16:21
  Speaker 1: Are any of these Gemma Arderton?
• 16:23
  Speaker 2: Yes.
• 16:24
  Speaker 1: Yes.
• 16:24
  Speaker 2: The teacher.
• 16:25
  Speaker 1: Because she's super cute.
• 16:26
  Speaker 3: The teacher is Gemma Arterton.
• 16:28
  Speaker 2: I like her.
• 16:28
  Speaker 3: I don't know how to say her name. I'm probably
• 16:29
  Speaker 3: screwing it all up.
• 16:30
  Speaker 1: I think it's Gemma Arterton. That's how I keep saying
• 16:32
  Speaker 1: it when I say she's super cute.
• 16:33
  Speaker 3: And then there's Glenn Close. And I'm like, she turned
• 16:37
  Speaker 3: into an old.
• 16:38
  Speaker 10: Dude, right?
• 16:39
  Speaker 1: I mean, she always was odd looking.
• 16:44
  Speaker 3: But now she's just an old dude.
• 16:46
  Speaker 1: She was always kind of odd looking in general.
• 16:49
  Speaker 3: Now it's just them trying to.
• 16:50
  Speaker 1: She's not the most feminine looking woman. Let's put it
• 16:53
  Speaker 1: that way.
• 16:53
  Speaker 3: So yeah, most of the movie is them trying to
• 16:56
  Speaker 3: going to town to try to figure out how to
• 16:59
  Speaker 3: get to the next safe place. And they're trying to, like,
• 17:02
  Speaker 3: the girl, the little girl, Melanie, she can be with
• 17:06
  Speaker 3: the zombies, because she is kind of a zombie, but
• 17:08
  Speaker 3: she can, you know, she can still rationalize things and
• 17:11
  Speaker 3: be like, alright, you want me to do this? I'll
• 17:12
  Speaker 3: go do that. Okay, because she wants them to like her.
• 17:15
  Speaker 3: She wants to be, because she, like, the teacher is
• 17:18
  Speaker 3: the mother that she never had, so she's bonded with
• 17:22
  Speaker 3: her on some level, so she wants to be helpful.
• 17:24
  Speaker 3: She wants them to want her around, and she wants.
• 17:26
  Speaker 1: To But she will still churn if she smells humans?
• 17:32
  Speaker 3: Yes, but she can fight it enough because there was
• 17:35
  Speaker 3: one point in there where the teacher was trying to
• 17:37
  Speaker 3: help her and she's like, no, you need to leave
• 17:39
  Speaker 3: right now. Whereas a lot of their kids, it's just...
• 17:44
  Speaker 3: That's the face they make. You missed it. Oh, if
• 17:47
  Speaker 3: only you could... Yeah, it's not pleasant. But anyway, she
• 17:51
  Speaker 3: has a little bit more control over it because she's
• 17:53
  Speaker 3: like a... I guess she's like the higher end of
• 17:55
  Speaker 3: it where she can... control it a little bit better
• 17:57
  Speaker 3: but she still has that it's going to happen you
• 18:01
  Speaker 3: know but uh yeah it's just their whole trying to
• 18:05
  Speaker 3: figure out what the fuck's going on kind of.
• 18:07
  Speaker 1: Thing at any point does it seem like getting to
• 18:09
  Speaker 1: the next place is a checkpoint and you're watching a
• 18:11
  Speaker 1: video game a.
• 18:12
  Speaker 3: Little bit but it's not not overly that's.
• 18:15
  Speaker 1: A little too much in movies anymore so i i.
• 18:18
  Speaker 3: Don't go to too many locations but yeah then you
• 18:19
  Speaker 3: have that well You make it from the main location
• 18:21
  Speaker 3: to the woods where the water is. And then you
• 18:23
  Speaker 3: have the.
• 18:24
  Speaker 1: Again, any outbreak kind of movies become... Most zombie things become, oh,
• 18:27
  Speaker 1: we gotta get to the next safe place. We gotta
• 18:29
  Speaker 1: get to a safe place and barricade it. We gotta...
• 18:31
  Speaker 1: And then you get to the hospital. I can see that.
• 18:33
  Speaker 3: The mobile lab that was set up before things got
• 18:36
  Speaker 3: too bad. And then it takes this other turn. I'm
• 18:39
  Speaker 3: not sure how much I should spoil.
• 18:41
  Speaker 1: We'll leave it. But you enjoyed it to some extent?
• 18:44
  Speaker 2: I did.
• 18:44
  Speaker 3: I was... There were a couple questions I had at
• 18:46
  Speaker 3: the end, which I'm not going to address because I
• 18:48
  Speaker 3: don't ruin everything, but... It took a different, it's not
• 18:52
  Speaker 3: the exact same zombie movie that we've seen 50 billion times.
• 18:55
  Speaker 3: There is a little bit different to it. Again, with
• 18:57
  Speaker 3: the zombie movies, they never explain what really fucking happened
• 19:00
  Speaker 3: in the first place. All they do is, because the
• 19:04
  Speaker 3: girl asks, you know, what am I? Where did I
• 19:06
  Speaker 3: come from? And they explain about the whole, the second
• 19:09
  Speaker 3: wave of, you know. Fungus. Yeah, fungus. But I'm like,
• 19:14
  Speaker 3: what started the first wave? What? started this to be
• 19:16
  Speaker 3: other than random fungus was there like a biological attack
• 19:19
  Speaker 3: that's pretty.
• 19:19
  Speaker 1: Much the romero way we never i mean in this
• 19:22
  Speaker 1: series of movies they never really pinned down like it
• 19:26
  Speaker 1: just happens and they kind of have these theories and
• 19:29
  Speaker 1: they want to blame a comet and like all this
• 19:31
  Speaker 1: other crap but like we never really know and we're
• 19:33
  Speaker 1: like four and five movies in and we're still seeing
• 19:36
  Speaker 1: the after effects of it all but You never really said, hey,
• 19:40
  Speaker 1: and I kind of like that because I'm like, as
• 19:41
  Speaker 1: the person in the middle of the zombie outbreak, you
• 19:44
  Speaker 1: wouldn't really know necessarily.
• 19:46
  Speaker 3: But this is far enough along the line, you think,
• 19:47
  Speaker 3: I mean, it's not like the beginning. They've already had
• 19:50
  Speaker 3: this zombie set up it's not like a new thing
• 19:53
  Speaker 3: if you think you're at least several years in to
• 19:58
  Speaker 3: this there would be like somewhat alright well here's what
• 20:00
  Speaker 3: happened you know unless they're just like no we're not
• 20:02
  Speaker 3: going to give you that we're going to give you
• 20:03
  Speaker 3: her story and her story alone I'm okay.
• 20:05
  Speaker 1: With that where she comes from just as a plotting
• 20:07
  Speaker 1: device kind of a thing I'm okay I'll watch this
• 20:11
  Speaker 1: at some point.
• 20:12
  Speaker 9: You should.
• 20:12
  Speaker 3: I said it's really good. I'll probably spoil it for
• 20:14
  Speaker 3: you later.
• 20:16
  Speaker 5: Way to go.
• 20:16
  Speaker 3: Yeah, that's what I do.
• 20:17
  Speaker 1: Just save that and don't attack other people.
• 20:19
  Speaker 6: Just me.
• 20:21
  Speaker 1: Well, I also watched something.
• 20:23
  Speaker 3: What did you watch?
• 20:24
  Speaker 1: I watched Before I Fall, which it was one of those.
• 20:28
  Speaker 1: I almost even went to the theater and more so
• 20:32
  Speaker 1: like the trailer was just kind of whatever. But because
• 20:34
  Speaker 1: I'm like.
• 20:35
  Speaker 3: Is it Lea Thompson Jr.
• 20:36
  Speaker 9: In it?
• 20:37
  Speaker 3: Lilia.
• 20:37
  Speaker 1: I like to call her Lilia. I don't think she's
• 20:39
  Speaker 1: going to like it if I call her Lilia, but
• 20:41
  Speaker 1: it wasn't even that. That helped a little. That pushed
• 20:43
  Speaker 1: it a little over the edge, but I was just
• 20:44
  Speaker 1: kind of like, man, it's a time loop movie. I'm
• 20:50
  Speaker 1: a sucker for time travel anyway, but a time loop
• 20:53
  Speaker 1: is an extra little special subsection of its own weird genre,
• 20:57
  Speaker 1: and I'm just like, those are pretty damn interesting. It's
• 21:01
  Speaker 1: Groundhog Day-ish, but there's been several other movies that kind
• 21:05
  Speaker 1: of fall into that category, and But this one is
• 21:07
  Speaker 1: very much Groundhog Day to the point of things are
• 21:11
  Speaker 1: going to repeat. And you've got to figure out what
• 21:13
  Speaker 1: the hell you're doing. And it does kind of follow
• 21:16
  Speaker 1: along the same, like.
• 21:18
  Speaker 3: There's getting ready to be another one of those coming
• 21:20
  Speaker 3: out really soon.
• 21:21
  Speaker 1: Probably.
• 21:21
  Speaker 3: No, I've already posted the trailer for it.
• 21:23
  Speaker 1: I think it's called Death Day. Does Zoe appear? No.
• 21:27
  Speaker 1: That's the thing. I mean, she is ridiculously cute. So
• 21:31
  Speaker 1: then I started posing when we switched from the plot
• 21:34
  Speaker 1: to my sad personal life. Is it strange because you
• 21:39
  Speaker 1: still went into the family to switch from the mother
• 21:41
  Speaker 1: to the daughter?
• 21:42
  Speaker 3: It's Happy Death Day, sorry.
• 21:44
  Speaker 1: How creepy is that?
• 21:46
  Speaker 3: Well, I'm sorry. I was looking up Happy Death Day.
• 21:50
  Speaker 1: To switch from the mother to the daughter just to
• 21:54
  Speaker 1: worm your way into the family. How creepy. I mean,
• 21:57
  Speaker 1: I feel like that's pretty creepy. But I'm midway in going...
• 22:02
  Speaker 1: She does look a lot like Leah. I mean, you know,
• 22:04
  Speaker 1: and she's, outside of that, she's adorable anyway. She's pretty
• 22:08
  Speaker 1: damn likable in this role. I'm just like, but I
• 22:12
  Speaker 1: still really like mom, but she's all married and stuff.
• 22:16
  Speaker 1: I had a whole plan for us when I was
• 22:19
  Speaker 1: like 12 and like, she did not follow through with
• 22:22
  Speaker 1: my plan.
• 22:22
  Speaker 3: What the hell is she thinking?
• 22:24
  Speaker 1: I don't know. Leah, call me. I mean, that Howard
• 22:27
  Speaker 1: guy seems nice and all, but I don't know what
• 22:29
  Speaker 1: you're thinking. Anyway, so, Zoe's actually very good in this.
• 22:35
  Speaker 1: Here's what I came to by the end, though, and
• 22:37
  Speaker 1: I won't even spoil any specifics of what goes on, really,
• 22:41
  Speaker 1: other than it does repeat. It's a day, much like
• 22:44
  Speaker 1: Groundhog Day, and it kicks in and... We go through
• 22:48
  Speaker 1: the process and then at the end, it's a weird
• 22:51
  Speaker 1: end and you kind of don't even know why it
• 22:54
  Speaker 1: is ending the way it is or what's happening exactly
• 22:56
  Speaker 1: until you get further into the plot. So I do
• 22:59
  Speaker 1: like that it doesn't immediately spell everything out for you.
• 23:01
  Speaker 1: You have to kind of go along the ride that
• 23:03
  Speaker 1: she does too. But it kind of does the same
• 23:07
  Speaker 1: thing structurally and sort of like in the grand scheme
• 23:11
  Speaker 1: of things. By the end, I was like, I don't
• 23:13
  Speaker 1: know that it's a great movie, but what it does is...
• 23:17
  Speaker 1: leave you with a lot of thinking about things that
• 23:20
  Speaker 1: is kind of.
• 23:21
  Speaker 3: Oh, never mind.
• 23:21
  Speaker 1: Well, it's like, it's greater than the sum of its parts. Like,
• 23:24
  Speaker 1: the thing that it leaves you with, the game that
• 23:27
  Speaker 1: it has you playing of like, well, really, I guess what?
• 23:30
  Speaker 1: And like, when you're sitting there rationalizing to yourself what
• 23:32
  Speaker 1: the grand theme of it all is, is kind of
• 23:35
  Speaker 1: more impressive than the specifics of what was written on
• 23:39
  Speaker 1: the page. And I'm like, in a way, that's also impressive. Like,
• 23:43
  Speaker 1: just from a filmmaking standpoint, if you can make your audience...
• 23:47
  Speaker 1: pay attention and ask themselves questions and think about things
• 23:50
  Speaker 1: outside of their dumb little room you know way too
• 23:53
  Speaker 1: complicated for me it kind of is in the big
• 23:57
  Speaker 1: picture but again like what's going on on screen is
• 23:59
  Speaker 1: not it's a lot of bickery high school girls like
• 24:03
  Speaker 1: I mean if you're just going by what the what's
• 24:05
  Speaker 1: going on on screen it is like four high school
• 24:08
  Speaker 1: girls and I'm also trying to decide because in the
• 24:14
  Speaker 1: beginning it Their banter and their little interactions and their
• 24:19
  Speaker 1: little girl not even camaraderie. They're just like.
• 24:22
  Speaker 3: Are they frenemies?
• 24:24
  Speaker 1: They're not. No, they're all friends, but they're kind of jerks.
• 24:28
  Speaker 1: I mean, Zoe's character is the nice one of the bunch,
• 24:31
  Speaker 1: but you're one of those like, am I supposed to
• 24:34
  Speaker 1: like these girls? Because I kind of don't like them.
• 24:36
  Speaker 1: And then... some of their stuff also didn't even like
• 24:39
  Speaker 1: ring true.
• 24:43
  Speaker 9: I'm like do real high school girls even talk to
• 24:49
  Speaker 9: each other this way like it almost felt disingenuine as
• 24:53
  Speaker 9: to like this is not even the way girls talk
• 24:56
  Speaker 9: or high school girls talk or friends talk I'm like
• 24:58
  Speaker 9: some of.
• 24:58
  Speaker 1: This just felt like you were sort of taking the
• 25:01
  Speaker 1: cookie cutter idea of what you think random four girls
• 25:04
  Speaker 1: would talk like and inserting it into this scenario And again,
• 25:07
  Speaker 1: at first I was like, oh, this might just be
• 25:10
  Speaker 1: lazy writing. As I got into it by the end,
• 25:13
  Speaker 1: I was like, is it smarter than that? And it's
• 25:16
  Speaker 1: setting that first wave up so that you do feel
• 25:19
  Speaker 1: like you're disconnected from them because something's wrong with that timeline.
• 25:22
  Speaker 1: Like literally something is wrong with the way they're living
• 25:25
  Speaker 1: their lives. And I felt that way the first time through.
• 25:28
  Speaker 1: And I'm like, damn, is it smarter than I think
• 25:30
  Speaker 1: it is? Or is it just lazy writing? I can't decide.
• 25:33
  Speaker 1: So if you guys watch it, you write in and
• 25:35
  Speaker 1: tell me because I'm not 100% sure which side I
• 25:38
  Speaker 1: fall on.
• 25:39
  Speaker 2: I will give it points.
• 25:41
  Speaker 1: It is Rye Russo Young. So shout out to female
• 25:46
  Speaker 1: director who's directing these group of girls and telling a
• 25:50
  Speaker 1: pretty girl-centric high school story. It centers around a high
• 25:54
  Speaker 1: school day, which seems like hell on earth if you
• 25:57
  Speaker 1: ask me. If you're going to repeat a day and
• 25:58
  Speaker 1: it's a day you go to school in high school.
• 26:01
  Speaker 3: I didn't have that by that time in high school
• 26:04
  Speaker 3: screw high school.
• 26:05
  Speaker 1: In grade school and school all together hey we just
• 26:08
  Speaker 1: had pizza if I could repeat today today was pretty awesome.
• 26:11
  Speaker 3: Rectangular pizza everybody thought it was a square pizza but
• 26:13
  Speaker 3: ours was a.
• 26:14
  Speaker 1: Rectangular convention looking at geeks and spider.
• 26:17
  Speaker 3: Girls seeing way more cleavage talking.
• 26:19
  Speaker 1: To Phil I mean this is a good day so
• 26:22
  Speaker 1: if I could repeat today that's awesome.
• 26:23
  Speaker 3: That was good pizza we had pizza it was good
• 26:25
  Speaker 3: pizza but high school day couldn't say the name of
• 26:27
  Speaker 3: it but.
• 26:27
  Speaker 1: It was good a high school day that is not
• 26:29
  Speaker 1: the day to repeat.
• 26:30
  Speaker 3: Not even a field day I love field day.
• 26:33
  Speaker 1: That's what happens here. It's not field day, but a
• 26:36
  Speaker 1: normal high school day and a big dumb party and
• 26:38
  Speaker 1: all of the normal goings on of a popular teenage girl.
• 26:41
  Speaker 1: And so again, I go midway.
• 26:42
  Speaker 3: I wasn't one of those.
• 26:43
  Speaker 1: That's what I'm saying. These girls are popular and the
• 26:45
  Speaker 1: not so likable kind of, several of them are not
• 26:47
  Speaker 1: so likable kind of popular girls. So I'm midway in going,
• 26:50
  Speaker 1: I don't really like these girls. So like, I'm deciding
• 26:53
  Speaker 1: if that's going to color the way I like this movie.
• 26:56
  Speaker 1: And I'm like, I don't know. Again, I don't know
• 26:59
  Speaker 1: if that's supposed to be part of it because, Our
• 27:01
  Speaker 1: character realizes I'm doing things wrong in her life, in
• 27:04
  Speaker 1: her day. It might be supposed to be like that.
• 27:09
  Speaker 1: I can't decide. But what is good is it is
• 27:11
  Speaker 1: well shot. She didn't write the screenplay, but she came
• 27:14
  Speaker 1: in as director. She'd done another one, Nobody Walks, in 2012,
• 27:19
  Speaker 1: I think. I think in 2012 she did another movie.
• 27:23
  Speaker 1: I do think visually she has style. She has kind
• 27:26
  Speaker 1: of a good take on this. Again, maybe was directing
• 27:30
  Speaker 1: these girls to be that way i can't decide but
• 27:34
  Speaker 1: visually it's stylish i kind of want to see what
• 27:36
  Speaker 1: she does next.
• 27:37
  Speaker 3: I can give you a review happy death day trailer.
• 27:41
  Speaker 1: All right okay trailers for time loop movies go how
• 27:44
  Speaker 1: does this.
• 27:45
  Speaker 3: One range i actually really can't wait to see this
• 27:47
  Speaker 3: movie it's um again along this it's like if uh
• 27:50
  Speaker 3: groundhog day and like a horror movie had a baby
• 27:53
  Speaker 3: but the whole thing is it's she had a college
• 27:56
  Speaker 3: girl i guess And it's going through her day and
• 28:00
  Speaker 3: at the end she goes to a party and she
• 28:01
  Speaker 3: gets killed. That happens. And then she wakes up and
• 28:04
  Speaker 3: she has to go through the day all over again
• 28:05
  Speaker 3: and she has to keep going through that day until
• 28:07
  Speaker 3: she finds out who fucking killed her. When was this
• 28:11
  Speaker 3: in production?
• 28:13
  Speaker 1: This might be a deep impact Armageddon kind of situation.
• 28:17
  Speaker 1: Which one of us can get this done first?
• 28:18
  Speaker 2: Go!
• 28:19
  Speaker 3: This is 2017.
• 28:22
  Speaker 1: I wonder which one was in the works first. Which
• 28:25
  Speaker 1: just got good funding and got pushed through the system faster.
• 28:28
  Speaker 3: I don't know. I know that I want to see it,
• 28:31
  Speaker 3: but this is all from the trailer. I've not seen
• 28:34
  Speaker 3: the movie, so I don't think I'm spoiling anything that
• 28:36
  Speaker 3: you're not going to get from the trailer. But yeah,
• 28:38
  Speaker 3: it's just her going through her day.
• 28:40
  Speaker 1: Things go all crazy in time loop movies, so I
• 28:42
  Speaker 1: don't think we're breaking that news story.
• 28:44
  Speaker 3: This is all in the trailer. Her whole thing is
• 28:46
  Speaker 3: there's a person in a mask who kills her and
• 28:48
  Speaker 3: she has to figure out who it is. I don't
• 28:50
  Speaker 3: know if If she figures out who it is, if
• 28:52
  Speaker 3: she can manage to save herself or if she gets
• 28:55
  Speaker 3: to move on.
• 28:56
  Speaker 1: More horror-centric and semi-slashery where you don't get that at
• 29:00
  Speaker 1: all with Buffalo. It's based on a novel and it
• 29:02
  Speaker 1: does feel very young adult novel-ish by the end of it.
• 29:06
  Speaker 1: I think it's leaning more towards that crowd anyway. I'm
• 29:09
  Speaker 1: sure that's how they were marketing it. It definitely falls
• 29:13
  Speaker 1: into that category, but it's got bigger concepts going on.
• 29:16
  Speaker 3: This just seems like, gotta figure out who killed me.
• 29:19
  Speaker 1: To me, if you like Time loop, that to me
• 29:22
  Speaker 1: is going to push it over the edge one way
• 29:24
  Speaker 1: or the other. Either, oh my god, I can't keep
• 29:26
  Speaker 1: watching the same scenario over and over again, which at
• 29:28
  Speaker 1: least they do fast forward a little bit as you
• 29:30
  Speaker 1: go into the other versions of it. But if you
• 29:33
  Speaker 1: like that kind of a story, if you like that
• 29:35
  Speaker 1: Groundhog Day scenario of trying to figure out why you're
• 29:38
  Speaker 1: in this little weird time loop, then it does that
• 29:41
  Speaker 1: pretty well. And if you've been tolerating.
• 29:43
  Speaker 3: Does she realize she's in a time loop? Oh, yeah.
• 29:46
  Speaker 1: The next day, she's just like, what the hell is
• 29:49
  Speaker 1: going on?
• 29:49
  Speaker 3: Yeah, it's the same as Happy Death Day.
• 29:51
  Speaker 2: Yeah.
