Latest / Left of the Projector / Escape From New York (1981)

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Escape From New York (1981) · Left of the Projector

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Track 2: Does this have a chat too.
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Track 3: Yeah it has a chat on the right.
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Track 2: Yeah we don't need it certainly i did not write anything at all.
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Track 1: And and i feel like okay i sent a message what happens.
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Track 2: I get a little pop-up in the bottom corner and then i can click on it.
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Track 1: That is better remember the old one was like if you got a message you hit chat
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Track 1: and then you had to go into the chat and i was like what the fuck yeah that
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Track 1: was miserable why is there two stages to this.
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Track 3: Yeah are you sure you want to chat.
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Track 2: Other than this other than the sounds i feel like this is actually better better
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Track 2: than the other one agreed because i have my you can you hear my air conditioner no,
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Track 2: see that's that the other one you can hear it and i have to suffer or find a
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Track 2: way to anyway i'm just gonna like wing the little intro.
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Track 1: Now i can't okay the echo cancel if i put noise reduction and echo cancellation on then you can't.
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Track 2: Hello, and welcome to Left of the Projector. I'm your host, Evan,
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Track 2: back again with another film discussion from the left. If you'd like to support
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Track 2: the show for as little as $3 a month, you can go to Patreon forward slash Left of the Projector Pod.
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Track 2: If you'd like to dress in style, we've got shirts.
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Track 2: And at leftoftheprojectorpod.threadless.com, you can grab one and show everyone
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Track 2: you've got the best taste around.
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Track 2: Wherever you're listening, give us a rating and subscribe so you'll be notified
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Track 2: of our weekly episodes that drop every Tuesday. And now on to the show.
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Track 2: this week on left of the projector we are going to be discussing a classic john
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Track 2: carpenter film from 1981 escape from new york it of course stars kurt russell,
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Track 2: lee van cleef ernest bordenine donald pleasant isaac hayes harry dean stanton
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Track 2: and adrian barbeau it is quite the cast,
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Track 2: it was a pretty successful box office film for john carpenter who unfortunately
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Track 2: doesn't always do so well there,
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Track 2: doesn't mean those movies aren't awesome it made 50 million dollars on a six,
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Track 2: million dollar budget oddly enough there was a sequel to this film which i covered
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Track 2: in this podcast a couple of years ago so we're going back in time to new york,
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Track 2: with me i have ward and bill and you can call me snake.
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Track 3: No it's blisken how.
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Track 2: You guys doing uh.
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Track 1: You can call me brain which would make I guess that would make more Duke yeah,
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Track 1: the duke i'll take it.
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Track 2: Oh this movie is so good but do you want me to mention hugo's thing i can do uh.
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Track 3: Yeah yeah first and foremost.
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Track 2: So before we get into discussing the episode we also wanted to plug a,
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Track 2: comrade who you've heard on this podcast many times hugo aka sees the mean street
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Track 2: and you may have seen his videos all over instagram and we want to let you know
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Track 2: he now has a youtube channel where he has released episode one,
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Track 2: which is What is Cultural Hegemony?
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Track 2: And you should go check that out at the channel that's in the show notes.
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Track 2: So go listen to Hugo and his puppets doing God's work.
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Track 1: Well, also we'll put a link in the show notes for, there is a GoFundMe,
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Track 1: I believe, or a fundraiser for Hugo.
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Track 1: But there's some information for those who don't know, he and his family recently
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Track 1: had a personal emergency,
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Track 1: uh you can find the information about that online uh but if you check his instagram
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Track 1: we'll put all that in the show notes as well um and if you would like to support
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Track 1: him in his and his family in their time of need that would be much appreciated.
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Track 2: Excellent and uh taking it to uh a different note is,
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Track 2: i don't know if we the three of us have done a carpenter movie what is is this
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Track 2: your favorite john carpenter film and if it's not what it is,
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Track 2: i don't think the three of us have done a carpenter movie i've done the sum
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Track 2: on this show i've done the thing we did big trouble oh no we did big trouble
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Track 2: little china fucking hell yeah.
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Track 1: I was like like i know we did.
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Track 3: Big trouble little china.
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Track 2: Yeah, we've also done Escape from L.A., and that's it, and Halloween.
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Track 1: For myself, it's a toss-up between The Thing and Big Trouble in Little China.
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Track 3: It's the same for me. The Thing is absolutely incredible, top tier,
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Track 3: but I got a lot of nostalgia for Big Trouble in Little China.
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Track 3: It's also another great film, a lot of fun, holds up surprisingly well,
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Track 3: and yeah, I just got a lot of nostalgia growing up with it, so it's real neck-and-neck for me.
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Track 2: Yeah, for me, it's also the thing. And I also love Big Trouble in Little China,
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Track 2: but I also have a memory of watching this when I was maybe 10 or something.
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Track 2: I don't know that I saw Big Trouble in Little China until I was a little older.
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Track 2: So I just remember watching this movie, laughing about how just the images of
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Track 2: New York and, you know, it's kind of funny to think that opening,
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Track 2: one of those, the early scene with him flying a little glider and landing on the World Trade Center.
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Track 2: It's like, did he predict 9-11? I don't know. Probably not. But this movie is...
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Track 1: I don't really think it compares.
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Track 2: No, no. And the thing that I... So, one that I was watching some of the behind
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Track 2: the scenes, because I have this on DVD, and they talked about,
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Track 2: because I mentioned the cast, they called it like an ensemble cast because it has so many...
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Track 2: Like, it has Ernest Bordenine as just in this movie.
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Track 2: You probably wouldn't expect someone like that to be in this.
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Track 2: Plus, Harry Dean Stanton, who's a legend. Isaac Hayes, you know, singer, composer.
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Track 2: it's just like a a stacked cast more than any of his other films probably.
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Track 1: I'd say so i think this definitely for for a cover to film i mean this is pretty
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Track 1: this is a pretty stacked cast um i think isaac hayes is i mean other than car
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Track 1: wrestle i think isaac hayes is the uh the standout.
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Track 2: Yeah i love hero dean stand-in but his character like his it doesn't you know
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Track 2: rise above the rest as compared to some of his other, you know,
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Track 2: films, but still so good. I don't know.
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Track 3: I, um, apparently Carpenter had some complaints about Kurt Russell at first.
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Track 3: Cause he's like, yeah, he's a fucking Disney actor. Like, yeah.
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Track 2: It eventually got to a point.
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Track 3: Where it was just like just read your lines how it's written.
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Track 2: Well yeah he had a complaint.
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Track 1: About about russell and then went on to put him in like fucking everything right.
