Latest / The Cinematic Flashback Podcast / White Line Fever (1975): Jan-Michael Vincent's Forgotten Trucker Classic

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White Line Fever (1975): Jan-Michael Vincent's Forgotten Trucker Classic · The Cinematic Flashback Podcast

• 0:01
  Speaker 1: It's kind of moving a lot of my ballpark.
• 0:03
  Speaker 2: Hell, we got this WT nine thousand and four down here,
• 0:06
  Speaker 2: I was telling you about it. We had to reposess it.
• 0:09
  Speaker 2: Boy couldn't keep it. Payments up on it. But for
• 0:12
  Speaker 2: the kind of money we're talking about on it, Attiba
• 0:14
  Speaker 2: will make you a pretty good piece of equipment. It's
• 0:17
  Speaker 2: got a NTC three fifty comings in it RTDAL nine
• 0:21
  Speaker 2: to five thirteen Transformation.
• 0:23
  Speaker 3: Still talking about an awful lot of money.
• 0:26
  Speaker 2: Talking over your missus and see what she thinks, and
• 0:29
  Speaker 2: I'll tell you what. I'd even throw in a pain
• 0:31
  Speaker 2: job your specification. Just help you young folks out.
• 0:40
  Speaker 1: Welcome to the Cinematic Flashback Podcast. Get ready to hop
• 0:44
  Speaker 1: into the wayback machine as we journey through the wild, bold,
• 0:47
  Speaker 1: and unforgettable films of the nineteen seventies. Each episode we
• 0:51
  Speaker 1: break down a classic movie or forgotten jim seeing how
• 0:54
  Speaker 1: we've performed then and now, and wrapping things up by
• 0:57
  Speaker 1: asking did a group of the decades or that lose
• 1:00
  Speaker 1: its speed? I am your host, Chuck Bryan, and today
• 1:02
  Speaker 1: we are reviewing Jonathan Kaplan's nineteen seventy five film White
• 1:07
  Speaker 1: Line Fever, starring Jan Michael Vinson, l Q Jones, Kaylyns
• 1:12
  Speaker 1: and Slim Pickens. This is our first film in our
• 1:15
  Speaker 1: Keep On Truck and Month, where we are looking at
• 1:17
  Speaker 1: two films from a very niche, very seventies genre known
• 1:21
  Speaker 1: as truck'sploitation that accompanied the Cebee radio craze of the
• 1:25
  Speaker 1: nineteen seventies Breaker Breaker. Matt, what's your twenty? I'm on your.
• 1:31
  Speaker 4: Six Fox one armed. Oh no, wait, that's the rong lingo.
• 1:35
  Speaker 4: I mean, I'm in the rocking chair, Matt.
• 1:37
  Speaker 1: Welcome back. How you been.
• 1:39
  Speaker 4: I've been well. I've been well, just busy, lots of
• 1:41
  Speaker 4: stuff going on. You went on a fishing trip recently, right?
• 1:44
  Speaker 1: I did.
• 1:45
  Speaker 4: I went trout fishing last weekend and I caught a couple.
• 1:48
  Speaker 4: It's the most beautiful place in the world up in
• 1:50
  Speaker 4: Pennsylvania near State College. It's sort of on a preserve
• 1:54
  Speaker 4: on a river there. Really it's almost a creek, they
• 1:57
  Speaker 4: call it. It's Spruce Creek, but it's loaded loaded with
• 2:00
  Speaker 4: trout and we do catch and release. But we had
• 2:03
  Speaker 4: a good time.
• 2:04
  Speaker 1: Great. So we're starting off our month looking at a
• 2:07
  Speaker 1: very interesting artifact of the nineteen seventies, the CBE radio
• 2:12
  Speaker 1: crazed did your family have a CBE radio.
• 2:14
  Speaker 4: Well, we didn't have a CB in the car or anything,
• 2:17
  Speaker 4: but I did get a hold of a walkie talkie
• 2:19
  Speaker 4: that was on the CBE radio bands. If you remember,
• 2:22
  Speaker 4: there was kind of the main band. I think it
• 2:24
  Speaker 4: was channel nine or nineteen or something like that. So,
• 2:27
  Speaker 4: oh yeah, I'm an old CB like that. So the
• 2:30
  Speaker 4: one time I got like enough guts to talk, some
• 2:34
  Speaker 4: guy responded to me and was talking to me, and
• 2:37
  Speaker 4: it was pretty uncomfortable.
• 2:39
  Speaker 1: I was young, so my voice hadn't changed.
• 2:43
  Speaker 5: Little boy, why ride in my truck.
• 2:46
  Speaker 1: I turned it off and never talked on it again.
• 2:50
  Speaker 1: You learned a very valuable lesson that day, Yes, very much.
• 2:55
  Speaker 6: So.
• 2:56
  Speaker 1: Oh I remember my dad had a CBE radio. I
• 2:59
  Speaker 1: want to say that his handle was maybe Dirty Dave
• 3:02
  Speaker 1: or something something like that. It just seemed like he
• 3:05
  Speaker 1: would use it to listen to other truckers or other
• 3:07
  Speaker 1: people up ahead, giving warnings about police and traffic coming
• 3:12
  Speaker 1: up ahead. What was really fun was at my grandmother's house,
• 3:16
  Speaker 1: she had a police band scanner. When you're out in
• 3:19
  Speaker 1: the country on a Saturday night and you know there's
• 3:23
  Speaker 1: no television to be had, listening to that radio was
• 3:26
  Speaker 1: a lot of fun, and you pick up a lot
• 3:28
  Speaker 1: of the police codes because she had a little police
• 3:31
  Speaker 1: code cheat sheet so that she could tell what they
• 3:33
  Speaker 1: were saying when they would start talking out the codes
• 3:36
  Speaker 1: over the airways. That was fun. I had the same experience.
• 3:39
  Speaker 4: Everybody I knew that has CBEE radio rarely talked on
• 3:42
  Speaker 4: it unless they were going on a trip in a
• 3:45
  Speaker 4: set of cars, and then they would just go to
• 3:47
  Speaker 4: some random channel and then talk between themselves that anyway,
• 3:51
  Speaker 4: it was really the domain of truckers, people who made
• 3:54
  Speaker 4: their living on the road. Basically, it was ways for
• 3:57
  Speaker 4: the old days that people would tell you that there's
• 4:00
  Speaker 4: a speed trap ahead. Yeah, but more than once I
• 4:02
  Speaker 4: heard of someone saying, no, it's clear, And it turns
• 4:05
  Speaker 4: out that the policeman had a CBE radio was telling
• 4:08
  Speaker 4: people it was absolutely clear while they were set up
• 4:11
  Speaker 4: for a speed trap.
• 4:12
  Speaker 1: Wow, good times, good times. Well, Matt, who do we
• 4:14
  Speaker 1: have speaking to us this week?
• 4:16
  Speaker 4: We have a listener, Steven sad fifty four, and he
• 4:20
  Speaker 4: left us a five star review on Apple saying great stuff.
• 4:24
  Speaker 4: He goes on to say, and I will say stick
• 4:26
  Speaker 4: with me here because he had quite a lot to say.
• 4:28
  Speaker 4: And I think both Chuck and I will blush with this,
• 4:32
  Speaker 4: so and I quote. The sixties brought about great change
• 4:35
  Speaker 4: in music and culture. All of that flowed into the seventies,
• 4:39
  Speaker 4: affecting the other great art form, storytelling in the form
• 4:43
  Speaker 4: of motion pictures. The films of the seventies brought more
• 4:47
  Speaker 4: realism and authenticity, more relatable, emotional depth. Substance was created
• 4:52
  Speaker 4: that left you leaving the theater thinking more about the
• 4:55
  Speaker 4: people you saw and how it might relate to you.
• 4:58
  Speaker 4: All of this brought forward through the imagination of young,
• 5:01
  Speaker 4: unknown fire brands, actors and directors that are now household names.
• 5:06
  Speaker 4: Chuck and Matt do more than just discuss these celluloid gems.
• 5:09
  Speaker 4: They relate how some of these films affected them personally,
• 5:13
  Speaker 4: how others are touchstones, landmarks of events of their lives.
• 5:17
  Speaker 4: Insight and details of production are discussed, history of the
• 5:20
  Speaker 4: stories that became the movie, the tricks of the trade
• 5:23
  Speaker 4: that made these films feel also real. The work, the time,
• 5:26
  Speaker 4: the joy and the pain of the actors bringing these
• 5:29
  Speaker 4: stories to life are Chuck and Matt experts. That's subjective.
• 5:33
  Speaker 4: Though all have had movies in their lives in one
• 5:35
  Speaker 4: form or another, they know a lot critics. They just
• 5:38
  Speaker 4: offer their opinion, never marginalizing a guest negative views of
• 5:42
  Speaker 4: a particular film. Do they love seventies film? That's the point.
• 5:46
  Speaker 4: Some guests fondly remember those days they live through. Others
• 5:49
  Speaker 4: want to share their new experience with others, So hell,
• 5:53
  Speaker 4: yeah they love the seventies. Wow, yeah, that was a
• 5:57
  Speaker 4: nice review. I'm sorry if I bumbled through some of that.
• 5:59
  Speaker 4: But do you know someone who does not know about
• 6:02
  Speaker 4: seventies movies? Are they sad and one dimensional? Do people
• 6:06
  Speaker 4: laugh and point their figures saying they have probably never
• 6:09
  Speaker 4: seen Logan's Run or understand that there are not enough cats.
• 6:14
  Speaker 4: They need to be more like Stephen Sad fifty four,
• 6:17
  Speaker 4: And I have the answer for them, The Cinematic Flashback Podcast.
• 6:21
  Speaker 4: Have them listen to two episodes a week, and in
• 6:24
  Speaker 4: no time they will be the life of the party.
• 6:26
  Speaker 4: Always included in deep discussion and a veritable font of
• 6:29
  Speaker 4: seventies movie trivia and anecdotes. Do not let your friends suffer.
• 6:34
  Speaker 4: Get them on a regimen of the Cinematic Flashback Podcast.
• 6:38
  Speaker 1: Well, you know, I have a fever, a white line fever,
• 6:43
  Speaker 1: and the only cure is more seventies movies.
