Latest / Movie Meltdown / 225: Black Devil Car

Transcript

225: Black Devil Car · Movie Meltdown

• 0:01
  Speaker 1: And three, two, one, make a good podcast. We should
• 0:06
  Speaker 1: do that as a cheer.
• 0:07
  Speaker 2: We should all put our hands together each week.
• 0:10
  Speaker 3: Yeah!
• 0:11
  Speaker 2: Three, two, one, make a good podcast. You're gonna burn
• 0:14
  Speaker 2: in hell.
• 0:26
  Speaker 4: I'm Dee Snider from Twisted Sister, writer, star of Strangeland, radio, TV,
• 0:31
  Speaker 4: you know me.
• 0:32
  Speaker 2: And you're listening to Movie Meltdown.
• 0:35
  Speaker 5: Yeah.
• 0:35
  Speaker 4: I'm burning hell.
• 0:36
  Speaker 6: I'm burning hell.
• 0:54
  Speaker 7: The following feature has been rated R by the Motion
• 0:56
  Speaker 7: Picture Association of America. It is intended for mature audiences
• 1:00
  Speaker 7: and parental discretion is advised.
• 1:12
  Speaker 4: It's showtime, folks. Enjoy the show.
• 1:18
  Speaker 8: Our nuclear reactor, pumping out one million kilowatts of power.
• 1:48
  Speaker 9: What's up and welcome to Movie Meltdown.
• 1:49
  Speaker 4: I'm Brian.
• 1:49
  Speaker 2: I'm Philip.
• 1:50
  Speaker 4: I'm Christian.
• 1:50
  Speaker 1: I'm Ben.
• 1:51
  Speaker 10: I'm Lucy.
• 1:51
  Speaker 8: I'm Beau.
• 1:51
  Speaker 4: I'm Greg.
• 1:52
  Speaker 2: I'm Alan.
• 2:14
  Speaker 1: And we are once again coming to you live via
• 2:16
  Speaker 1: digital recording from the Dreamland Film Center.
• 2:18
  Speaker 2: I feel guilty for something right now, and I don't
• 2:20
  Speaker 2: know why.
• 2:21
  Speaker 1: You should.
• 2:22
  Speaker 2: It's because it was a church. I was raised Catholic,
• 2:24
  Speaker 2: so there you go.
• 2:25
  Speaker 9: The good news is the car will never make it
• 2:27
  Speaker 9: in here.
• 2:28
  Speaker 2: I know.
• 2:28
  Speaker 9: We're safe.
• 2:29
  Speaker 4: We are safe.
• 2:30
  Speaker 2: Is it hallowed? I like that. I like to see
• 2:32
  Speaker 2: how she already roped us in.
• 2:35
  Speaker 1: It's the only reason we're safe this week. So, for
• 2:39
  Speaker 1: our little intro geek activity here, it does sort of
• 2:42
  Speaker 1: tie in. In previous weeks, I have watched, and it
• 2:45
  Speaker 1: was actually in this very room right here, The Cars
• 2:48
  Speaker 1: That Ate Paris. Is anyone familiar with it?
• 2:52
  Speaker 8: Have you actually seen it?
• 2:52
  Speaker 2: Early Peter Weir.
• 2:53
  Speaker 7: Yeah.
• 2:53
  Speaker 1: Have you seen it?
• 2:54
  Speaker 2: I like it a lot.
• 2:55
  Speaker 11: It's not as much fun as, I mean, for me,
• 2:58
  Speaker 11: in the way of early Aussie stuff, I really like
• 3:01
  Speaker 11: the last.
• 3:02
  Speaker 2: Wave of all of his early things.
• 3:04
  Speaker 11: And I mean, that works well as a companion piece
• 3:06
  Speaker 11: to Picnic Hanging Rock.
• 3:07
  Speaker 2: But I mean, it's stupid fun for an early directorial effort.