• 29:51
  Speaker 1: So, I mean, she's even got her little, like, I
• 29:55
  Speaker 1: got you, babe, wake up song. Which, luckily, it's a
• 29:58
  Speaker 1: decent song.
• 29:59
  Speaker 3: There was an episode of Supernatural where they had that too,
• 30:01
  Speaker 3: but I can't for life remember what song it was.
• 30:04
  Speaker 1: This was alright.
• 30:05
  Speaker 2: It's one of.
• 30:06
  Speaker 3: Heat of the moment.
• 30:07
  Speaker 1: Hey, you can't go wrong with some Asia.
• 30:09
  Speaker 3: I'm pretty sure, yeah. Sam wakes up every morning and
• 30:13
  Speaker 3: has to repeat the day and the first song playing
• 30:16
  Speaker 3: is Heat of the moment.
• 30:16
  Speaker 1: I'd be okay with that too. But no, this is, again,
• 30:20
  Speaker 1: a popular song that will be on the soundtrack and
• 30:22
  Speaker 1: teenage girls that are based around this movie will probably
• 30:25
  Speaker 1: already have this song on their phone anyway. Anyway. Yeah,
• 30:29
  Speaker 1: if you like time loop movies and you can hang
• 30:31
  Speaker 1: out with teenage girls and not strangle them, you'll be
• 30:33
  Speaker 1: okay with this movie.
• 30:35
  Speaker 3: I watched another movie, too, but I can't remember what
• 30:37
  Speaker 3: it was. I mentioned it to you while we were
• 30:38
  Speaker 3: in the convention. I'm like, ooh, I watched this, too.
• 30:40
  Speaker 3: But now I can't remember what it was. Doctor Strange?
• 30:42
  Speaker 3: Was it Doctor Strange?
• 30:43
  Speaker 1: You did say Doctor Strange. I don't think you've talked
• 30:46
  Speaker 1: about it. We've done an episode about it. I have
• 30:48
  Speaker 1: many thoughts about it. But what did you think?
• 30:50
  Speaker 3: I think his trying to sound American was so distracting
• 30:54
  Speaker 3: at times because he is so not American. And everybody
• 30:56
  Speaker 3: else probably didn't notice it, but it was just his...
• 30:59
  Speaker 3: He was trying so fucking hard to not be British.
• 31:02
  Speaker 1: I don't know. I think a lot of people have
• 31:03
  Speaker 1: watched some Sherlock, so... I feel like a lot of
• 31:06
  Speaker 1: people have heard him not speak American, so.
• 31:08
  Speaker 3: But I figured it might not have been as annoying
• 31:10
  Speaker 3: to some people, because some people, it probably doesn't bother
• 31:11
  Speaker 3: them as much, but I'm just like, I know you're British,
• 31:14
  Speaker 3: that's fine, but you're trying so hard to not... It
• 31:18
  Speaker 3: doesn't sound natural. It sounds like he's trying so hard
• 31:22
  Speaker 3: to make it not British-y.
• 31:23
  Speaker 1: I feel like there's a lot of trying hard in
• 31:24
  Speaker 1: that movie.
• 31:25
  Speaker 3: Yeah, I mean, I enjoyed the movie, but.
• 31:29
  Speaker 3: I didn't have a lot of expectations going into it
• 31:31
  Speaker 3: I didn't know anything about Doctor Strange I've never read
• 31:33
  Speaker 3: a comic.
• 31:33
  Speaker 1: Book I didn't pay much attention to the comics and
• 31:36
  Speaker 1: so I tried to just take it as a movie
• 31:38
  Speaker 1: and as a movie being crammed into the middle of
• 31:40
  Speaker 1: this crazy Marvel universe that's going on and I'm like
• 31:43
  Speaker 1: it's just as I said before it's the most impressive
• 31:48
  Speaker 1: meh I've ever seen I don't have any problems again
• 31:53
  Speaker 1: the special effects are amazing but I kind of don't
• 31:55
  Speaker 1: air like i'm not overly invested in any body or
• 31:59
  Speaker 1: anything that's going on really and i don't dislike him
• 32:01
  Speaker 1: but i'm just kind of like i'm sure the doc
• 32:04
  Speaker 1: will be all right i don't feel like there's that
• 32:06
  Speaker 1: much at stake mostly because there's just such crazy level
• 32:09
  Speaker 1: special effects i'm just gonna they'll be fine yeah i'm
• 32:12
  Speaker 1: sure he'll turn up into infinity war he'll be okay
• 32:15
  Speaker 1: he's such a whiny bitch sometimes well he does that
• 32:18
  Speaker 1: pretty well actually yeah.
• 32:20
  Speaker 3: What else should i talk about what else we.
• 32:22
  Speaker 1: Were gonna watch gonna mention a certain tv show that.
• 32:25
  Speaker 3: Boyfriend is like totally i think i referenced.
• 32:28
  Speaker 1: It lately but always i mean that was my thing
• 32:30
  Speaker 1: it's like i've we're again we're not breaking any news
• 32:32
  Speaker 1: here i've heard about this show for a long time
• 32:35
  Speaker 1: and i was just like i fought it for so
• 32:36
  Speaker 1: long that was my thing i was like whatever i
• 32:38
  Speaker 1: don't have time i don't and then at some point
• 32:40
  Speaker 1: i'd heard a couple of things that were just like
• 32:41
  Speaker 1: pushed me over the edge it was coming on one
• 32:44
  Speaker 1: at night.
• 32:44
  Speaker 11: On cartoon network or whatever and i was just like
• 32:47
  Speaker 11: All right, let's go ahead and watch an episode.
• 32:48
  Speaker 3: Holy shit sticks.
• 32:49
  Speaker 1: I was just like, fuck, this is everything I've heard
• 32:54
  Speaker 1: and more. I'm just like, it is insanity.
• 32:58
  Speaker 3: We got the Netflix.
• 32:59
  Speaker 5: Amazing.
• 33:00
  Speaker 3: We got the DVDs through Netflix. So it's the uncensored
• 33:02
  Speaker 3: version because at least when they show, when they show
• 33:04
  Speaker 3: it on cartoon network, like.
• 33:06
  Speaker 1: The words don't matter. It's the things going on and the,
• 33:10
  Speaker 1: the intention of what's going on and the horrible things
• 33:14
  Speaker 1: that are being done. And I'm just like, it's, you
• 33:16
  Speaker 1: can say whatever bad word you want. That's not what's
• 33:18
  Speaker 1: making it mortifying. Like, it's just some of the things
• 33:21
  Speaker 1: going on. I'm just like, oh my God, how did
• 33:23
  Speaker 1: you make this a show? And I love it.
• 33:26
  Speaker 3: It's horrible.
• 33:28
  Speaker 6: It is.
• 33:29
  Speaker 3: It's amazing. It's the best and worst thing I've ever seen.
• 33:32
  Speaker 3: I'm just like, holy, they made this? What happened?
• 33:35
  Speaker 1: So mean spirited and yet fucking awesome at the same time.
• 33:39
  Speaker 1: So yes, Rick and Morty is the show. If we've
• 33:43
  Speaker 1: not mentioned.
• 33:43
  Speaker 3: It's mind-boggling. I'd seen it referenced on so much shit,
• 33:48
  Speaker 3: and I'm just like, why is this Doc Brown and
• 33:53
  Speaker 3: Marty McFly?
• 33:53
  Speaker 1: It's just a bastardized version of Back to the Future,
• 33:56
  Speaker 1: and what happens if Doc's drunk all the time, and
• 33:59
  Speaker 1: Marty's kind of an idiot. A lovable idiot, but he's
• 34:02
  Speaker 1: not the sharpest crayon.
• 34:04
  Speaker 2: In the box.
• 34:04
  Speaker 3: Then it's just like, holy shit!
• 34:06
  Speaker 1: They get away with a lot.
• 34:08
  Speaker 3: Yeah a lot more than i would even for adult
• 34:11
  Speaker 3: swim because i'm like.
• 34:12
  Speaker 1: They're pulling the the south park card they're like you
• 34:16
  Speaker 1: couldn't not only get away with this you couldn't come
• 34:18
  Speaker 1: in the neighborhood of shit that you're doing on this
• 34:21
  Speaker 1: show if you were live action or if you were
• 34:23
  Speaker 1: on any other network or if you like it's one
• 34:26
  Speaker 1: of those just a loophole like oh it's a dumb
• 34:27
  Speaker 1: cartoon they can do that whatever it's a dumb cartoon
• 34:30
  Speaker 1: like the grown-ups of the bunch don't seem to pay
• 34:33
  Speaker 1: attention And the dorks that are sitting home watching Adult
• 34:35
  Speaker 1: Swim are just like, holy shit, this is amazing. So, like,
• 34:38
  Speaker 1: it's kind of missing the people who would be pissy
• 34:40
  Speaker 1: about it, which is, I think, how South Park hosted
• 34:42
  Speaker 1: for the longest time. Like, smart people thought it was
• 34:46
  Speaker 1: dumb and didn't watch it, when in actuality, it's really
• 34:49
  Speaker 1: well written. And, like, the jokes probably would go over
• 34:52
  Speaker 1: their head. But, like, the things that would offend them,
• 34:54
  Speaker 1: also they don't get exposed to, so they get away
• 34:57
  Speaker 1: with murder.
• 34:58
  Speaker 7: Literally.
• 35:02
  Speaker 1: Rick and Morty. Yeah. So we walked around and saw many,
• 35:05
  Speaker 1: many Ricks and Mortys. I only saw one Rick.
• 35:09
  Speaker 3: Mostly Rick.
• 35:10
  Speaker 1: I only saw one Rick. I just kept seeing him maybe.
• 35:13
  Speaker 1: I can't remember. I feel like I saw a lot
• 35:15
  Speaker 1: of knockoff.
• 35:16
  Speaker 3: We saw a lot of merchandise, I think.
• 35:18
  Speaker 1: Yeah. Stuff like that. There's a lot of stuff. Which, again,
• 35:21
  Speaker 1: I'm kind of glad that it's gotten to that level
• 35:23
  Speaker 1: where it's getting sort of not really full mainstream. But
• 35:28
  Speaker 1: as close as you can get for something as horrible
• 35:30
  Speaker 1: and offensive as that is. it's getting embraced and getting
• 35:33
  Speaker 1: a little merchandise and that's cool.
• 35:35
  Speaker 3: Yeah, it just, like I said, we've watched the first two,
• 35:37
  Speaker 3: because I think there are only two seasons so far
• 35:39
  Speaker 3: because it's supposed to start up again like later this
• 35:41
  Speaker 3: month for the third season. And it just never ceases
• 35:45
  Speaker 3: to like, usually I'm like, they can't possibly do anything worse.
• 35:48
  Speaker 3: Oh shit, they just did something worse.
• 35:50
  Speaker 1: They can't be more affordable. Oh my God, what have
• 35:52
  Speaker 1: they done this week?
• 35:54
  Speaker 3: So yeah, we've been like marathon on that and he's
• 35:55
  Speaker 3: been watching it with his kid.
• 35:58
  Speaker 1: That poor child.
• 35:59
  Speaker 3: She's 17, you know.
• 36:00
  Speaker 1: But, Still. I don't know if she's prepared.
• 36:03
  Speaker 3: I'm like, I'm not old enough for some.
• 36:05
  Speaker 1: Of this shit. That's true. Mentally, yeah.
• 36:08
  Speaker 3: I'm not prepared for what I just saw.
• 36:11
  Speaker 1: I'm just like, holy crap.
• 36:12
  Speaker 3: Yeah, they did. But it's amazing and I can't stop watching.
• 36:46
  Speaker 2: Refresh yourself.
• 36:47
  Speaker 3: It's intermission time.
• 36:48
  Speaker 2: The concession stand is open and ready to serve you.
• 36:53
  Speaker 10: It's his night to howl. Dracula's Dog. The meanest vampire
• 36:57
  Speaker 10: of them all has a four-legged friend and he's out
• 36:59
  Speaker 10: for blood. Crown International Pictures presents Dracula's Dog. Whoops, there
• 37:05
  Speaker 10: he goes again. There's more to the legend than meets
• 37:08
  Speaker 10: the throat in Dracula's Dog. Rated R, under 17, not
• 37:12
  Speaker 10: admitted without parent.
• 37:25
  Speaker 1: So this is a great episode, right? Well, if you'd
• 37:28
  Speaker 1: like to keep more awesome discussions like this one coming
• 37:30
  Speaker 1: your way, you need to join the club over on
• 37:32
  Speaker 1: the Movie Meltdown Patreon page. If you can chip in
• 37:35
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• 37:39
  Speaker 1: With your contributions, we can continue to keep producing great episodes,
• 37:42
  Speaker 1: keep organizing these fun conversations about film, and keep booking
• 37:47
  Speaker 1: amazing guests. So just go to patreon.com slash movie meltdown
• 37:51
  Speaker 1: or go to movie meltdown.com. And the link is right
• 37:53
  Speaker 1: there at the top of the page and you can
• 37:55
  Speaker 1: help keep the show going. Plus you get exclusive episodes
• 37:58
  Speaker 1: every month just for club members. So go to our
• 38:01
  Speaker 1: Patreon page, join the meltdown club, become a milk a tear,
• 38:05
  Speaker 1: get cool stuff and keep the meltdown rolling. Damn the man.
• 38:09
  Speaker 1: Save the meltdown. Hi, I'm Leah Thompson.
• 38:28
  Speaker 3: You're listening to Movie Meltdown.
• 38:30
  Speaker 6: My God.
• 38:31
  Speaker 2: This relationship, it defies all the laws of nature. No,
• 38:35
  Speaker 2: it doesn't. This is not what you think.
• 38:37
  Speaker 1: We're just very good friends.
• 38:43
  Speaker 10: It's part of your problem, you know.
• 38:46
  Speaker 3: You haven't seen enough movies.
• 38:47
  Speaker 7: All of life's riddles are answered in the movies.
• 38:51
  Speaker 3: And now, on with the show.
• 38:56
  Speaker 10: Let's go and hang out with this week's guest, who
• 39:01
  Speaker 10: by the way is awesome.
• 39:03
  Speaker 2: I know, and I'm taking out with that dead bug
• 39:05
  Speaker 2: the whole time.
• 39:06
  Speaker 4: Yeah, just as we're having this awesome.
• 39:08
  Speaker 1: Conversation, just remember, Misty's A few feet over because I
• 39:25
  Speaker 1: try to get her roped in and she won't ever
• 39:27
  Speaker 1: say words to other people. She's lucky that she made it.
• 39:30
  Speaker 1: the exception and talks to me.
• 39:31
  Speaker 3: I don't know anything this guy's done. I mean, I
• 39:34
  Speaker 3: know stuff that he did, but not like... But she's
• 39:36
  Speaker 3: just antisocial.
• 39:37
  Speaker 1: So she's sitting on the floor over.
• 39:39
  Speaker 3: No, I was sitting in the security chair.
• 39:41
  Speaker 1: Oh, you had the security chair.
• 39:42
  Speaker 2: That's right.
• 39:42
  Speaker 1: We did just sort of stake our claim, as we
• 39:44
  Speaker 1: usually do everywhere we go. We just set up shop
• 39:46
  Speaker 1: and do whatever the hell we want. But you're over
• 39:49
  Speaker 1: hanging out with a dead bug.
• 39:51
  Speaker 3: And that wasn't even just like a little dead bug.
• 39:52
  Speaker 3: It was fucking huge. It could have taken over the
• 39:54
  Speaker 3: entire country if it had set its mind to it
• 39:56
  Speaker 3: and hadn't died on the floor there in the back
• 39:57
  Speaker 3: of the convention center.
• 39:59
  Speaker 1: The cockroach that ate Cincinnati.
• 40:00
  Speaker 3: It was huge. We're not in Cincinnati. Oh, yeah.
• 40:02
  Speaker 1: That's the fun. The cockroach that ate indie popcorn.
• 40:07
  Speaker 5: All right.
• 40:08
  Speaker 1: So, Phil Lamar. He's awesome. You probably have seen many
• 40:13
  Speaker 1: things that he's in. But if not, I'm going to
• 40:14
  Speaker 1: rattle several of them off as we go here.
• 40:16
  Speaker 6: So.
• 40:17
  Speaker 1: Just crossed over into many different areas over the years.
• 40:20
  Speaker 1: And we're going to hear about it right now.
• 40:22
  Speaker 3: Hell yeah.
• 40:46
  Speaker 1: So normally I check in with people and try to
• 40:48
  Speaker 1: figure out how they got into the business and made
• 40:51
  Speaker 1: their way to Los Angeles. But when you start there,
• 40:54
  Speaker 1: how does it change things for you? I mean, when you,
• 40:57
  Speaker 1: cause you were born in LA.
• 40:59
  Speaker 6: Yeah.
• 40:59
  Speaker 2: Well, I mean, LA is like any other city with
• 41:03
  Speaker 2: a major industry.
• 41:04
  Speaker 1: Yeah.
• 41:04
  Speaker 2: Like not everybody in Detroit works in cars, you know? Um,
• 41:08
  Speaker 2: and nobody in my family is in show business. Yeah. Uh, actually,
• 41:11
  Speaker 2: I guess really the only difference was, um, I wound
• 41:16
  Speaker 2: up having a summer job doing a cartoon when I
• 41:18
  Speaker 2: was in high school, which was still more of a
• 41:22
  Speaker 2: summer job than the beginning of a career or anything.
• 41:24
  Speaker 2: But the way that actually did impact down the road
• 41:29
  Speaker 2: is it got me my SAG card. So that by
• 41:33
  Speaker 2: the time I came back from college and began to
• 41:35
  Speaker 2: pursue acting as a career, I did have that at least.
• 41:39
  Speaker 2: I had my union card.
• 41:41
  Speaker 1: I think, again, what little I've seen from other people
• 41:43
  Speaker 1: is just kind of like, it's just an option. It's
• 41:46
  Speaker 1: just something that's there versus like everyone else is just
• 41:50
  Speaker 1: like almost unobtainable or you have to give up everything
• 41:53
  Speaker 1: you own and like move across country. And there are, yeah,
• 41:56
  Speaker 1: if you guys have talked to her, just kind of like,
• 41:58
  Speaker 1: but you know, or your uncle knows a guy who
• 42:00
  Speaker 1: does it, you know, it's like there, there are at
• 42:02
  Speaker 1: least some sort of like paths that you're like, this
• 42:05
  Speaker 1: is an option if I want to pursue it or
• 42:07
  Speaker 1: you can just get a regular job.
• 42:08
  Speaker 2: So I guess, I mean, I think, I don't know,
• 42:12
  Speaker 2: one of the differences, because I've always felt that a
• 42:17
  Speaker 2: lot of the people in show business are unique in
• 42:21
  Speaker 2: the sense that, especially in Hollywood, they are the people
• 42:25
  Speaker 2: who leave home. Most people don't leave home, ever, in
• 42:30
  Speaker 2: any whatever stretch of life. The vast majority of people
• 42:34
  Speaker 2: stay where they started.
• 42:37
  Speaker 11: In a 20-mile radius of where they were born, they're
• 42:39
  Speaker 11: still living.
• 42:40
  Speaker 2: But there are a handful of people who, for whatever reason,
• 42:44
  Speaker 2: want to leave, have that wanderlust, have a desire. I
• 42:49
  Speaker 2: feel like the people who come to L.A. for show
• 42:53
  Speaker 2: business are people who would be leaving home anyway, for
• 42:59
  Speaker 2: some reason.
• 43:00
  Speaker 11: Does that change it from your end? So if you're
• 43:02
  Speaker 11: one of those people, you're like.
• 43:03
  Speaker 1: I want to move to Boston or New York or
• 43:06
  Speaker 1: like anything like opposite of L.A. if you're already in
• 43:09
  Speaker 1: the middle of it.
• 43:10
  Speaker 3: Yeah, that's the thing.
• 43:11
  Speaker 2: I'm sort of an outlier in terms of show business
• 43:15
  Speaker 2: because I'm not a transplant and I'm not one of
• 43:19
  Speaker 2: those one of the mutants who leaves home. You know,
• 43:22
  Speaker 2: I'm a homebody, but I'm also, you know, somebody who
• 43:26
  Speaker 2: discovered performing and you know, went away to college, but
• 43:30
  Speaker 2: came home and was able to pursue it.
• 43:32
  Speaker 1: That's what I was going to say. You did in
• 43:34
  Speaker 1: the middle, I guess we're kind of skipping the entryway there.
• 43:36
  Speaker 11: So was that Mr. T that you were referencing?
• 43:39
  Speaker 2: Yeah, that was the Mr. T cartoon.
• 43:40
  Speaker 1: Was just something that someone presented to you? Like how
• 43:43
  Speaker 1: do you accidentally end up in Mr. T?
• 43:45
  Speaker 2: I'd been, it wasn't an accident. I'd been doing plays
• 43:48
  Speaker 2: and a friend of my mother's knew I did plays
• 43:53
  Speaker 2: and they were casting real kids for this cartoon voice. And,
• 43:58
  Speaker 2: asked me to audition. So it was basically, I mean,
• 44:01
  Speaker 2: the only difference was I was not a professional actor
• 44:05
  Speaker 2: at that time. And a lot of the other kids
• 44:06
  Speaker 2: were kids who had agents and were actively pursuing, um,
• 44:11
  Speaker 2: you know, professional acting roles.
• 44:13
  Speaker 1: You were already drawn to that. Was that already kind
• 44:16
  Speaker 1: of in the back of your kid mind? That was
• 44:18
  Speaker 1: kind of like where I want to go is I
• 44:19
  Speaker 1: want to, I want to be an actor. I want
• 44:21
  Speaker 1: to be a performer.
• 44:22
  Speaker 2: Um, not, really not as a career thing it was
• 44:26
  Speaker 2: something fun that i did it was something i really
• 44:29
  Speaker 2: enjoyed doing and and i think that's actually been a
• 44:32
  Speaker 2: benefit in a lot of ways in that i got
• 44:36
  Speaker 2: to start relatively early um doing although a lot of
• 44:40
  Speaker 2: people start out doing plays um but i didn't start
• 44:45
  Speaker 2: in the business early really um you kind of.
• 44:49
  Speaker 1: Had your toe in it but then you backed back
• 44:52
  Speaker 1: out and like Yeah.