• 6:49
  Speaker 4: Oh Man, that's funny. Steven Sad pointed out, we're not experts.
• 6:54
  Speaker 4: We're just a couple of guys who love seventies movies.
• 6:56
  Speaker 4: One of us is old enough to have basically lived
• 6:59
  Speaker 4: through many of them in the movie theaters, and one
• 7:01
  Speaker 4: of them's a little bit younger but definitely more dedicated.
• 7:04
  Speaker 4: That'd be you, Chuck. So okay, thank you. We do
• 7:08
  Speaker 4: like to prepare and do our due diligence. And when
• 7:10
  Speaker 4: I say our due diligence, I really mean Chuck, because
• 7:13
  Speaker 4: let's be honest, I usually just ride along and do voices.
• 7:19
  Speaker 1: Less. Let's move to our segment. How did this movie happen? Matt.
• 7:23
  Speaker 1: To understand why a movie like Whiteline Fever connected with audience,
• 7:27
  Speaker 1: we've got to set the scene in America in nineteen
• 7:31
  Speaker 1: seventy five. So Vietnam had just ended, Watergate, had wrecked
• 7:35
  Speaker 1: trust in the government. There were gas shortages. I've been
• 7:38
  Speaker 1: at two gas landes already this morning. This morning, I
• 7:41
  Speaker 1: longed you wait for the first thing in both lines.
• 7:43
  Speaker 1: Oh wow, And I'm on a gas and that new
• 7:47
  Speaker 1: fifty five mile per hour speed limit was making nobody happy.
• 7:52
  Speaker 7: Correctly, we've been forced to speak off from the safety aspect,
• 7:57
  Speaker 7: the new law represents a departure from that concept. The
• 8:01
  Speaker 7: reduced speed limit and our enforcement of that limit are
• 8:05
  Speaker 7: a measure to help alleviate a very critical furou shortage
• 8:09
  Speaker 7: in this country.
• 8:10
  Speaker 1: And that's the America. Whiteline Fever was made for. Director
• 8:14
  Speaker 1: Jonathan Kaplan had graduated from NYU's Film School, where Martin
• 8:18
  Speaker 1: Scorsese was one of his peers and influences. After catching
• 8:22
  Speaker 1: the attention of Roger Corman, Kaplan found himself learning the
• 8:26
  Speaker 1: filmmaking business the Corman way, which is to say, fast, cheap,
• 8:32
  Speaker 1: low budget exploitation films. Corman had a reputation for finding
• 8:37
  Speaker 1: talented young filmmakers just giving them that chance to direct.
• 8:40
  Speaker 1: Directors such as Francis for Coppola, Martin Scorsese, Peter Bogdanovitch,
• 8:45
  Speaker 1: Joe Dante, James Cameron, all of them at some point
• 8:49
  Speaker 1: passed through the Corman system. And I have to recommend
• 8:51
  Speaker 1: to you, Matt the book Roger Corman wrote called How
• 8:54
  Speaker 1: I Made one Hundred Movies in Hollywood and Never lost
• 8:57
  Speaker 1: a dime. This is a great book on the business
• 9:02
  Speaker 1: side of making a movie in Hollywood, and it's incredibly entertaining.
• 9:06
  Speaker 1: Because Roger Corman is just that kind of storyteller. My
• 9:10
  Speaker 1: favorite part, though, of White Line Fever is how the
• 9:13
  Speaker 1: movie got made. Columbia executive Peter Gouber saw Kaplin attached
• 9:18
  Speaker 1: to a movie called White Line Fever, and he figured
• 9:21
  Speaker 1: that he was the guy who already had made a
• 9:24
  Speaker 1: truck movie. The problem is, Caplin's previous film was Truck Turner,
• 9:29
  Speaker 1: which is not a truck movie. It was a blaxploitation
• 9:33
  Speaker 1: film about a bounty hunter. But somehow the misunderstanding worked
• 9:37
  Speaker 1: out and Columbia pushed the project forward. Anyways, Caplan later
• 9:42
  Speaker 1: said he was really making a Western in the vein
• 9:45
  Speaker 1: of Sam peckham Pah, only with trucks instead of horses.
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  Speaker 1: He even casted Peck and Paw veterans like Slim Pickens
• 9:51
  Speaker 1: and l Q. Jones. White Line Fever ended up becoming
• 9:54
  Speaker 1: a surprise hit of nineteen seventy five.
• 9:57
  Speaker 4: That is too funny. A Black's potation movie becomes a
• 10:01
  Speaker 4: truck exploitation movie, right, and it definitely helped launch the
• 10:06
  Speaker 4: truck or movie craze. And I'll admit, at the time
• 10:09
  Speaker 4: it came out, I mean I remember it, I did
• 10:12
  Speaker 4: not understand why everybody was so excited about it, But
• 10:15
  Speaker 4: it could have been that I was pretty young at
• 10:17
  Speaker 4: the time. I didn't have my driver's license, so gas
• 10:20
  Speaker 4: shortages the fifty five mile an hour speed limit were
• 10:22
  Speaker 4: in the background for me. Certainly, I remember my dad
• 10:25
  Speaker 4: being super frustrated about the speed limit. But I mean, honestly,
• 10:28
  Speaker 4: we had a VW BUTS and on its best day
• 10:31
  Speaker 4: loaded for a trip to Cape Cod it could barely
• 10:33
  Speaker 4: maintain sixty miles an hour and it used no gas
• 10:37
  Speaker 4: at all, So I just it's funny. I remember the
• 10:39
  Speaker 4: gas lines, however, and there was rationing of sorts. If
• 10:42
  Speaker 4: your license plate ended in an even number, you'd go
• 10:44
  Speaker 4: get gas on certain days like Monday, Wednesday, Friday, and
• 10:48
  Speaker 4: if you were license was odd, then you had the
• 10:50
  Speaker 4: other days. And most stations were closed on Sunday, so
• 10:53
  Speaker 4: you really would back and forth. And then there were
• 10:55
  Speaker 4: giant lines, and I remember going in the car with
• 10:59
  Speaker 4: my mom on the giant line and I would sit
• 11:01
  Speaker 4: in the car. I mean literally, it was like twelve
• 11:04
  Speaker 4: or fourteen. I would sit in the car. She would
• 11:07
  Speaker 4: get out and go do some shopping or something or
• 11:09
  Speaker 4: whatever close by to the gas station, and I would
• 11:11
  Speaker 4: creep the car up in.
• 11:13
  Speaker 1: The Were you actually sitting behind the wheel?
• 11:17
  Speaker 6: Oh?
• 11:17
  Speaker 4: Yeah, I could drive. My older sister was crazy, sh
• 11:22
  Speaker 4: she taught me to drive the VW Bus. I grew
• 11:25
  Speaker 4: tall in eighth grade. I was the same height I
• 11:28
  Speaker 4: am now, so you know you're tall. Yeah, so I'm
• 11:32
  Speaker 4: like six' one and I was six one in eighth grade.
• 11:35
  Speaker 4: So my sister taught me to drive when I was
• 11:37
  Speaker 4: I mean, I think I was in sixth grade or something.
• 11:40
  Speaker 4: She taught me to drive the VW Bus, which is
• 11:42
  Speaker 4: actually pretty forgiving thing to drive because you're sitting sort
• 11:45
  Speaker 4: of in front of the wheels, so you can see
• 11:48
  Speaker 4: really easily.
• 11:48
  Speaker 1: You can see it.
• 11:49
  Speaker 4: You don't have a big hood in front of you
• 11:51
  Speaker 4: that throws people off, so it's really easy to keep
• 11:53
  Speaker 4: it in the middle of the line. But I mean,
• 11:56
  Speaker 4: that was my sister. She was crazy. That was my
• 11:58
  Speaker 4: sister Becky. Two sisters up. So I have four sisters.
• 12:02
  Speaker 4: I have three sisters that are older than me and
• 12:05
  Speaker 4: one brother that's the oldest in the family, and she's
• 12:07
  Speaker 4: the second one up from me. But she was always
• 12:10
  Speaker 4: really good about showing me how to do things and whatnot.
• 12:12
  Speaker 1: Are we ready to dive into production details of white
• 12:15
  Speaker 1: line fever. Let's do it. Okay, Well, first we need
• 12:18
  Speaker 1: to step away for a quick break, and we will
• 12:21
  Speaker 1: be right back.
• 12:23
  Speaker 5: Manic fast back and manic fast back.
• 12:34
  Speaker 1: Carol Joe is back.
• 12:35
  Speaker 8: Jerry waited two long years. Now it's time to make
• 12:38
  Speaker 8: a life for themselves. He's an hon His trucker won't
• 12:49
  Speaker 8: make deals.
• 12:51
  Speaker 3: I mean, I don't hauld that stuff.
• 12:52
  Speaker 2: I don't drive.
• 12:53
  Speaker 7: Well, that's right, just keep your mouth shut and do
• 12:55
  Speaker 7: what you're told.
• 13:06
  Speaker 3: But it gets tougher for both of them.
• 13:08
  Speaker 2: I'm pregnant Carol Joe, and I've been thinking they where
• 13:12
  Speaker 2: shall work?
• 13:13
  Speaker 8: They forced him to fight back their way.
• 13:15
  Speaker 1: My name's Carol Joe Homer.
• 13:16
  Speaker 6: I come to get work, and next time you just
• 13:27
  Speaker 6: might not be so lucky.
• 13:30
  Speaker 8: But he won't quit no matter what.
• 13:42
  Speaker 7: You're about to walk off a clipboyt He's only gonna
• 13:46
  Speaker 7: get too dead.
• 13:47
  Speaker 8: Then they got the muscle, They own the law.
• 13:52
  Speaker 9: You're in the rest of the murder a Dayne Howard.
• 13:54
  Speaker 10: They terrify his wife.
• 13:56
  Speaker 2: Take the dealer.
• 13:57
  Speaker 7: Let's get the hell away from here.
• 13:58
  Speaker 1: He's a working man who's had it heavy.
• 14:00
  Speaker 2: Toy dog.
• 14:02
  Speaker 1: You know who this is.
• 14:03
  Speaker 3: Can you call him and tom I'm coming.