• 3:12
  Speaker 1: It was at the end for me. The beginning is
• 3:14
  Speaker 1: just like confusing. Like they really, like it gets midway
• 3:18
  Speaker 1: in before you're like, wait, okay, so they're, okay, this
• 3:22
  Speaker 1: guy's doing what? It really is just sort of, they
• 3:24
  Speaker 1: just throw you into this mess. And eventually you start
• 3:27
  Speaker 1: to piece something together. A lot of it was, like,
• 3:30
  Speaker 1: after the fact for me. I was like, oh, okay,
• 3:31
  Speaker 1: so I guess the whole thing. Yeah, I mean, it's
• 3:34
  Speaker 1: a lot of weirdness going on, but not the kind. Like, again,
• 3:37
  Speaker 1: I think just based on the title, you would assume
• 3:40
  Speaker 1: this is, like, Attack of the Killer Tomatoes or something.
• 3:42
  Speaker 1: But it's far from that type of movie. Right off
• 3:44
  Speaker 1: the bat, I didn't get what I, you know, originally
• 3:47
  Speaker 1: was expecting. And then in recent years, I knew that
• 3:49
  Speaker 1: wasn't it, and it was Peter Weir, but I still
• 3:51
  Speaker 1: didn't know what to expect.
• 3:52
  Speaker 2: But still, if you compare it to, like, his later stuff,
• 3:54
  Speaker 2: it's almost like an anomaly.
• 3:56
  Speaker 1: Oh, yeah. You can tell that he was kind of
• 3:58
  Speaker 1: caught up.
• 3:59
  Speaker 11: In that wave of just low budgetry that sort of
• 4:02
  Speaker 11: kicked off in Australia. I think it was Wake and
• 4:05
  Speaker 11: Fright in 1972 that started all that. And so I'm
• 4:09
  Speaker 11: sure that kind of got him going in that direction
• 4:11
  Speaker 11: until he sort of really set the standard for what
• 4:14
  Speaker 11: could be produced in Australia at the time with Picnic.
• 4:17
  Speaker 2: I think that's the one that kind of put the
• 4:18
  Speaker 2: whole nation on the map in the way of filmmaking.
• 4:23
  Speaker 1: I don't know. It's just so strange in that middle portion.
• 4:26
  Speaker 1: And then the end comes along and it's very normal, crazy,
• 4:30
  Speaker 1: Aussie stuff. The wrap-up to me seems like it's something
• 4:34
  Speaker 1: that came about in the same time period and area
• 4:37
  Speaker 1: of Mad Max. So to me, yeah, it all sort
• 4:40
  Speaker 1: of makes sense by the end. But the whole beginning,
• 4:41
  Speaker 1: I'm just like, what is this movie? It really is
• 4:45
  Speaker 1: just a weird.
• 4:47
  Speaker 1: Set of circumstances and you think they're sort of examining
• 4:51
  Speaker 1: something they're trying to be like a serious movie and
• 4:53
  Speaker 1: it's sometimes it's not that serious anymore so it's it's
• 4:56
  Speaker 1: very strange.
• 4:57
  Speaker 2: How it all comes together stupid fun is how i
• 4:59
  Speaker 2: would pretty much.
• 5:00
  Speaker 1: Describe just the end though like the first two-thirds to
• 5:02
  Speaker 1: me aren't really.
• 5:04
  Speaker 2: It is kind of labored at times yeah it's well and.
• 5:06
  Speaker 1: It's it's like takes itself very seriously in that beginning
• 5:09
  Speaker 1: like you you really start to totally like go along
• 5:12
  Speaker 1: with them selling it as a drama, and then by
• 5:14
  Speaker 1: the end, all the rules go out the window, and
• 5:16
  Speaker 1: it's kind of silly, but yeah, I don't know, it's
• 5:19
  Speaker 1: kind of a rough getting through that first half and
• 5:21
  Speaker 1: realizing what you're actually kind of getting yourself into, but
• 5:25
  Speaker 1: I'm glad I've seen it, and it does have a
• 5:27
  Speaker 1: fun finale, and for no other reason, it's got one
• 5:31
  Speaker 1: in particular kick-ass custom car, and if you've seen it,
• 5:34
  Speaker 1: you know which one, but there's a bunch of cars,
• 5:36
  Speaker 1: there's only one that's really kind of awesome, but Yeah,
• 5:39
  Speaker 1: I don't know why the rest of them got shafted
• 5:41
  Speaker 1: on their cars.