• 44:53
  Speaker 2: I mean, it was not a career choice. It was
• 44:56
  Speaker 2: a summer job. And I think there's something, especially for
• 44:59
  Speaker 2: a kid, good about staying in that kid mentality and
• 45:03
  Speaker 2: not being thrust into show business fully, where you have
• 45:08
  Speaker 2: to worry about getting gigs and feeling the rejection and
• 45:13
  Speaker 2: mixed in with all of the teenage stuff that you're
• 45:15
  Speaker 2: already dealing with.
• 45:15
  Speaker 1: Yeah, you're already working on a public persona, even though
• 45:18
  Speaker 1: you haven't figured out your teenage real persona yet.
• 45:20
  Speaker 2: Right.
• 45:21
  Speaker 11: Let alone, like, worried about your press, sort of, kind of.
• 45:24
  Speaker 2: Well, let's see if this is the opposite. I mean,
• 45:25
  Speaker 2: this is back in the 80s.
• 45:26
  Speaker 1: Yeah.
• 45:27
  Speaker 2: There was a marked difference between public and private. Massively, yeah.
• 45:31
  Speaker 1: And there was a dividing line. Yeah. There is no
• 45:33
  Speaker 1: dividing line now. Exactly.
• 45:35
  Speaker 2: I mean, basically, as a child actor, you didn't have
• 45:37
  Speaker 2: to worry about persona unless you were a gigantic star.
• 45:40
  Speaker 3: Yeah.
• 45:41
  Speaker 2: If you were just somebody who was, I mean, actors
• 45:43
  Speaker 2: in general, if you were just a working actor... Nobody
• 45:46
  Speaker 2: knew where you lived. Nobody knew your name. Nobody worried
• 45:49
  Speaker 2: about who you were. Yeah.
• 45:51
  Speaker 1: It was a different thing.
• 45:52
  Speaker 9: Yeah.
• 45:52
  Speaker 2: It was only like the very top, top percentage of
• 45:56
  Speaker 2: actors that were, you know, movie stars, you know, part
• 45:59
  Speaker 2: of that celebrity tabloid, you know, fodder.
• 46:02
  Speaker 1: The weird thing is now regular people have a person,
• 46:06
  Speaker 1: regular people have an online presence that like they put
• 46:09
  Speaker 1: out there that you shouldn't probably have to think about
• 46:12
  Speaker 1: if you're not a celebrity. But, Everybody thinks they're celebrities.
• 46:15
  Speaker 2: Well, it's because the concept of fame has basically gone
• 46:20
  Speaker 2: the way of, you know, network television.
• 46:25
  Speaker 1: Yeah.
• 46:26
  Speaker 2: It's been broken down and segmented.
• 46:29
  Speaker 1: It's frightening how accurate Andy Warhol is. I'm like, we
• 46:33
  Speaker 1: don't even have 15 minutes. It's about 15 seconds now,
• 46:35
  Speaker 1: but everybody is their own weird little pop star in
• 46:38
  Speaker 1: their mind and then in the way they approach things
• 46:41
  Speaker 1: and like it is like, Frightening how, like, the cheesy
• 46:45
  Speaker 1: stuff he was doing in the 70s that seemed like
• 46:46
  Speaker 1: a joke came full circle and, like, bit us on
• 46:49
  Speaker 1: the ass.
• 46:50
  Speaker 2: Well, I always say to people, like, what's it like
• 46:53
  Speaker 2: being famous? I'm like, I'm not famous. I'm popular.
• 46:56
  Speaker 1: Yeah.
• 46:57
  Speaker 2: And the distinction I draw is your high school quarterback
• 47:01
  Speaker 2: was popular.
• 47:02
  Speaker 3: Mm-hmm.
• 47:03
  Speaker 2: You know, everybody, everybody works at a factory. No, but
• 47:06
  Speaker 2: everybody in your high school knew that kid's name, you know?
• 47:09
  Speaker 2: And if he looked at you while you were walking
• 47:11
  Speaker 2: down the hall, that meant something.
• 47:12
  Speaker 1: Johnny looked at me.
• 47:13
  Speaker 3: Oh my God.
• 47:14
  Speaker 1: Why?
• 47:14
  Speaker 2: Why was he talking to you? What did he, what
• 47:15
  Speaker 2: was he talking about? But you go to another town.
• 47:20
  Speaker 2: They don't know who that kid is. He's just another,
• 47:22
  Speaker 2: you know, toe headed guy in a letterman's jacket.
• 47:25
  Speaker 5: Like, who are you?
• 47:27
  Speaker 2: And fame has become popularity.
• 47:29
  Speaker 7: Yeah.
• 47:29
  Speaker 2: You know, if within the circle who knows you, you matter.
• 47:34
  Speaker 2: You step outside of it, get in line.
• 47:38
  Speaker 1: Well, that's what I was saying earlier before the, you know,
• 47:40
  Speaker 1: you dipped your toe in, but then you kind of
• 47:42
  Speaker 1: backed out, I guess, to go to school.
• 47:44
  Speaker 11: But then you traveled around quite a bit.
• 47:45
  Speaker 1: I mean, you're in Connecticut, you're in Chicago at some point.
• 47:48
  Speaker 1: So like, were those, again, were you just drawn towards
• 47:52
  Speaker 1: the performing end of it? Was it still plays or
• 47:54
  Speaker 1: was it more moving to the improv or?
• 47:57
  Speaker 2: Well, the big difference there that actually wound up you know,
• 48:01
  Speaker 2: affecting my career down the line is in college, I
• 48:05
  Speaker 2: discovered improv. I started doing heralds and studying with Del Close.
• 48:11
  Speaker 2: And my college improv group traveled to Chicago. And I
• 48:16
  Speaker 2: studied Second City and with Improv Olympic. And that became really,
• 48:20
  Speaker 2: you know, foundational for me as a performer. And it
• 48:23
  Speaker 2: sort of changed my approach, you know, because before you
• 48:27
  Speaker 2: just sort of, get in a play, you audition for
• 48:29
  Speaker 2: a play, you do the play, and there's not really
• 48:31
  Speaker 2: a thinking about it in terms of philosophy. And this
• 48:35
  Speaker 2: actually made me think more deeply about performance. And so
• 48:40
  Speaker 2: when I came home to L.A. after college, I had
• 48:44
  Speaker 2: my plays that I'd been doing since eighth grade, I
• 48:47
  Speaker 2: had the improvisation and the thought. So again, performance was
• 48:52
  Speaker 2: still something separate from... A career. But that's that's when
• 49:00
  Speaker 2: I added that last piece. OK, well, now let me
• 49:03
  Speaker 2: try to make a living.
• 49:05
  Speaker 1: It's weird to go that far and not have it
• 49:08
  Speaker 1: already being like even if other people are hitting you
• 49:10
  Speaker 1: over the head of like, oh, you need to do this. Like,
• 49:12
  Speaker 1: you know, where people are pressuring you to like this
• 49:16
  Speaker 1: is your career.
• 49:17
  Speaker 11: Like even family, I would think, would be like, what
• 49:19
  Speaker 11: you know, what are you doing?
• 49:20
  Speaker 1: You know?
• 49:20
  Speaker 6: No.
• 49:21
  Speaker 2: Well, I mean, after college, I sort of had to
• 49:22
  Speaker 2: make a decision, you know, well, am I going to
• 49:24
  Speaker 2: pursue this? And I said, well, I can't not. Yeah.
• 49:28
  Speaker 2: You know, I might as well.
• 49:29
  Speaker 1: This far in, you might as well give it a shot.
• 49:31
  Speaker 2: Well, and you know, the feedback I'm getting is that
• 49:32
  Speaker 2: it's something I'm pretty good at and it's definitely something
• 49:35
  Speaker 2: I enjoy. And if I don't pursue this, You know, now,
• 49:42
  Speaker 2: when am I going to?
• 49:43
  Speaker 1: It's not going to get better. Right, right.
• 49:44
  Speaker 2: It's not going to be a better chance to do it.
• 49:46
  Speaker 1: It's hard to break in when you're 50 and have
• 49:48
  Speaker 1: no connections.
• 49:50
  Speaker 2: And frankly, I didn't have anything else that I was
• 49:54
  Speaker 2: better at or had a line on. It wasn't like, well,
• 49:59
  Speaker 2: you've just been accepted to medical school. Are you now
• 50:01
  Speaker 2: going to go?
• 50:02
  Speaker 1: No, I'm doing improv.
• 50:03
  Speaker 2: Right.
• 50:03
  Speaker 11: Screw medical school.
• 50:05
  Speaker 2: So it was, I mean, in many ways... Even as
• 50:09
  Speaker 2: hard a path as I knew it was, it was
• 50:10
  Speaker 2: sort of, for me, sort of the path of least resistance.
• 50:13
  Speaker 1: You were already partially down the path. So turning around
• 50:15
  Speaker 1: was even more trouble. Exactly. Well, then as you get,
• 50:19
  Speaker 1: because that's one of those, obviously improv is a great
• 50:22
  Speaker 1: foundation for what you were doing. When you look at
• 50:25
  Speaker 1: it now, and maybe, I don't know, I guess from
• 50:27
  Speaker 1: both angles, looking back at it, how was it for you?
• 50:29
  Speaker 1: But also when you see people doing it now, does
• 50:33
  Speaker 1: it seem different?
• 50:34
  Speaker 2: Doing improv?
• 50:35
  Speaker 1: Doing improv yourself, and then as you look at people
• 50:38
  Speaker 1: doing improv now, because I also feel like it's a
• 50:40
  Speaker 1: very different scene now than what you were coming out of.
• 50:42
  Speaker 2: Yes, definitely.
• 50:43
  Speaker 1: So, I don't know, from both ends, I guess, what
• 50:46
  Speaker 1: is your take on improv now?
• 50:47
  Speaker 2: Well, I mean, I still think it is an incredibly
• 50:52
  Speaker 2: valuable tool for both life and performance. You know, as
• 50:57
  Speaker 2: a life philosophy, the idea of just moving forward through
• 51:01
  Speaker 2: agreement is is the best thing you can teach somebody
• 51:05
  Speaker 2: in pretty much any walk of life in, you know,
• 51:08
  Speaker 2: if you work in an office and you figure out
• 51:10
  Speaker 2: how do we work together to move forward, that works,
• 51:13
  Speaker 2: you know, if, and if you're talking about performance, you know,
• 51:15
  Speaker 2: positivity always begets, you know, better things than negativity. Um,
• 51:21
  Speaker 2: and then, and then improv, improv comedy has a much
• 51:27
  Speaker 2: greater positive element than some others like standup comedy has has,
• 51:32
  Speaker 2: you know, it definitely teaches people to work hard, but
• 51:34
  Speaker 2: you know, that sort of gladiator in front of the
• 51:37
  Speaker 2: audience who is against you, there is an element of
• 51:40
  Speaker 2: negativity there, which a certain personality type thrives on.
• 51:45
  Speaker 1: It's you against everyone.
• 51:47
  Speaker 2: Yeah, exactly. I'm going to beat this crowd down. I'm
• 51:49
  Speaker 2: going to win them over. Whereas, you know, improv is,
• 51:53
  Speaker 2: is theater. The audience is there to support you. And
• 51:56
  Speaker 2: in fact, the audience is part of the show, you know?
• 52:00
  Speaker 2: And so, There's, again, much more of a positive thing.
• 52:03
  Speaker 2: And to me, that fed into professional acting a little
• 52:07
  Speaker 2: better because everything's a collaboration. Like, okay, you hand me
• 52:12
  Speaker 2: a script. I'm going to try to give you a
• 52:14
  Speaker 2: character that helps you create what you're trying to create.
• 52:18
  Speaker 2: And it's like, yes, excellent. You're the next piece of
• 52:20
  Speaker 2: our puzzle. Let's move forward together. And again, all of
• 52:23
  Speaker 2: that improv stuff and the ability to adjust on a dime...
• 52:30
  Speaker 2: And the truth is, if you can get up on
• 52:34
  Speaker 2: stage without knowing what you're going to say, what you're
• 52:38
  Speaker 2: going to do, and not be frightened by that, then
• 52:42
  Speaker 2: it makes auditioning, you know, a lot easier.
• 52:45
  Speaker 1: Gets that out of your system.
• 52:47
  Speaker 2: Yeah. It's like, well, I don't know if I'm going
• 52:50
  Speaker 2: to get this job, but I'm used to uncertainty.
• 52:52
  Speaker 7: Yeah.
• 52:53
  Speaker 1: Well, I mean, that's, and that's, looking at it now though,
• 52:55
  Speaker 1: and I don't know if it's just, because again, like
• 52:57
  Speaker 1: a handful of places that did it then, It was hardcore. So,
• 53:01
  Speaker 1: I mean, they whittled it down to this is the elite.
• 53:04
  Speaker 1: We're much like the celebrity thing now. Like, almost everybody
• 53:07
  Speaker 1: I know is in an improv room now. So, it's
• 53:10
  Speaker 1: a different game now.
• 53:11
  Speaker 2: It's interesting because it has changed and it hasn't. I mean,
• 53:16
  Speaker 2: it's expanded a little bit.
• 53:17
  Speaker 1: Yeah.
• 53:18
  Speaker 2: But conceptually, from when I started in the 80s, it's
• 53:23
  Speaker 2: still the same thing. I mean, basically, there was the
• 53:27
  Speaker 2: Groundlings and Second City. The second city in Chicago and Toronto.
• 53:31
  Speaker 2: Those were the big things. And both of those had
• 53:36
  Speaker 2: fed people into Saturday Night Live, which was a ticket
• 53:40
  Speaker 2: to stardom. So there was this idea that you might
• 53:45
  Speaker 2: get from there. To there.
• 53:47
  Speaker 1: It's still the dream that you're going through.
• 53:49
  Speaker 2: And that still holds true.
• 53:51
  Speaker 1: Yeah.
• 53:52
  Speaker 2: But now there are just, I guess, a lot more
• 53:55
  Speaker 2: places than just those big two. You know, you've got UCB,
• 53:58
  Speaker 2: you've got... And even, I think at the time, you
• 54:00
  Speaker 2: had comedy sports and other smaller variations all around the country.
• 54:04
  Speaker 2: I mean, there were always hundreds of improv groups all
• 54:08
  Speaker 2: over the place. And there still are. There's probably thousands.
• 54:11
  Speaker 2: A lot. But I think maybe more people think... that
• 54:16
  Speaker 2: there's a better chance of getting to, yeah, it's like, well,
• 54:20
  Speaker 2: I don't have to get on Saturday Night Live. I
• 54:22
  Speaker 2: might get my own, you know.
• 54:23
  Speaker 1: Just find a YouTube following.
• 54:25
  Speaker 2: Yeah, exactly.
• 54:26
  Speaker 1: As we've seen here.
• 54:27
  Speaker 3: Yeah.
• 54:28
  Speaker 1: I mean, there's people that. turn it around work.
• 54:31
  Speaker 2: Workaholics you know it's like well we were a group
• 54:34
  Speaker 2: that we started and then we got a tv.
• 54:35
  Speaker 1: Show their own thing and you know picked it up
• 54:38
  Speaker 1: and i mean i guess there is but once again
• 54:40
  Speaker 1: it's still that lottery ticket it's still of the million
• 54:43
  Speaker 1: other people trying yours kind of made its way through somehow.
• 54:46
  Speaker 2: Yeah and and i remember there was a period in
• 54:48
  Speaker 2: the at the groundlings in particular because i after college
• 54:51
  Speaker 2: i came back and i started taking classes there where
• 54:55
  Speaker 2: it shifted right and i call it the kudrow moment
• 54:58
  Speaker 2: um Because, I mean, before that, there were tons of
• 55:03
  Speaker 2: people who had come from the ground. You know, there
• 55:04
  Speaker 2: was Pee Wee Herman, Elvira, who launched from the groundlings
• 55:07
  Speaker 2: and became huge. There was Lorraine Newman. There was Phil Hartman,
• 55:11
  Speaker 2: John Lovitz, people, you know, Julia Sweeney, people who had
• 55:14
  Speaker 2: gone to Saturday Night Live. But something changed when Lisa
• 55:17
  Speaker 2: Kudrow hit big with Friends.
• 55:19
  Speaker 1: Because they were the most mainstream you could get. I mean,
• 55:22
  Speaker 1: it's the number one show. They're getting paid more than
• 55:25
  Speaker 1: anyone on television. And she came from that same start.
• 55:28
  Speaker 2: And they were the biggest stars. And all of a sudden,
• 55:31
  Speaker 2: we got a massive influx of people coming to the
• 55:37
  Speaker 2: Groundlings to take the classes, to get in the company,
• 55:40
  Speaker 2: to be a star.
• 55:40
  Speaker 1: That's the root. We've seen it. It's Lisa Kudrow. This
• 55:43
  Speaker 1: is how I do it.
• 55:44
  Speaker 2: Now it is established. And more importantly, the industry began
• 55:49
  Speaker 2: to do it. Like, if you had a Groundlings class
• 55:52
  Speaker 2: on your resume, now you could audition for sitcoms. Yeah.
• 55:57
  Speaker 2: I had people who were the stars of soaps come
• 55:59
  Speaker 2: and take basic improv class. Who'd been doing it for years, probably. Right,
• 56:04
  Speaker 2: so they could now do comedy. Because that was the
• 56:06
  Speaker 2: rubber stamp. The industry said, okay, now you do comedy.
• 56:10
  Speaker 2: It's like, wait, did anybody ask if you were any
• 56:12
  Speaker 2: good in your Groundlings class?
• 56:14
  Speaker 1: Doesn't matter. Groundlings.
• 56:15
  Speaker 2: I got it on my resume.
• 56:16
  Speaker 1: Did you see the font I used? It says Groundlings.
• 56:18
  Speaker 1: The check cleared. Well, then, I mean, going into TV,
• 56:22
  Speaker 1: at that point, you started doing a lot of TV.
• 56:24
  Speaker 1: Was that... A stepping stone? Or would you have been
• 56:27
  Speaker 1: happy just kind of doing, you know, one-off TV shows
• 56:31
  Speaker 1: at that point? I mean, you were kind of just
• 56:32
  Speaker 1: picking up different episodes and different roles.
• 56:35
  Speaker 11: Is that good enough at the time? Would you have
• 56:37
  Speaker 11: been okay just being a working actor?
• 56:40
  Speaker 1: Absolutely.
• 56:40
  Speaker 2: I mean, my goal was to make my living as
• 56:42
  Speaker 2: an actor. And I began to do it through that,
• 56:46
  Speaker 2: through TV guest star parts. I mean, obviously, once you
• 56:51
  Speaker 2: achieve that goal, you realize... it is a moving target.
• 56:56
  Speaker 2: It's like, I made my living as an actor this week.
• 57:00
  Speaker 2: What am I going to do next week? Next month?
• 57:03
  Speaker 2: You know.
• 57:03
  Speaker 1: It was described to me lately. It's like the circus.
• 57:06
  Speaker 1: What town are we going to next? Is there a
• 57:07
  Speaker 1: town next?
• 57:09
  Speaker 2: Right.
• 57:09
  Speaker 1: Every time it's like, Mike, am I done? Is this it?
• 57:12
  Speaker 2: Right. And that's actually one of the things that I've
• 57:17
  Speaker 2: discovered about show business in general is everybody is a
• 57:22
  Speaker 2: glorified temp.
• 57:23
  Speaker 1: Yeah.
• 57:23
  Speaker 2: Even Tom Hanks. Tom Hanks does the last Dan Brown movie.
• 57:31
  Speaker 2: When that movie is over, he has to go find
• 57:34
  Speaker 2: another job.
• 57:35
  Speaker 11: The only thing is if you can get big enough
• 57:37
  Speaker 11: to bankroll your own.
• 57:38
  Speaker 1: When you get to Tom Hanks level, you can probably
• 57:40
  Speaker 1: get a project done yourself, if need be. But he
• 57:43
  Speaker 1: still chooses to, so it's certainly financially better to opt
• 57:46
  Speaker 1: for somebody else. No.
• 57:48
  Speaker 11: There's so many other people that like, that's not an option.
• 57:51
  Speaker 1: So yeah, the second you're done, you better start looking
• 57:53
  Speaker 1: for work because who knows how long it'll be.
• 57:55
  Speaker 2: Well, and honestly, the truth is, even from that standpoint,
• 58:01
  Speaker 2: most movie stars don't make enough money to make a movie.
• 58:06
  Speaker 1: Yeah. I mean, not single-handedly.
• 58:08
  Speaker 2: No, movies cost a ton. I mean, Kevin Smith's whole
• 58:13
  Speaker 2: thing was like, I'm no longer making studio movies because
• 58:16
  Speaker 2: I can make my movie for $ 3 million, they're still
• 58:20
  Speaker 2: going to have to spend $ 20 million to market it.
• 58:22
  Speaker 1: At least. To be unsuccessful. They think they have to
• 58:26
  Speaker 1: spend $ 40, $ 50 million to be even a marginally popular movie. Exactly.
• 58:30
  Speaker 2: Sly Stallone, Jim Carrey, they get paid $ 20 million. They're
• 58:33
  Speaker 2: not taking home $ 20 million. So again, even at that level,
• 58:37
  Speaker 2: you don't have certainty. You don't have constancy.
• 58:43
  Speaker 1: That's why I kind of wish more people would be like,
• 58:46
  Speaker 1: that and like go make a movie on their iphone
• 58:48
  Speaker 1: and like just put it out there like because again
• 58:50
  Speaker 1: i think it takes a little power away from the
• 58:52
  Speaker 1: studio system the more people especially established people start doing
• 58:56
  Speaker 1: their own weird like comedy channel or like you know
• 58:59
  Speaker 1: i think it it levels the playing field a little
• 59:01
  Speaker 1: bit where it gives artists a little more power to
• 59:04
  Speaker 1: be able to do their own.
• 59:05
  Speaker 2: Thing I think you're definitely seeing more of it just
• 59:09
  Speaker 2: because the avenues of distribution aren't as controlled as they were.
• 59:16
  Speaker 2: And the expectation of mass audience is not what it was.
• 59:22
  Speaker 11: Definitely not like network television or even feature film anymore.
• 59:25
  Speaker 1: It's not like it was 20, 30 years ago.
• 59:27
  Speaker 2: Well, but that just means they're making less movies. It's like, well,
• 59:30
  Speaker 2: if we can't clear $ 500 million, we don't want to
• 59:34
  Speaker 2: make it at all, which is dumb.