• 14:04
  Speaker 10: Here ride with Carol Joe on a trip you'll never forget.
• 14:18
  Speaker 1: Welcome back. We're going to get into the production details
• 14:21
  Speaker 1: and then talk about the cast. White Line Fever was
• 14:24
  Speaker 1: released on July sixteenth, nineteen seventy five, and distributed by
• 14:28
  Speaker 1: Columbia Pictures. The film was made by International Cinemedia and
• 14:33
  Speaker 1: the White Line Fever Syndicate. Jonathan Kaplan directed. John Kemeny
• 14:37
  Speaker 1: was the producer. The film was shot by Fred Cohen
• 14:40
  Speaker 1: Camp and as a quick aside, there are some unexpectedly
• 14:45
  Speaker 1: amazing long shots of the main truck, the Blue Mule,
• 14:48
  Speaker 1: driving throughout the Southwest. Nicholas Brown edited the film and
• 14:52
  Speaker 1: music was by David nick Turn. White Line Fever had
• 14:55
  Speaker 1: a budget of one point four million and brought in
• 14:58
  Speaker 1: over thirty five million, and as you might expect, this
• 15:02
  Speaker 1: film has a twenty nine percent critic rating on Rotten Tomato,
• 15:06
  Speaker 1: with a fifty four percent rating with the audience. So
• 15:10
  Speaker 1: while it was not a hit with the critics, the
• 15:13
  Speaker 1: audience was still buying tickets to watch Carol Joe take
• 15:17
  Speaker 1: on a corrupt trucking system. Matt, who do we have
• 15:20
  Speaker 1: starring in this film?
• 15:21
  Speaker 4: I mean, the main character played by Jan Michael Vincent.
• 15:25
  Speaker 4: He played Carol Joe Hummer. He's an honest, independent trucker
• 15:30
  Speaker 4: just leaving the Air Force, needs a way to make money,
• 15:33
  Speaker 4: and he wants to get married to his sweetheart, and
• 15:36
  Speaker 4: he endeavors to get a very large loan to buy
• 15:39
  Speaker 4: a truck, and trucks are very very expensive. Detractors of
• 15:43
  Speaker 4: the truck is very expensive. John Michael Vince has been
• 15:46
  Speaker 4: in a number of movies. He was all the hotness
• 15:49
  Speaker 4: in the nineteen seventies. I will tell you.
• 15:52
  Speaker 1: I remember him from the TV show Airwolf and you
• 15:56
  Speaker 1: mentioned him once before a long time ago as an
• 15:59
  Speaker 1: alternate casting and at the time I thought, really, Jan
• 16:03
  Speaker 1: Michael Vinson, Holy cow. Yeah, I did not realize what
• 16:06
  Speaker 1: an up and coming actor he was at the time.
• 16:10
  Speaker 4: He appeared in quite a few films, which is to
• 16:12
  Speaker 4: his yetit. I mean, he was in The Mechanic, The
• 16:14
  Speaker 4: World's Greatest Athlete, dam Nation Alley, Big Wednesday, which I
• 16:18
  Speaker 4: have not heard of, but I think it was John
• 16:20
  Speaker 4: Millius's surfing movie.
• 16:21
  Speaker 1: We may have talked about this, but John Millius was
• 16:24
  Speaker 1: kind of this. I will say he's a renaissance director
• 16:27
  Speaker 1: and he has lots of interest, one of them being surfing,
• 16:30
  Speaker 1: so he always wanted to make a surfing movie, and
• 16:33
  Speaker 1: he made Big Wednesday.
• 16:34
  Speaker 4: That's cool to go. I have to go check that
• 16:36
  Speaker 4: out because it's probably good. Hooper, that's how Needham's stuntman movie,
• 16:41
  Speaker 4: and of course Airwolf, and I remember him from Aerowolf
• 16:43
  Speaker 4: as well. Really we don't see much from him after
• 16:46
  Speaker 4: nineteen eighty six. I think he was in a few
• 16:48
  Speaker 4: guest stars and stuff like that. He's probably on the
• 16:51
  Speaker 4: Love Boat half a dozen times. He probably made that voyage.
• 16:54
  Speaker 4: I remember Hooper that was with Burt Reynolds. We should
• 16:58
  Speaker 4: probably come up with a stuntman.
• 17:00
  Speaker 1: That would be good. Yeah, I think that'd be good.
• 17:02
  Speaker 1: Hooper is really good because Burt Reynolds is the stunt
• 17:05
  Speaker 1: man at the end of his career. Jan Michael Vincent
• 17:08
  Speaker 1: is the young stuntman coming in. Oh cool. I thoroughly
• 17:11
  Speaker 1: enjoyed that film.
• 17:12
  Speaker 4: Well, there's a number of movies with stunt men that
• 17:14
  Speaker 4: would be fun, that would be fun to do. I
• 17:16
  Speaker 4: think there's a couple. So at least in the seventies.
• 17:19
  Speaker 1: He did struggle with issues of addiction and eventually he
• 17:24
  Speaker 1: passed away. Yeah, I think in two thousand and four.
• 17:27
  Speaker 1: Kay Lyns played his wife, Jerry Caine Hummer. She plays
• 17:31
  Speaker 1: the title character Breezy in the film Breezy that was
• 17:35
  Speaker 1: directed by Clint Eastwood. She also played Sandy Sinclair in
• 17:39
  Speaker 1: the horror film House. I thought kay Lyn's was good.
• 17:44
  Speaker 1: It seems like at the beginning she was going to
• 17:45
  Speaker 1: play more of a role in the trucking business. But
• 17:48
  Speaker 1: then she just becomes a background character to some degree.
• 17:52
  Speaker 4: Maybe at least it seems like to me maybe more
• 17:55
  Speaker 4: of her involvement in the film ended on the cutting
• 17:57
  Speaker 4: room floor.
• 17:58
  Speaker 1: Yeah, so I'm going to say that her character steers
• 18:01
  Speaker 1: the movie at certain plot points. CJ is a beneficiary
• 18:06
  Speaker 1: of some of her actions that maybe he may not
• 18:09
  Speaker 1: know about.
• 18:10
  Speaker 4: Yeah, I don't know, no, no, knock on the actress.
• 18:13
  Speaker 4: I'm sure she's wonderful. I just think it was written
• 18:16
  Speaker 4: semi one dimensionally. It was a seventies movie. It was
• 18:18
  Speaker 4: I mean, obviously we know this is like you were saying,
• 18:21
  Speaker 4: a film that was made very inexpensively. One point five
• 18:23
  Speaker 4: million dollars is nothing, right, I mean really, even back then,
• 18:27
  Speaker 4: one point five million dollars was was nothing and to
• 18:30
  Speaker 4: make thirty five million from it, I mean this is
• 18:32
  Speaker 4: a huge success, oh big time. Maybe sadly because then
• 18:35
  Speaker 4: a whole bunch of other movies along the same line
• 18:38
  Speaker 4: came out which were.
• 18:39
  Speaker 1: Terrible, and you know they varied in quality.
• 18:43
  Speaker 4: Yeah, yeah, exactly, and so one of those things that
• 18:46
  Speaker 4: you're like, well, if it's been two point five million,
• 18:49
  Speaker 4: maybe they would have been able to write a story
• 18:50
  Speaker 4: that was a little more engaging and not so weird.
• 18:53
  Speaker 4: But anyway, nothing against k I think she did a
• 18:56
  Speaker 4: good job from what she had to do. Now we
• 18:58
  Speaker 4: move on to the next actor, who was one of
• 19:00
  Speaker 4: my favorite, Slim Pickens as Dwayne Haller. He's a veteran
• 19:04
  Speaker 4: trucker and old friend of CJ and CJ's father. But
• 19:08
  Speaker 4: I think things change as you go through the movie
• 19:10
  Speaker 4: and you realize that maybe Dwayne is being driven by
• 19:14
  Speaker 4: things other than friendship.
• 19:16
  Speaker 1: Dwayne was not the cowboy from The Getaway.
• 19:20
  Speaker 6: No.
• 19:20
  Speaker 1: I really liked the character in The Getaway, Yeah, Dwyane. No,
• 19:25
  Speaker 1: he was more like a used car salesman. Yeah, yeah, yeah,
• 19:28
  Speaker 1: he was kind of kind of questionable. Slim Pickens was
• 19:31
  Speaker 1: one of the Peck and Paw regulars.
• 19:33
  Speaker 4: Yeah, and he's in a ton He's in The Getaway
• 19:35
  Speaker 4: obviously we've already covered that on a Cinematic Flashback podcast.
• 19:39
  Speaker 4: Look that episode up. It's a good one. Major Dundee.
• 19:42
  Speaker 4: That's another Peck and Paw film, Pat Garrett and Billy
• 19:45
  Speaker 4: the Kid Peck and Paw, and I think we have
• 19:46
  Speaker 4: some other actors in this movie that are in that one. Yep,
• 19:49
  Speaker 4: The Ballad of Cable Hogue, which is another peckin Paw film.
• 19:52
  Speaker 4: And then Doctor Strange Love which is funny because I'm
• 19:55
  Speaker 4: Doctor Strange was just crazy movie Blazing Saddles, which is
• 19:59
  Speaker 4: a hilarious movie. Yeah, the Apple Dumpling Gang, which is
• 20:02
  Speaker 4: kind of a kid's version of Blazing Saddles.
• 20:05
  Speaker 1: If you ask me, Hey, look I love Apple, don't.
• 20:08
  Speaker 4: Yeah, No, I'm not decrying it. I'm just saying it was.
• 20:11
  Speaker 4: It was like a kid's version of Blazing Saddle. That's
• 20:14
  Speaker 4: what I was watching in the seventies. Yeah, yeah, well
• 20:17
  Speaker 4: you were nine and then nineteen forty one, which is
• 20:22
  Speaker 4: an amazing amount of things to be in for someone
• 20:25
  Speaker 4: who was He wasn't originally an actor, was slim picking.
• 20:29
  Speaker 1: He was a radio guy right the Armed Forces. In
• 20:33
  Speaker 1: prior to that, he was rodeo guy, which is crazy.
• 20:37
  Speaker 1: He's great in this film.