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Track 2: Well i think so from the like them talking like doing the um there's like a
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Track 2: commentary track with them going and talking about a lot of the movie,
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Track 2: and they seem and it's like obviously it wasn't done at the time it was done
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Track 2: years later and they seem to like be like such buddy pals
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Track 2: but they were talking about in the making of it that deborah hill who was carpenter's
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Track 2: like long-time collaborator on movies that they had like complete opposite political
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Track 2: views but somehow it still worked for them in this,
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Track 2: like carpenter would consider himself left-ish kurt russell's a republican is he mad guy i don't know.
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Track 1: I can totally see that and honestly i mean i could see that reflected in the
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Track 1: movie as well i enjoyed this movie but i do think the politics are muddled to say the least.
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Track 2: Yeah i muddled or i would even argue like pretty poor deborah hill comprehensible
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Track 2: yeah well deborah hill again it's an american.
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Track 3: Understanding of politics.
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Track 2: Well do you know what deborah hill said she calls this she said this movie is
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Track 2: a libertarian movie and the idea of personal freedom in snake blisket,
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Track 2: That's how she describes the movie.
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Track 1: The movie starts with the hijacker making an entire speech about the workers of the United States.
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Track 2: Which they completely then forget about for the rest of the movie.
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Track 1: Yeah, that's what I'm saying. There's no through line, and it abandons the most
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Track 1: powerful political sentiment right off the bat, which I honestly think makes
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Track 1: it overall a weaker film.
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Track 1: Like, I honestly find overall the, the themes of this movie to be kind of overall
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Track 1: lost and kind of just like, like, okay, there's, which I think detracts from
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Track 1: it overall, personally.
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Track 3: So it's like an, it's an action film. And like what a perplexed user randomly
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Track 3: reviewed, but right before I watched rewatch this for this episode was,
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Track 3: uh, and there's not a lot of dialogue.
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Track 3: Good action movie to watch. there isn't dialogue i mean because like you get
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Track 3: the politics of like the female hijacker in the beginning,
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Track 3: and then it's immediately tossed away and then you get like the plot of oh snake
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Track 3: is basically a fucking former special forces turned criminal now prisoner basically,
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Track 3: turn coerced into a,
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Track 3: anti-revolutionary mercenary who's trying to subvert the prison population's plans for freedom.
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Track 3: And it's like, they don't even field out,
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Track 3: the like plan for freedom very well it's just like we're gonna have a wrestling match instead.
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Track 2: What's what i think is also funny and this actually maybe tell me if this board's throwing bats,
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Track 2: tell me if this then makes sense all right so you say like they kind of get
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Track 2: away from the message of the hijackers because they just they put they die in
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Track 2: the plane crash the president survives and the whole plan of the movie is to rescue him,
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Track 2: so he can deliver a speech with like the USSR and China who are the other countries.
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Track 2: The world has no idea about this plane crash, right?
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Track 2: There's no, they're not putting this on TV. I feel like the way that they just
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Track 2: sweep that under the rug and then later they just have the president on TV.
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Track 2: Of course, like when we get to the end, it's kind of a funny scene and it gives
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Track 2: you a comedic note, but this is exactly what would happen, right?
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Track 2: They would just completely sweep everything under the rug and do a special forces
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Track 2: shit and be like, nothing ever happened.
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Track 3: Yeah, especially whenever they're talking and like, yeah, the president's not
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Track 3: even going to matter if he doesn't even fucking make this meeting. And so like...
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Track 3: I don't, so Evan, you know more about this movie than me. I'm like,
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Track 3: I've probably seen this like maybe two or three times. Like I,
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Track 3: this was basically like a rewatch, like a fresh watch for me almost.
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Track 1: Same for me. It's been a long time since I saw this.
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Track 3: So what the fuck was the president even supposed to give over?
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Track 3: There was like something about cold fusion, but then there's like a fucking cassette tape.
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Track 2: That's the thing about it. That's sort of, it feels like it was sort of a throwaway
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Track 2: thing that they didn't know what they needed. The president,
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Track 2: why they need to get the president.
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Track 2: So I feel like energy, right? Energy.
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Track 3: Yeah. So like they talked about cold fusion. And so the idea I was toying with
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Track 3: was that like the president was having to go to the Hartford summit
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Track 3: where he delivers cold fusion to the USSR in China in order to maintain world peace. Right.
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Track 3: um i think that is war reparations for the united states's attempted invasion
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Track 3: of the ussr with the leningrad
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Track 3: yeah they do when they talk when they mentioned like the invasion of leningrad
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Track 3: when he was in special forces so that's just my idea but like i don't fucking
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Track 3: know this movie so i'm asking you.
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Track 2: I mean i did like even when you listen to most of the commentary about it they
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Track 2: don't really honestly talk about that like the subtext of the plot at all really for the most.
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Track 3: Part i'm probably overthinking this movie like because like you said john carpenter
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Track 3: is left ish he's not going to put a ton of thought into it it's no he doesn't really.
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Track 2: No and the thing.
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Track 1: I don't think okay so i don't think it's the fact that like he's left ish and
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Track 1: like you know like i think that this it's really the fact that this is his fifth movie.
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Track 3: And if.
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Track 1: We look at his later movies like They Live or even Big Trouble in Little China,
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Track 1: you start to see more development of his like kind of like,
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Track 1: his thought processes on things the way he like kind of like approaches things
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Track 1: the way he thinks of things but this movie is it's i feel like it's so early
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Track 1: on in his career and it's like and i feel that the,
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Track 1: the opening sequence with the thing i feel like really is like oh that that shows like he,
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Track 1: because it's really blatant the rest of the stuff kind of like it's like almost
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Track 1: like hand waved away but like that's a deliberate choice,
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Track 1: the other stuff is almost like forgotten but that is a deliberate choice to
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Track 1: make something very explicit in the very beginning it's like you start off with
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Track 1: that and then it's like later on things are just kind of like,
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Track 1: you know it peters off.
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Track 2: No you're right about that me of oh sorry.
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Track 3: Yeah. And you're right about that. I think I was mostly going to try to turn
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Track 3: it into setting up the whole left-ish thing for just making fun of like,
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Track 3: yeah, but then ultimately probably a lot of the decisions were made with just,
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Track 3: do I want to fucking deal with Kurt Russell?
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Track 1: I mean, I feel like Kurt Russell or honestly, like studio, like,
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Track 1: and like, you know, higher ups at this point, like he's still,
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Track 1: you know, this is very early in his career. He doesn't have, he doesn't have.
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Track 2: They didn't want him the students didn't want him.
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Track 1: Yeah like he's this is so early like he's he doesn't have the kind of like hole
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Track 1: he's gonna have later on at all.
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Track 2: Yeah well the thing i was gonna say is um it's it reminds me of uh the director
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Track 2: of dotty darko richard kelly who like if he had an actual,
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Track 2: understanding of the political environment we live in beyond just like what the surface level,
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Track 2: i feel like the movie could have been more interesting when you think of a movie
14:01
Track 2: an action movie with actual politics that's good and interesting like robocop,
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Track 2: you know that's like well thought out whereas this is sort of like an action
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Track 2: movie that sort of had some throw-ins to,
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Track 2: his idea of like you know,
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Track 2: the political moment at the time like you know there's these revolutionaries
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Track 2: and they're trying to connect the president but they don't really have any organization.