• 59:36
  Speaker 1: Yeah, there are no in-between anymore.
• 59:38
  Speaker 11: It's maybe a million-dollar indie and.
• 59:40
  Speaker 1: A $ 200 million tentpole, and that's all you get.
• 59:43
  Speaker 2: And what do you do with the million-dollar indie?
• 59:46
  Speaker 1: I mean, it plays festivals. Maybe you'll get your money
• 59:49
  Speaker 1: back somewhere. on the line but.
• 59:51
  Speaker 2: Well now the hope is Netflix streaming.
• 59:54
  Speaker 11: Or there's so many new streaming services.
• 59:56
  Speaker 2: And the independent film the independent theaters are gone.
• 59:59
  Speaker 1: Yeah there isn't anything that's not a chance I mean
• 1:00:02
  Speaker 1: again in my town we had one and we leveled
• 1:00:04
  Speaker 1: it and they sell shoes there now right like that's
• 1:00:07
  Speaker 1: that's the.
• 1:00:07
  Speaker 2: Town even if you make a cheap movie what are
• 1:00:10
  Speaker 2: you gonna you're gonna go Oscar Micheaux and drive around
• 1:00:13
  Speaker 2: well actually that's what Kevin Smith did yeah you drive
• 1:00:16
  Speaker 2: it around to towns and show it to people and
• 1:00:18
  Speaker 2: get them to you know But even though you don't
• 1:00:23
  Speaker 2: have to do it on film anymore, it's not as
• 1:00:24
  Speaker 2: expensive as it was, it's still to make a spectacle
• 1:00:28
  Speaker 2: of the level that we're used to in a movie theater,
• 1:00:32
  Speaker 2: it's still plenty expensive.
• 1:00:35
  Speaker 1: And takes so many people. That's why, again, I would
• 1:00:39
  Speaker 1: kind of like to see it. Like, even if you
• 1:00:40
  Speaker 1: see the strings a little bit, maybe literally, in some
• 1:00:43
  Speaker 1: of these, like, things, I would almost like it if we, like,
• 1:00:46
  Speaker 1: if we as the audience got down off that pedestal, too,
• 1:00:48
  Speaker 1: and were just like, no, no, just make your thing,
• 1:00:51
  Speaker 1: and we can support you. You know, I'd rather have that.
• 1:00:54
  Speaker 2: See, now, that's funny, because I'm torn about that. And
• 1:00:57
  Speaker 2: maybe it's because I'm old. But, and I, because I
• 1:01:00
  Speaker 2: keep expecting it. Yeah. Because the thing is, you have
• 1:01:02
  Speaker 2: a generation now that has grown up on watching webcams.
• 1:01:05
  Speaker 9: Mm-hmm.
• 1:01:06
  Speaker 2: Their visual level of expectation is not Michael Cimino in 70mm.
• 1:01:14
  Speaker 2: And I'm wondering, is there going to be a time
• 1:01:17
  Speaker 2: where the audience, where a mass audience is looking at
• 1:01:23
  Speaker 2: something that crappy and saying, we love that. I mean,
• 1:01:27
  Speaker 2: at this point, it's still small segmented.
• 1:01:31
  Speaker 1: I mean, I follow on both sides. I like the
• 1:01:33
  Speaker 1: freedom of it. I like being able to have artists
• 1:01:35
  Speaker 1: do whatever the hell they want and have people support them.
• 1:01:38
  Speaker 1: But I also liked the idea of weeding out the
• 1:01:40
  Speaker 1: crap and being able to hone it to like, no,
• 1:01:43
  Speaker 1: these are the best actors. This is the best director.
• 1:01:46
  Speaker 1: So you do get good stuff. So it's, I guess,
• 1:01:49
  Speaker 1: finding a happy medium.
• 1:01:50
  Speaker 2: I know. And that was the one decent thing about,
• 1:01:54
  Speaker 2: you know, the older system is that it winnowed Things
• 1:01:59
  Speaker 2: like you had to work hard to get yourself good
• 1:02:03
  Speaker 2: enough to be noticed by these gatekeepers.
• 1:02:06
  Speaker 1: And I reference this all the time on the show,
• 1:02:08
  Speaker 1: but I still think that's why you get that most
• 1:02:11
  Speaker 1: impressive era in the 70s. Because the studio system didn't
• 1:02:15
  Speaker 1: know what to do anymore. They were just kind of
• 1:02:17
  Speaker 1: giving money to artists and being like, go do a thing.
• 1:02:20
  Speaker 1: But it was still that tight group of, you've got
• 1:02:22
  Speaker 1: Dennis Hopper and Jack Nicholson putting something together.
• 1:02:24
  Speaker 11: And they're like, oh, well, we know what we're doing.
• 1:02:26
  Speaker 11: We're going to make something great.
• 1:02:27
  Speaker 1: So by the time you hit the 80s, In the 90s,
• 1:02:30
  Speaker 1: they kind of start letting everybody else in, and it's
• 1:02:32
  Speaker 1: like you don't get that caliber anymore.
• 1:02:35
  Speaker 2: Yeah, you're right. That 70s period was the prime time
• 1:02:39
  Speaker 2: because the studio really throttle-necked system.
• 1:02:44
  Speaker 11: Didn't know what else to do.
• 1:02:45
  Speaker 2: Well, that had broken down. Well, we don't own all
• 1:02:47
  Speaker 2: the actors and own all the writers. We don't own
• 1:02:49
  Speaker 2: everything anymore.
• 1:02:50
  Speaker 1: We don't have the inside track like we used to.
• 1:02:52
  Speaker 2: But actors who were in their prime had still been
• 1:02:56
  Speaker 2: training– Towards that, I've got to get good enough. You know,
• 1:03:00
  Speaker 2: so you had these people who are trained, but the
• 1:03:03
  Speaker 2: system broke down. Plus, you had independent film and independent
• 1:03:06
  Speaker 2: financing all coming at the same time. So it's like, well,
• 1:03:10
  Speaker 2: this and it forced the studios to be more experimental,
• 1:03:13
  Speaker 2: although they still gave the Oscar to Oliver over Midnight Cowboy.
• 1:03:17
  Speaker 1: But yeah, I feel like by the time you hit
• 1:03:18
  Speaker 1: the 80s, everything becomes sequels. They start going into videos.
• 1:03:22
  Speaker 2: Spielberg.
• 1:03:23
  Speaker 1: Yeah, Spielberg.
• 1:03:24
  Speaker 2: Jaws.
• 1:03:25
  Speaker 1: Jaws turned a corner.
• 1:03:26
  Speaker 2: The blockbuster mentality.
• 1:03:28
  Speaker 9: Yep.
• 1:03:29
  Speaker 2: Basically, they didn't kill independence.
• 1:03:32
  Speaker 11: It changed so much.
• 1:03:34
  Speaker 2: It gave the studios something else to lean on. Yeah.
• 1:03:37
  Speaker 2: Because they had that 70s period where they're like, we
• 1:03:39
  Speaker 2: don't know what to do. And they're like, okay, now
• 1:03:41
  Speaker 2: we know what to do.
• 1:03:42
  Speaker 1: And nothing made money except the arthouse stuff. Like you had,
• 1:03:45
  Speaker 1: I mean- I remember like reading the statistics and it's
• 1:03:48
  Speaker 1: like one of the big money makers of that year
• 1:03:51
  Speaker 1: was Kramer versus Kramer.
• 1:03:52
  Speaker 3: Right.
• 1:03:53
  Speaker 1: That's not going to happen. Like there's no superheroes. There's
• 1:03:56
  Speaker 1: no action.
• 1:03:56
  Speaker 2: Did you ever hear the stories Bob Zemeckis told when
• 1:04:00
  Speaker 2: he was trying to get Flight made? He went around
• 1:04:03
  Speaker 2: to all the studios. He had this amazing Oscar worthy script.
• 1:04:07
  Speaker 2: He had Denzel Washington attached, you know, and nobody would
• 1:04:11
  Speaker 2: sign off on a budget big enough for him to
• 1:04:14
  Speaker 2: flip the plane. Yeah. Because, like, eh, grown-up movie.
• 1:04:19
  Speaker 1: It's true, though.
• 1:04:19
  Speaker 2: You know what I'm saying?
• 1:04:20
  Speaker 1: Grown-up movies don't make that kind of money.
• 1:04:22
  Speaker 2: And he said, well, if you can flip the plane
• 1:04:25
  Speaker 2: for under 33 mil, then maybe we'll green light it.
• 1:04:29
  Speaker 1: Crappy digital. Come on, we can make this happen.
• 1:04:31
  Speaker 2: You know? And it was just like, and he had
• 1:04:33
  Speaker 2: to wait until the technology got to the point where
• 1:04:35
  Speaker 2: it was like, okay, I can make this for what
• 1:04:37
  Speaker 2: they're willing to spend on grown-up movies.
• 1:04:40
  Speaker 7: Yeah.
• 1:04:40
  Speaker 1: I mean, when Robert Zemeckis can't get back in, you're screwed.
• 1:04:43
  Speaker 5: Right?
• 1:04:44
  Speaker 1: That's the world we live in.
• 1:04:45
  Speaker 2: Because they know– well, and it's the corporatization of media
• 1:04:50
  Speaker 2: and the fact that, yeah, we'd like an Oscar, but
• 1:04:53
  Speaker 2: our stockholders don't give a crap about it. But dollars
• 1:04:55
  Speaker 2: are more important than Oscars.
• 1:04:56
  Speaker 7: Yeah.
• 1:04:56
  Speaker 2: Well, because– At the end of the day, that's– If
• 1:04:58
  Speaker 2: they give an Oscar every quarter, maybe.
• 1:05:01
  Speaker 1: Maybe so.
• 1:05:01
  Speaker 2: Because then when you do your stock report, like– And
• 1:05:03
  Speaker 2: even though we had a little dip here, we.
• 1:05:05
  Speaker 1: We did get an Oscar.
• 1:05:06
  Speaker 2: Right. So on a prestige basis, blah, blah, blah, blah, blah.
• 1:05:10
  Speaker 11: A bunch of random old people went and saw this movie.
• 1:05:12
  Speaker 1: Right, exactly. So that's what we're looking for. So, all right,
• 1:05:15
  Speaker 1: we've definitely delved into the movie world here.
• 1:05:17
  Speaker 11: So your big entry, I mean, as soon as I
• 1:05:20
  Speaker 11: saw you coming.
• 1:05:21
  Speaker 1: I was like, Marvin? Marvin's coming? So, I mean, how
• 1:05:26
  Speaker 1: do you find yourself getting into that? Did you know
• 1:05:28
  Speaker 1: Tarantino beforehand? Like, how did you end up in Pulp Fiction?
• 1:05:30
  Speaker 2: Oh, you've never heard the story?
• 1:05:32
  Speaker 12: I don't.
• 1:05:33
  Speaker 2: I got into Pulp Fiction through the Groundlings. All right.
• 1:05:36
  Speaker 1: Well, I mean, he was into a lot. He kind
• 1:05:39
  Speaker 1: of had such weird interests that were all over the
• 1:05:42
  Speaker 1: place and all over L.A. So, yeah, I guess that
• 1:05:45
  Speaker 1: doesn't surprise me really.
• 1:05:46
  Speaker 2: Let me see. The shortest version is Julia Sweeney is
• 1:05:51
  Speaker 2: a friend of mine from the Groundlings. She was doing
• 1:05:54
  Speaker 2: Saturday Night Live when Harvey Keitel came to host the show.
• 1:05:58
  Speaker 2: I think it was part of the promo for Reservoir Dogs.
• 1:06:01
  Speaker 2: Tarantino came with Harvey. Met Julia. They're both geeks about
• 1:06:06
  Speaker 2: music and stuff.
• 1:06:06
  Speaker 1: They hadn't met before? No. They attached pretty quick, it
• 1:06:09
  Speaker 1: seemed like.
• 1:06:10
  Speaker 2: Well, this was in New York. So, you know, Julia
• 1:06:12
  Speaker 2: was in New York. Quentin was in L.A. They met,
• 1:06:14
  Speaker 2: hit it off. Soon after that, Julia finished Saturday Night Live,
• 1:06:17
  Speaker 2: came home to L.A. She invited Quentin to come be
• 1:06:21
  Speaker 2: the celebrity guest at an improv show we do weekly
• 1:06:24
  Speaker 2: at the Groundlings. And I happened to be in the
• 1:06:26
  Speaker 2: cast of that show. And, you know, we had a
• 1:06:29
  Speaker 2: fun time. He was actually really good. Well.
• 1:06:32
  Speaker 1: Yeah, when he doesn't... Again, I think it went against
• 1:06:35
  Speaker 1: him when he became Quentin Tarantino. Because those first couple
• 1:06:38
  Speaker 1: of roles, I don't have a problem with him. As
• 1:06:41
  Speaker 1: he became his own level of celebrity, I feel like
• 1:06:44
  Speaker 1: his acting gets worse. He just really realizes he's in
• 1:06:48
  Speaker 1: front of the camera and kind of hands it up.
• 1:06:50
  Speaker 1: The first two movies, he's a solid character. This was
• 1:06:52
  Speaker 1: way before that.
• 1:06:53
  Speaker 2: I mean, he was just... And also, you know, his
• 1:06:56
  Speaker 2: name was known, but no one had an expectation of performance.
• 1:06:59
  Speaker 2: And it was improv.
• 1:06:59
  Speaker 1: Yeah.
• 1:07:00
  Speaker 9: So.
• 1:07:01
  Speaker 2: He just went and played and was really funny. And
• 1:07:04
  Speaker 2: then when he was casting Pulp Fiction, he remembered me
• 1:07:06
  Speaker 2: from that show and had me come in to audition.
• 1:07:10
  Speaker 1: So that, again, I guess you have two big scenes.
• 1:07:13
  Speaker 1: I mean, how... How loose is that set? I mean,
• 1:07:17
  Speaker 1: as far as Tarantino, he writes those words, he gives
• 1:07:20
  Speaker 1: them to Samuel L. Jackson, mostly, is doing in the
• 1:07:23
  Speaker 1: room anyway. So it's like, how set is all of
• 1:07:25
  Speaker 1: that stuff as you're standing there filming it? Is it, Samuel,
• 1:07:29
  Speaker 1: you know what to do, just go? Or was there
• 1:07:31
  Speaker 1: a little more freedom to it?
• 1:07:32
  Speaker 2: Well, we had rehearsed. Because, I mean, it was a
• 1:07:35
  Speaker 2: low-budget movie. It was $ 8 million. So they spent a
• 1:07:39
  Speaker 2: couple of weeks rehearsing everybody, making sure that everybody was
• 1:07:42
  Speaker 2: on the same page. had the same ideas, knew what
• 1:07:44
  Speaker 2: we were going to do with the scene, what we
• 1:07:45
  Speaker 2: were going to do with camera. It just makes everything
• 1:07:48
  Speaker 2: go faster. I wouldn't say it was loose at all.
• 1:07:53
  Speaker 2: I mean, but it also wasn't tight or tense. It
• 1:07:57
  Speaker 2: was relaxed. It's basically like doing Shakespeare. You're not improv-ing.
• 1:08:04
  Speaker 1: No.
• 1:08:04
  Speaker 2: Because the words are too good. You don't need to improvise.
• 1:08:08
  Speaker 2: You need to know your words and do your work.
• 1:08:12
  Speaker 2: And that's what everybody was there to do, you know?
• 1:08:15
  Speaker 2: And Sam, and especially in the, the scene in the
• 1:08:17
  Speaker 2: apartment was, yeah, definitely Sam scene.
• 1:08:19
  Speaker 5: Yeah.
• 1:08:20
  Speaker 2: And yeah, he was letter perfect and it was, knows.
• 1:08:23
  Speaker 1: How to deliver Sam.
• 1:08:24
  Speaker 5: Yeah.
• 1:08:24
  Speaker 2: And it was all about just riding the emotions in every,
• 1:08:29
  Speaker 2: you know, take like, okay, what am I feeling? You
• 1:08:32
  Speaker 2: know what? And you know, he supplied basically, you know,
• 1:08:35
  Speaker 2: certainly for me and I'm sure for most of the
• 1:08:37
  Speaker 2: guys in the room, everything you needed.
• 1:08:39
  Speaker 3: Yeah.
• 1:08:40
  Speaker 2: You know, It's like, I'm scared of you.
• 1:08:43
  Speaker 1: He, once again, does that very well.
• 1:08:44
  Speaker 2: If he says that line, you put the camera on me,
• 1:08:46
  Speaker 2: we're going to get some real fear.
• 1:08:47
  Speaker 1: I mean, that's the best thing of you, specifically in
• 1:08:50
  Speaker 1: the room, is you're so perfectly staying out of everyone's way.
• 1:08:54
  Speaker 1: And then later you're like, oh, now we understand why. Like,
• 1:08:57
  Speaker 1: he was in pretty deep in what was going on here.
• 1:08:59
  Speaker 1: right no telling what either of these guys were going
• 1:09:02
  Speaker 1: to do so yeah.
• 1:09:03
  Speaker 2: I know we actually quentin and i had talked about
• 1:09:05
  Speaker 2: that beforehand like sort of what is the backstory and
• 1:09:08
  Speaker 2: you know we decided that these were some kids you
• 1:09:11
  Speaker 2: know like maybe down at long beach state or something
• 1:09:14
  Speaker 2: like like idiots who get in way over their heads
• 1:09:18
  Speaker 2: they decided hey let's be gangsters and they got a
• 1:09:21
  Speaker 2: hold of this case and now they're trying to get
• 1:09:24
  Speaker 2: money for it but they don't know what the hell
• 1:09:25
  Speaker 2: they're doing and we decided that jules knew somebody who
• 1:09:30
  Speaker 2: knew marvin and found out you know what was going
• 1:09:34
  Speaker 2: on and like said okay look at 7 45 all
• 1:09:38
  Speaker 2: you got to do is unlock the door just make
• 1:09:40
  Speaker 2: sure the door is unlocked We're going to take care
• 1:09:42
  Speaker 2: of everything else.
• 1:09:42
  Speaker 1: You want to be the one that lives. You take
• 1:09:45
  Speaker 1: care of us.
• 1:09:46
  Speaker 2: No, it's just like you in way over your head.
• 1:09:49
  Speaker 2: If you guys don't want to die, you just need
• 1:09:50
  Speaker 2: to do what I tell you and make sure that
• 1:09:53
  Speaker 2: door is unlocked at this time.
• 1:09:55
  Speaker 1: And then in the car, how much of that became
• 1:09:58
  Speaker 1: just you planning the explosion, essentially?
• 1:10:03
  Speaker 2: No, no. I mean, you don't plan for the explosion.
• 1:10:06
  Speaker 2: You play it as a banter scene. It's the, you know,
• 1:10:10
  Speaker 2: like a virgin scene. Until it's not. Until there's blood everywhere. Right.
• 1:10:15
  Speaker 1: Which is Tarantino.
• 1:10:16
  Speaker 2: Well, it is and it isn't. In Reservoir Dogs, yeah,
• 1:10:22
  Speaker 2: obviously there's all the blood and the pain. But to me,
• 1:10:25
  Speaker 2: the thing I love most about that scene is that
• 1:10:28
  Speaker 2: it's playing with people's expectation of him. In his second film,
• 1:10:35
  Speaker 2: he's playing with his own trope.
• 1:10:37
  Speaker 11: Yeah, and conventions of this type of movie where, again,
• 1:10:41
  Speaker 11: you have– There.
• 1:10:41
  Speaker 2: Is no this type of movie. Well, but for the
• 1:10:43
  Speaker 2: crime drama– In 1994, there was no type of movie.
• 1:10:46
  Speaker 1: The type of movie he's like– he's inspired by. Like
• 1:10:49
  Speaker 1: all these crime movies that he grew up watching, I think.
• 1:10:51
  Speaker 2: Which one is the one where the guy gets accidentally shot?
• 1:10:53
  Speaker 1: But that's what I'm saying. He's playing with that convention,
• 1:10:55
  Speaker 1: which is that these guys only kill who they set
• 1:10:58
  Speaker 1: out to kill. You don't have... So, you know, when
• 1:11:01
  Speaker 1: Samuel L. walks in the room, he knows who he's
• 1:11:03
  Speaker 1: going to take care of.
• 1:11:04
  Speaker 7: Right.
• 1:11:04
  Speaker 1: So the fact that a few minutes later, Vincent just
• 1:11:07
  Speaker 1: pops you in the head... That's what I'm talking about. Yeah,
• 1:11:09
  Speaker 1: I'm just like, he's almost playing with that. You don't
• 1:11:12
  Speaker 1: see that coming.
• 1:11:14
  Speaker 2: Because it never happens. It's never happened before and hasn't
• 1:11:16
  Speaker 2: happened since. What you think is going to happen is.
• 1:11:20
  Speaker 2: They're now doing the bookend of the Royale with Cheese scene.
• 1:11:23
  Speaker 1: Which already kind of throws you off because nobody had
• 1:11:26
  Speaker 1: done that. Shortly after, every independent film would copy that.
• 1:11:29
  Speaker 11: But nobody did that banter for no reason.
• 1:11:32
  Speaker 2: Right.
• 1:11:32
  Speaker 1: Like it was set up for something else. It's like, man,
• 1:11:34
  Speaker 1: you have to watch Cops.
• 1:11:35
  Speaker 2: When he mentions Cops, that's the same sort of pop
• 1:11:38
  Speaker 2: culture reference that he always does in his banter scenes.
• 1:11:42
  Speaker 2: And then, record scratch. The banter scene becomes something else entirely.
• 1:11:47
  Speaker 2: And then it becomes an entire... third chunk of the
• 1:11:49
  Speaker 2: movie that, like, what?
• 1:11:52
  Speaker 1: Yeah. And you don't see that, like, again, everything he
• 1:11:56
  Speaker 1: was doing was so unconventional for that time period, for
• 1:11:59
  Speaker 1: that type of movie, for everything.