• 20:38
  Speaker 4: Obviously he plays kind of a questionable person in the movie,
• 20:42
  Speaker 4: but still the actor wonderful job on that.
• 20:44
  Speaker 1: Speaking of questionable guys, Buck Westler and if you thought
• 20:48
  Speaker 1: that Dwayne Holler was to use car salesman, Buck Westler
• 20:52
  Speaker 1: is just you feel like you have to go take
• 20:55
  Speaker 1: a shower after you interact with him, because he is
• 20:57
  Speaker 1: just that slimy of a guy. He played by l Q. Jones,
• 21:02
  Speaker 1: who was another Peckham Pah regular and was featured in
• 21:05
  Speaker 1: films like Ride the High Country, Major Dundee, The Wild Bunch,
• 21:09
  Speaker 1: The Ballad of Cable Hogue, Pat Garrett, and Billy the Kid.
• 21:12
  Speaker 1: He worked with Scorsese and Casino. He was in the
• 21:15
  Speaker 1: movie The Patriot with Mel Gibson. And this was an
• 21:18
  Speaker 1: interesting piece of trivia that I didn't know about him
• 21:21
  Speaker 1: was that he wrote and directed the nineteen seventy five
• 21:26
  Speaker 1: science fiction film called A Boy and his Dog starring
• 21:30
  Speaker 1: Don Johnson. His birth name was Justice McQueen, but he
• 21:35
  Speaker 1: adopted l Q. Smith as his stage name after his
• 21:39
  Speaker 1: character in his debut film called Battle Cry.
• 21:43
  Speaker 4: I want to talk about A Boy and his Dog
• 21:44
  Speaker 4: a little bit, so for yeah, I read that novel
• 21:48
  Speaker 4: early and it is a wacky science fiction novel. I
• 21:53
  Speaker 4: remember the movie being wacky, Well, the book is far wackier,
• 21:58
  Speaker 4: far far whackier. Harlan Ellison, he is one of my
• 22:01
  Speaker 4: favorite sci fi authors. He's got some really great great books,
• 22:05
  Speaker 4: and A Boy and His Dog is a good one.
• 22:06
  Speaker 4: It's posts apocalyptic after a nuclear war, and dogs are
• 22:10
  Speaker 4: bred to be intelligent. I think they have telekinetic powers
• 22:14
  Speaker 4: to be able to communicate anyway. The film it's crazy,
• 22:17
  Speaker 4: but I highly recommend the novel that it comes from,
• 22:20
  Speaker 4: although be prepared to be you know, don't listen to
• 22:24
  Speaker 4: it out loud.
• 22:25
  Speaker 1: Let me say that.
• 22:26
  Speaker 4: So, the character that plays the polished and corrupt head
• 22:29
  Speaker 4: of the trucking syndicate and he represents the corporate side
• 22:33
  Speaker 4: of the system that CJ is fighting against is Cuttler,
• 22:36
  Speaker 4: played by Don Porter, and I think it's played really
• 22:39
  Speaker 4: well by Don Porter. He really comes off as being
• 22:42
  Speaker 4: that sinister corporate wonk who money is the object and
• 22:47
  Speaker 4: really nothing matters. So he was in quite a few films,
• 22:51
  Speaker 4: starting all the way back in nineteen forty two, so
• 22:54
  Speaker 4: at the time of White Line Fever, I mean he
• 22:57
  Speaker 4: was an elder statesman of the film industry. He's a
• 23:00
  Speaker 4: night Monster in nineteen forty two, She Wolf of London
• 23:03
  Speaker 4: in nineteen forty six, seven eleven, Ocean Drive in nineteen fifty.
• 23:08
  Speaker 4: Gidget Grows to Rome in nineteen sixty three, and that's
• 23:12
  Speaker 4: where I remember him first. I believe he was Gidget's father,
• 23:16
  Speaker 4: and he was really sweet.
• 23:17
  Speaker 1: In that movie. If you remember, well, he maybe don't remember.
• 23:20
  Speaker 1: I don't.
• 23:20
  Speaker 4: I remember the Gidget movies because Mike I had four sisters,
• 23:23
  Speaker 4: so we watched the Gidget movies for sure, and then
• 23:26
  Speaker 4: The Candidate with Robert Redford. He was Senator Croker Jarman
• 23:31
  Speaker 4: and then mame in nineteen seventy four, and we don't
• 23:33
  Speaker 4: hear much from him after that. He was pretty old
• 23:36
  Speaker 4: by that point. Do you know what happened to him after?
• 23:39
  Speaker 1: You know, I don't, But you know, he's one of
• 23:41
  Speaker 1: these guys who always shows up on television programs as well. Yeah,
• 23:45
  Speaker 1: he has such a long and broad IMDb list. Yeah,
• 23:49
  Speaker 1: you know, you look through and you're trying to find
• 23:50
  Speaker 1: some of the films that are kind of characteristics of
• 23:52
  Speaker 1: the films that he did. Yeah, I think he was
• 23:54
  Speaker 1: ever a leading man.
• 23:56
  Speaker 4: It's definitely a character actor, but he really played it
• 24:00
  Speaker 4: well in this movie because he had to come off
• 24:02
  Speaker 4: as not just Holy Sinister, but somebody that you might
• 24:07
  Speaker 4: invest in the company that he runs and unknowingly participate
• 24:11
  Speaker 4: in hurting CJ and his family because you want to
• 24:14
  Speaker 4: make good profits.
• 24:15
  Speaker 1: Do you remember the film Caddyshack? Oh yeah, okay. For
• 24:20
  Speaker 1: some reason, every time I saw Cutler in the film,
• 24:23
  Speaker 1: he reminded me of Ten Nights, older but meaner brother
• 24:28
  Speaker 1: from That's Funny. The next guy was Dick Miller, who
• 24:33
  Speaker 1: plays Bertie. His full name, well, we don't know the
• 24:37
  Speaker 1: full name, but we see written on the side of
• 24:39
  Speaker 1: his truck. It says R Dot and end quotes Bertie Corman.
• 24:43
  Speaker 1: So R Corman, which is Roger Corman. Because Dick Miller
• 24:48
  Speaker 1: was another actor who worked with John Kaplan and Roger Corman.
• 24:53
  Speaker 1: And Dick Miller was in a lot of Corman films.
• 24:57
  Speaker 1: He was even in the original Little Shop of Horrors,
• 24:59
  Speaker 1: He was in Piranha. The one film that always sticks
• 25:03
  Speaker 1: out for me was his role in the Joe Dante
• 25:08
  Speaker 1: film Brimlins, and Joe Dante's name actually gets dropped in
• 25:13
  Speaker 1: this movie when Cutler is asking about his appointments near
• 25:17
  Speaker 1: the end and Apparently later that evening he had his
• 25:21
  Speaker 1: dinner reservations confirmed with Joe Dante at five o'clock. I
• 25:26
  Speaker 1: love those little Easter eggs. Those are so fun. I'm
• 25:29
  Speaker 1: telling you, I got so much mileage out of that
• 25:31
  Speaker 1: Roger Corman book. Again, I recommend that one a lot.
• 25:35
  Speaker 1: Probably try to get it so I can listen to it.
• 25:37
  Speaker 1: I gotta ask you a question.
• 25:38
  Speaker 4: Sure, when you first saw the character Clem, did you
• 25:41
  Speaker 4: recognize him? He looked really, really familiar. And then it
• 25:44
  Speaker 4: came to me that he was the guy in the
• 25:47
  Speaker 4: Karate Kid movie.
• 25:49
  Speaker 1: Yeah, and he sweeped the leg He was John Crees.
• 25:53
  Speaker 1: So Martin Cove plays Clem. And what really throws you
• 25:57
  Speaker 1: off is that he has jet black hair. To me,
• 26:00
  Speaker 1: I thought it obviously looked like a dye job. Oh yeah, yeah,
• 26:04
  Speaker 1: you could think of his black hair as a black hat.
• 26:06
  Speaker 1: He hangs around with a guy with a match stick
• 26:08
  Speaker 1: who also wears a black hat. I mean, the characters
• 26:10
  Speaker 1: in this movie are broadly drawn. You know who's good,
• 26:13
  Speaker 1: you know who's bad. Sure, yeah, it's like black hats
• 26:15
  Speaker 1: and light hats. We like to relate things from the
• 26:17
  Speaker 1: seventies to nowadays. But honestly, there's a show out there
• 26:21
  Speaker 1: called Cobra Kai right. Oh yeah, and it's sort of
• 26:24
  Speaker 1: those guys moved into the future. Yeah, Daniel LaRusso older Daniel.
• 26:29
  Speaker 4: It's really funny because kind of Daniel's kind of a
• 26:32
  Speaker 4: slimy used car salesman.
• 26:34
  Speaker 1: And the guy who's.
• 26:35
  Speaker 4: The bad guy, the kid who was the bad guy,
• 26:38
  Speaker 4: he's all grown up and he's his life is on
• 26:40
  Speaker 4: the rocks. But he's actually kind of the anti hero
• 26:43
  Speaker 4: of the show. I recommend it was. I didn't watch
• 26:46
  Speaker 4: all the episodes, but the ones I watched I really enjoyed.
• 26:49
  Speaker 1: They were funny. That leads us with one last actor
• 26:52
  Speaker 1: to talk about that, Sam Laws. What do you know
• 26:54
  Speaker 1: about him? Chuck? Sam Laws plays Pops den Witty. Pops
• 26:59
  Speaker 1: used to be a former driving partner of CJ's father.
• 27:03
  Speaker 1: Now the character of Pops Dinwitty appears in other films
• 27:08
  Speaker 1: that are made by John Kaplan and Truck Turner. Sam
• 27:12
  Speaker 1: Laws played Nate Dinwitty and Mister Billion. He plays Pops
• 27:17
  Speaker 1: din Witty. He was also in Project X with Matthew Brodericks,
• 27:22
  Speaker 1: also directed by John Kaplan. He was in Heart Like
• 27:25
  Speaker 1: a Wheel directed by Jonathan Kaplan. So you see he
• 27:29
  Speaker 1: has a lot of works. He's a John Kaplan regular.