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Track 2: And in the commentary too, he says he's not, he's really against quote-unquote
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Track 2: authoritarianism, you know, the boogie word, boogie name, where he like basically
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Track 2: says that inherently any human who is in authority power will be bad.
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Track 2: That's sort of his political perception.
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Track 2: I don't know if that's since changed. I mean, that kind of fits with this movie in a way.
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Track 3: Engels wrote a little whole pamphlet on that.
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Track 2: Yes, he did. You can check that out at Marxist.org. reading library, if you want.
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Track 2: Some of the really funny... Oh, go ahead.
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Track 1: I was just saying, you know, it's, it's a very, you know, just coming to things,
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Track 1: just starting to understand things kind of like, you know, approach to things.
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Track 1: I mean, how old was he when this, you know, all right, this was 1981. He was born.
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Track 2: 34, 33.
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Track 1: He's still, I mean.
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Track 2: That's pretty young.
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Track 1: That's, that's pretty, that's pretty young.
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Track 2: Yeah. 33 years old. I mean, it makes it even crazier that he made Halloween when he was 30.
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Track 1: Yeah.
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Track 2: Yeah, I mean, I think it tracks that it's, like, underdeveloped idea,
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Track 2: but at the end of the day, if you like fucking action movies and you like Kurt
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Track 2: Russell and you like Isaac Hayes being this cool-ass mayor of New York,
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Track 2: a number one, then this movie's for you.
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Track 3: No, this was a good movie. Like, it's an enjoyable action movie. Not too long.
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Track 3: Some of the scenes, I was like, hmm, this didn't need to be so long.
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Track 3: But I'm like looking at the overall runtime and it's like an hour and a half.
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Track 3: And I'm like, that's fair.
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Track 3: Like no hour and a half runtime. Some of the scenes are a little bit too long. That's all right.
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Track 2: You would have really hated his original cut of this movie. Originally,
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Track 2: the first 10 minutes of the movie is a high tech bank robbery by Kurt Russell
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Track 2: and his partner to set up why he goes to the prison. Yeah.
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Track 2: And it's 10 full minutes of them doing the robbery. They're on a subway train.
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Track 2: They get busted. And it's really boring. All of his friends at a screening said,
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Track 2: we don't really understand the point of this part of the movie.
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Track 2: Like, does it make sense?
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Track 2: And it makes the rest of the movie kind of suck. And he's like,
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Track 2: oh, all right, I'll cut it out. And he did. And Kurt Russell,
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Track 2: when he was talking about it, he's like, I don't even remember filming that.
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Track 3: Of course not.
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Track 2: I like a lot of the, I told you this, also this like filming note.
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Track 2: So they film most of this movie in Missouri.
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Track 2: and recently in st louis they had had a fire that burnt down like a good portion
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Track 2: of east st louis and so they used,
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Track 2: the area that was all burned out that already looked like shit and with rubble
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Track 2: so then just they just threw trash on the ground and filmed at night and that
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Track 2: was basically everything that was shot was all shot at night i just realized that perfect,
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Track 2: yeah and they only shot one scene in new york city do you know what it was it's
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Track 2: the shot of the statue of liberty from above and then that's okay.
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Track 1: Yeah that makes sense.
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Track 2: And then it pans down they.
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Track 1: Didn't they didn't shoot that in new york because the statue of liberty is in new jersey so.
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Track 2: Actually gotcha haha the new york tri-state area.
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Track 3: Why does new york gonna be like the only one named in the tri-state area when
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Track 3: it's like the old the ego pure ego like i never hear new jersey tri-state area It's got a.
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Track 2: Good room to it.
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Track 1: Though. It's because we have humility.
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Track 2: New Jersey has better, has better, has more class.
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Track 1: That's him, right.
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Track 2: One of, I've mentioned, this is one of my favorite lines is when,
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Track 2: or favorite, I love the opening scene where Snake Plissken is sort of like dragged
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Track 2: through, taken to talk to,
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Track 2: the leader of, I guess they call it the United States Police Force. What do they call it?
18:05
Track 1: Yes. This is what they call it.
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Track 2: United States Police Force. And it has a really kind of funny logo.
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Track 2: But then they say, when you get arrested, you have the option to just be cremated.
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Track 2: and not go into the prison like that's.
18:15
Track 3: But like what is it just cremated you just get thrown into an oven you don't
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Track 3: get like a gunshot to the head or anything no first,
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Track 3: that's a good question they just dude i mean like would you rather get burned
18:28
Track 3: alive or like get shot in the head but before you burned alive if that's the option i'd rather.
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Track 1: Get shot in the.
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Track 3: Head yeah yeah exactly and so it's like hmm a hellscape mega prison or burning
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Track 3: to death but it's like is the burning to death preempted by a gunshot.
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Track 1: What i find interesting about this entire.
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Track 3: Thing first of all.
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Track 1: Do you remember the film i think it was called the island which was basically
18:54
Track 1: um it wasn't the michael bay film no not that.
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Track 3: Film one where they're growing clones no i don't know if i thought about that movie in years.
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Track 2: The Michael Bay one. It's fucking terrible.
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Track 3: It's all right.
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Track 1: Um, no escape in 1994, no escape starring Ray Liotta.
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Track 1: Um, so it is it's Lance Henriksen,
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Track 1: um, which base it is very, you know, a soldier convicted for murdering his commanding
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Track 1: officer is dumped and left to die on a prison island inhabited by two camps of convicts.
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Track 1: Uh, there's also, um, uh, Ernie Hudson is also in it.
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Track 1: Um, so this, this.
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Track 3: This movie also has a silly gun.
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Track 1: Okay. We're not even getting to the guns.
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Track 3: Both movies have silly guns.
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Track 1: The guns in this movie are fucking insane.
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Track 2: I have to, I, wait, hold on. You buried, you, you buried one lead that I have
19:56
Track 2: to say the movie you're talking about. No escape. Do you know the reason why he gets sent to prison?
20:01
Track 2: for killing civilians in Benghazi.
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Track 1: It says, soldier convicted for murdering his commanding officer.
20:07
Track 2: Yeah, it was in Benghazi, Libya, which I think is just funny.
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Track 2: All right. Maybe that wasn't necessary for me to cut you off. Sorry.
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Track 1: I remember this movie from when I was younger, watching it.
20:20
Track 1: And while watching Escape from New York, it made me think of that as well.
20:26
Track 1: It brought that back as well. And the thing that I find most interesting about
20:32
Track 1: these kinds of films is that regardless like much like lord of the flies um,
20:41
Track 1: and how lord of the flies has been misinterpreted over the years um.