• 5:42
  Speaker 2: You're talking about the spiky slug bug? It's awesome.
• 5:45
  Speaker 1: It's why I don't have one of those right now,
• 5:47
  Speaker 1: except I don't have any money. But other than that,
• 5:49
  Speaker 1: I would be driving that around every day of my life.
• 5:52
  Speaker 1: When I wasn't driving the DeLorean, but whatever. Do we
• 5:56
  Speaker 1: think that will take care of our intro? Because if
• 5:59
  Speaker 1: we let anybody else go, it'll be four hours from now.
• 6:03
  Speaker 1: So should we just get into the car from this point?
• 6:06
  Speaker 1: All right, then we will take a break, and when
• 6:08
  Speaker 1: we come back, we will get into this week's feature.
• 6:33
  Speaker 1: Here in my.
• 6:34
  Speaker 8: Car, I'm the safest of all.
• 6:37
  Speaker 1: I can lock all my doors.
• 6:38
  Speaker 2: It's the only way to live in cars.
• 6:41
  Speaker 1: Here in my car.
• 6:45
  Speaker 2: I can only receive.
• 6:48
  Speaker 12: I can listen to you in case we stay before.
• 6:51
  Speaker 1: I die in cars.
• 7:05
  Speaker 4: Commission time.
• 7:07
  Speaker 7: If leaving, please replace your in-a-car speaker before releasing brakes
• 7:12
  Speaker 7: or starting motor. Do not back out. Drive to the
• 7:16
  Speaker 7: aisle in front of you and exit. And now, for
• 7:20
  Speaker 7: those remaining... We saw somebody murdered!
• 7:22
  Speaker 4: Some sort of ritual across the river.
• 7:23
  Speaker 2: A girl got stabbed.
• 7:25
  Speaker 4: Two men witness an unspeakable evil and get trapped in
• 7:29
  Speaker 4: an unbelievable nightmare.
• 7:31
  Speaker 6: Ah!
• 7:34
  Speaker 4: 20th Century Fox presents Race with the Devil, starring Peter
• 7:38
  Speaker 4: Fonda and Warren Oates. They're trying to screw with our brains.
• 7:41
  Speaker 4: So what are we going to do about it? There
• 7:43
  Speaker 4: was nowhere they could hide.
• 7:44
  Speaker 2: They've seen us.
• 7:46
  Speaker 4: There was no one they could trust. Did anybody hear anything?
• 7:49
  Speaker 8: Didn't anybody see anything?
• 7:51
  Speaker 4: There was nothing they could do but run and fight
• 7:57
  Speaker 4: and race with the devil. When you race with the devil,
• 8:03
  Speaker 4: you'd better be faster than hell. Peter Fonda and Warren
• 8:09
  Speaker 4: Oates in Race with the Devil. Rated PG. Parental guidance suggested.
• 8:14
  Speaker 1: Hey guys, look what I've got. Check out these awesome
• 8:17
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• 8:21
  Speaker 1: right there. That's actual wood.
• 8:24
  Speaker 2: Why would you use wood to make technology?
• 8:26
  Speaker 1: Because they're... It's like... They're steam.
• 8:30
  Speaker 2: Is steampunk really wood? I thought it was more of
• 8:33
  Speaker 2: a brass thing.
• 8:34
  Speaker 1: Well, you got to work the wood in to hold
• 8:35
  Speaker 1: the brass together. These are the fancy high-end steampunk versions
• 8:39
  Speaker 1: with a mic built in, mind you. But yeah, where
• 8:44
  Speaker 1: would I get these you wonder? Tweaked Audio.
• 8:49
  Speaker 3: Way to pitch.
• 8:51
  Speaker 1: You want to hear more, you say?
• 8:52
  Speaker 2: TweakedAudio.com.
• 8:55
  Speaker 1: Hey, they are available in three styles and seven colors only.
• 8:59
  Speaker 1: And they sound pretty damn good. I kind of forgot
• 9:01
  Speaker 1: because I hadn't had my old pair in a while
• 9:04
  Speaker 1: and I was using the knockoff crappy ones I bought
• 9:06
  Speaker 1: at the store. And I got these and put them in.