• 27:32
  Speaker 1: Like so many of these actors, he had a lot
• 27:35
  Speaker 1: of television work and was a just a familiar face
• 27:38
  Speaker 1: on your TV screen.
• 27:39
  Speaker 4: One of the things about this podcast that's really opened
• 27:42
  Speaker 4: my eyes is that, you know, as a working actor
• 27:44
  Speaker 4: in Hollywood, sometimes you see sort of the superstars are
• 27:48
  Speaker 4: in this and they get these giant paychecks, and they
• 27:51
  Speaker 4: might do something every few years and they get these
• 27:53
  Speaker 4: massive paychecks. But really, the rank and file actors in Hollywood,
• 27:57
  Speaker 4: they're like working all the time.
• 27:58
  Speaker 1: They're making a reasonable way.
• 28:00
  Speaker 4: Yeah, they make more money than anybody because they have talent,
• 28:02
  Speaker 4: But I mean a lot of them are just nose
• 28:04
  Speaker 4: to the grindstone, just working.
• 28:06
  Speaker 1: I would imagine that the majority of actors are not
• 28:09
  Speaker 1: in the superstar but they are in the I constantly
• 28:13
  Speaker 1: have work, I'm on everything, and then I just go
• 28:16
  Speaker 1: home at the end of the day. Yeah, you know,
• 28:18
  Speaker 1: I think there's a good amount of them.
• 28:19
  Speaker 4: I know a lot of them get into voice acting
• 28:21
  Speaker 4: because they really enjoy the gig. If you've ever listened
• 28:24
  Speaker 4: to some of the podcasts with like current actors who
• 28:27
  Speaker 4: are also voice actors, they love their voice acting work.
• 28:30
  Speaker 4: Because it's not real hard. They go home at the
• 28:33
  Speaker 4: end of the day, right, they're not on set in
• 28:36
  Speaker 4: Bangladesh or some crazy place. They're there, They go home,
• 28:39
  Speaker 4: they have dinner with their family, and they come back
• 28:41
  Speaker 4: and they voice you know, the family guy or something
• 28:43
  Speaker 4: like that, and it's it's pretty cool that they make
• 28:46
  Speaker 4: a lot of money doing the voice acting.
• 28:48
  Speaker 1: They do like it. Well, Matt, I think that wraps
• 28:50
  Speaker 1: up all of the casts that we wanted to speak about.
• 28:53
  Speaker 1: Why don't you let our listeners know what this movie
• 28:56
  Speaker 1: is about.
• 29:01
  Speaker 4: A young Air Force veteran, Carol Joe Hummer played by
• 29:04
  Speaker 4: Jan Michael Vincent, starts a business as the owner operator
• 29:08
  Speaker 4: of a thirteen speed seven and one half ton diesel truck,
• 29:13
  Speaker 4: which he dresses up and names the Blue Mule. With
• 29:18
  Speaker 4: us bride Jerry played by Kay Lens. He sets off
• 29:21
  Speaker 4: to Tucson, Arizona, where his old friend Dwayne played by
• 29:25
  Speaker 4: Slim Pickens, is the manager of a trunk company and
• 29:28
  Speaker 4: can give him some work. But after Carol Joe realizes
• 29:32
  Speaker 4: he will be carrying a legal cargo and refuses the assignment,
• 29:35
  Speaker 4: he's beaten by a band of gangsters working for an
• 29:38
  Speaker 4: organized group of criminals headed by Cutler played by Don Porter.
• 29:43
  Speaker 4: When Carol Joe's commitment to staying on us results in
• 29:47
  Speaker 4: even further violent retributions from the trucking syndicate, he has
• 29:50
  Speaker 4: no choice but to team up with other independent truckers
• 29:54
  Speaker 4: to break Cutler's stranglehold and uphold the rights of decent
• 29:58
  Speaker 4: working man.
• 30:02
  Speaker 1: I was fully expecting you to start off with in
• 30:05
  Speaker 1: a world, in a world that needs independent truckers, A
• 30:11
  Speaker 1: young Air Force veteran, Yeah, I guess I could do that.
• 30:13
  Speaker 1: We've got a lot to say about this one, but
• 30:15
  Speaker 1: first we're going to pull the rig over for a
• 30:17
  Speaker 1: quick break stick around. We'll be right back with our
• 30:20
  Speaker 1: thoughts on White Line Fever flashback.
• 30:31
  Speaker 9: Welcome to the All Eighties Movies podcast. I'm Bill and
• 30:36
  Speaker 9: I'm Jason, and this is the podcast where we talk
• 30:38
  Speaker 9: about the blockbusters, the flops, and everything in between from
• 30:42
  Speaker 9: one of the freshest decades for movies, the nineteen eighties.
• 30:45
  Speaker 9: So whether you're a brain, a jock, a valley girl,
• 30:48
  Speaker 9: or a Jedi, we've got some eighties classics for you.
• 30:52
  Speaker 11: Do these movies stand the test of time? Are we
• 30:54
  Speaker 11: discovering something new? Is there an Eighties movie we are
• 30:57
  Speaker 11: finally watching for the first time.
• 31:00
  Speaker 9: Join us each week as we dive into the cinematic
• 31:02
  Speaker 9: nostalgia that inspired and influenced a generation, from the hits
• 31:06
  Speaker 9: to the cult classics. We'll discuss our earliest memories, favorite scenes,
• 31:10
  Speaker 9: fun facts, and are not so favorite movie moments too.
• 31:13
  Speaker 11: You can find the All Eighties Movies podcast wherever you
• 31:16
  Speaker 11: listen to your podcast. Please subscribe and happy listening.
• 31:25
  Speaker 1: And cinematic flash back belly kickers.
• 31:34
  Speaker 2: This here is Carol Joe Hommer, and I'm commencing broadcasting
• 31:37
  Speaker 2: to you today from my new bucket, which will from
• 31:39
  Speaker 2: now on be.
• 31:40
  Speaker 1: Known as the Blue Mule.
• 31:42
  Speaker 3: We're in business for ourselves, me and the Mule, and
• 31:45
  Speaker 3: we aim to get.
• 31:45
  Speaker 1: Our butts out of hawk. It's all you Turkey's better
• 31:48
  Speaker 1: watch out. We don't get all the work.
• 31:50
  Speaker 2: Amen to that happy hofey Blue Mule.
• 31:53
  Speaker 1: Say what bet you got between your legs?
• 31:55
  Speaker 2: Honey, it's the Blue.
• 31:57
  Speaker 1: Mule, A happy honkey got a ford a teen nine
• 32:01
  Speaker 1: thousand comments. What are humma, I'm kind of out off.
• 32:05
  Speaker 6: That's right, owner operator, got to operate to own hey.
• 32:09
  Speaker 4: Man of that Welcome back, all right. From here on out,
• 32:13
  Speaker 4: we're going to talk about our thoughts on White Line
• 32:15
  Speaker 4: Fever and it might inadvertently give some spoilers. If you
• 32:19
  Speaker 4: would like to watch White Line Fever, it is available
• 32:22
  Speaker 4: to rent at all of the usual locations.
• 32:25
  Speaker 1: Matt, had you seen White Line Fever before?
• 32:28
  Speaker 4: I think I had, and I probably forgot about it,
• 32:34
  Speaker 4: which is basically what you're.
• 32:37
  Speaker 1: Gonna hear from me at the end. Of course, this
• 32:42
  Speaker 1: was obviously my first time. I reached out to one
• 32:46
  Speaker 1: of my co workers. He knows a lot about seventies films,
• 32:49
  Speaker 1: and I asked him if he had heard about White
• 32:51
  Speaker 1: Line Fever, and he goes, oh, yeah, sure, you mean
• 32:53
  Speaker 1: the movie with Jan Michael Vincent and the truck.
• 32:57
  Speaker 4: Yeah, we definitely all knew that White Line Fever there
• 33:00
  Speaker 4: was a truck movie. I'll be honest with you, I've
• 33:03
  Speaker 4: never been a huge van of Jan Michael Vincent. I
• 33:05
  Speaker 4: don't think he has a lot of depth in his
• 33:07
  Speaker 4: acting capabilities. You know, that's just me. I know, I
• 33:11
  Speaker 4: did not go to the movies to see this in
• 33:13
  Speaker 4: the theater because it would not have been a movie
• 33:15
  Speaker 4: I would have been interested in. I wasn't a car guy.
• 33:19
  Speaker 4: I wasn't really you know.
• 33:20
  Speaker 1: That a cbe radio guy. No sci fi and.
• 33:24
  Speaker 4: The movies I enjoyed as a child, We're not We're
• 33:27
  Speaker 4: not along lines of like muscle cars and stuff. I
• 33:29
  Speaker 4: was surprised that I enjoyed American graffiti because it was
• 33:32
  Speaker 4: so much car culture kind of stuff which just did
• 33:35
  Speaker 4: not really interest me that much. I worked at a
• 33:38
  Speaker 4: gas station. I really had a deep abiding hatred for cars,
• 33:43
  Speaker 4: at least, you know, all the goofballs they would come
• 33:45
  Speaker 4: in with their jacked dep cars and extra goofy stuff
• 33:48
  Speaker 4: that I just never saw, like aftermarket stuff on cars
• 33:52
  Speaker 4: just does not float my boat.
• 33:54
  Speaker 3: During the recent truckers strike, I talked with some Americans
• 33:57
  Speaker 3: that the media seems to have overlooked not how long
• 33:59
  Speaker 3: of you and driving a rig like this about fifteen years?
• 34:03
  Speaker 3: Do you work for a company? No, I'm an independent
• 34:05
  Speaker 3: independent driver. That means you own your own rig. Yeah,
• 34:08
  Speaker 3: I'm in a bank or what sort of investment does
• 34:10
  Speaker 3: or rig like this take to hold? About thirty eight
• 34:13
  Speaker 3: thousand dollars? I imagine it puts quite a bit of
• 34:15
  Speaker 3: pressure on you making monthly famous. My wife works, what
• 34:18
  Speaker 3: kind of works she do? Is bartender?
• 34:20
  Speaker 1: Well?
• 34:20
  Speaker 3: How do you stay ahead in business? How do you
• 34:22
  Speaker 3: get your loads lined?
• 34:23
  Speaker 10: Up.