20:47
Track 1: That these movies fun they always fundamentally betray a perception on the part
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Track 1: of the people making them that if,
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Track 1: you know like john Carpenter could say like, oh, I'm anti-authoritarian all
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Track 1: he wants, but he then makes a movie in which he posits that when,
21:09
Track 1: Without the U.S. government, without anything like that, these criminals,
21:15
Track 1: and we don't know what any of these people have been sent here for at all. We have no idea.
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Track 1: We don't know if they're murderers, if they stole a fucking loaf of bread because they were hungry.
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Track 1: We know absolutely nothing. But it still is posited that the moment people are
21:35
Track 1: left to their own devices outside of the purview of the federal government,
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Track 1: they immediately descend into,
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Track 1: anarchy and, you know, barbarity.
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Track 1: And I find that to be like the most interesting aspect of any of these things that it always,
21:54
Track 1: yeah, they say like, oh, I'm anti-authoritarian, but they also fundamentally
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Track 1: believe that without the guiding hand of the federal government and law enforcement,
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Track 1: people just do whatever the fuck they want.
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Track 1: And what they want to do is murder and rape and, you know, just destroy things.
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Track 2: The thing that's confused that I wish was more fleshed out,
22:18
Track 2: So you have the brain, who is the guy played by Ernie Sand, who basically is
22:23
Track 2: able to refine oil or gas so that they can run their cars with chandeliers on
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Track 2: the hood, which are pretty fucking sick.
22:31
Track 1: Which is great. I love that. I want that.
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Track 2: Yeah. And then you have Isaac Hayes, who is the Duke, who's sort of like the
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Track 2: de facto leader of the prison island.
22:41
Track 2: But the thing that I was thinking about is the scene where they're escaping,
22:45
Track 2: and they steal one of the cars of his entourage and they're going through.
22:49
Track 2: And then a bunch of people are like throwing stuff at them.
22:53
Track 2: do you think that they were throwing stuff at them because they thought he was
22:56
Track 2: their part of the Duke's entourage and they're like against his,
23:00
Track 2: quote unquote like reign of New York and there is actually like they're almost
23:04
Track 2: like revolutionaries within this prison where they would love to overthrow this,
23:09
Track 2: Duke guy I think it's fleshed out enough yeah I.
23:12
Track 1: Think you're.
23:13
Track 3: Overthinking it I took it as they saw a car by itself and it was like let's get that fucking car.
23:21
Track 1: Yeah okay they do say that like when they say like oh when he says um go through broadway um,
23:31
Track 1: because the duke won't go through broadway so actually he says go through broadway
23:37
Track 1: because the duke won't go through broadway basically and the way um,
23:42
Track 1: i believe he responds she's like oh my god you're broadway and it almost seemed
23:46
Track 1: like there is definitely like an underclass of like Like a feral humans,
23:52
Track 1: almost people that have descended to a whole other level of barbarity.
23:56
Track 1: And it feels like to me that Broadway is seen like the people who lives.
24:01
Track 1: Yeah. Like people who live on Broadway are the real savages.
24:05
Track 1: Like they're the ones who just, they go insane.
24:08
Track 1: So Evan, do people who live on Broadway or in the Broadway area,
24:12
Track 1: are they, are they all savages? Is that what it's like over there?
24:16
Track 2: The Zionists are.
24:17
Track 1: Okay, yeah. That checks out.
24:19
Track 2: So, this is something that always gets me when I watch this.
24:21
Track 2: Do they drop in food to the prison, or are they supposed to just, like, eat rats?
24:26
Track 1: I don't think they're dropping in food.
24:28
Track 3: They're dropping in anything. They're just dropping in people.
24:32
Track 2: I don't understand. They must be cannibals. There can't be fucking food there.
24:36
Track 3: There's probably cannibals. There's probably some, like, farming.
24:40
Track 3: I mean, they're saying, like, there's, like, greenhouses and shit.
24:43
Track 1: Yeah.
24:43
Track 2: Yeah i guess.
24:44
Track 1: Yeah it's it's said pretty early on that like you know they had like developed
24:49
Track 1: things like i i really like i personally as much as like i,
24:55
Track 1: i did enjoy this and like i said like word same thing it's like i haven't watched this since fucking,
25:01
Track 1: god knows how long ago so this was essentially like a rewatch for me like a first time watch almost,
25:07
Track 1: and like to me like the biggest thing about this especially as like a person
25:11
Track 1: who like loves like world building and dystopian stuff and sci-fi like,
25:17
Track 1: this movie is a very broadly,
25:22
Track 1: like a very broadly sketched out like concept really,
25:26
Track 1: and it there is so much here that is left to the viewer's imagination,
25:33
Track 1: and it is woefully under underdeveloped in terms of like world building especially
25:39
Track 1: with what happens there are so many interesting concepts to explore,
25:44
Track 1: behind the idea of like a group of people that have been abandoned and like locked behind walls,
25:49
Track 1: there's such potential there that i honestly feel like was largely,
25:55
Track 1: totally unexplored.
25:57
Track 2: Part of the reason i mean i think there's numerous reasons again.
26:00
Track 1: He's like.
26:00
Track 2: A pretty young filmmaker but supposedly he was supposed to give the studio he
26:06
Track 2: like owed the studio a film i can't remember if it's,
26:10
Track 2: goldcrest films or whatever the studio was he owed them a movie and the one
26:14
Track 2: he wanted to originally make like which wasn't this one they're like no that
26:16
Track 2: movie sounds stupid and he's like oh i have this script that i wrote like 10 years ago,
26:21
Track 2: this movie and it's like why don't we make that he pitched to them and they
26:24
Track 2: liked it So for me, the reason that probably is the case is that the script just never,
26:30
Track 2: they liked whatever version he had and they just went with it.
26:33
Track 2: They didn't rewrite it and fix it up necessarily.
26:36
Track 2: Nick Castle who wrote it, yeah. So that's probably why.
26:41
Track 1: Yeah, it shows.
26:44
Track 2: I have a soft spot for this movie. I saw in the theater actually maybe eight or ten months ago.
26:50
Track 2: And I've watched it a few times. Not that often, but I've seen it probably six or seven times.
26:56
Track 3: I bet this is solid in theaters.
26:58
Track 2: But it's fun.
26:59
Track 1: I'm not trying to be a hater.
27:01
Track 2: No, no.
27:03
Track 3: Just miserable Marxists.
27:06
Track 1: This isn't even about Marxism.
27:08
Track 3: This is just.
27:08
Track 1: Like a like you know this is from like a.
27:12
Track 3: Yeah when you try to enjoy it like on more than a surface level it's like oh
27:16
Track 3: there's just a lot of holes.