• 1:12:01
  Speaker 2: But that one, I think, is actually still, I mean,
• 1:12:04
  Speaker 2: a lot of the stuff that he established in that
• 1:12:06
  Speaker 2: movie has now become part of people's movie vocabulary. That,
• 1:12:11
  Speaker 2: I think, is one of the moves that people, either
• 1:12:15
  Speaker 2: people don't notice how, like, groundbreaking groundbreaking it was or
• 1:12:21
  Speaker 2: just nobody else can do it yeah you know but
• 1:12:24
  Speaker 2: yeah it's basically taking the tough guy you know private
• 1:12:28
  Speaker 2: eye hitman whatever and then just throwing a huge wrench
• 1:12:32
  Speaker 2: in the works because i guess in most movies you
• 1:12:35
  Speaker 2: can't do it yeah i mean because basically by doing
• 1:12:38
  Speaker 2: that he created a whole third spoke of that movie
• 1:12:43
  Speaker 2: and in most movies you can't add.
• 1:12:45
  Speaker 1: An act yeah And especially not one that takes such
• 1:12:48
  Speaker 1: a weird turn. Right. You come back later and they're
• 1:12:51
  Speaker 1: dressed like dorks and they're hanging out eating food and
• 1:12:53
  Speaker 1: like you don't see.
• 1:12:54
  Speaker 2: Drinking coffee and talking to the wolf.
• 1:12:56
  Speaker 9: Yeah.
• 1:12:56
  Speaker 2: And you introduce that wolf character.
• 1:12:58
  Speaker 5: What?
• 1:13:00
  Speaker 1: You know? Yeah, you can't plan that stuff. So again,
• 1:13:04
  Speaker 1: what was it watching.
• 1:13:05
  Speaker 2: Well, you can because he did.
• 1:13:06
  Speaker 11: Well, I mean, what was it watching Quentin at that point?
• 1:13:09
  Speaker 1: And was he... was he different than you feel like
• 1:13:12
  Speaker 1: he would be now? Because he's still relatively green as
• 1:13:15
  Speaker 1: a director. So it's like, do you see him doing
• 1:13:18
  Speaker 1: stuff that you think he wouldn't do now?
• 1:13:21
  Speaker 2: No, he was amazing. I mean, the big thing I
• 1:13:25
  Speaker 2: noticed was there was a marked difference between Quentin, the
• 1:13:30
  Speaker 2: person that you know from the improv show or from
• 1:13:33
  Speaker 2: a party or whatever at dinner, and Quentin, the director.
• 1:13:37
  Speaker 2: He was calm and quiet and focused. giving you, the actor,
• 1:13:43
  Speaker 2: what you needed. At the other times, Quentin is the
• 1:13:48
  Speaker 2: life of the party. He is the focus.
• 1:13:49
  Speaker 11: You see him do that now. He's almost silly at times.
• 1:13:54
  Speaker 2: He's a character, a persona. On set, there's none of that.
• 1:13:57
  Speaker 2: He's the director. He's giving you, the actors, and every
• 1:14:02
  Speaker 2: other department what they need of him to get their
• 1:14:05
  Speaker 2: jobs done. It was great.
• 1:14:08
  Speaker 1: Well then... And this, I don't know if I'd heard.
• 1:14:11
  Speaker 1: I'm sure you have heard it. But I don't think
• 1:14:13
  Speaker 1: I'd heard about the offshoot parallel secret Quentin movie that
• 1:14:18
  Speaker 1: is It's Pat. Because you have three of those cast members.
• 1:14:21
  Speaker 1: So there's weird internet theories that this is like a
• 1:14:24
  Speaker 1: different day. And all these like, Marvin is the stage manager.
• 1:14:29
  Speaker 1: That's his other job.
• 1:14:31
  Speaker 11: And I'm just like, you guys come up with a
• 1:14:32
  Speaker 11: lot of crazy internet schemes.
• 1:14:34
  Speaker 2: Oh, my God.
• 1:14:35
  Speaker 1: Crazy internet conspiracy theories, so. I know.
• 1:14:39
  Speaker 2: See, this is one of my things about the internet
• 1:14:43
  Speaker 2: is that the internet does not encourage perspective. People look
• 1:14:50
  Speaker 2: at my IMDB list like, oh my God, you've done
• 1:14:52
  Speaker 2: so many things. Like, dude, divide it by 30 years.
• 1:14:56
  Speaker 1: A lot of invested time.
• 1:14:57
  Speaker 2: It's not actually that impressive. It's like, no, but I
• 1:15:00
  Speaker 2: saw this and I saw this. I'm like, just because
• 1:15:02
  Speaker 2: you can see them all this week doesn't mean they
• 1:15:04
  Speaker 2: were all done last week.
• 1:15:06
  Speaker 1: But I put a lot of time into watching them.
• 1:15:09
  Speaker 2: I watched it over and over.
• 1:15:10
  Speaker 1: You showed up and did something, but I sat down
• 1:15:13
  Speaker 1: on my couch and watched them.
• 1:15:14
  Speaker 2: Yeah, it's that same thing with the internet theories. No,
• 1:15:18
  Speaker 2: It's Pat was a script that... We knew each other. Well,
• 1:15:22
  Speaker 2: that Julia and Steve had written before, and Quentin did
• 1:15:25
  Speaker 2: a pass on it.
• 1:15:26
  Speaker 3: Yeah.
• 1:15:26
  Speaker 2: I'm pretty sure the purpose of him doing a pass
• 1:15:29
  Speaker 2: on their script was not to insert... Elements of his
• 1:15:33
  Speaker 2: world building. So that 20 years down the line, people
• 1:15:36
  Speaker 2: can connect this.
• 1:15:37
  Speaker 5: To, you know.
• 1:15:38
  Speaker 1: Marvin's also on a submarine in Crimson Tide.
• 1:15:41
  Speaker 2: Right.
• 1:15:42
  Speaker 1: He's everywhere.
• 1:15:44
  Speaker 9: You know.
• 1:15:45
  Speaker 1: So, yeah, I thought that was kind of fun. I
• 1:15:47
  Speaker 1: was like, okay, sure, guys.
• 1:15:50
  Speaker 2: No, that's the whole thing. I remember actually in the
• 1:15:52
  Speaker 2: late 90s talking to college students saying, is it true
• 1:15:55
  Speaker 2: that the band-aid on the back of Marcellus Wallace's head
• 1:15:58
  Speaker 2: is a Hindu thing where the soul is taken out
• 1:16:01
  Speaker 2: of the back of the head? It's like, okay, one,
• 1:16:02
  Speaker 2: that's not a thing ever, anywhere.
• 1:16:04
  Speaker 1: It is on the internet.
• 1:16:05
  Speaker 2: The internet doesn't lie. Ancient Hindus didn't have band-aids, dude.
• 1:16:08
  Speaker 4: Relax.
• 1:16:09
  Speaker 3: Vented band-aids.
• 1:16:12
  Speaker 2: But it's like, no, no. What it is is Ving
• 1:16:16
  Speaker 2: Rhames shaves his own head. That's all it is.
• 1:16:19
  Speaker 1: And couldn't solve it and liked it.
• 1:16:20
  Speaker 2: Yeah.
• 1:16:20
  Speaker 1: Like, that's a good shot. All right.
• 1:16:22
  Speaker 2: And decided to change the way he was going to
• 1:16:24
  Speaker 2: shoot the scene. Instead of, you know, a tour, it's
• 1:16:26
  Speaker 2: going to be now over the shoulder, over the back
• 1:16:28
  Speaker 2: of his head. That's it. It looks cool.
• 1:16:30
  Speaker 1: In a way, though, I mean, that is kind of
• 1:16:32
  Speaker 1: what I love about movies, and that's what I end
• 1:16:35
  Speaker 1: up building this around, is just people sitting and talking
• 1:16:39
  Speaker 1: about film. It's still kind of important. Like, even if
• 1:16:42
  Speaker 1: it spirals off in a ridiculous way, like, if you
• 1:16:45
  Speaker 1: can come up with something... that makes you think about
• 1:16:47
  Speaker 1: a movie, period. Like, that points alone that people are thinking.
• 1:16:51
  Speaker 1: And on top of that, that if it's affecting you
• 1:16:54
  Speaker 1: enough that you're invested in it to come up with
• 1:16:56
  Speaker 1: crazy theories, I'm like, more power to you. It doesn't
• 1:16:59
  Speaker 1: mean they're right, but come up with anything you want.
• 1:17:01
  Speaker 2: No, and I do think there is absolutely a value
• 1:17:04
  Speaker 2: in people being inspired to feel, think, or talk, you know,
• 1:17:10
  Speaker 2: from this work. And I mean, any artwork that makes
• 1:17:13
  Speaker 2: you feel, think, talk, or create other art is valuable.
• 1:17:18
  Speaker 2: But I still think you also have to have some
• 1:17:21
  Speaker 2: perspective and know that just because this thing reminds you
• 1:17:25
  Speaker 2: of your grandma doesn't mean Picasso knew your grandma. You know,
• 1:17:29
  Speaker 2: not everything is connected.
• 1:17:32
  Speaker 1: You know? Well, then I guess time-wise, you're kind of
• 1:17:36
  Speaker 1: coming off of there and heading into MADtv. And one
• 1:17:39
  Speaker 1: of the co-hosts at one point asked me, are you
• 1:17:41
  Speaker 1: just trying to get the entire cast of MADtv? Because
• 1:17:43
  Speaker 1: we have had Orlando Jones on. We've had Pat Kilbane on.
• 1:17:47
  Speaker 3: No way.
• 1:17:48
  Speaker 1: At some point, I'm like, oh, well, the worst things
• 1:17:50
  Speaker 1: I could do. I mean, you've had a good amount
• 1:17:53
  Speaker 1: of people. So I guess you were there coming in
• 1:17:56
  Speaker 1: at the beginning. What was your take on it, I guess,
• 1:18:00
  Speaker 1: in the beginning? Because that's, again, and sort of hearing
• 1:18:04
  Speaker 1: this from the other guys, it's like there's a lot
• 1:18:06
  Speaker 1: of much like the SNL stories. it's a lot of
• 1:18:08
  Speaker 1: competition there. And you had a lot of comedians that
• 1:18:11
  Speaker 1: were kind of hitting their stride at that point. So
• 1:18:14
  Speaker 1: everything becomes a, I want to get my character in,
• 1:18:16
  Speaker 1: I want to get my story in. Like how, how was.
• 1:18:19
  Speaker 11: It, I guess, early on for you kind of working
• 1:18:21
  Speaker 11: in that big ensemble?
• 1:18:23
  Speaker 2: I mean, from my perspective, because I have friends who
• 1:18:26
  Speaker 2: worked on SNL, Mad TV was not gladiator school the
• 1:18:31
  Speaker 2: way that SNL is. I mean, I remember like we
• 1:18:35
  Speaker 2: started in 94 and, At the same time, Sherry, Will,
• 1:18:40
  Speaker 2: Jim Brewer, you know, started on SNL. And I remember
• 1:18:44
  Speaker 2: watching the first three episodes of that season's SNL and
• 1:18:48
  Speaker 2: Jim Brewer didn't appear. once. Like, except to wave goodnight.
• 1:18:53
  Speaker 1: Yeah, to host things.
• 1:18:55
  Speaker 2: Yeah, but the truth of the matter is, on our show,
• 1:18:58
  Speaker 2: they definitely made more of an effort to include people. Like,
• 1:19:03
  Speaker 2: you didn't see, there were no cast members who were
• 1:19:06
  Speaker 2: shut out of the show, you know, for three episodes.
• 1:19:10
  Speaker 2: And I think part of that was they just saw
• 1:19:13
  Speaker 2: that that didn't make sense.
• 1:19:15
  Speaker 1: Well, then was that like almost as a reaction to SNL?
• 1:19:18
  Speaker 1: Like after hearing all the stories, you're like, well, that's
• 1:19:20
  Speaker 1: not how we're going to do things. So do you
• 1:19:22
  Speaker 1: think it was? Or it was just how it became?
• 1:19:25
  Speaker 2: No, I honestly, and I don't know this, I haven't
• 1:19:27
  Speaker 2: talked to the producers, but my hunch is it's really
• 1:19:31
  Speaker 2: more of a cheapness. It's like, well, we're paying them.
• 1:19:38
  Speaker 1: We got all these people.
• 1:19:39
  Speaker 2: We're not paying them to sit around. They're going to
• 1:19:41
  Speaker 2: do something, you know? And yeah, I mean, to me,
• 1:19:47
  Speaker 2: the problem with mad TV was a lack of vision,
• 1:19:53
  Speaker 2: you know, because whatever you can say about Lorne Michaels,
• 1:19:57
  Speaker 2: you know, that he's a puppet master and plays mind
• 1:20:00
  Speaker 2: games or whatever. He definitely had on some level of
• 1:20:04
  Speaker 2: vision for that show. And really, the only vision we
• 1:20:09
  Speaker 2: had starting Mad TV was like, we're the alternative Saturday
• 1:20:11
  Speaker 2: Night Live.
• 1:20:12
  Speaker 1: Which Friday's already tried to be that.
• 1:20:15
  Speaker 2: It didn't go well either. And the thing was, they
• 1:20:19
  Speaker 2: had the elements that could have been. It's like, okay, well,
• 1:20:23
  Speaker 2: you've got Mad Magazine. What would a TV version of
• 1:20:27
  Speaker 2: Mad Magazine be? Pop culture parodies, sort of irreverent kind
• 1:20:31
  Speaker 2: of things. And that concept, had there been a vision
• 1:20:37
  Speaker 2: coupled with that, it actually might have, you know, given
• 1:20:43
  Speaker 2: SNL a run for its money in some way.
• 1:20:44
  Speaker 1: I mean, it definitely was trying and kind of hit
• 1:20:48
  Speaker 1: early on. It had a season or two. It was
• 1:20:51
  Speaker 1: putting up a fight.
• 1:20:51
  Speaker 2: No, it wasn't. No, it never did. It never did.
• 1:20:54
  Speaker 2: We never came close to their ratings.
• 1:20:55
  Speaker 1: But again, it was.
• 1:20:57
  Speaker 11: Sports Network versus, you know, it's a different game at
• 1:21:00
  Speaker 11: that point.
• 1:21:00
  Speaker 1: No, they've been on for 30 years. That too. They're
• 1:21:03
  Speaker 1: a habit. Yeah, they're a juggernaut in that industry.
• 1:21:06
  Speaker 2: And our show had really good people, had some good writers.
• 1:21:10
  Speaker 2: It wasn't different enough. To spark in some way. I mean,
• 1:21:16
  Speaker 2: we were basically doing sketch comedy the way sketch comedy.
• 1:21:21
  Speaker 2: I mean, we weren't reinventing the wheel. We were reinventing
• 1:21:24
  Speaker 2: the wheel.
• 1:21:25
  Speaker 1: And what I feel like became the problem, and wasn't
• 1:21:27
  Speaker 1: just with MADtv, but also SNL at that point, and
• 1:21:31
  Speaker 1: I thought you were the perfect person to ask, of
• 1:21:33
  Speaker 1: just beating those characters to death. And the first time
• 1:21:37
  Speaker 1: I saw the UPS guy, I'm just like, that's amazing. Like,
• 1:21:41
  Speaker 1: your performance and what you brought to that was so great.
• 1:21:45
  Speaker 2: Thank you.
• 1:21:46
  Speaker 1: And then they kept you. Like, as it went on,
• 1:21:49
  Speaker 1: I mean, I'm assuming at some point you were like, guys,
• 1:21:51
  Speaker 1: we're not.
• 1:21:52
  Speaker 2: No, that's not true.
• 1:21:53
  Speaker 1: They didn't?
• 1:21:54
  Speaker 2: We never did more than three UPS guy sketches a season.
• 1:21:57
  Speaker 1: See, that's what I've always said. They really need to
• 1:21:59
  Speaker 1: just start limiting. Because I feel like SNL was doing that.
• 1:22:01
  Speaker 1: Like you said, the Will and Sherry O'Terry thing. those
• 1:22:04
  Speaker 1: cheerleaders were on every week because it became the thing.
• 1:22:07
  Speaker 1: And they were just like, Oh, that's what people are
• 1:22:08
  Speaker 1: tuning in for. So like, I feel like all of
• 1:22:11
  Speaker 1: the characters in most sketch comedies, specifically the TV shows,
• 1:22:14
  Speaker 1: they just, once they find it and they think they're
• 1:22:17
  Speaker 1: hooks into it, they're just like, let's go with this.
• 1:22:19
  Speaker 2: So that's a producer's mentality. It's like, we need something
• 1:22:22
  Speaker 2: we can depend on. And I definitely fought against that with,
• 1:22:26
  Speaker 2: with the UPS guy character, because I mean, it was
• 1:22:28
  Speaker 2: a character I created and, I understood the character on
• 1:22:33
  Speaker 2: a certain level. I understood what the appeal was. And
• 1:22:35
  Speaker 2: there were a lot of sketches that I just said, no. So,
• 1:22:40
  Speaker 2: I mean, I felt like the exception, maybe one, maybe two,
• 1:22:47
  Speaker 2: we never did a UPS guy sketch just to do one. Actually, no,
• 1:22:54
  Speaker 2: even with those two, we never did one just to
• 1:22:55
  Speaker 2: do one. I would say there were two that weren't strong.
• 1:22:59
  Speaker 1: Yeah. I feel like that became my own made-up rule
• 1:23:03
  Speaker 1: that I'm like, they should go with a three-and-out rule, period.
• 1:23:07
  Speaker 1: Not even season. Be like, bring that guy back, do
• 1:23:10
  Speaker 1: three solid skits. See, now you're talking like a producer. Well,
• 1:23:13
  Speaker 1: but producers aren't going to let that happen if it's
• 1:23:15
  Speaker 1: making them.
• 1:23:16
  Speaker 2: If you have funny sketches, you should do them. Because
• 1:23:18
  Speaker 2: the thing is, people respond to familiarity. TV is that
• 1:23:23
  Speaker 2: cool medium for that point. People want the familiar.
• 1:23:27
  Speaker 1: They do.
• 1:23:28
  Speaker 2: Now, as a performer, as an artist... you know your
• 1:23:31
  Speaker 2: job is not just to give people what they want.
• 1:23:35
  Speaker 2: Your job is to say something, to do something, to
• 1:23:37
  Speaker 2: express something. And for me, if a sketch makes me laugh,
• 1:23:41
  Speaker 2: then it's expressing something. It's doing something. If it's not,
• 1:23:46
  Speaker 2: and I'm doing it just because, well, we need a
• 1:23:48
  Speaker 2: UPS guy sketching this packet, that's when we get into
• 1:23:52
  Speaker 2: the producer mentality. But you don't want to cut the
• 1:23:53
  Speaker 2: other way and say, Well, we're only doing... These are funny,
• 1:23:57
  Speaker 2: but too bad. Because, yeah, we drew a line. We
• 1:24:00
  Speaker 2: said we can only do this many.
• 1:24:01
  Speaker 11: Hit our quota, we're done.
• 1:24:02
  Speaker 2: It's like, no, if I have four really good ideas
• 1:24:07
  Speaker 2: that explore this character, and obviously I only had control
• 1:24:13
  Speaker 2: of the stuff I performed, and other people had different
• 1:24:17
  Speaker 2: takes on things. Other people were better at writing or
• 1:24:21
  Speaker 2: more comfortable... at doing the recurring sketch thing. I hated that.
• 1:24:26
  Speaker 2: I would recur a character, but I would not recur
• 1:24:29
  Speaker 2: a sketch.
• 1:24:30
  Speaker 1: That is, I mean, yeah, thinking back how many different
• 1:24:32
  Speaker 1: scenarios and different places he would always end up in.
• 1:24:35
  Speaker 1: So it did vary it up.
• 1:24:36
  Speaker 2: It was never the same beats. I mean, and I
• 1:24:38
  Speaker 2: do love Julia, but in its Pat sketch, that was
• 1:24:41
  Speaker 2: a recurring sketch. It was the exact same beats. The
• 1:24:44
  Speaker 2: only thing that changed were the walls.
• 1:24:46
  Speaker 1: Well, they changed the guest.
• 1:24:47
  Speaker 2: And the guest.
• 1:24:48
  Speaker 1: The guest would come in and.
• 1:24:48
  Speaker 11: Be like, hey, it's me this week. And the skit
• 1:24:51
  Speaker 11: would be exactly the same.
• 1:24:52
  Speaker 2: But it's the exact same beats. And I'm like, what's
• 1:24:54
  Speaker 2: the point?
• 1:24:54
  Speaker 1: And she's so much better than that. You look at
• 1:24:56
  Speaker 1: her comedy and she can do great things. This isn't
• 1:25:00
  Speaker 1: really it, though.
• 1:25:01
  Speaker 2: But again, when you're in gladiator school, you're fighting for minutes.
• 1:25:04
  Speaker 11: If I get on this week, however I get on,
• 1:25:06
  Speaker 11: I get on.
• 1:25:07
  Speaker 1: Exactly. That's true. Well, then, I guess... vary it up
• 1:25:12
  Speaker 1: with some more movie stuff.
• 1:25:14
  Speaker 11: Like at that point, as you're, I guess, getting out
• 1:25:16
  Speaker 11: of mad TV, are you looking again?
• 1:25:19
  Speaker 1: You, you, we sort of skipped.
• 1:25:21
  Speaker 11: Over a lot of voiceover work, which I was going
• 1:25:23
  Speaker 11: to do at the end.
• 1:25:24
  Speaker 1: Cause the voiceover stuff.
• 1:25:25
  Speaker 2: Didn't, didn't really kick in until towards the end of
• 1:25:28
  Speaker 2: my time with mad TV. Yeah. Um, no, I got lucky. I,
• 1:25:31
  Speaker 2: there was an agent who represented a lot of groundlings
• 1:25:34
  Speaker 2: and he wanted to represent me for commercials. I hate
• 1:25:37
  Speaker 2: doing commercials. I'm bad at it. I never get them.
• 1:25:41
  Speaker 2: And I knew this guy was just wasting his time. Like, oh,
• 1:25:44
  Speaker 2: you're going to send me out for commercials? Okay. But
• 1:25:49
  Speaker 2: I was able, I had put together enough intelligence to
• 1:25:54
  Speaker 2: know that that was not going to pay off in
• 1:25:56
  Speaker 2: any way. So I figured, well, do you have a
• 1:25:58
  Speaker 2: voiceover department?
• 1:25:59
  Speaker 3: Yeah.