• 34:23
  Speaker 3: Oh, independent brokers, shippers. I don't get anything while I'm
• 34:27
  Speaker 3: the sept So if someone controlled the brokers and the shippers,
• 34:30
  Speaker 3: they'd be controlling the trucking industry. They do. You told
• 34:33
  Speaker 3: me before that you carry a gun with you.
• 34:36
  Speaker 1: Is that true?
• 34:37
  Speaker 2: Right?
• 34:37
  Speaker 3: Why do you protect myself? If someone tries to sneak
• 34:40
  Speaker 3: into your cab, just show them the gun, you know,
• 34:43
  Speaker 3: and they'll mosey on down row. Just how far would
• 34:46
  Speaker 3: you go to protect your rig and your profession? You
• 34:49
  Speaker 3: never know until you'll put to the task.
• 34:53
  Speaker 1: Before I press play on this film, I had never
• 34:56
  Speaker 1: heard of it. I did not know what I was
• 34:59
  Speaker 1: getting into. I didn't even know what white line fever references.
• 35:03
  Speaker 1: The movie opens up, and it's kind of opens up
• 35:06
  Speaker 1: like it did in Westworld, where you have this man
• 35:09
  Speaker 1: on the street interview between these two guys and they're
• 35:12
  Speaker 1: just talking about the trucking strike, and the guy the
• 35:15
  Speaker 1: trucker is like he's an independent owner operator. I kind
• 35:18
  Speaker 1: of felt like maybe they were just setting up some
• 35:19
  Speaker 1: verbiage to begin to introduce language of truck driving that
• 35:24
  Speaker 1: people might not have known at the time.
• 35:26
  Speaker 4: No, I think you definitely have to intro for a
• 35:29
  Speaker 4: very subject like this, if you're not in that trucker,
• 35:31
  Speaker 4: if you don't have a CBE radio, if you don't
• 35:33
  Speaker 4: know what an independent operator is versus a corporate trucker.
• 35:37
  Speaker 4: You know, all of that was important to this movie.
• 35:39
  Speaker 4: If you didn't understand that, you'd be like, what can
• 35:41
  Speaker 4: you just go work for some other company?
• 35:44
  Speaker 1: Right? And the idea being independent just means that you
• 35:48
  Speaker 1: have control of your own destiny.
• 35:50
  Speaker 4: Right, Well, you can go have a mortgage to pay
• 35:53
  Speaker 4: on your truck, which is sure. Oh well, that truck
• 35:56
  Speaker 4: is more expensive than that shack they were living in.
• 35:58
  Speaker 1: Clearly, right, they should have lived in the truck.
• 36:02
  Speaker 4: I mean they do, right, they have the little sleeper
• 36:04
  Speaker 4: cab in the back, and oh they do have that. Yeah,
• 36:06
  Speaker 4: I mean that they spend a lot of time in
• 36:08
  Speaker 4: the truck. So that's just the nature of the beast.
• 36:11
  Speaker 1: I thought this movie was I don't know. I wasn't
• 36:13
  Speaker 1: really sure what it was going to be, so I
• 36:15
  Speaker 1: didn't I wasn't expecting it to be a serious film
• 36:20
  Speaker 1: the way that it was.
• 36:21
  Speaker 4: Yeah, I would agree, I would agree it was. I
• 36:24
  Speaker 4: expected it to be what it was, and it was.
• 36:27
  Speaker 4: I will say that we didn't talk about this before
• 36:29
  Speaker 4: but there are some really fantastic long shots of the
• 36:32
  Speaker 4: American West and the truck going through it and are
• 36:34
  Speaker 4: one of the trucks, because I think we know that
• 36:36
  Speaker 4: they used several different trucks to film and also for
• 36:40
  Speaker 4: some kind of across the nation publicity tour or something.
• 36:45
  Speaker 1: Yeah.
• 36:45
  Speaker 4: Yeah, so that was really cool. I did love that.
• 36:48
  Speaker 4: And it's cool because you know, you have a maybe
• 36:50
  Speaker 4: a five thousand dollars camera with a telephoto lens and
• 36:53
  Speaker 4: a beautiful American West scene and it's just classic, great,
• 36:58
  Speaker 4: you know pictures.
• 37:00
  Speaker 1: Yet those scenes that really surprised me. So I could
• 37:02
  Speaker 1: only imagine that maybe they took one of those extra
• 37:04
  Speaker 1: trucks and they sent the second unit director out to
• 37:07
  Speaker 1: film all of that. Go Get made some great scenes.
• 37:10
  Speaker 1: Yeah yeah, and he comes back and I don't think
• 37:13
  Speaker 1: that some of those shots fit with the shots of
• 37:16
  Speaker 1: the rest of the movie.
• 37:17
  Speaker 4: No, definitely not. But remember it was only one point
• 37:20
  Speaker 4: five million dollars. Yeah, when the second unit came back,
• 37:23
  Speaker 4: it's like, this is what you got, this is you got,
• 37:25
  Speaker 4: this is fitted in.
• 37:27
  Speaker 1: You have what you have. We're not going out again,
• 37:29
  Speaker 1: we're not doing reshoots. And so the movie turns out
• 37:33
  Speaker 1: to be I don't know. Everyone has described it that
• 37:35
  Speaker 1: Kaplan was going out to make a Western film, but
• 37:38
  Speaker 1: just with trucks instead of horses. But also it kind
• 37:42
  Speaker 1: of became like like a normal ray type of film,
• 37:45
  Speaker 1: you know, like I was expecting him to stand up
• 37:47
  Speaker 1: and hold a sign on the union. Yeah. Yeah, definitely.
• 37:51
  Speaker 4: I can see how people would say it's like a
• 37:53
  Speaker 4: Western because you have sort of the independent you know,
• 37:56
  Speaker 4: almost like the independent bounty hunter. But the bounty seeking
• 38:00
  Speaker 4: are the truckloads to make his to be able to
• 38:03
  Speaker 4: make his mortgage payment on the truck, right, So those
• 38:06
  Speaker 4: are the bounties he's seeking. And then he has these
• 38:08
  Speaker 4: corrupt individuals who are trying to, you know, sort of
• 38:11
  Speaker 4: fudge the system and whatnot, and he's doing battle against them.
• 38:15
  Speaker 4: So it's it's definitely a trucker esque, but then you
• 38:19
  Speaker 4: also get into that normal race stuff like you brought up.
• 38:21
  Speaker 1: I think that's spot on. There's no way I can
• 38:24
  Speaker 1: oversell this film to anyone. I mean, it is what
• 38:27
  Speaker 1: it is. It's not great cinema of the seventies, but
• 38:31
  Speaker 1: the director does a pretty decent job telling you who
• 38:35
  Speaker 1: the good guys are and who the bad guys are.
• 38:37
  Speaker 1: Almost to the point of it being a little stereotypical.
• 38:41
  Speaker 1: I think I said something about the you know, a
• 38:43
  Speaker 1: cowboy has a black hat on, right, so already, even
• 38:46
  Speaker 1: though he already looks suspicious to the whole film, you
• 38:49
  Speaker 1: know he's bad because he's got the black hat. And
• 38:51
  Speaker 1: some of it was maybe a little bit too much
• 38:54
  Speaker 1: on the nose, maybe.
• 38:55
  Speaker 4: So, But you're also talking about a movie that's going
• 38:58
  Speaker 4: to be in the movie theater. People go, get to popcorn,
• 39:01
  Speaker 4: get them back to their seat, you know, use the bathroom,
• 39:03
  Speaker 4: and they have missed anything. I hate a movie that
• 39:05
  Speaker 4: if you miss one instant, like an instant, it changes
• 39:09
  Speaker 4: the entire pallor of the whole film, right, And I've
• 39:13
  Speaker 4: done that before because I always get up in the
• 39:14
  Speaker 4: middle of movies and go to the bathroom or something,
• 39:16
  Speaker 4: and if I'm at a movie theater, I can't hit pause,
• 39:19
  Speaker 4: so I come back to the movie. And I've been
• 39:21
  Speaker 4: in a movie where it's like, okay, sat back down.
• 39:23
  Speaker 4: Then you're like, I have no idea what's happening in
• 39:25
  Speaker 4: the rest of the film because something happened while you're
• 39:28
  Speaker 4: in the bathroom. That's unenjoyable to me. And I'll be honest,
• 39:31
  Speaker 4: with you it maybe it made so much money, because
• 39:34
  Speaker 4: that's not what's going on here. It's like you're in
• 39:37
  Speaker 4: the film. You might be there with your sweetheart.
• 39:40
  Speaker 1: You know.
• 39:40
  Speaker 4: Maybe you're paying attention to the film. Maybe you're not,
• 39:44
  Speaker 4: but you haven't really missed a lot.
• 39:46
  Speaker 1: You know, this film is not going to ask much
• 39:49
  Speaker 1: of you, right, other than be entertained.
• 39:51
  Speaker 4: And I think that is exactly why you see the
• 39:54
  Speaker 4: Rotten Tomatoes and the critics given it middling score, if
• 39:58
  Speaker 4: not low score, and people went to see it's so different, right,
• 40:02
  Speaker 4: I mean, you can't argue with making that much money
• 40:04
  Speaker 4: on a one point five million dollar film.
• 40:06
  Speaker 1: I mean it made a ton of money, So.
• 40:07
  Speaker 4: There's something that was a nice and I think we
• 40:11
  Speaker 4: can't discount the time in which it was released. Like
• 40:14
  Speaker 4: we mentioned the gas shortage, we mentioned Watergate, we mentioned
• 40:19
  Speaker 4: all of that stuff going on. People were looking for
• 40:22
  Speaker 4: good and bad, right, we were clearly somebody's at fault,
• 40:27
  Speaker 4: someone is not, and there's the good American guy is
• 40:31
  Speaker 4: fighting the good fight.
• 40:32
  Speaker 1: Right.
• 40:32
  Speaker 4: Remember, during the gas crisis, it's like, why are we
• 40:35
  Speaker 4: having this gas prizes?
• 40:36
  Speaker 1: Basically as Opik didn't.
• 40:37
  Speaker 4: Want to punt more oil and they want to get more.