• 9:09
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• 9:11
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• 9:16
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• 9:21
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• 9:23
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• 9:27
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• 9:31
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• 9:34
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• 9:37
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• 9:42
  Speaker 1: You guys are excited, right?
• 9:43
  Speaker 13: Yeah.
• 9:44
  Speaker 2: Oh, yeah.
• 9:45
  Speaker 1: As well you should be. tweakedaudio.com. Use the Meltdown code.
• 9:48
  Speaker 1: That's all I'm saying.
• 9:51
  Speaker 2: Dave, I do not get superheroes.
• 9:54
  Speaker 1: Oh my god, I don't get you.
• 9:56
  Speaker 5: What don't you get?
• 9:57
  Speaker 14: Towerbot here.
• 9:57
  Speaker 4: Well, the.
• 10:00
  Speaker 14: Meatbags were going to say that if you're a geek
• 10:02
  Speaker 14: and like podcasts, then you could try Tower of Technobabble
• 10:05
  Speaker 14: at www.toweroftechnobabble.com. Then this started.
• 10:12
  Speaker 4: Well, it's up to you.
• 10:14
  Speaker 14: I'm gonna get my taser and put a stop to this.
• 10:17
  Speaker 14: Towerbot out.
• 10:19
  Speaker 4: Okay, monkeys.
• 10:21
  Speaker 14: It's knock time.
• 10:28
  Speaker 3: Want some music for your ears? Doo-Wop Shop makes it
• 10:31
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• 10:34
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• 10:37
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• 10:40
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• 10:43
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• 10:47
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• 10:51
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• 11:02
  Speaker 2: Hi, this is Doug Bradley, pinhead from the Hellraiser Films.
• 11:05
  Speaker 2: You're listening to Movie Meltdown.
• 11:07
  Speaker 5: You better keep listening to Movie Meltdown or I will
• 11:10
  Speaker 5: tear your soul apart.
• 11:19
  Speaker 2: It's time for Sofa Theater. Evil has visited the earth
• 11:27
  Speaker 2: in many forms.
• 11:29
  Speaker 4: Now it returns as the car.
• 11:33
  Speaker 2: Sofa Theater There was no driver.
• 11:48
  Speaker 12: In the car.
• 11:57
  Speaker 2: The car possessed.
• 12:02
  Speaker 14: I know why he didn't go into the cemetery.
• 12:04
  Speaker 1: The ground was hallowed.
• 12:24
  Speaker 2: Nothing can stop the car.
• 12:27
  Speaker 13: This is Wade.
• 12:29
  Speaker 6: We can't let him through no matter what.
• 12:35
  Speaker 5: Stay in close.
• 12:38
  Speaker 2: He'll have to stop. There's nowhere to turn.
• 12:42
  Speaker 9: The car, he's in here.
• 12:45
  Speaker 2: Nowhere to hide.
• 12:47
  Speaker 4: No way to stop the car. I think I hear
• 12:51
  Speaker 4: the engine of that car.
• 12:55
  Speaker 12: It's around here somewhere.
• 12:56
  Speaker 4: Wait, I'm scared. No, I promise you I won't go out.
• 13:00
  Speaker 9: Tell me what to do, baby.
• 13:02
  Speaker 2: What evil force drives the car? Thank you.
• 13:24
  Speaker 12: I live an evil life, so you say, but I'll
• 13:26
  Speaker 12: run from the devil on the judgment day.
• 13:29
  Speaker 2: Move hard, ride, move me. Move hard, ride, move me.
• 13:33
  Speaker 2: Move hard, ride, move me on down the line. Yeah,
• 13:36
  Speaker 2: me and the devil sitting at a stoplight. He started
• 13:41
  Speaker 2: rolling on the.
• 13:41
  Speaker 10: Side by side.
• 13:42
  Speaker 7: Move hard, ride, move me.
• 13:44
  Speaker 2: Move hard, ride, move me. Move hard, ride, move me
• 13:49
  Speaker 2: on down the line.
• 13:52
  Speaker 14: We'll be right back.
• 14:34
  Speaker 6: Alright, we are back, and welcome to this week's Sofa Theater.
• 14:59
  Speaker 1: The movie of the week is The Car, or as
• 15:02
  Speaker 1: Greg likes to call it, E.T. Do we need to
• 15:05
  Speaker 1: go back? Just go back. It's somewhere in the last year.