27:19
Track 2: Yeah and like i like the premise though of it you know it's in the future they
27:25
Track 2: basically decided to just turn new york city into a prison you sort of have
27:30
Track 2: this weird post-cold war era that's not really,
27:34
Track 2: post-Cold War because the Soviet Union still exists and China is a big deal at the time.
27:41
Track 2: And then they say sort of like, okay, how can we just make a cool action movie
27:45
Track 2: out of that concept? And they didn't really do much left with what they had.
27:49
Track 3: And they're like, dude, we got Kurt Russell on a fucking eyepatch.
27:53
Track 3: His name's Snake. He smokes cigarettes.
27:55
Track 3: He's got a suppressed Mac-10 that doesn't sound suppressed at all.
28:00
Track 3: And he's got a scope mounted on the fucking suppressor for some fucking reason,
28:04
Track 3: what else you need dude this is aura farming.
28:08
Track 1: What was it with the like the 80s and the early 90s and putting scopes on giant
28:16
Track 1: revolvers what was what the fuck.
28:20
Track 3: Like that was like a pretty niche thing that like some hunters would do
28:26
Track 3: because like in certain states like certain pistol calibers you can hunt with
28:29
Track 3: and so like instead of like carrying around a giant ass rifle through the fucking brush and forest.
28:37
Track 3: carry a little revolver and you can do it the same thing but like prop i feel
28:41
Track 3: like prop movie makers were just like put whatever we can on guns to make them
28:48
Track 3: look silly and that's gonna be awesome.
28:52
Track 2: I mean they look cool and like i think it almost makes sense that they would
28:55
Track 2: look silly in this weird prison place where they even have guns to begin.
29:00
Track 3: With like the vibes are the The vibes are cool.
29:03
Track 1: He brought that in with him.
29:04
Track 2: They brought them in with him.
29:05
Track 3: Yeah.
29:06
Track 1: He brought that in with him.
29:08
Track 2: No, no, no. I mean, like the guns are already there.
29:10
Track 1: The guns that are already there are not guns. The guns that are already there are fucking crossbows.
29:14
Track 3: Yeah, it's like crossbows and shit.
29:16
Track 1: Or like harpoon guns. He's the only one with an actual gun.
29:20
Track 2: You're right. And then the Duke steals it from him and he's like taking target
29:24
Track 2: practice shots at the president while he's like tied to the wall.
29:28
Track 1: Bouncing it on his foot, which is a great scene.
29:34
Track 2: I think being that there's not a lot of dialogue, I just think so many of the
29:39
Track 2: scenes to me are so stupid and silly, but for whatever reason,
29:44
Track 2: I just find them to be funny.
29:46
Track 2: And I love the constant gag of being like, I thought you were dead.
29:50
Track 2: And then in the second movie, it's like, yeah, what is it?
29:53
Track 2: The thing that happened in Nashville, fuck. There's like a running gag in the
29:57
Track 2: second one where they're like, go,
29:59
Track 2: where he keeps mentioning some something it happens at the end of this movie
30:04
Track 2: they like ask him about saying that he they have another thing for him right
30:08
Track 2: you know i'm talking about at the end of the movie offers.
30:10
Track 1: Him to be he offers kurt russell the opportunity to be uh what does he offer him job as his deputy,
30:20
Track 1: How offers him a job as his deputy?
30:23
Track 3: I know I just tried to kill you, but you want to be a cop?
30:28
Track 2: Do you view him as like an anti-hero?
30:30
Track 3: He's not a hero. He's a hero in the loosest terms. He's the protagonist that
30:37
Track 3: the story follows, and he's framed as a hero.
30:40
Track 3: But if you actually look at his actions, he subverts a prison revolution.
30:48
Track 2: Yeah.
30:48
Track 3: That's not good. Is that moral?
30:52
Track 1: He's not even, like, he's not an anti-hero. He's not a hero. Like, he's...
30:57
Track 3: He's a villain.
30:58
Track 1: Yeah. The only hero in this film is the woman that takes that plane down.
31:04
Track 2: I mean, what about the Duke? He was trying to liberate them.
31:08
Track 1: Was he?
31:10
Track 2: Or liberate himself, I guess, probably, right?
31:12
Track 1: Yeah. I don't know how much credit I'm willing to give the Duke for anything.
31:17
Track 3: Like did you see like his right hand man that like dude with the crazy hair who was annoying as fuck.
31:24
Track 2: If the dude.
31:25
Track 3: Was an absolutely rational reasonable guy that would not be his right hand man.
31:29
Track 2: You know a great story about that guy is so he was in i think another one of
31:34
Track 2: he was in assault on precinct 13 and he called him to be like hey do you want
31:37
Track 2: to be in this movie i need like a character who's sort of like the right hand man and he,
31:42
Track 2: the actor who is frank doubleday he created the entire look and character himself
31:47
Track 2: Carpenter's like do whatever you want and that's what he created the hairstyle the fucking just,
31:52
Track 2: Weird makeup, everything, all himself.
31:54
Track 3: Oh, yeah.
31:56
Track 2: Not a very good right-hand man, though.
31:58
Track 1: It's just, which, I mean, I feel like, like Ward said, like,
32:02
Track 1: if that's your right-hand man, that shows the entire tenor of,
32:06
Track 1: like, what you're doing as a person, like, in charge.
32:10
Track 1: And what you're doing is basically being top dog on a pile of rabid animals.
32:16
Track 1: Like, that's it. That's all he is.
32:18
Track 1: he's not doing anything out of the interest of the larger group.
32:24
Track 3: It's not like it's shown that he's the one that's organized the power grid that's
32:30
Track 3: available in that area, and he set up the greenhouses to be able to feed people.
32:35
Track 3: We see him organizing wrestling matches.
32:38
Track 2: Yeah, that's true. That's true. He's not exactly looking out for his people very much.
32:44
Track 2: He just wants to have fun. He's stuck in this prison. He's like,
32:47
Track 2: let's just do entertainment.
32:49
Track 3: Yeah probably the first time he had a limo.
32:52
Track 2: Wait another funny another like this is completely just it has nothing to do
32:56
Track 2: with anything but i noticed that there was a guy in this film at one point because
33:01
Track 2: they do the i thought you were dead thing it was when they're in,
33:05
Track 2: i think it's when he first lands in the prison and he's like going through that
33:09
Track 2: the theater and he's like kind of going through and he sees,
33:12
Track 2: these guys and he finds the guy who's wearing the wristband that dude who says,
33:18
Track 2: that he's the president he's the same actor who's in back to the future and
33:22
Track 2: lying on the bench and says like crazy drunk drivers you know what i'm talking
33:26
Track 2: about it's the same act yeah,
33:28
Track 2: same guy i had never noticed it until this time like it's poor guy i just gave
33:34
Track 2: this story i don't actually know his fucking name sorry guy from that's hilarious.
33:39
Track 3: I was not expecting that.