• 1:26:00
  Speaker 2: I will let you represent me for commercials if... your
• 1:26:05
  Speaker 2: voiceover department will represent me.
• 1:26:06
  Speaker 1: Were you super interested in that? I mean, you'd done
• 1:26:09
  Speaker 1: it as a kid, but like, did it click with
• 1:26:11
  Speaker 1: you that early on? You were like, I kind of
• 1:26:12
  Speaker 1: like what this is doing.
• 1:26:13
  Speaker 2: We'd been doing, uh, claymation stuff on Matt since the
• 1:26:16
  Speaker 2: first season. And so I basically got my mic time
• 1:26:19
  Speaker 2: in there and found that I had a sort of
• 1:26:22
  Speaker 2: skillset that, that, you know, led to that. I'm like, Oh,
• 1:26:25
  Speaker 2: I can do multiple voices. Um, plus, you know, I've
• 1:26:29
  Speaker 2: been doing impressions and stuff and I thought I could
• 1:26:32
  Speaker 2: do this. Um, And it had been something that had
• 1:26:35
  Speaker 2: been in the back of my head. And so when
• 1:26:37
  Speaker 2: I saw this chance, I'm like, huh, let me grab
• 1:26:40
  Speaker 2: at this finally. And fortunately that was a, a young,
• 1:26:45
  Speaker 2: a voiceover department, you know, that was building itself at
• 1:26:48
  Speaker 2: the same time and my career and that department sort
• 1:26:51
  Speaker 2: of grew together. And by the time I was leaving
• 1:26:54
  Speaker 2: mad TV, it opened up and I had the time
• 1:26:58
  Speaker 2: to actively pursue it. Cause prior to that, I wasn't
• 1:27:00
  Speaker 2: really available. You know, it's like, well, I'm on set.
• 1:27:04
  Speaker 2: Can I, Can I get away for a Wednesday to do...
• 1:27:06
  Speaker 2: Because I think we actually started Futurama before I left Mad.
• 1:27:11
  Speaker 5: Yeah, Hermes.
• 1:27:12
  Speaker 2: Yeah, and we.
• 1:27:13
  Speaker 1: Again, a show that didn't really find its audience until
• 1:27:16
  Speaker 1: it was almost too late. And even now is revered
• 1:27:20
  Speaker 1: more so than it ever was when it was really
• 1:27:22
  Speaker 1: a thing on television.
• 1:27:23
  Speaker 2: But also it wasn't really respected at its home. Fox
• 1:27:29
  Speaker 2: didn't love the show. They didn't want a new kind
• 1:27:33
  Speaker 2: of thing. No, they wanted another Simpsons.
• 1:27:36
  Speaker 1: They wanted another hit like The Simpsons.
• 1:27:37
  Speaker 2: No, no, no, no, no. Brian, they wanted another Simpsons.
• 1:27:40
  Speaker 1: Exactly.
• 1:27:41
  Speaker 2: They wanted Matt to do the same thing again.
• 1:27:44
  Speaker 1: It is so not The Simpsons. And to me, in
• 1:27:46
  Speaker 1: its own credit, it found a new level that like,
• 1:27:50
  Speaker 1: I loved The Simpsons, but Futurama just sucks you in
• 1:27:53
  Speaker 1: on a different plane.
• 1:27:55
  Speaker 2: Because Matt Groening and David Cohen are artists. Yeah. And
• 1:27:58
  Speaker 2: they're like, well, we already did that. Why, you know, why...
• 1:28:02
  Speaker 2: Is Van Gogh going to paint that same thing again?
• 1:28:05
  Speaker 2: He's not. So they created something different. The network was
• 1:28:10
  Speaker 2: really kind of bent about it. Plus, The Simpsons was
• 1:28:17
  Speaker 2: literally the 800-pound gorilla. but not just an 800-pound gorilla,
• 1:28:21
  Speaker 2: the 800-pound gorilla that had built your house. So you
• 1:28:24
  Speaker 2: ain't going to say nothing.
• 1:28:25
  Speaker 1: It was the only thing they had in the beginning.
• 1:28:27
  Speaker 1: It's like, thank God Married With Children kind of balanced
• 1:28:29
  Speaker 1: things out because they killed every other thing they had
• 1:28:32
  Speaker 1: on that network for season after season.
• 1:28:34
  Speaker 2: And it built, it built, I mean, yeah. And all,
• 1:28:36
  Speaker 2: and by that point, 90, you know, late nineties, every
• 1:28:40
  Speaker 2: executive at Fox knew that this guy, this, no, this
• 1:28:44
  Speaker 2: guy was so much more responsible for their paycheck than
• 1:28:47
  Speaker 2: they were. Yeah. And you didn't, they couldn't give notes
• 1:28:49
  Speaker 2: to the Simpsons, but then with Futurama, they finally had
• 1:28:52
  Speaker 2: a chink in Matt Groening's armor. Like, Can we give
• 1:28:56
  Speaker 2: him a note? We can give him a note, can't we?
• 1:28:57
  Speaker 2: On this new show. We think that, and first they,
• 1:29:02
  Speaker 2: you know, I think the first blow was making him
• 1:29:05
  Speaker 2: recast the leads. And then after that, and they never
• 1:29:09
  Speaker 2: really supported the show. You know, the joke amongst us
• 1:29:14
  Speaker 2: was there was a promotion thing going on at the time,
• 1:29:17
  Speaker 2: you know, when we first aired. You know, prime time
• 1:29:20
  Speaker 2: begins at eight on Fox. And at seven, Futurama.
• 1:29:23
  Speaker 3: Futurama.
• 1:29:25
  Speaker 2: They're like, oh, so we're not even primetime?
• 1:29:26
  Speaker 1: Skip that half hour.
• 1:29:27
  Speaker 11: And then come back later at 8 o'clock.
• 1:29:30
  Speaker 2: Yeah. There was no respect given to the show.
• 1:29:33
  Speaker 1: I mean, even putting it on before 8 o'clock.
• 1:29:37
  Speaker 11: It's still kind of a dead zone, even on weekends.
• 1:29:40
  Speaker 2: And they refused to give us the slot after The Simpsons, which.
• 1:29:43
  Speaker 1: Makes no sense. Which is what it should have had.
• 1:29:46
  Speaker 2: When have you ever heard of a major creator at
• 1:29:49
  Speaker 2: a major network, the second show not getting put on,
• 1:29:53
  Speaker 2: behind their flagship.
• 1:29:55
  Speaker 1: Show yeah you know to totally ride that wave it's
• 1:29:58
  Speaker 1: like once you've got them in right you keep going
• 1:30:00
  Speaker 1: that's i mean that's what networks build an entire night's
• 1:30:03
  Speaker 1: lineup around exactly and they going out of their way
• 1:30:06
  Speaker 1: to right tank it it was weird crazy but yeah
• 1:30:09
  Speaker 1: so i mean at that point i don't know what
• 1:30:11
  Speaker 1: what did you find about the voiceover that were you
• 1:30:14
  Speaker 1: doing something different you feel than your physical you know
• 1:30:18
  Speaker 1: on camera actor or on stage or anything um i don't.
• 1:30:20
  Speaker 2: Know i'm not really sure why it began to take
• 1:30:23
  Speaker 2: off the way it did um except that a lot
• 1:30:27
  Speaker 2: of the stuff i had done before prepared me for
• 1:30:30
  Speaker 2: it yeah um the sketch comedy multiple character stuff impressions
• 1:30:35
  Speaker 2: um the improvisation you know because a lot of times
• 1:30:39
  Speaker 2: in in animation, once you roll in, well, they need
• 1:30:42
  Speaker 2: you to go, they need you to do multiple characters. And,
• 1:30:45
  Speaker 2: you know, it's a quick business. They want you to
• 1:30:48
  Speaker 2: be able to, you know, adapt and apply a direction
• 1:30:52
  Speaker 2: to something quickly. It's like, uh, do the voice. Okay.
• 1:30:56
  Speaker 1: Hmm.
• 1:30:57
  Speaker 3: Okay.
• 1:30:57
  Speaker 2: But can you make him a little more, you know,
• 1:31:00
  Speaker 2: just arrogant and like for, for on camera, that's, I mean,
• 1:31:06
  Speaker 2: a lot of it is how you look. You can't really,
• 1:31:08
  Speaker 2: it's like, can you be taller?
• 1:31:10
  Speaker 11: Well, let me, hold on a minute.
• 1:31:11
  Speaker 2: And on camera, that doesn't happen. But in animation, it does.
• 1:31:14
  Speaker 2: It's like, he needs to sound a little taller. Like, okay,
• 1:31:19
  Speaker 2: how about this? Does that help? And the thing is,
• 1:31:21
  Speaker 2: you can do, if you have the ability, you can
• 1:31:24
  Speaker 2: do it. And all of a sudden, you know, an
• 1:31:27
  Speaker 2: on-camera job that they would have just looked at you
• 1:31:29
  Speaker 2: and go, nah, he's not right. And you're out of
• 1:31:32
  Speaker 2: the running. With animation, if you can make the adjustment...
• 1:31:36
  Speaker 2: You can have the job.
• 1:31:36
  Speaker 1: And again, it seems like just filling in. And we
• 1:31:38
  Speaker 1: need some extra lines in there in case we want
• 1:31:40
  Speaker 1: to use them while you're off camera. Just roll. You
• 1:31:42
  Speaker 1: go with it.
• 1:31:43
  Speaker 2: Then there's also the multiple character thing, which is more
• 1:31:45
  Speaker 2: of a business thing because they basically.
• 1:31:48
  Speaker 1: You're already in the studio. You got a mic in
• 1:31:49
  Speaker 1: front of you.
• 1:31:50
  Speaker 2: Well, and they get three characters for the same price
• 1:31:53
  Speaker 2: as one. So if you think about it, if you
• 1:31:56
  Speaker 2: cast an animated show the way you cast an on-camera
• 1:32:00
  Speaker 2: show and have one actor for each role, that costs
• 1:32:03
  Speaker 2: you a ton of money. If you can get actors
• 1:32:05
  Speaker 2: that can give you three distinct characters.
• 1:32:07
  Speaker 1: Changes your whole bottom line.
• 1:32:10
  Speaker 2: And that way, that's why so many of us who
• 1:32:15
  Speaker 2: make our living in voiceover can do multiple characters. Because
• 1:32:19
  Speaker 2: they need that. They depend on it in order to
• 1:32:22
  Speaker 2: make the stuff viable.
• 1:32:24
  Speaker 1: Well, and then, again, just looking at the list. You
• 1:32:27
  Speaker 1: did so much. I'm sorry. It's that guy again.
• 1:32:31
  Speaker 2: All last week.
• 1:32:32
  Speaker 1: Yeah, in one week, you knocked all these out. 30
• 1:32:34
  Speaker 1: years worth.
• 1:32:35
  Speaker 11: But I was like, in a cinema.
• 1:32:39
  Speaker 1: Legend, you get to play Dracula. That performance alone, I'm
• 1:32:46
  Speaker 1: just like, if ever I just want to just spend
• 1:32:50
  Speaker 1: time with that character, because he is just entertaining to
• 1:32:54
  Speaker 1: no end. No matter how basic the situation, how normal
• 1:32:59
  Speaker 1: the response should be.
• 1:33:01
  Speaker 2: Never going to be normal.
• 1:33:02
  Speaker 1: It's always perfect.
• 1:33:05
  Speaker 2: Yeah, I'm not even sure where that came from. I'm
• 1:33:07
  Speaker 2: pretty sure that just came from Maxwell Adams and I
• 1:33:12
  Speaker 2: just playing around in between. Because I had done a
• 1:33:15
  Speaker 2: series for him. Well, when he started Billy and Mandy,
• 1:33:20
  Speaker 2: he also had a show called Evil Concarney. And they
• 1:33:22
  Speaker 2: were there together. Our half of the show got cancelled.
• 1:33:25
  Speaker 2: The grim and evil. Right.
• 1:33:26
  Speaker 7: Yeah.
• 1:33:27
  Speaker 2: But, you know, but Adam knew me and, you know,
• 1:33:31
  Speaker 2: I think that along with Preacher Bot are the only
• 1:33:34
  Speaker 2: characters that I've been given based on things that I
• 1:33:38
  Speaker 2: probably just played around with and people heard, you know,
• 1:33:41
  Speaker 2: cause I had actually worked on Red Fox's last sitcom.
• 1:33:45
  Speaker 2: So I've been doing Red Fox for a while.
• 1:33:48
  Speaker 1: And certainly has a little red in him.
• 1:33:50
  Speaker 3: Oh yeah.
• 1:33:51
  Speaker 2: And I don't know why. Cause I mean, obviously the
• 1:33:54
  Speaker 2: character as he's drawn is supposed to be old Blackula.
• 1:33:56
  Speaker 3: Yeah.
• 1:33:57
  Speaker 2: You know, but, you know, William Marshall, king of cartoons.
• 1:34:02
  Speaker 1: He was super serious.
• 1:34:03
  Speaker 3: Right.
• 1:34:03
  Speaker 1: And a trained British actor, you know? Right. He's not
• 1:34:06
  Speaker 1: that kind of funny.
• 1:34:08
  Speaker 2: No, but I mean, obviously that whole show, when you
• 1:34:10
  Speaker 2: have Billy, you know, you're not, nothing's going to be serious.
• 1:34:13
  Speaker 3: No.
• 1:34:14
  Speaker 2: And somehow we just stumbled onto, it's like, oh, why
• 1:34:17
  Speaker 2: don't you do this Dracula character? He's like, he looks like,
• 1:34:19
  Speaker 2: he's like Blackula. I'm like, What if he sounds, and
• 1:34:21
  Speaker 2: I don't remember if it was Adam's suggestion or my suggestion,
• 1:34:25
  Speaker 2: but somehow we landed on the red fox thing, and
• 1:34:27
  Speaker 2: it was just so stupid. They were like, yes, that's it.
• 1:34:31
  Speaker 1: It's Billy and Mandy's.
• 1:34:32
  Speaker 2: Right.
• 1:34:32
  Speaker 1: It fits right in perfectly.
• 1:34:34
  Speaker 2: Dracula don't suck. Dracula lick, scrape, and lick.
• 1:34:37
  Speaker 6: You know.
• 1:34:39
  Speaker 5: Oh, Dracula.
• 1:34:40
  Speaker 2: It's so much fun. I love doing that character.
• 1:34:43
  Speaker 1: That is why I reference myself in the third person
• 1:34:45
  Speaker 1: at all times. Brian loves doing that.
• 1:34:49
  Speaker 3: Yeah.
• 1:34:50
  Speaker 1: Well, then, again, whatever stories you have, but I was
• 1:34:53
  Speaker 1: just kind of looking at the rundown of some of
• 1:34:55
  Speaker 1: the bigger, and back to film, like, you're on the
• 1:34:58
  Speaker 1: train with Spider-Man. How did you end up in Spider-Man 2?
• 1:35:03
  Speaker 2: Well, that was weird. I had auditioned for the Hal
• 1:35:05
  Speaker 2: Sparks part. Yeah, which we talked to Hal, too.
• 1:35:08
  Speaker 1: This is a weird circle, yeah.
• 1:35:09
  Speaker 2: And didn't get it. But then, like, a couple of
• 1:35:11
  Speaker 2: months later, my agent got a call. It's like, oh,
• 1:35:14
  Speaker 2: they want you for Spider-Man 2. I'm like, oh, the
• 1:35:15
  Speaker 2: elevator guys?
• 1:35:16
  Speaker 1: Like, no.
• 1:35:16
  Speaker 2: It's a different part. Like, oh, what's the part? They
• 1:35:19
  Speaker 2: can't say. Okay, well, send over the pages. Let me
• 1:35:24
  Speaker 2: see the scene. They can't. They're not showing the script. Like, well,
• 1:35:29
  Speaker 2: what's the scene? They can't say. It's very secretive. Because
• 1:35:33
  Speaker 2: they were in the midst of shooting. I'm like, what
• 1:35:35
  Speaker 2: am I going to be doing? They will not tell us.
• 1:35:40
  Speaker 2: They said it's two days. Do you want to do it?
• 1:35:42
  Speaker 2: I'm like.
• 1:35:43
  Speaker 11: Studio paycheck for two days work?
• 1:35:45
  Speaker 1: Okay.
• 1:35:47
  Speaker 2: No, but I mean, it wasn't even that much money.
• 1:35:49
  Speaker 1: Yeah.
• 1:35:49
  Speaker 2: You know, because it's two days at, you know, relatively
• 1:35:53
  Speaker 2: like scale, I think, you know, it's a couple thousand bucks.
• 1:35:55
  Speaker 2: But it was also just like, and finally, I just said,
• 1:35:59
  Speaker 2: ask them, will I be working directly with Sam Raimi?
• 1:36:03
  Speaker 2: Because I had stuff to be doing. I didn't want
• 1:36:07
  Speaker 2: to be stuck on some $ 200 million second unit thing.
• 1:36:10
  Speaker 11: Just doing this building behind you. Just stand over there
• 1:36:12
  Speaker 11: for a minute.
• 1:36:13
  Speaker 12: Right.
• 1:36:13
  Speaker 2: And they said, yes, you will. And it turned out
• 1:36:16
  Speaker 2: they had this big action sequence on the train. And
• 1:36:20
  Speaker 2: Sam had this amazing idea. It's like, look, I've got
• 1:36:23
  Speaker 2: like 100 extras. But I think that this fight is
• 1:36:26
  Speaker 2: the emotional heart of the movie. So I want a group,
• 1:36:29
  Speaker 2: and there were like eight of us, group of actors
• 1:36:31
  Speaker 2: that I'm going to sprinkle throughout the train so I
• 1:36:34
  Speaker 2: always have somebody to cut to who's going to give
• 1:36:37
  Speaker 2: me what I need at whatever point in the scene.
• 1:36:40
  Speaker 2: And that's what he did. He had like, you know,
• 1:36:41
  Speaker 2: there were all the extras and then there were like
• 1:36:44
  Speaker 2: eight of us, you know, me, Joey Diaz, a bunch
• 1:36:49
  Speaker 2: of other people. One of them was like a high
• 1:36:50
  Speaker 2: school friend of Sam's.
• 1:36:51
  Speaker 11: A lady with a baby. There's like all these, yeah,
• 1:36:53
  Speaker 11: like cutaways.
• 1:36:54
  Speaker 2: All these people all throughout the thing. And it's funny
• 1:36:56
  Speaker 2: because at one point, He kept trying to use all
• 1:37:00
  Speaker 2: of us a little too much, and the script supervisor
• 1:37:02
  Speaker 2: was like, yeah, no. Phil can't be there when the
• 1:37:05
  Speaker 2: kids hand him the mask. Cause he, we've already established
• 1:37:08
  Speaker 2: him at the other end of the train.
• 1:37:09
  Speaker 11: I was watching. There's one shot where I'm like, what?
• 1:37:11
  Speaker 11: She was over there a minute ago.
• 1:37:12
  Speaker 1: How is she standing next to you over here?
• 1:37:14
  Speaker 2: We were really trying to, okay, you're here. You, you,
• 1:37:17
  Speaker 2: you stop Toby before he falls. Then you help bring
• 1:37:20
  Speaker 2: him in. And then wait, why don't you walk with
• 1:37:23
  Speaker 2: him as we carry his body back to the center
• 1:37:25
  Speaker 2: of the train. Now you're in the middle of the train.
• 1:37:27
  Speaker 3: All right.
• 1:37:27
  Speaker 2: So I'm going to cut to you when we, it's like,
• 1:37:30
  Speaker 2: and there was literally one point. It's like, okay, Doc
• 1:37:31
  Speaker 2: Ock's arm is going to come through here. Well, Phil,
• 1:37:34
  Speaker 2: what if you come down here? And she's like, nope. Nope.
• 1:37:38
  Speaker 2: He can't go past the middle of the train. Like,
• 1:37:40
  Speaker 2: all right. Too much. No. But it wound up being
• 1:37:43
  Speaker 2: two weeks.
• 1:37:44
  Speaker 1: Were you actually in a train car?
• 1:37:46
  Speaker 3: Yes.
• 1:37:46
  Speaker 2: Or was that just the front.
• 1:37:47
  Speaker 1: Of it built somewhere else?
• 1:37:47
  Speaker 2: No, it was an actual train car. And there were
• 1:37:49
  Speaker 2: grips rocking it, just like old school. Yeah.
• 1:37:53
  Speaker 1: Actual filming. The way Sam started.
• 1:37:55
  Speaker 12: Right.
• 1:37:56
  Speaker 1: On $ 4. Right. But you got to touch Spider-Man.
• 1:37:59
  Speaker 2: Although the funny thing was, John Dykstra- you know the
• 1:38:02
  Speaker 2: legend was doing the special effects and he was on
• 1:38:06
  Speaker 2: set one day and you know i'm looking over and
• 1:38:09
  Speaker 2: i'm watching the guys like pushing you know big logs
• 1:38:11
  Speaker 2: and rocking the thing i'm like wow this is pretty
• 1:38:13
  Speaker 2: low tech and i looked up at mr dykstra and
• 1:38:16
  Speaker 2: i said well this mr dykstra this must be a
• 1:38:18
  Speaker 2: pretty uh easy scene for you you know no effects
• 1:38:21
  Speaker 2: to speak of he's like no just all of new
• 1:38:25
  Speaker 2: york city moving at 100 miles an hour and he
• 1:38:27
  Speaker 2: points up and i realize the entire soundstage is basically
• 1:38:31
  Speaker 2: a green screen. And I'm like, oh, you gotta, oh, yeah, okay, yeah, sorry,
• 1:38:37
  Speaker 2: I'm not gonna speak again ever.
• 1:38:39
  Speaker 1: I'll be over here.
• 1:38:40
  Speaker 3: Right.
• 1:38:42
  Speaker 1: Well, then I guess as, I mean, any of you
• 1:38:45
  Speaker 1: other film things you've come off of that you wanted
• 1:38:48
  Speaker 1: to throw in, but I don't know, it's.
• 1:38:50
  Speaker 2: I mean, film-wise... Do you look for that?
• 1:38:53
  Speaker 1: I mean, is it something like do you still hold
• 1:38:55
  Speaker 1: film in a different place than doing all the other?
• 1:38:58
  Speaker 1: Because you've done so many different things. Is film still...