• 15:08
  Speaker 2: Yeah, we were at... It might have been Taxi Driver.
• 15:13
  Speaker 1: It was one of the ones at the theater.
• 15:15
  Speaker 2: Zardoz. I think Zardoz is where I put it on.
• 15:17
  Speaker 8: And you were showing The Car in the lobby on
• 15:23
  Speaker 8: the TVs.
• 15:24
  Speaker 2: And we watched.
• 15:26
  Speaker 8: probably only 30 seconds of it. And as Brian and
• 15:29
  Speaker 8: I were walking in, we were trying to identify the movie.
• 15:33
  Speaker 1: And I just saw the little girl at the beginning there.
• 15:36
  Speaker 1: And it was only watching this time. Oh, we were
• 15:39
  Speaker 1: right at the beginning of the movie. It was them
• 15:40
  Speaker 1: standing in the driveway. And I saw the one little girl.
• 15:43
  Speaker 1: I'm like, oh, it's Escape from Witch Mountain.
• 15:45
  Speaker 2: Because that is the same.
• 15:47
  Speaker 1: So that's why I was like, oh, look. And then
• 15:49
  Speaker 1: the other, and then it's like the Brolin dude comes along.
• 15:52
  Speaker 1: I'm like, wait a minute. He's not in Escape. That's
• 15:54
  Speaker 1: not the rock. Oh, wait, that's the wrong Escape. But
• 15:56
  Speaker 1: either way, I was like, that's not Escape from Witch Mountain.
• 15:59
  Speaker 1: So then we were trying to decide what it actually was.
• 16:02
  Speaker 2: Right.
• 16:02
  Speaker 1: And at that point.
• 16:03
  Speaker 2: It's.
• 16:05
  Speaker 1: It was E.T.
• 16:06
  Speaker 2: It was the beginning of E.T. That's what we decided.
• 16:10
  Speaker 1: I think you're lying.
• 16:15
  Speaker 8: And so from that point on, the car is now E.T.
• 16:18
  Speaker 1: The point was there were two yokels walking up next
• 16:21
  Speaker 1: to us that were also trying to decide.
• 16:23
  Speaker 2: What it was. Yes, that's right.
• 16:25
  Speaker 1: They were. They yelled out.
• 16:27
  Speaker 2: Oh, that's E.T.
• 16:29
  Speaker 8: No, I think they were much younger than we were
• 16:33
  Speaker 8: and probably not alive when the original E.T.
• 16:35
  Speaker 2: Came out.
• 16:36
  Speaker 4: Or the car.
• 16:37
  Speaker 2: Or the car. Well, obviously.
• 16:38
  Speaker 11: I'm kind of perplexed about the remake of Escape from
• 16:41
  Speaker 11: Witch Mountain because I haven't seen it, but you at
• 16:42
  Speaker 11: least infer that you maybe have.
• 16:44
  Speaker 1: I just know The Rock's in it. And that would
• 16:47
  Speaker 1: almost be the reason for me to watch it.
• 16:49
  Speaker 11: So in this modern day and age, The Rock replaces
• 16:52
  Speaker 11: Eddie Albert?
• 16:53
  Speaker 4: Yes.
• 16:53
  Speaker 13: Is that?
• 16:54
  Speaker 1: They're kind of the same I mean look at the
• 16:56
  Speaker 1: build that Eddie Albert build I mean.
• 16:58
  Speaker 11: You know he did get kind of buff working on
• 17:01
  Speaker 11: Green Acres he was originally so is it is it
• 17:09
  Speaker 11: two I could look this up but is it two
• 17:11
  Speaker 11: Witch Mountain or from Witch Mountain two they're going escape
• 17:15
  Speaker 11: escape two because that's the destination that's where they're meeting
• 17:21
  Speaker 11: Remeland's corpse.
• 17:22
  Speaker 2: Is in that one too.
• 17:24
  Speaker 8: But I think people always say from. I think people
• 17:27
  Speaker 8: always say from.
• 17:28
  Speaker 2: But people are stupid.
• 17:29
  Speaker 11: But they're escaping from Raven Land to go to Witch Mountain.