33:42
Track 2: Crazy drunk drivers have either of you seen the movie death wish from the 70s yes
33:48
Track 2: he so i was looking at wikipedia i've seen all the death wishes so carpenter
33:52
Track 2: says willis death wish carpenter said that was his one of his influences for writing the screen i saw.
33:57
Track 3: That and i was watching i saw that after like just before we started recording
34:02
Track 3: i was looking at an interview with john carpenter and he was saying that death
34:06
Track 3: wish was one of his inspirations um yeah i'm not picking that up in this movie at all.
34:10
Track 2: No and what and he says the thing he says was like at all he's like he's like
34:14
Track 2: i disagree with the film's philosophy but i liked how it had a sense of new
34:17
Track 2: york as a jungle and like oh like there's literally nothing else that i can
34:22
Track 2: think of that's related to that movie in any way yeah.
34:24
Track 1: That's literally nothing else in the beginning in the beginning when they go
34:29
Track 1: like the crime rate has gone up 400 and he was like oh really i wonder why and
34:35
Track 1: like this was made And like, New York City was,
34:39
Track 1: not in a good place then.
34:42
Track 1: And it's, it's like the notion it's like, well, yeah, you started stripping
34:48
Track 1: social services, you tanked the economy, you started taking everything away from people.
34:54
Track 1: And then things started happening. It's like, yeah, of course,
34:58
Track 1: like, you know, crime went up and it's like, they,
35:04
Track 1: he made this film and it's like, it really just feeds into all of the propaganda of the time.
35:11
Track 1: And the notions of, you know, poor people being, you know, basically animals.
35:19
Track 1: And it's like, well, you took everything away from people and they already,
35:24
Track 1: and it's not like they had, you know, they weren't rich before.
35:29
Track 1: You know, like, and then you just, they were already struggling and then you
35:32
Track 1: took what little they had away.
35:34
Track 2: Yeah. I mean, what do you expect people to do when they're, you know,
35:38
Track 2: left with no other option?
35:39
Track 3: You know, when all opportunities are stripped away. Apparently,
35:42
Track 3: John Carpenter thinks it's just barbarism.
35:45
Track 2: Yeah. I mean, that's again where I feel like his attempt at politics is,
35:50
Track 2: as you said, Bill, like it just muddled. Like there isn't really anything.
35:54
Track 3: This was how many years before they live?
35:57
Track 2: Maybe five. Let's see. This came out in 81 and they live was 88. So seven years.
36:03
Track 1: He had a lot. He had a long way to go.
36:06
Track 3: You can do a lot of reading in seven years.
36:08
Track 1: Absolutely.
36:09
Track 2: I mean, he did Big Trouble with Null China in 86. I mean, I think at that point,
36:14
Track 2: he already still had more interesting ways of, and I love how,
36:18
Track 2: I mean, we talked about this in that episode, you should go listen to it.
36:21
Track 2: Like the way that Kurt Russell is portrayed in that is so different than this.
36:25
Track 3: You know, that is like how he's portrayed.
36:27
Track 2: Yeah.
36:27
Track 3: He really knows John. God, he really understands how to work with Kurt Russell in that movie.
36:33
Track 2: Completely.
36:35
Track 3: Absolutely.
36:37
Track 2: Do you think that like a fiddle? Do you think that Russell understood the assignment?
36:41
Track 1: He did. We talked about that.
36:43
Track 3: We talked about that.
36:45
Track 1: Yeah, he did. Which is shocking for the fact. But I mean, also, Kurt Russell might be.
36:50
Track 1: Kurt Russell might be, you know, and is a, you know,
36:53
Track 1: an outspoken you know like hardcore republican nowadays but in 1987 or 1981
36:59
Track 1: was uh big trouble 1985 no big trouble 86 86 86 yeah in 1986 was he as much
37:06
Track 1: a republican like was he that,
37:08
Track 1: somehow i doubt it just because of just straight up material you know reason
37:12
Track 1: he you know he wasn't you know.
37:15
Track 2: He wasn't a.
37:15
Track 1: Millionaire as wealthy as he now yeah he wasn't a millionaire.
37:17
Track 2: And it changes your perception on things sometimes yeah he's like i want to
37:21
Track 2: keep my money i hate the government fuck you all.
37:24
Track 1: Yeah and you know like i i think and i which is why i think you know taking
37:30
Track 1: you know like in like the larger,
37:34
Track 1: perspective of carpenter films i think it's really interesting to examine the way big trouble,
37:42
Track 1: contrasts with this and takes because specifically because of the way he uses
37:47
Track 1: kurt russell how in this film kurt russell is put out there as like this guy
37:51
Track 1: you know cool dude you know he's like the guy,
37:54
Track 1: he's the man you're gonna like look at him in his tight pants and his ridiculous
37:59
Track 1: guns and he's so cool you know and then even afford sleeves
38:04
Track 1: yeah and then a big big trouble it's like look at this fucking asshole look
38:07
Track 1: at this fucking white dude that thinks he belongs here
38:10
Track 1: that he's loser yeah look at this fucking loser who's like just like fucking
38:15
Track 1: stumbles into shit and thinks that he's hot shit
38:18
Track 1: like that is that is the interesting thing to me is like what like seeing how
38:23
Track 1: carpenter has changed from this,
38:26
Track 1: to that and specifically and then and even more so using russell as a perfect,
38:33
Track 1: barometer for that,
38:36
Track 1: and it really it is such such a diametrically approach.
38:42
Track 3: It really is it's completely nine day.
38:45
Track 2: He he knew how to use russell i think you said He played him like a fiddle.
38:49
Track 2: He did. He fucking did. Uh, yeah, I mean.
38:51
Track 3: That Big Trouble's so good.
38:53
Track 2: I mean, if we're comparing this to that, obviously it's not a, it's not a contest, but.
38:57
Track 2: uh i i think but you go.
39:00
Track 1: Let's just say like i don't think it's even a comparison so much as just and
39:03
Track 1: you know it's it's an interesting way to like you know not a comparison so much.
39:07
Track 2: As right like just the contrast of the.
39:10
Track 1: A con putting things in context.
39:13
Track 2: Okay i love that the uh the you know at the very end when he's like walking
39:17
Track 2: away and he has the actual real tape which he could have been like listened
39:20
Track 2: to or done something with it he's like nope i'm just gonna rip the fucking this
39:25
Track 2: the film out of this tape and fucking throw in the trash.
39:28
Track 3: It goes to the very like what was it uh you're saying the like libertarian character of.
39:35
Track 2: Him completely.
39:36
Track 3: Yeah it's like did he make it out with anyone else that he said he was gonna
39:40
Track 3: help out if they helped him.
39:42
Track 2: I also like when he what.
39:44
Track 1: He did nothing for anybody.
39:45
Track 2: I like.