• 1:39:01
  Speaker 1: Because again, it still has a stigma to it. It's
• 1:39:04
  Speaker 1: like that's still such a high art form versus, you know,
• 1:39:08
  Speaker 1: working a cartoon.
• 1:39:09
  Speaker 11: You know, some actors treat it so differently.
• 1:39:12
  Speaker 1: I know.
• 1:39:12
  Speaker 2: Well, I mean, I think I still hold on to
• 1:39:16
  Speaker 2: that a little bit in the back of my head.
• 1:39:17
  Speaker 1: I do as a fan, but again, I guess it's
• 1:39:20
  Speaker 1: different when you're working on it.
• 1:39:21
  Speaker 2: But it's absolutely not true. I mean, every time I'm
• 1:39:24
  Speaker 2: working on a film and it's, you know, 14 hour
• 1:39:28
  Speaker 2: days for two and a half pages.
• 1:39:31
  Speaker 1: I wish I was sitting in a voiceover room right now.
• 1:39:34
  Speaker 1: I go home in a half hour.
• 1:39:35
  Speaker 2: Why is this the highest level of performance?
• 1:39:38
  Speaker 1: Why do we still think this is?
• 1:39:41
  Speaker 2: And the thing is, when it's good, it is... It's great.
• 1:39:44
  Speaker 1: It is.
• 1:39:44
  Speaker 2: But... I think what's happening is you're finding, and I've
• 1:39:50
  Speaker 2: always said this, that it's not about the medium, it's
• 1:39:52
  Speaker 2: about the quality. I believe that Pulp Fiction has more
• 1:39:56
  Speaker 2: in common with Samurai Jack as a creative piece than
• 1:40:01
  Speaker 2: it does with a movie I did called Back by Midnight.
• 1:40:05
  Speaker 2: It was Rodney Dangerfield's last movie, and it's an absolutely
• 1:40:08
  Speaker 2: awful prison comedy.
• 1:40:10
  Speaker 1: You've got a lot of these legends there. I also
• 1:40:12
  Speaker 1: forgot about the George Carlin show.
• 1:40:14
  Speaker 7: Yeah.
• 1:40:14
  Speaker 1: You get in some of these guys that are, like, legendary.
• 1:40:17
  Speaker 2: I did a pilot that was never aired with Carol
• 1:40:20
  Speaker 2: Burnett co-starring Adam West. Nice. So, yeah. No, I've been
• 1:40:25
  Speaker 2: really fortunate to work with, you know, icons.
• 1:40:28
  Speaker 1: Yeah.
• 1:40:29
  Speaker 2: And many of whom were people that I idolized growing up,
• 1:40:33
  Speaker 2: you know. And to this day, you have yet to
• 1:40:37
  Speaker 2: be disappointed.
• 1:40:38
  Speaker 3: Yeah.
• 1:40:38
  Speaker 2: You know, so I consider myself really fortunate.
• 1:40:40
  Speaker 1: It's always good when people not only live up to
• 1:40:43
  Speaker 1: their persona, but kind of excel as people on top
• 1:40:47
  Speaker 1: of that.
• 1:40:47
  Speaker 2: Right, right.
• 1:40:47
  Speaker 1: It's always impressive when I find that.
• 1:40:49
  Speaker 6: Yeah.
• 1:40:50
  Speaker 1: Well, and then I guess just as a movie fan,
• 1:40:53
  Speaker 1: you know, you're talking about loving films still. Do you
• 1:40:55
  Speaker 1: see stuff now? Like, is there anything you've seen lately
• 1:40:58
  Speaker 1: that kind of is worth watching or is just sort
• 1:41:02
  Speaker 1: of inspiring?
• 1:41:03
  Speaker 2: I loved Logan. I think Logan might be.
• 1:41:08
  Speaker 2: It's definitely one of the best movies I've seen this year.
• 1:41:10
  Speaker 1: I mean, you've done a ton of superhero stuff in
• 1:41:13
  Speaker 1: comic world and cartoons. I mean, do you love what's
• 1:41:17
  Speaker 1: going on on screen?
• 1:41:18
  Speaker 2: Well, see, you know, it's funny because I almost said
• 1:41:22
  Speaker 2: best superhero movie and then I stopped myself because I
• 1:41:27
  Speaker 2: don't think that's a thing.
• 1:41:28
  Speaker 9: Yeah.
• 1:41:29
  Speaker 1: I mean, not anymore.
• 1:41:29
  Speaker 2: It should be good regardless. Saying superhero movie is like
• 1:41:34
  Speaker 2: to me saying novel movie.
• 1:41:35
  Speaker 7: Yeah.
• 1:41:36
  Speaker 2: You remember that movie based on that novel? Hey, let's
• 1:41:38
  Speaker 2: go see this new novel movie. Well, you know how
• 1:41:40
  Speaker 2: novel movies are.
• 1:41:40
  Speaker 1: I don't trust anything based on books. Books are trouble.
• 1:41:45
  Speaker 2: Nobody says that about movies based on books because obviously
• 1:41:48
  Speaker 2: every movie based on every book can be different. But
• 1:41:51
  Speaker 2: people think of superhero movies or comic book movies as
• 1:41:54
  Speaker 2: all the same.
• 1:41:55
  Speaker 1: They still have the same whiny criticism.
• 1:41:57
  Speaker 11: That's not how they did it in the comic books.
• 1:42:00
  Speaker 1: People like the nitpick.
• 1:42:01
  Speaker 2: Fortunately, that's going by the wayside. That's the one benefit.
• 1:42:05
  Speaker 2: of geekery becoming mainstream.
• 1:42:08
  Speaker 3: Yeah.
• 1:42:08
  Speaker 2: It's like, you know, your continuity, nobody gives a crap anymore.
• 1:42:13
  Speaker 11: Well, and there's so many people now.
• 1:42:14
  Speaker 1: Now, before it was a handful of nerds, but now
• 1:42:17
  Speaker 1: that the fact that when your mom can weigh in
• 1:42:20
  Speaker 1: and have the same movie that you just saw and
• 1:42:23
  Speaker 1: have a totally different take on it now, you've got
• 1:42:26
  Speaker 1: so many more people to kind of balance things out
• 1:42:28
  Speaker 1: and be like, I liked it this way, actually, so
• 1:42:30
  Speaker 1: shut up.
• 1:42:30
  Speaker 2: Although I will say, because I have a theory about
• 1:42:33
  Speaker 2: the DC Universe problem.
• 1:42:37
  Speaker 1: It has had. Wonder Woman's helping.
• 1:42:39
  Speaker 2: Yes, but to me, the biggest problem DC has had
• 1:42:44
  Speaker 2: that Marvel didn't, because if you look at the two...
• 1:42:47
  Speaker 2: what's the difference the big serious no no the big
• 1:42:52
  Speaker 2: difference is marvel sold off all of their marquee names
• 1:42:58
  Speaker 2: and they had to start with their b-list and that's.
• 1:43:02
  Speaker 1: And again it's all of it kind of coming full
• 1:43:04
  Speaker 1: circle because that's what's funny is this kind of movie
• 1:43:06
  Speaker 1: was the b-movie back in the day like it was
• 1:43:09
  Speaker 1: the second build had no budget had no stars and
• 1:43:13
  Speaker 1: And it elevated itself in these last 25 years to
• 1:43:16
  Speaker 1: be the A-list tentpole movie the studio is waiting for.
• 1:43:21
  Speaker 2: Although it's funny because a lot of us who talk
• 1:43:23
  Speaker 2: about these sort of things sort of skip over the
• 1:43:26
  Speaker 2: X-Men movies?
• 1:43:27
  Speaker 1: Yeah. I mean, to me, that's the beginning. Yeah, it
• 1:43:30
  Speaker 1: absolutely was. I mean, Superman kind of put it on
• 1:43:33
  Speaker 1: the map as like, okay, you can do this.
• 1:43:35
  Speaker 2: Right.
• 1:43:35
  Speaker 1: And those first two are pretty solid.
• 1:43:38
  Speaker 2: Yeah.
• 1:43:38
  Speaker 1: And then you kind of get this big gap, and
• 1:43:41
  Speaker 1: then X-Men kind of sneaks in for Spider-Man.
• 1:43:44
  Speaker 2: Right.
• 1:43:44
  Speaker 1: They all kind of sneak in there with a one-two punch,
• 1:43:46
  Speaker 1: and you're like, oh.
• 1:43:47
  Speaker 3: Right.
• 1:43:47
  Speaker 1: These are kind of a real movie. You know, it's
• 1:43:49
  Speaker 1: like these not only are delivering decent special effects now
• 1:43:53
  Speaker 1: because we can do that, but there's good drama, especially
• 1:43:56
  Speaker 1: like the Spider-Man movie is pretty great.
• 1:43:57
  Speaker 11: X2 is a pretty well-written movie.
• 1:44:00
  Speaker 1: And so that helps kind of legitimize them as like, oh,
• 1:44:03
  Speaker 1: these are just movies. Yeah. You don't have to qualify.
• 1:44:06
  Speaker 1: It's a superhero movie. Exactly.
• 1:44:07
  Speaker 2: Once we reached a level... Of technology. Yeah. Where you
• 1:44:11
  Speaker 2: could bring that stuff to life in a way that
• 1:44:13
  Speaker 2: did not, you know, diminish it. Didn't diminish it from
• 1:44:17
  Speaker 2: the source material.
• 1:44:18
  Speaker 1: Yeah.
• 1:44:19
  Speaker 2: You know, then, and that was, you know, I think around.
• 1:44:24
  Speaker 2: It's still hard to do. Superman worked for its time.
• 1:44:29
  Speaker 1: And it looks, for what they're doing in 78 or whatever,
• 1:44:32
  Speaker 1: I mean, it looks pretty damn good.
• 1:44:33
  Speaker 11: Like, I can still watch it and be like, I
• 1:44:35
  Speaker 11: don't really.
• 1:44:36
  Speaker 2: They didn't try to do too much. Yeah. He flew
• 1:44:38
  Speaker 2: and he was strong.
• 1:44:39
  Speaker 9: Yeah.
• 1:44:39
  Speaker 11: They knew what to do and what they could do
• 1:44:41
  Speaker 11: and how they could pull it off.
• 1:44:42
  Speaker 1: Again, it's just a skilled filmmaker going, I'm going to
• 1:44:45
  Speaker 1: make those work the best way I can.
• 1:44:47
  Speaker 2: But to me, the best thing that Marvel had was
• 1:44:50
  Speaker 2: they started with Iron Man.
• 1:44:51
  Speaker 1: And I've said that. I'm like, he needed an origin
• 1:44:55
  Speaker 1: story because nobody knew who he was. Like, normal people
• 1:44:58
  Speaker 1: didn't know that guy.
• 1:44:59
  Speaker 2: But see, now, here's the best thing about it. Nobody cared.
• 1:45:03
  Speaker 5: That, too.
• 1:45:04
  Speaker 1: Nobody nitpicked it.
• 1:45:06
  Speaker 2: With Batman and Superman?
• 1:45:06
  Speaker 9: Yeah.
• 1:45:07
  Speaker 2: Even people who don't read comics will tell you, that's
• 1:45:10
  Speaker 2: not Batman.
• 1:45:10
  Speaker 1: That's not what Batman does.
• 1:45:11
  Speaker 2: Superman would never do that. Like, you haven't picked up
• 1:45:14
  Speaker 2: a comic since you were six.
• 1:45:16
  Speaker 1: But I saw this cartoon one time.
• 1:45:17
  Speaker 9: Right.
• 1:45:18
  Speaker 2: But they have an idea of the character that they
• 1:45:20
  Speaker 2: hold on to, that they feel ownership of. So the
• 1:45:22
  Speaker 2: entire world is nerds about a Batman movie.
• 1:45:25
  Speaker 3: Yeah.
• 1:45:26
  Speaker 2: You know, that makes it so much harder. You start
• 1:45:28
  Speaker 2: with Iron.
• 1:45:29
  Speaker 1: Man, and you're like, oh, this suit looks pretty good. Right.
• 1:45:32
  Speaker 2: It's like, I mean, if Iron Man was of the
• 1:45:35
  Speaker 2: level of Superman... Robert Downey Jr. 's goatee would have
• 1:45:39
  Speaker 2: killed the movie. Tony Stark would never have his face
• 1:45:43
  Speaker 2: like that.
• 1:45:43
  Speaker 1: Basically, they would have freaked out casting Robert Downey Jr.
• 1:45:47
  Speaker 1: the way they did Michael Keaton. They lost their damn mind.
• 1:45:50
  Speaker 1: And it's funny, now he's the good Batman of that run.
• 1:45:52
  Speaker 2: I know.
• 1:45:53
  Speaker 1: Oh, no, he was doing some pretty good acting, actually.
• 1:45:55
  Speaker 1: But they would have freaked out.
• 1:45:58
  Speaker 11: But because it was so like, oh, they're doing an
• 1:46:00
  Speaker 11: Iron Man movie?
• 1:46:01
  Speaker 3: All right.
• 1:46:01
  Speaker 1: Well, Robert Downey, I remember him. Sure, he's fine.
• 1:46:04
  Speaker 2: And it allowed them enough latitude to experiment enough to
• 1:46:07
  Speaker 2: find what worked. Whereas, you know, with the Batman movies,
• 1:46:12
  Speaker 2: I'm sure there's so much riding on it and there's
• 1:46:15
  Speaker 2: so much pressure and so many ideas of what should be.
• 1:46:18
  Speaker 2: Even the executives, like the executives looking at the Iron
• 1:46:21
  Speaker 2: Man movie are like.
• 1:46:23
  Speaker 1: It looks pretty good.
• 1:46:25
  Speaker 2: They're going to evaluate it as a movie. They're not
• 1:46:27
  Speaker 2: going to put their own thing. I always thought Batman
• 1:46:30
  Speaker 2: should sound like this.
• 1:46:32
  Speaker 1: It's not the legendary thing. It really does have its
• 1:46:36
  Speaker 1: own almost mythology to things like Batman and Superman. Superman
• 1:46:41
  Speaker 1: is built into this country.
• 1:46:43
  Speaker 2: You show Superman in India and someone's going to go,
• 1:46:45
  Speaker 2: that's not what Superman would sound like.
• 1:46:48
  Speaker 1: I reference this. How many times they reference it in
• 1:46:50
  Speaker 1: just basic pop culture and songs to the point where
• 1:46:54
  Speaker 1: it is like a psychology thing, which is where it's
• 1:46:56
  Speaker 1: taken from, that you use it to describe a system
• 1:47:00
  Speaker 1: of the way things are working or the way a
• 1:47:03
  Speaker 1: person is operating that you don't do with Iron Man.
• 1:47:06
  Speaker 1: So there's so much riding on the ideal of Superman,
• 1:47:10
  Speaker 1: more than even the idea, where Iron Man, you don't
• 1:47:12
  Speaker 1: get that. He's just a guy in a suit.
• 1:47:14
  Speaker 9: The suit.
• 1:47:15
  Speaker 1: Like, the big, goofy, clunky suit at the beginning was genius.
• 1:47:18
  Speaker 1: I'm just like, that's something to build on. Like, that's
• 1:47:21
  Speaker 1: showing this guy... Well, you know that's real. That's from
• 1:47:23
  Speaker 1: the comics.
• 1:47:24
  Speaker 9: Yeah.
• 1:47:24
  Speaker 1: But, I mean, that's showing... Once again, it's like, you
• 1:47:27
  Speaker 1: would think if he was a bigger deal, they wouldn't
• 1:47:30
  Speaker 1: even want to go to that. They wouldn't want to
• 1:47:31
  Speaker 1: show it if it were Batman level. He'd be like,
• 1:47:33
  Speaker 1: I want the money suit right off the bat. I
• 1:47:35
  Speaker 1: want him to always be cool. I'm like, he doesn't
• 1:47:38
  Speaker 1: look cool in the beginning there. He's fighting for his life,
• 1:47:41
  Speaker 1: and it has stakes, and that's why it works.
• 1:47:43
  Speaker 2: They were able to take the elements they needed and
• 1:47:45
  Speaker 2: discard the ones. That's the other part of it. With
• 1:47:47
  Speaker 2: these iconic characters, you can't discard things. Like with Superman,
• 1:47:52
  Speaker 2: when Bryan Singer changed the suit. And I have to admit,
• 1:47:57
  Speaker 2: because I'm one of those people who lost their minds. Like,
• 1:47:59
  Speaker 2: it looks weird.
• 1:48:00
  Speaker 1: I don't like this.
• 1:48:01
  Speaker 2: Why is there so much space between his S and
• 1:48:03
  Speaker 2: his belt?
• 1:48:04
  Speaker 4: It looks.
• 1:48:06
  Speaker 2: You know? And because we have all internalized so much
• 1:48:10
  Speaker 2: about it. Whereas that Iron Man suit didn't look nothing
• 1:48:13
  Speaker 2: like any suit that anybody had ever seen. Nobody cared. Yeah.
• 1:48:16
  Speaker 1: It was just like... Oh, sure.
• 1:48:17
  Speaker 5: He's got a little.
• 1:48:18
  Speaker 3: CG actually looks good.
• 1:48:18
  Speaker 1: Good going.
• 1:48:19
  Speaker 2: He's got little things coming out of his calves cool.
• 1:48:21
  Speaker 1: We need that he's gotta fly around it's okay.
• 1:48:23
  Speaker 2: Right yeah had he been an A-list people's like he
• 1:48:26
  Speaker 2: doesn't come out of his calves It comes out of
• 1:48:29
  Speaker 2: the bottom. Repulsor rays don't come out of your calves.
• 1:48:33
  Speaker 12: You know?
• 1:48:33
  Speaker 1: Well, that was true with a lot of them. Even
• 1:48:35
  Speaker 1: like Thor. I've complained about Thor a lot because I'm like,
• 1:48:38
  Speaker 1: I don't care.
• 1:48:39
  Speaker 11: About him, but they had the freedom to do whatever
• 1:48:41
  Speaker 11: the hell they wanted.
• 1:48:42
  Speaker 1: Like, you can bring Kenneth Branagh in.
• 1:48:43
  Speaker 2: Except make a black Asgardian.
• 1:48:45
  Speaker 1: Well, they did. People just whined about it. It's not
• 1:48:48
  Speaker 1: what it's like in the Norse. They don't have Norse guys.
• 1:48:53
  Speaker 2: Never mind. I don't know.
• 1:48:54
  Speaker 1: Never mind. You're racist. You're stupid, Rainbow Bridge.
• 1:48:58
  Speaker 9: Right.
• 1:49:00
  Speaker 1: So, I don't know. That's, yeah.
• 1:49:02
  Speaker 11: I love hearing people's take on it.
• 1:49:04
  Speaker 2: Well, and as a comic book guy, I have huge,
• 1:49:06
  Speaker 2: huge opinions on it. Although, honestly, I really think that
• 1:49:11
  Speaker 2: DC is making a mistake by trying to build a universe.
• 1:49:15
  Speaker 2: I think they should just try to make good movies. Like,
• 1:49:19
  Speaker 2: make a good Superman movie. Make a good Batman movie.
• 1:49:22
  Speaker 1: And that is where I became the geek for. I
• 1:49:24
  Speaker 1: was thinking, I was like, I didn't do it much
• 1:49:25
  Speaker 1: with a lot of that other stuff. But, like, the
• 1:49:27
  Speaker 1: Superman when we just... rebooted again I'm like he does
• 1:49:32
  Speaker 1: not understand Superman at all like when he went dark
• 1:49:35
  Speaker 1: and brooding I'm like but you're again the mythos of
• 1:49:38
  Speaker 1: Superman is that and that's what we just did a
• 1:49:40
  Speaker 1: whole big Wonder Woman episode and I'm like she's reclaiming
• 1:49:43
  Speaker 1: it like this is Superman like she is eternal hope
• 1:49:47
  Speaker 1: She has faith in humanity. She wants to, above all else,
• 1:49:51
  Speaker 1: help people. Superman didn't do any of that. Like, you
• 1:49:54
  Speaker 1: missed the point of Superman.
• 1:49:56
  Speaker 2: I just grew a beard and looked brooding.
• 1:49:58
  Speaker 1: I tore up your truck because you said something mean. Right.
• 1:50:01
  Speaker 2: I'm not petty, though.
• 1:50:02
  Speaker 5: I'm from space.
• 1:50:04
  Speaker 1: I'm just like, what?
• 1:50:05
  Speaker 2: And I definitely have to give Patty Jenkins credit because
• 1:50:08
  Speaker 2: Wonder Woman is a tough character.
• 1:50:11
  Speaker 1: And that's what, I mean, the people are like, well,
• 1:50:12
  Speaker 1: it's been so long she's never had a movie.
• 1:50:14
  Speaker 11: I'm like, yeah, but she had some silly powers.
• 1:50:17
  Speaker 1: And like, Well, it's hard to make those look good.
• 1:50:19
  Speaker 1: And I said this on the episode. I'm like, they
• 1:50:21
  Speaker 1: took everything dorky about her, trimmed it down, used it all,
• 1:50:25
  Speaker 1: but made a way to make it.
• 1:50:26
  Speaker 2: What was dorky about her? The rope?
• 1:50:28
  Speaker 1: It was pretty silly, but they made it work. I mean,
• 1:50:31
  Speaker 1: the fact that, I mean, all of her stuff was like,
• 1:50:33
  Speaker 1: I've got bracelets. Like it became very like girl oriented.
• 1:50:36
  Speaker 2: Right, right.
• 1:50:37
  Speaker 1: They took those things that are still female and made
• 1:50:40
  Speaker 1: them awesome. Like those bracelets are beautiful.
• 1:50:43
  Speaker 9: Ask now.
• 1:50:44
  Speaker 2: Because they grounded him. They tied him to story. They
• 1:50:45
  Speaker 2: tied him to origin. Because it's powerful.
• 1:50:47
  Speaker 1: And I'm like, that's what you want from Wonder Woman.
• 1:50:49
  Speaker 1: She needs to be a powerful woman. Again, as much
• 1:50:53
  Speaker 1: as we love Linda Carter, she's very silly in that show.
• 1:50:56
  Speaker 1: And I'm like, they took everything out of that very close-minded,
• 1:50:59
  Speaker 1: chauvinist show and turned it into something awesome.