• 17:33
  Speaker 2: Escaping from New York to get to Witch Mountain. To
• 17:35
  Speaker 2: get to Witch Mountain.
• 17:36
  Speaker 11: And then afterwards it's return to Witch Mountain with Christopher
• 17:41
  Speaker 11: Lee and Betty Davis, I think.
• 17:43
  Speaker 2: Isn't that right? That sounds right, yeah. I'm pretty sure
• 17:46
  Speaker 2: it is. It's those two, they're working together and.
• 17:50
  Speaker 11: They've got some weird mind control device that's controlling one
• 17:54
  Speaker 11: of the kids into destroying.
• 17:56
  Speaker 2: I'm trying to remember this from fragments of what I
• 17:59
  Speaker 2: saw when I was eight.
• 18:01
  Speaker 11: I'll just say that they're trying to destroy industry in
• 18:03
  Speaker 11: the United States.
• 18:05
  Speaker 8: All of those Disney shows that they showed on Sunday nights,
• 18:10
  Speaker 8: that I always happen to be at my grandma's house,
• 18:12
  Speaker 8: they all kind of morph into one.
• 18:15
  Speaker 11: Yeah, it's like I can't tell the difference between Return
• 18:18
  Speaker 11: to Witch Mountain or Condor Man or any of the
• 18:22
  Speaker 11: love bug movies.
• 18:25
  Speaker 8: But, you know, not just because she was in this,
• 18:31
  Speaker 8: but it did have kind of.
• 18:33
  Speaker 2: One of our dinosaurs is missing.
• 18:37
  Speaker 8: Other than the car and the death and the cursing.
• 18:40
  Speaker 8: It did have a Disney... Did it have an old
• 18:43
  Speaker 8: school Disney feel to it a little bit? Like it
• 18:46
  Speaker 8: was like Disney does horror.
• 18:47
  Speaker 12: Yeah, kind of like Freaky Friday.
• 18:49
  Speaker 13: Yeah.
• 18:49
  Speaker 12: I can get behind that.
• 18:51
  Speaker 8: I don't know if that was the way it was shot,
• 18:53
  Speaker 8: but the whole time I just expected.
• 18:55
  Speaker 11: I could see that. It's just very much just sort
• 18:57
  Speaker 11: of that. If anything, it's just for a... low-budget horror
• 19:02
  Speaker 11: movie from the 70s, it doesn't look that low-budget.
• 19:05
  Speaker 2: I'll give it that. That's what I always kind of
• 19:06
  Speaker 2: liked about it.
• 19:07
  Speaker 1: Have you told people what this movie is you're talking about?
• 19:10
  Speaker 2: Are we talking about the car now? No, we didn't
• 19:13
  Speaker 2: finish that because we got distracted.
• 19:14
  Speaker 11: I was making sure that we weren't talking about a
• 19:15
  Speaker 11: love bug movie.
• 19:16
  Speaker 8: We're still talking about E.T.
• 19:19
  Speaker 1: So ever since then, we refer to it as E.T.
• 19:22
  Speaker 4: Right.
• 19:22
  Speaker 2: And we're stupid.
• 19:24
  Speaker 11: Kirby only kills people for good, whereas the car kills
• 19:27
  Speaker 11: people for bad?
• 19:29
  Speaker 4: Yeah.
• 19:29
  Speaker 1: The actual movie is The Car. The year is 1977.
• 19:34
  Speaker 1: Director Elliot Silverstein. The plot, according to IMDb, a sleek,
• 19:39
  Speaker 1: possessed black car terrorizes everyone it comes in contact with
• 19:42
  Speaker 1: in a small town in Utah. Spoiler alert. That's pretty
• 19:46
  Speaker 1: much how it's going to go.
• 19:47
  Speaker 5: It doesn't terrorize everyone. It's veered around the one guy.
• 19:49
  Speaker 1: Just that. Everyone but one guy in Utah.
• 19:54
  Speaker 2: So why was he spared? Because he's evil. It's R.G.
• 19:59
  Speaker 9: Armstrong.
• 20:01
  Speaker 13: R.G.
• 20:01
  Speaker 11: Armstrong is to me what Harry Dean Stanton is to Lucy.