39:46
Track 3: Hey he gave that lady a cigarette which in that place yeah huge rich a real
39:54
Track 3: cigarette holy shit crazy she got sucked into the underground and that's terrifying.
40:01
Track 2: Yeah you don't know what's going on and it's like.
40:03
Track 3: His fault he was loud.
40:07
Track 2: I like at the end when Bob Hauk is like you know I thought you were gonna kill
40:11
Track 2: me when you got out he's like too tired not today,
40:16
Track 2: he just doesn't say a whole lot most of his doing and this is one of those other
40:21
Track 2: films where the like the it's supposed to like 22 hours that he has to do all this,
40:27
Track 2: and like a bunch of stuff happens in the first two hours and then just like
40:29
Track 2: 15 hours disappears and then a bunch of stuff happens in the last two hours
40:33
Track 2: i love movies where they're just the clock is just a completely meaningless artifact.
40:38
Track 3: Yeah i love the oversized like watch thing they made for him too,
40:44
Track 3: Cause like they could have easily just gave him like a smaller digital watch
40:50
Track 3: that does the same thing.
40:52
Track 3: But they're like, no, no, no, no. It's got a, it's got a show for the camera
40:56
Track 3: and make it 10 times the size it should be.
41:01
Track 2: And he also has the fucking like,
41:03
Track 2: Batman belt that like pops open with the little tracking device thing.
41:08
Track 3: Oh yeah.
41:08
Track 1: The Eagle insignia. Yeah.
41:10
Track 3: That thing.
41:11
Track 1: Oh yeah. Which is like the watch is so funny. Cause it's not like they didn't
41:15
Track 1: have digital watches in 19.
41:17
Track 2: They definitely did. They could have given one of those calculator watches.
41:21
Track 1: Yeah.
41:21
Track 3: Oh yeah.
41:23
Track 1: It's not like, you know, it's not like 1920 and they're like,
41:27
Track 1: it's not like Dick Tracy. You're like, all right, we got to give this guy a
41:30
Track 1: technological thing. It's going to be big. Right. And we're like,
41:32
Track 1: how else are you going to make it work?
41:34
Track 3: It's got to be huge.
41:37
Track 1: That's one thing about this. They had digital watches.
41:40
Track 2: Well, not just that, It's supposed to take place in 1997, I believe, or...
41:45
Track 2: Yeah, 1997. Yes, 1997, yeah. They don't really do any futuristic-y things except
41:51
Track 2: for the little glider plane he flies in. Otherwise, nothing.
41:54
Track 1: It's not futuristic!
41:58
Track 3: The heads-up display, I would say, is kind of, yeah.
42:02
Track 2: You know the shit with the green when he's in the plane and shows the green outline?
42:07
Track 2: They built an entire cardboard model of New York City, and then they put lights
42:12
Track 2: on it and then shot it in the dark to use that for it. They had no money for the script.
42:17
Track 2: Oh, and I have to tell you the other funny fact for people. The scene at the
42:21
Track 2: end when they're going across the bridge, like they're trying to cross the bridge
42:24
Track 2: from the landmines, that bridge they bought from the u.s government for one
42:28
Track 2: dollar to use for this phone,
42:31
Track 2: i don't know why i love that fact it's like yeah you can you can buy this bridge
42:33
Track 2: for one dollar do whatever you want where.
42:36
Track 1: Where was the what bridge where was the bridge.
42:40
Track 2: It's the bridge was called old chain bridge and it's in miss it's in um it's
42:44
Track 2: in missouri on mississippi river so i think they actually gave them the bridge
42:49
Track 2: back so they like bought it and then they gave it back it's very strange.
42:52
Track 1: So like it was like what just like a decommissioned bridge this is the most.
42:57
Track 2: Fascinating fact.
42:59
Track 3: Yeah I like that idea what do you do with a bridge how do you,
43:04
Track 3: bridge things obviously bill how do you get a bridge over something.
43:11
Track 2: Like they were they were supposed to they were going to demolish it and then
43:14
Track 2: i think the government just took it over but then didn't demolish it because
43:17
Track 2: they probably cost too much at first.
43:19
Track 3: I thought you're like super excited because you're looking for where the fuck
43:23
Track 3: can i buy a bridge for a dollar and it's like oh man somebody can sell this guy a bridge.
43:29
Track 2: What's that that way now it's worse.
43:30
Track 3: You're asking what to do with the bridge you cross it man.
43:33
Track 2: All of the um the filming like the the thing they were saying is they only got
43:37
Track 2: six million dollar budget and they had spent most of it before they even did
43:41
Track 2: a lot of the special effects so they just didn't have a lot of special effects and it kind of shows.
43:45
Track 3: Yeah did you yeah oh yeah it definitely shows did you see the taxi hitting.
43:49
Track 2: The landmine and.
43:51
Track 3: It just perfectly cuts the taxi in half.
43:55
Track 2: Wait so here's another up speaking of that scene another great one so maggie
44:00
Track 2: who's played by adrian barbeau,
44:02
Track 2: the scene where she dies on the bridge they originally weren't going to show
44:06
Track 2: her body and they're like it's too ambiguous we need to see her body and they
44:09
Track 2: already finished filming so they went to her house in hollywood and they put,
44:15
Track 2: like gore on her and filmed her in the driveway and then.
44:19
Track 3: Honestly that's fantastic.
44:21
Track 1: That's pretty great.
44:22
Track 3: Like that that is that's some worker appreciation you know what hey we fucked
44:27
Track 3: up we need to put this in we'll come to you to make this happen.
44:31
Track 2: Yeah.
44:32
Track 3: We'll do it in your driveway.
44:34
Track 2: They did it for like, yeah, they probably were there for two hours putting makeup
44:37
Track 2: on her and then they just throw her on the ground and put something over her.
44:40
Track 3: Besides the New York jungle, the showing her dead body is probably the most
44:45
Track 3: death wish thing about this movie.
44:48
Track 2: I do love the, like that simulated thing in the plane of like when he's trying to land it.
44:52
Track 3: Yeah. That was enjoyable as hell.
44:54
Track 2: Yeah. It doesn't like look great, but it's pretty cool.
44:57
Track 3: Yeah. It wasn't like anything spectacular, mind blown, but like.
45:00
Track 2: I think they also use a bunch of like Matt, paintings maybe that's the scene
45:04
Track 2: they use like a bunch of matte paintings that they would they render to use
45:07
Track 2: for special effects like james cameron i think used the same kind of stuff and
45:10
Track 2: they use like a black light tape behind it so it looked really something like that.
45:14
Track 1: That's pretty cool.
45:15
Track 2: I'm no expert some of the notes i wrote down are like what do the prisoners
45:18
Track 2: eat and i love the duke's car with chandeliers on the hood because it's fucking i love.
45:23
Track 1: The chandeliers the chandeliers are actually i think my favorite part of them.