• 1:51:01
  Speaker 2: Right. And it's a TV show. And TV shows do
• 1:51:03
  Speaker 2: not need the philosophical grounding. Especially back then. It was
• 1:51:07
  Speaker 2: all about set up a premise. And then we just
• 1:51:09
  Speaker 2: go from zero to zero each episode. Yeah. There's no bills.
• 1:51:12
  Speaker 1: It's the same. I mean, every episode of the Hulk
• 1:51:14
  Speaker 1: is kind of the same.
• 1:51:15
  Speaker 2: Exactly.
• 1:51:16
  Speaker 1: He walks off to do the same thing next week.
• 1:51:18
  Speaker 9: Yep.
• 1:51:19
  Speaker 1: He does the same thing. Wonder Woman kind of.
• 1:51:21
  Speaker 2: Well, because it was, it was format based.
• 1:51:22
  Speaker 3: Yeah.
• 1:51:23
  Speaker 2: And the thing is like, look, I'm a network. I
• 1:51:25
  Speaker 2: want to be able to put this on whenever, in
• 1:51:27
  Speaker 2: whatever order.
• 1:51:28
  Speaker 11: And for years, if I can get lucky enough to
• 1:51:31
  Speaker 11: do it.
• 1:51:31
  Speaker 3: Exactly.
• 1:51:31
  Speaker 1: So let's not cap anything off. So I can't come back.
• 1:51:33
  Speaker 2: Exactly. Yeah. So it's, Characters can't change.
• 1:51:37
  Speaker 1: We need, yeah, again, familiarity. People love that and they
• 1:51:40
  Speaker 1: come back like after a week and that's what you want. Like,
• 1:51:42
  Speaker 1: you don't have to worry about that with a movie.
• 1:51:43
  Speaker 1: It's one and done. Maybe you get a sequel, but
• 1:51:45
  Speaker 1: like networks, like you got to get people to show
• 1:51:48
  Speaker 1: up every week, especially back, When ratings matter. Yes.
• 1:51:52
  Speaker 11: Now you don't have to worry about ratings the same way.
• 1:51:54
  Speaker 1: You do, but not the same way.
• 1:51:55
  Speaker 2: And now because of binging and stuff, the kind of
• 1:51:59
  Speaker 2: storytelling has changed.
• 1:52:00
  Speaker 9: Yeah.
• 1:52:00
  Speaker 2: And you actually can have characters change.
• 1:52:01
  Speaker 1: And it can be an ongoing story. It can be
• 1:52:04
  Speaker 1: a season long story arc. It can be a series
• 1:52:07
  Speaker 1: long arc. If you're smart, if you're Joss Whedon and
• 1:52:10
  Speaker 1: you can plan seasons ahead, you can play that to
• 1:52:13
  Speaker 1: your advantage. Where again, it's almost stuff you can't do
• 1:52:16
  Speaker 1: and even film because you have such a big canvas then.
• 1:52:19
  Speaker 6: Exactly.
• 1:52:19
  Speaker 1: So it's again, if somebody's good at it, that's what
• 1:52:22
  Speaker 1: they do. But no, then as far as what you've
• 1:52:26
  Speaker 1: got going on, like how many things you have in
• 1:52:28
  Speaker 1: the works and are you allowed to talk about, again,
• 1:52:32
  Speaker 1: we were going over that with special effects with someone
• 1:52:33
  Speaker 1: recently in animation. Do you have sort of this cone
• 1:52:37
  Speaker 1: of silence until it actually hits or a.
• 1:52:39
  Speaker 2: Little bit because there's such a long lag time. Yeah.
• 1:52:42
  Speaker 2: You know, it's, it's a year from when you record
• 1:52:44
  Speaker 2: something to when, yeah, it's when it's actually final animation. Um,
• 1:52:49
  Speaker 2: So basically, whenever anybody asks me, what are you working on?
• 1:52:52
  Speaker 2: I have to do the math in my head. It's like, okay,
• 1:52:56
  Speaker 2: what you really mean is what did I work on
• 1:52:58
  Speaker 2: a year ago?
• 1:52:59
  Speaker 1: What's coming out soon?
• 1:53:01
  Speaker 2: But yeah, no, what am I working on? There's a
• 1:53:03
  Speaker 2: new show coming on Adult Swim called The Jellies, an
• 1:53:08
  Speaker 2: animated show produced by Tyler, the creator, which is just
• 1:53:11
  Speaker 2: absolutely insane. It's like, yeah, it's crazy.
• 1:53:15
  Speaker 1: Most adult swim at this point is pretty insane.
• 1:53:18
  Speaker 2: Yeah, I know. I think it's going to be paired
• 1:53:19
  Speaker 2: with Rick and Morty maybe. There you go. And I've
• 1:53:24
  Speaker 2: got an on-camera series that's starting on Epix in August
• 1:53:27
  Speaker 2: called Get Shorty with Chris O'Dowd and Ray Romano. And
• 1:53:31
  Speaker 2: I get to play the head of the studio, you know.
• 1:53:34
  Speaker 1: Again, epics. I mean, there's so many new avenues now.
• 1:53:37
  Speaker 2: I know.
• 1:53:38
  Speaker 1: Is this offering, like, a lot of new freedom for
• 1:53:41
  Speaker 1: you guys, too, to just be– you don't have people
• 1:53:43
  Speaker 1: controlling it the same way they used to?
• 1:53:45
  Speaker 2: It's crazy because, yeah, I mean, these scripts were so good.
• 1:53:48
  Speaker 2: This guy named Davey Holmes was the showrunner and wrote
• 1:53:51
  Speaker 2: most of the stuff. And they're– I mean, it's gangsters
• 1:53:54
  Speaker 2: in Hollywood, you know, and it's totally R-rated.
• 1:53:58
  Speaker 1: Is it– what era are we talking about?
• 1:54:01
  Speaker 5: Modern?
• 1:54:01
  Speaker 2: It's modern. It's today. It's not the characters from the
• 1:54:03
  Speaker 2: Travolta movie.
• 1:54:04
  Speaker 1: Yeah, yeah.
• 1:54:04
  Speaker 11: But even then, I was like, you can go far
• 1:54:07
  Speaker 11: back pretty far with gangsters.
• 1:54:08
  Speaker 2: Right. No, it's just that same essential premise set today. And,
• 1:54:14
  Speaker 2: I mean, we can curse. There's nudity. It's the world.
• 1:54:18
  Speaker 2: And this is on cable.
• 1:54:19
  Speaker 3: Yeah.
• 1:54:19
  Speaker 2: You know, not even pay cable. Different world than it was.
• 1:54:23
  Speaker 2: But it's not gratuitous. It's like, oh, okay, this is
• 1:54:25
  Speaker 2: the world.
• 1:54:26
  Speaker 1: You should probably approach these kind of things.
• 1:54:28
  Speaker 3: Yeah.
• 1:54:29
  Speaker 7: Yeah.
• 1:54:29
  Speaker 2: You know, and, uh, yeah, just, uh, had some more
• 1:54:31
  Speaker 2: episodes of Veep this season, uh, which is always just
• 1:54:35
  Speaker 2: such a joy. And, you know, again, working with somebody,
• 1:54:38
  Speaker 2: you know, just an iconic comedic genius, you know, Julie Louis-Dreyfus. Um, and, uh,
• 1:54:44
  Speaker 2: what else? Uh, Lion Guard for Disney, um, Tarantula, uh,
• 1:54:48
  Speaker 2: which is a new animated show for TBS. And, uh,
• 1:54:54
  Speaker 2: Injustice 2, the video game already came out, uh, Unfortunately,
• 1:54:58
  Speaker 2: not really doing much new video game stuff. There's a
• 1:55:04
  Speaker 2: market now. There's so much stuff. No, there's a video
• 1:55:06
  Speaker 2: game strike going on. But we did actually just have
• 1:55:09
  Speaker 2: a Futurama mobile game that was done under the new
• 1:55:13
  Speaker 2: union contract that we just launched last week.
• 1:55:17
  Speaker 1: It's funny that this far out from it, it just
• 1:55:21
  Speaker 1: keeps still finding new ways to work its way out
• 1:55:23
  Speaker 1: there and create new. And that's amazing.
• 1:55:26
  Speaker 2: Well, and that's, that's the upside of the breakdown of
• 1:55:28
  Speaker 2: the old system is now if you can identify an audience,
• 1:55:33
  Speaker 2: you can create content for them.
• 1:55:35
  Speaker 1: Have a talented creator. I mean, graining still going, no,
• 1:55:37
  Speaker 1: there's still stuff we can do here. Like, let's not
• 1:55:40
  Speaker 1: kill this just yet. Exactly.
• 1:55:41
  Speaker 10: Yeah.
• 1:55:42
  Speaker 2: I mean, in the old days when I started out,
• 1:55:45
  Speaker 2: if a show got canceled, it not only was off
• 1:55:49
  Speaker 2: the air, They would tape over the tapes. Like they actually,
• 1:55:54
  Speaker 2: they usually have magnets.
• 1:55:55
  Speaker 1: A lot of that stuff.
• 1:55:56
  Speaker 2: Like let's clear these tapes so we can use them.
• 1:55:58
  Speaker 1: For something else. They would record new shows over top
• 1:56:00
  Speaker 1: of the old, yeah. I remember hearing that. It's kind
• 1:56:03
  Speaker 1: of heartbreaking as a geek that you're just, but there was,
• 1:56:05
  Speaker 1: we don't even have that anymore.
• 1:56:06
  Speaker 2: Like you just, it's gone.
• 1:56:09
  Speaker 1: Yeah. They just had no idea what, I mean, can
• 1:56:11
  Speaker 1: you think of like TV rights, and DVD sales and streaming.
• 1:56:15
  Speaker 1: Like if you threw that at somebody in the fifties,
• 1:56:17
  Speaker 1: you're like, no, do you know how much this is
• 1:56:19
  Speaker 1: going to be worth? Like you're losing your mind. It's crazy.
• 1:56:22
  Speaker 2: You know what you're talking about?
• 1:56:23
  Speaker 1: Weird way that is changed in a relatively short amount
• 1:56:26
  Speaker 1: of time.
• 1:56:27
  Speaker 3: Yeah. All right.
• 1:56:28
  Speaker 1: Well, do you want to have people.
• 1:56:29
  Speaker 11: Find you online or what's the best way to figure
• 1:56:32
  Speaker 11: out what you've got?
• 1:56:32
  Speaker 5: Yeah.
• 1:56:34
  Speaker 2: The best place to find me is at my website, uh, philamar.com
• 1:56:38
  Speaker 2: or on Twitter at philamar. It's, uh, Two L's in
• 1:56:41
  Speaker 2: the middle, two R's at the end. P-H-I-L-L-A-M-A-R-R. And also
• 1:56:46
  Speaker 2: I've got my Facebook page, which I think if you
• 1:56:50
  Speaker 2: just do Phil Lamarr on Facebook, it'll take you there.
• 1:56:53
  Speaker 2: All right.
• 1:56:54
  Speaker 1: Well, that's awesome, man. Thank you for being on. It's
• 1:56:56
  Speaker 1: been great.
• 1:56:57
  Speaker 5: Thank you, Brian.
• 1:56:57
  Speaker 2: Thank you.
• 1:57:12
  Speaker 1: Alright, so once again, a big thank you to Phil,
• 1:57:15
  Speaker 1: who was awesome, as you heard. So go befriend him
• 1:57:18
  Speaker 1: on Twitter and follow his stuff and watch his stuff
• 1:57:21
  Speaker 1: coming out and send him a message telling him you
• 1:57:23
  Speaker 1: heard him on Movie Meltdown.
• 1:57:26
  Speaker 3: Yeah.
• 1:57:27
  Speaker 1: In that same vein, a big thank you to IndiePopCon
• 1:57:30
  Speaker 1: because they let us come hang out here and be
• 1:57:32
  Speaker 1: part of the fun, which we did have a hell
• 1:57:34
  Speaker 1: of a fun day. You should all join in on
• 1:57:38
  Speaker 1: the fun. Check it out at IndiePopCon.com And see what
• 1:57:42
  Speaker 1: they've got in the works next time around. Anything else
• 1:57:46
  Speaker 1: to pass along, Misty?
• 1:57:47
  Speaker 3: I'm trying to think if there's anything else in this
• 1:57:49
  Speaker 3: holiday that I was like, ooh, I need to talk
• 1:57:50
  Speaker 3: about that.
• 1:57:50
  Speaker 4: Hmm.
• 1:57:54
  Speaker 3: Nothing we've never bitched about before, you know.
• 1:57:56
  Speaker 1: It's true.
• 1:57:56
  Speaker 3: Half-ass costumes.
• 1:57:58
  Speaker 1: Once again, I give bonus points to people who don't
• 1:58:00
  Speaker 1: really try versus the ones that put a lot of
• 1:58:02
  Speaker 1: effort in and then miss the mark.
• 1:58:04
  Speaker 3: Like, when you have, like, the entire thing head to ankle,
• 1:58:07
  Speaker 3: then you're wearing some fucking new balances.
• 1:58:09
  Speaker 2: I'm like.
• 1:58:10
  Speaker 3: what do you know dude? Turn your ass back around.
• 1:58:13
  Speaker 3: Get you some fucking cool shoes that go with that
• 1:58:15
  Speaker 3: whole outfit.
• 1:58:16
  Speaker 1: Once again the girl that wore a t-shirt that looked
• 1:58:19
  Speaker 1: like Robin's outfit in a mask and that was it.
• 1:58:22
  Speaker 1: Other than that she's like jeans and some tennis shoes.
• 1:58:26
  Speaker 1: Like she put Little to no effort into that. And
• 1:58:29
  Speaker 1: I'm like, you know what? I'm fine with that. Because
• 1:58:31
  Speaker 1: at least you didn't try really hard and screw it up.
• 1:58:34
  Speaker 1: At least the half-assed version, you know what you're getting
• 1:58:36
  Speaker 1: yourself into. We know what we're going to look at.
• 1:58:39
  Speaker 1: These people that put that much effort in and then
• 1:58:41
  Speaker 1: just screw up part of it. Just don't fully commit.
• 1:58:45
  Speaker 1: I'm like, that's the sad part.
• 1:58:46
  Speaker 3: I made a friend. Remember that? a dragonfly friend yes
• 1:58:50
  Speaker 3: I made a dragonfly friend I was like totally assaulted
• 1:58:52
  Speaker 3: in the face and then he landed.
• 1:58:53
  Speaker 1: On my arm as we were wandering out of the
• 1:58:55
  Speaker 1: convention Misty is just he just circles her head and
• 1:58:58
  Speaker 1: is like nope I'm landing on you just prepare yourself
• 1:59:01
  Speaker 1: here I come and there he was he parked it
• 1:59:04
  Speaker 1: right on her.
• 1:59:04
  Speaker 3: Arm It was a magical moment.
• 1:59:06
  Speaker 1: And now we looked it up, and you're going to
• 1:59:07
  Speaker 1: have seven years of awesome luck.
• 1:59:09
  Speaker 3: That's what it says. Dragonflies are good luck.
• 1:59:11
  Speaker 1: So you're totally magical from here on out.
• 1:59:14
  Speaker 3: Yeah, more so than normal. I'm a goddamn unicorn.
• 1:59:16
  Speaker 1: There you go. We saw many of those today, too. Unicorns? Well,
• 1:59:21
  Speaker 1: girls with one horn on their head, so that kind
• 1:59:23
  Speaker 1: of counts, right? There's a lot of horny girl outfits.
• 1:59:27
  Speaker 1: That's how I'm putting it, and that's what I saw. So, yes,
• 1:59:32
  Speaker 1: you can be like one of those crazy magical unicorns.
• 1:59:35
  Speaker 3: Am I actually going to sprout something out of my forehead?
• 1:59:37
  Speaker 1: Well, maybe.
• 1:59:38
  Speaker 3: I don't know if they bite or anything.
• 1:59:40
  Speaker 1: Well, that was my other thing. I was like, or
• 1:59:41
  Speaker 1: is this about to be kind of like Spider-Man? And
• 1:59:44
  Speaker 1: soon you'll have all the powers of a dragonfly.
• 1:59:46
  Speaker 3: Which I was like, that could be good because dragonflies
• 1:59:48
  Speaker 3: are usually skinny.
• 1:59:49
  Speaker 1: He was very skinny.
• 1:59:50
  Speaker 3: You don't ever see fat dragonflies.
• 1:59:52
  Speaker 1: Nope, he had a tiny little torso.
• 1:59:54
  Speaker 3: But I'm looking forward.
• 1:59:56
  Speaker 1: To it right there. It's my future. All right, so
• 1:59:59
  Speaker 1: from me and Dragonfly Girl. Yeah. Adventure starting soon. Maybe
• 2:00:04
  Speaker 1: we can do that as one of the new spinoff comics.
• 2:00:06
  Speaker 1: Trying to get us more comics going. Another tie-in product
• 2:00:09
  Speaker 1: that no one cares about but me and Dragonfly Girl.
• 2:00:12
  Speaker 3: Let me get the rare enamel pin version.
• 2:00:14
  Speaker 1: The enamel pin. Limited edition.
• 2:00:17
  Speaker 3: Numbered.
• 2:00:19
  Speaker 1: For our Patreon supporters only, perhaps. Hint, hint. Dragonfly Girl
• 2:00:27
  Speaker 1: enamel pin.
• 2:00:28
  Speaker 3: Soft or hard, because they had two different variations. I
• 2:00:29
  Speaker 3: don't know what the difference is.
• 2:00:30
  Speaker 1: I guess it depends on how much you donate. You
• 2:00:36
  Speaker 1: guys better start writing in now. Signing up for them.
• 2:00:38
  Speaker 1: We can put this together.
• 2:00:41
  Speaker 3: Would it just be like my head on a dragonfly's body?
• 2:00:44
  Speaker 3: That would be amazing.
• 2:00:45
  Speaker 1: Oh, that can be arranged. We know many artists. This
• 2:00:48
  Speaker 1: can be put together. I could paint. I was encouraging
• 2:00:55
  Speaker 1: you earlier to do more cut-offs.
• 2:00:56
  Speaker 3: Copy and paste.
• 2:00:57
  Speaker 1: So you should actually just do... And I want physical.
• 2:01:00
  Speaker 1: I want old school. Once again, I want old school
• 2:01:02
  Speaker 1: South Park animation. I want little cardboard people and little
• 2:01:06
  Speaker 1: construction paper bodies and a picture of your head with
• 2:01:09
  Speaker 1: this weird face. And then you'll be flying around as
• 2:01:11
  Speaker 1: a dragonfly. Once again, send funding in now. You can
• 2:01:16
  Speaker 1: make this happen.
• 2:01:17
  Speaker 3: I need money for my construction paper.
• 2:01:18
  Speaker 1: That's true. You're going to need a lot of construction papers.
• 2:01:23
  Speaker 1: and some scissors support us on this the adventures of dragonfly.
• 2:01:27
  Speaker 8: Girl the shenanigans we can make this happen.
• 2:01:31
  Speaker 1: We can probably get a great special guest voiceover by
• 2:01:35
  Speaker 1: phil lamar we'll see what we can do.
• 2:01:38
  Speaker 2: Send in funding now.
• 2:01:42
  Speaker 1: All right on that note i think we should wrap
• 2:01:44
  Speaker 1: it up otherwise that about does it we will return
• 2:01:47
  Speaker 1: next time same geek feed thanks for listening.
• 2:02:10
  Speaker 7: If your road has reached the ocean.
• 2:02:18
  Speaker 1: But your legs still.
• 2:02:20
  Speaker 4: Want to go.
• 2:02:27
  Speaker 7: If they taught you.
• 2:02:29
  Speaker 1: How to doubt it.
• 2:02:36
  Speaker 3: But you know it isn't.
• 2:02:38
  Speaker 12: So If the moments seem to miss.
• 2:02:48
  Speaker 4: You And.
• 2:02:53
  Speaker 7: If your partner isn't there And.
• 2:03:02
  Speaker 1: If you know you.
• 2:03:03
  Speaker 12: Could reach the treasure But you keep coming up for air.
• 2:03:17
  Speaker 4: If you want to get through to the other side
• 2:03:26
  Speaker 4: Let the dragonfly come and give you a ride.
• 2:03:35
  Speaker 7: Every day you're born and every night you die Let
• 2:03:43
  Speaker 7: the dragon fly, come and give you a ride.
• 2:03:53
  Speaker 1: If you see.
• 2:03:55
  Speaker 7: The sun is rising, the world is still fast asleep.
• 2:04:10
  Speaker 1: And if you feel your heart is flying But they keep.
• 2:04:20
  Speaker 4: Tying up your feet If you want to get through
• 2:04:27
  Speaker 4: To the other side Let me try again.
• 2:04:39
  Speaker 7: Come and give you a ride Every.
• 2:04:44
  Speaker 4: Day you're born And every night you die Let the
• 2:04:53
  Speaker 4: dragon fly.
• 2:04:57
  Speaker 7: Come and give you a ride It's gonna be different
• 2:05:04
  Speaker 7: this time They can't.
• 2:05:07
  Speaker 1: Stop your believing You cut a hole in your wall
• 2:05:13
  Speaker 1: last night.
• 2:05:15
  Speaker 12: You found a window worth keeping If you.
• 2:05:19
  Speaker 1: Want to get through To the.
• 2:05:23
  Speaker 12: Other side Let the dragonfly Come and give you.
• 2:05:32
  Speaker 4: A ride And every night she died.
• 2:05:42
  Speaker 7: Let the dragon fly Come and give you.
• 2:05:45
  Speaker 4: Her life Let the dragon fly Let the dragon fly.
• 2:07:50
  Speaker 1: With some Dracula reference.
• 2:07:53
  Speaker 2: Nobody's going to get that but you.
• 2:07:55
  Speaker 1: And that's that. That's all.
• 2:08:00
  Speaker 6: This episode is a production of Movie Meltdown, produced and
• 2:08:03
  Speaker 6: edited by The Oddity Studios, with opening music performed by
• 2:08:06
  Speaker 6: The Empires. For more on how to sponsor or support
• 2:08:09
  Speaker 6: the show, email producer at moviemeltdown.com.
• 2:08:12
  Speaker 1: Talk hard! This program is a proud member of the
• 2:08:21
  Speaker 1: Battleship Pretension Fleet.