• 40:40
  Speaker 4: They want to get more dollars per barrel. Right, that
• 40:43
  Speaker 4: was basically the core of the thing. Opek was bad guy.
• 40:45
  Speaker 4: What can you do? You can't really do anything about it.
• 40:48
  Speaker 4: You were at subject to it.
• 40:49
  Speaker 1: So who was your favorite supporting character in this film?
• 40:52
  Speaker 4: I think Slim Pickens. He was hilarious. I mean, he
• 40:56
  Speaker 4: was not a good guy in the film. Obviously we
• 40:58
  Speaker 4: know that. We intimated that before the break, but we
• 41:01
  Speaker 4: now know he was. He was acting in his own
• 41:03
  Speaker 4: self interest largely, but also he was being extorted. He
• 41:07
  Speaker 4: was in a bad position. He was in a pen,
• 41:09
  Speaker 4: but he never let anybody know, and he threw the
• 41:11
  Speaker 4: star to the wolves.
• 41:12
  Speaker 1: But he's still Slim Pickens. He's hilarious.
• 41:14
  Speaker 4: He's he's in a giant Cadillac with a bunch of
• 41:17
  Speaker 4: with like some girls.
• 41:19
  Speaker 1: I need a Cadillac with the bullhorns.
• 41:21
  Speaker 8: All.
• 41:23
  Speaker 1: No, it wasn't a Cadillac. It was a silver thunderbird, right.
• 41:26
  Speaker 1: It was, Oh my gosh, yes it was. It was,
• 41:30
  Speaker 1: but it was an open top. It was a convertible. Yeah,
• 41:32
  Speaker 1: so it was hilarious. But anyway, Yeah, so Slim Pickens
• 41:35
  Speaker 1: is definitely my favorite. I was kind of saying, how
• 41:37
  Speaker 1: l Q Jones was a little slimy and greasy just
• 41:40
  Speaker 1: because he was like he was just ugh. But I
• 41:43
  Speaker 1: loved his character Buck Wesler Wesler Westler because he was
• 41:48
  Speaker 1: a good enough antagonist at the mid level, right. He
• 41:52
  Speaker 1: wasn't at the higher Cutler level that had the real
• 41:55
  Speaker 1: power to put the squeeze on you. But he was
• 41:59
  Speaker 1: the muscle in the street and he had his gang
• 42:02
  Speaker 1: with Clem and mattch stick Man. I really liked him.
• 42:06
  Speaker 1: I also liked Pops as well. Yeah. Sure.
• 42:09
  Speaker 4: Now on the on the LQ ben it was funny
• 42:13
  Speaker 4: because in a fair fight, Jan Michael Vincent, who weighed
• 42:17
  Speaker 4: in at maybe one hundred and ten pounds, was beating
• 42:20
  Speaker 4: that guy.
• 42:21
  Speaker 1: Silly. If that fight scene between Vincent and LQ Jones
• 42:25
  Speaker 1: would have been in slow motion, it would have been
• 42:27
  Speaker 1: perfect packing pot. Yeah, but I mean he's throwing these
• 42:30
  Speaker 1: roundhouses and just walloping them up, you know. And I'm
• 42:34
  Speaker 1: sure l Q Jones is going, why did I choose
• 42:37
  Speaker 1: to wear leather tonight? I mean, exactly, move no flexibility
• 42:41
  Speaker 1: in this whatsoever. I can't move, I can't get off
• 42:45
  Speaker 1: the ground. But LQ has the best weapon in the
• 42:48
  Speaker 1: entire movie. He comes at him with a forklift. I
• 42:51
  Speaker 1: mean he sees that front down and that was you know,
• 42:56
  Speaker 1: death by forklip would have been hilarious. That was very funny.
• 42:59
  Speaker 1: Let's talk about some of the action in the trucking
• 43:01
  Speaker 1: in this movie. What was your favorite stunt or action
• 43:04
  Speaker 1: sequence in the film.
• 43:05
  Speaker 4: I mean, obviously, everybody's going to point to driving through
• 43:08
  Speaker 4: the gh in the front.
• 43:09
  Speaker 1: Okay, that's it seems that's a given. Yeah, that's a given.
• 43:12
  Speaker 4: But it's to me it was like sort of the
• 43:14
  Speaker 4: most I don't know, that was the That was the
• 43:17
  Speaker 4: build up, right, that was the big grant, That was
• 43:19
  Speaker 4: the big release of the frustration, I guess, but I
• 43:23
  Speaker 4: don't know. None of them really stand out more to
• 43:26
  Speaker 4: me than that. Yeah, I'm gonna remind you of the scene,
• 43:28
  Speaker 4: Oh when he climbs on top. Yeah, CJ and Pops
• 43:31
  Speaker 4: are driving out.
• 43:32
  Speaker 1: Yeah. CJ climbs up on top. Yeah that actually I
• 43:35
  Speaker 1: remember that. Yeah, he's barrel rolling and then finally he
• 43:38
  Speaker 1: I don't know how he did this. He hangs on
• 43:40
  Speaker 1: to the side of the truck so his body is
• 43:42
  Speaker 1: physically off the top, and he fires the shot gun
• 43:45
  Speaker 1: with one hand, and that whole sequence was again it
• 43:49
  Speaker 1: if you were with us with duel. It was filmed
• 43:51
  Speaker 1: really low, so the trucks felt like that they were
• 43:54
  Speaker 1: really really really fast. Yeah, no, I do remember that now.
• 43:57
  Speaker 1: I thought the action felt very intense.
• 43:59
  Speaker 4: That was cool, I'll be honest with the coolest part
• 44:01
  Speaker 4: was Jan Michael Vincent climbing on or the stuntman climbing
• 44:05
  Speaker 4: on the roof of the tractor and jumping onto the trailer,
• 44:09
  Speaker 4: which is no small distance. I mean it could be
• 44:11
  Speaker 4: ten feet. That is a leap. Then he rolls down
• 44:14
  Speaker 4: and then he jumps off like he described, and then
• 44:16
  Speaker 4: he shoots the shotgun and they go off this sting
• 44:19
  Speaker 4: And that was cool.
• 44:19
  Speaker 1: That was very very cool. Now, you had sent me
• 44:21
  Speaker 1: a note about stuntman Buddy Joe Hooker that was a
• 44:24
  Speaker 1: stuntman for Jan Michael Penson.
• 44:25
  Speaker 4: Yeah, yeah, i'd sent you that. I just saw that
• 44:27
  Speaker 4: on it came up on my scan. You know how
• 44:30
  Speaker 4: it is, you mentioned anything about something and the next
• 44:32
  Speaker 4: thing you know, on Instagram you're getting.
• 44:34
  Speaker 1: Everything comes like are you listening to me? Because really
• 44:38
  Speaker 1: you are not at all, not at all. After watching
• 44:42
  Speaker 1: the film, did you at all have any romanticized feelings
• 44:46
  Speaker 1: of becoming a truck driver and hitting out on the
• 44:48
  Speaker 1: open road.
• 44:49
  Speaker 4: I think the long hauled truck driver's days are numbers,
• 44:53
  Speaker 4: sad to say, but a robot is going to do
• 44:55
  Speaker 4: that job far better and far more safely.
• 44:59
  Speaker 1: Matt, I just had a great idea. Why don't you
• 45:01
  Speaker 1: and I start working on a screen treatment for White
• 45:04
  Speaker 1: Line Fever two robots where we pick up with with
• 45:08
  Speaker 1: CJ and his wife now owning and operating a fleet
• 45:11
  Speaker 1: of self driven trucks.
• 45:14
  Speaker 4: Yeah, that would be good, But let's say we turned
• 45:16
  Speaker 4: Jan Michael Vincent doesn't make it in the trucking industry,
• 45:19
  Speaker 4: goes back to night school, becomes this genius programmer, and
• 45:23
  Speaker 4: he infiltrates the automated trucking industry so he can independently
• 45:28
  Speaker 4: run his trucking and not get run off the road
• 45:30
  Speaker 4: by the evil empire of robotic truckers.
• 45:33
  Speaker 1: Or maybe in a twist, he becomes the bad guy, right,
• 45:35
  Speaker 1: he becomes the cutler of this world. And then you
• 45:38
  Speaker 1: have someone like Sylvester Stallone from Over the Top movie. Yeah, yeah,
• 45:42
  Speaker 1: Now he's playing the Jan Michael Vincent role of White.
• 45:45
  Speaker 4: Fever, trying to get all the trucks automated so for
• 45:48
  Speaker 4: safety Meanwhile, Jan Michael Vincent wants independent truckers to drive
• 45:52
  Speaker 4: these things, and the trucks keep driving off the road
• 45:54
  Speaker 4: and killing people, and.
• 45:55
  Speaker 1: At the end is settled by an arm wrestling match, Right,
• 45:58
  Speaker 1: that would be the best? That would be. Here's a
• 46:01
  Speaker 1: fun question for you. Okay, you're ready?
• 46:03
  Speaker 4: Huh if you were naming your own big rig that
• 46:06
  Speaker 4: you just had a five hundred thousand dollars mortgage on, Oh, what.
• 46:11
  Speaker 1: Would you name?
• 46:11
  Speaker 2: Oh?
• 46:11
  Speaker 1: My gosh, can I name it anything? I want? Anything
• 46:13
  Speaker 1: you want? I don't know. Thinking about what we're doing here,
• 46:17
  Speaker 1: I'll call it the spoiler Wagon. Spoiler Wagon. I have
• 46:22
  Speaker 1: no idea what i'd name in truck. I think maybe
• 46:24
  Speaker 1: your rig could be called the French Connector how about
• 46:30
  Speaker 1: that I can only haul heroin illegal drugs. Oh, that
• 46:38
  Speaker 1: would be hilarious. That would be hilarious. Okay, what is
• 46:41
  Speaker 1: the most nineteen seventy five thing in this film? Gosh?
• 46:46
  Speaker 4: I think Jan Michael Vincent's hair has gotta be number
• 46:49
  Speaker 4: one for me, and probably the amount of time he
• 46:53
  Speaker 4: took to quaffit. It definitely has to be in the conversation. Yeah,
• 46:58
  Speaker 4: for me, there is so much beer.