45:27
Track 2: What about when the the The silly gun is my favorite. When the president just
45:31
Track 2: takes out the Duke from like...
45:34
Track 3: Oh, yeah, he just lights him up.
45:36
Track 2: Yeah, lights him up.
45:37
Track 1: All of a sudden, the president has like grown a set of balls and he's like, Oh, I'm a number one.
45:42
Track 3: First, you snake his bait. He just shuts off the winch instead of letting Snake
45:48
Track 3: just come on up. And he's just like, no, I'm going to use this guy's bait.
45:50
Track 2: You're like, don't think he's going to make it. Of course, he gets the shot
45:53
Track 2: in his neck five seconds before it's too late.
45:56
Track 2: See, at first, I thought that was a whole was a bluff. the first time I watched
45:59
Track 2: the movie that it was just a way to get him to do it, but it didn't seem like
46:03
Track 2: it was a bill. That seemed like high-tech shit.
46:05
Track 3: Yes, that was the most high-tech thing. Yeah, that and then with the bio monitor,
46:11
Track 3: which even that's not that high-tech.
46:14
Track 3: Maybe the pod out of Air Force 4.
46:16
Track 1: Oh yeah, the pod. The pod did feel pretty high-tech.
46:21
Track 1: The pod, it did fail abysmally, but you know.
46:25
Track 3: It failed so bad.
46:26
Track 3: But then, what was it? Yeah, no, the neck thing, kind of weird,
46:30
Track 3: because it's like, they said it's like a capsule that, like,
46:34
Track 3: dissolves. But, like, that's not, like, they didn't use an injector that would, like, inject a capsule.
46:40
Track 3: They used, like, those super, those were, like, those old school,
46:43
Track 3: like, jet guns that they used to give people vaccinations with.
46:48
Track 2: Yes, yes.
46:49
Track 3: You know what I'm talking about? I can't remember the actual term for it.
46:51
Track 3: Yeah, it just uses pressure.
46:52
Track 3: It doesn't use a needle at all. it just uses pressure to shoot liquid into your
46:56
Track 3: body yeah that's what they're using on his neck and so it's like couldn't get
47:01
Track 3: a capsule just nick picking it's hollywood,
47:04
Track 3: did you see the fucking gun like come on you think they're gonna get fucking medical devices right.
47:10
Track 2: No pretty high tech what,
47:15
Track 2: was it called the base there was like at the statue of liberty they had a sign
47:19
Track 2: up I can't remember where it was like it was pretty high tech stuff inside there,
47:23
Track 2: also like the radar guys like we can't we can't get a lock on them on the plane
47:27
Track 2: like as soon as the guy's walking out we got him he.
47:30
Track 1: Was genuinely sad when cabby died yeah.
47:35
Track 2: I like cabby didn't deserve it what did.
47:37
Track 3: Cabby do to get sent there,
47:40
Track 3: Like when you're talking about like, yeah, when people get, I had the same thought,
47:43
Track 3: especially when I saw cabbie and I'm like.
47:46
Track 1: What did that guy do?
47:46
Track 3: Cabbie do.
47:48
Track 1: I love that. His name is cabbie. That, that implies that in the entire Island
47:53
Track 1: of Manhattan, one guy, like that's, that's, they're like, he's the only cabbie.
47:58
Track 1: He's the only guy that drops.
48:01
Track 3: Are you still driving that cab? 30 years. Same cab. I love that for him.
48:08
Track 3: It's fantastic. He up armors the whole thing. He's got Molotovs ready to go
48:12
Track 3: now. He's got it ready for prison work.
48:15
Track 2: Maybe he wasn't put in prison. He was just like still there and they opened
48:18
Track 2: the prison. They're like, yeah, just leave them.
48:20
Track 3: That's one thing I was thinking too, is like how many people got left behind
48:25
Track 3: in New York when they put up the walls?
48:28
Track 2: Yeah, that's definitely possible. Why?
48:31
Track 3: Because a government that's willing to turn Manhattan, of all fucking places,
48:37
Track 3: into a fucking mega prison for the entire country's prison population.
48:45
Track 3: Yeah, I don't think they're going to do a clean sweep to make sure every single
48:48
Track 3: last soul is out of there.
48:50
Track 2: They got the rich people out and the rest of the people could just fucking drown.
48:54
Track 1: 100%.
48:55
Track 2: They just put a wall up, right? And then they blew up a wall, right?
49:00
Track 3: They mined the tunnels and bridges and shit like that and put up massive walls
49:04
Track 3: around everything and then had 24-hour,
49:07
Track 3: armed guards and helicopters conducting airstrikes, which like,
49:13
Track 3: hey, at least those prisoners got,
49:16
Track 3: a fucking warning shot before they got airstruck on their raft.
49:19
Track 3: Like as dystopian and authoritarian as John Carpenter like envisions that this
49:24
Track 3: government is like modern day America is worse with what we're doing with Venezuelan and fishermen.
49:31
Track 2: Yeah, that's very true.
49:33
Track 3: We were double tapping.
49:34
Track 1: That's fucked up. That's really something that really puts shit in perspective.
49:39
Track 3: Yeah. I'm sorry to put a down note at the end of the episode.
49:44
Track 2: And with that, no. Yeah, I don't have any other notes in my thing here.
49:50
Track 3: We basically covered all of my notes.
49:52
Track 2: Yeah most of the thing that I was like most of the things I left were just like
49:55
Track 2: the filming notes that I already mentioned yeah call me snake call me plissken.
50:01
Track 3: I want to know what's on the tape.
50:03
Track 1: At some point they play the tape for like.
50:06
Track 2: A couple of seconds but not very long.
50:09
Track 1: Instructions.
50:10
Track 3: For cold fusion.
50:12
Track 1: I guess we don't actually know but we know like we know 10 seconds.
50:16
Track 3: Yeah it's like a description of effects of cold fusion or something like.
50:21
Track 1: Which like they barely go into in the movie like why they like they barely cover.
50:26
Track 3: I like my idea.
50:28
Track 1: I think i like your idea as well that's what i'm going it's reparations.
50:32
Track 3: Hey we fucked up and got her pee pee slapped,
50:36
Track 3: sorry for invading sorry for invading leningrad uh we'll give you cold fusion.
50:42
Track 2: Yeah i got nothing left here but uh you all should go um again check out hugo's,
50:48
Track 2: see the main shirts youtube channel it's a blast it's an excellent.
50:52
Track 1: First episode uh excellent very well produced the uh his cast of puppets has
51:01
Track 1: expanded he has more than the uh the original two very uh very well done.
51:07
Track 3: Definitely go over there and support him.
51:08
Track 2: Well for uh for evan bill ward guess we'll catch you all next time.
51:13
Track 3: Have a good one.
51:13
Track 1: Have a good.
51:14
Track 2: One smell you later.