• 47:00
  Speaker 1: Just casually being consumed at the office, yes, or anywhere
• 47:05
  Speaker 1: in this film. Someone always has a bottle in their hand.
• 47:09
  Speaker 1: Or Jerry finds out that she's pregnant and she's also
• 47:12
  Speaker 1: holding a beer at the same time. It's crazy stuff.
• 47:16
  Speaker 4: Oh yeah, that's funny. Yeah, there was a lot of
• 47:18
  Speaker 4: nineteen seventy five things. I did remember what I was watching.
• 47:21
  Speaker 4: It is all the cars, but if you look at
• 47:24
  Speaker 4: the cars in the background, they're all a giant American
• 47:27
  Speaker 4: made Cadillacs and oh yeah, giant gas guzzlers.
• 47:30
  Speaker 1: What about the one car that comes up to the
• 47:32
  Speaker 1: golf course. It looked to me like it was three
• 47:34
  Speaker 1: rows because the guy in the back seat had to
• 47:36
  Speaker 1: lean over and it looked like he was flipping his
• 47:38
  Speaker 1: seat forward so the guy in behind him could get out.
• 47:42
  Speaker 1: This was a huge car. No wonder people were standing
• 47:46
  Speaker 1: in line, you know, to get gas. I'm getting seven
• 47:48
  Speaker 1: miles to the gown. We need to take a quick break,
• 47:53
  Speaker 1: but we'll be right back, like.
• 47:55
  Speaker 5: Flash back.
• 48:00
  Speaker 1: And flashback, welcome back. So, Matt, do you mind if
• 48:07
  Speaker 1: I take a little bit of creative licensing on our
• 48:11
  Speaker 1: trademark question? Absolutely, does Whiteline Fever keep on trucking or
• 48:16
  Speaker 1: did it have to take the runaway ramp? Where did
• 48:19
  Speaker 1: it go for you? I want to be clear. Through
• 48:23
  Speaker 1: doing the Cinematic Flashback podcast, I've become more critical of films,
• 48:28
  Speaker 1: which in the past I was not, so I do
• 48:30
  Speaker 1: look at them a little more with the critics eye.
• 48:33
  Speaker 1: So from that side, I kind of agree with the
• 48:35
  Speaker 1: critics with this film that it was not the cinematic
• 48:39
  Speaker 1: juggernaut of creativity that many other.
• 48:42
  Speaker 4: Films could be. In that case, I'm kind of like e.
• 48:45
  Speaker 4: But also I'm a person who watches movies, and it
• 48:49
  Speaker 4: was enjoyable to watch it. It was not a hard slog.
• 48:54
  Speaker 4: We have watched a couple movies that are like, wait
• 48:56
  Speaker 4: a minute, I need to watch that again. It was
• 48:58
  Speaker 4: not one of those. So it was fun. Want and done, Yeah,
• 49:00
  Speaker 4: want and done. It was a one and done. I
• 49:02
  Speaker 4: will say that I think some of the character development's
• 49:05
  Speaker 4: a little bit one dimensional. I think Jan Michael Visson's
• 49:08
  Speaker 4: wife and some of the compatriots. A compatriot gets killed
• 49:13
  Speaker 4: and it's sort of like, Okay, we're really mad, but
• 49:15
  Speaker 4: then his wife gets beat up and then all hell
• 49:17
  Speaker 4: breaks those so a little bit weird on that. To
• 49:20
  Speaker 4: be honest with you, I recommend people watch it because
• 49:22
  Speaker 4: it's a little bit like opening up an old picture
• 49:25
  Speaker 4: album from when you were a kid and looking at
• 49:27
  Speaker 4: old pictures and seeing some of the old how life
• 49:31
  Speaker 4: was lived back then, how things went. So that was
• 49:34
  Speaker 4: really cool to watch that. So I like that part.
• 49:36
  Speaker 4: Do I think it keeps trucking? I do think it
• 49:38
  Speaker 4: keeps trucking For what it is, let's not make it
• 49:41
  Speaker 4: more than it is. It is an entertaining film, made
• 49:45
  Speaker 4: a ton of money. I can see why the actors
• 49:47
  Speaker 4: had some fun in it. I don't think they didn't
• 49:50
  Speaker 4: look like it took a long time to film, and
• 49:52
  Speaker 4: nobody was digging in the depths of their soul to deliver,
• 49:57
  Speaker 4: to deliver an acting juggernaut. They were just doing the work.
• 50:01
  Speaker 1: It was good.
• 50:02
  Speaker 4: It was good enough, right, good enough? So I say, yep,
• 50:05
  Speaker 4: it keeps on trucking. Did not have to hit the
• 50:07
  Speaker 4: runaway truck ramp, never got going that fast, so pretty
• 50:12
  Speaker 4: safe coming down the mountain, didn't have to just had
• 50:15
  Speaker 4: to go into a few lower gears.
• 50:17
  Speaker 1: No runaway truck ramp. How about you, Jack, I am yeah,
• 50:22
  Speaker 1: I am not going to try and overseell this movie
• 50:25
  Speaker 1: at all. And I think just like you, I think
• 50:27
  Speaker 1: Rotten Tomatoes score is probably pretty pretty fair, right. You know,
• 50:31
  Speaker 1: critics didn't like it, but people went to go and
• 50:34
  Speaker 1: see it. But I will say that I enjoyed it
• 50:38
  Speaker 1: a lot more than what I thought I was going
• 50:40
  Speaker 1: to fair. And once I realized who John Kaplan was,
• 50:44
  Speaker 1: and then I do remember reading his excerpts in the
• 50:48
  Speaker 1: Roger Korman book, and I was starting to put things
• 50:51
  Speaker 1: in together. I think I gained a lot more respect
• 50:54
  Speaker 1: for what he was trying to do here. So, yeah,
• 50:56
  Speaker 1: he's trying to make a Western with really clear cut
• 50:59
  Speaker 1: good guys and clear cut bad guys. It just happens
• 51:02
  Speaker 1: to have trucks.
• 51:03
  Speaker 4: Yeah, I think that's why it hit with fans. You,
• 51:06
  Speaker 4: I think you hit the nail on the head.
• 51:07
  Speaker 1: I liked the second unit cinematography, maybe not the first
• 51:10
  Speaker 1: unit cinematography, and I thought the stunt work was really
• 51:13
  Speaker 1: really good in the film. I mean, we talked about
• 51:15
  Speaker 1: Fred Cohen Camp and the work that he did, and
• 51:18
  Speaker 1: he had an incredible career Matt. It included movies like
• 51:22
  Speaker 1: Towering Inferno, Papion, and later he did the Adventures of
• 51:26
  Speaker 1: Buckeru Bonzai. We talked about Buddy Joe Hooker coordinating the
• 51:29
  Speaker 1: stunts and doubling Jan Michael Vincent along with Harry Laughton
• 51:33
  Speaker 1: who did the stunts work for the truck. I think
• 51:35
  Speaker 1: what was really the most interesting lasting impact of that
• 51:40
  Speaker 1: final stunt where he drives the Blue Mule through the
• 51:43
  Speaker 1: GH logo was that last year Rob Mariana Rob Mariana
• 51:47
  Speaker 1: as the host of the Speed Channels series American Trucker,
• 51:51
  Speaker 1: he was discussing plans for a documentary project, a crowdfunded
• 51:56
  Speaker 1: documentary project that would recreate the fame famous Blue Mule
• 52:01
  Speaker 1: Glasshouse stunt with Mike Ryan and Buddy Joe Hooker. So again,
• 52:06
  Speaker 1: this isn't some lost masterpiece of nineteen seventy cinema. I
• 52:11
  Speaker 1: do think it's a nice little gem. So for me,
• 52:14
  Speaker 1: White Line Fever keeps on trucking, and I don't think
• 52:17
  Speaker 1: it needed to take the runaway ramp as well. Matt
• 52:21
  Speaker 1: Any final thoughts now, just to say I agree, I
• 52:24
  Speaker 1: think you really put it very well. I am in
• 52:27
  Speaker 1: one hundred percent agreement with you. That wraps it up
• 52:29
  Speaker 1: for our review of White Line Fever. Join us in
• 52:33
  Speaker 1: two weeks as we keep on trucking with Sam Peckhampa's
• 52:36
  Speaker 1: Convoy from nineteen seventy eight, starring Chris Christofferson, Ali mcraw bert,
• 52:42
  Speaker 1: Young and Ernest Borgnine. If White Line Fever felt like
• 52:45
  Speaker 1: an homage to Peck and PA's Westerns, next time we
• 52:48
  Speaker 1: get to see what happens when Peck and Pah himself
• 52:51
  Speaker 1: tackles the similar material, but now in a post smoky
• 52:54
  Speaker 1: in the bandit world where truckers have become full blown
• 52:58
  Speaker 1: pop culture icons, and some how we're going to explain
• 53:01
  Speaker 1: how Convoy would eventually help shape Christmas music. Yes, really
• 53:06
  Speaker 1: you're going to want to hear that story Christmas music.
• 53:09
  Speaker 4: I'm interested to hear about that because bands we're going
• 53:14
  Speaker 4: to cover the Convoy. We want to thank you for
• 53:17
  Speaker 4: taking the time to tune in. If you've seen White
• 53:19
  Speaker 4: Line Fever, reach out and let us know your thoughts.
• 53:22
  Speaker 4: You can find us on Facebook or leave us a
• 53:24
  Speaker 4: message over at Cinematic Flashback dot com. Don't forget to
• 53:28
  Speaker 4: subscribe so you never miss an episode, And if you've
• 53:31
  Speaker 4: been enjoying the show, tell your friends and family about
• 53:34
  Speaker 4: what we still proudly believe is the best podcast dedicated
• 53:37
  Speaker 4: to nineteen seventies cinema. Join us next time as we
• 53:41
  Speaker 4: hop back into the Wayback machine and head once again
• 53:44
  Speaker 4: to the nineteen seventies for another classic. Until then, keep
• 53:47
  Speaker 4: the hammer down and we'll see you next.
• 53:49
  Speaker 1: Time we.
• 53:55
  Speaker 5: Flashback to the tales untold you get.
• 54:00
  Speaker 9: Should have
• 54:02
  Speaker 6: Little