• 20:04
  Speaker 11: It's like I have my man crush on him.
• 20:07
  Speaker 2: That's why I even suggested doing a take because he
• 20:09
  Speaker 2: died last year.
• 20:10
  Speaker 11: He was at almost 96. And today would have been
• 20:14
  Speaker 11: his birthday, his 96th birthday.
• 20:16
  Speaker 2: And he lived to see it.
• 20:18
  Speaker 1: Happy birthday.
• 20:19
  Speaker 2: Happy birthday, Archie. We're going to talk about you as
• 20:21
  Speaker 2: a wife beater. Among other things.
• 20:25
  Speaker 11: He was a character actor that typically played assholes. You
• 20:29
  Speaker 11: go back and look at his track record.
• 20:31
  Speaker 2: That was good.
• 20:32
  Speaker 1: There's a lot of people that tap into that, Mark.
• 20:34
  Speaker 4: Yeah.
• 20:35
  Speaker 1: When you get typecast, that's pretty much what you end
• 20:37
  Speaker 1: up in.
• 20:38
  Speaker 8: You know, the whole time I was watching this, it's Christine.
• 20:44
  Speaker 8: I mean, Stephen King saw this and said, I'm going
• 20:49
  Speaker 8: to write a book.
• 20:50
  Speaker 1: Because I remember when we did the Christine episode.
• 20:52
  Speaker 2: I would say more like Jaws. If I had to
• 20:54
  Speaker 2: compare it to a pre-existing movie.
• 20:56
  Speaker 15: It made me realize how many movies wanted to be Jaws.
• 21:00
  Speaker 15: We won't do a shark, but we still got to
• 21:03
  Speaker 15: make our Jaws. It can be a car.
• 21:06
  Speaker 2: With its own soundtrack. It can be a bear or
• 21:09
  Speaker 2: it can be a giant lizard. But we got to
• 21:12
  Speaker 2: make our Jaws.
• 21:14
  Speaker 1: To me, more than Jaws, it was Duel. which is
• 21:16
  Speaker 1: the exact same guy making the same story, only better
• 21:20
  Speaker 1: the second time around. But to me, it had a– like,
• 21:23
  Speaker 1: especially that very beginning before we realize exactly what it
• 21:27
  Speaker 1: is and what's going on, if we ever do. But, yeah,
• 21:29
  Speaker 1: that whole first half seems like it's very similar to
• 21:33
  Speaker 1: the feeling you get in Duel.
• 21:36
  Speaker 2: Yeah, I don't know. I just like the open landscape
• 21:39
  Speaker 2: of Utah that they chose.
• 21:40
  Speaker 11: I mean, there's just a lot of really cool wide
• 21:43
  Speaker 11: shots that they go with, even like this slow opening–
• 21:46
  Speaker 11: sequence even the music in and of itself i can't
• 21:48
  Speaker 11: remember who did the score for but it has i.
• 21:52
  Speaker 2: Remember thinking it has a similar ring to the the
• 21:55
  Speaker 2: planet of the apes movies but it's not the same composer.
• 21:58
  Speaker 1: I think they reworked it somehow yeah i think it
• 22:01
  Speaker 1: was a pre-existing score that they kind of reworked and
• 22:06
  Speaker 1: worked it back in there but yeah i don't know
• 22:09
  Speaker 1: to me it's like a mixture of Both of those,
• 22:12
  Speaker 1: at least, like, again, now after the fact, you're like, oh, yeah,
• 22:16
  Speaker 1: this is a lot like Christine. But, yeah, this predates it.
• 22:18
  Speaker 1: Because I remember on the Christine episodes, like, trying to
• 22:21
  Speaker 1: backtrack and figure out, like, what other stuff, you know,
• 22:25
  Speaker 1: how other things had started ripping off Christine. I don't
• 22:28
  Speaker 1: think at the time I'd even seen New of the Car. So, like,
• 22:31
  Speaker 1: I don't think I realized how much Christine the novel
• 22:34
  Speaker 1: was ripping off this movie.
• 22:36
  Speaker 11: Yeah, not only that, but I mean, there's a lot
• 22:38
  Speaker 11: of killer car movies. It's like a subgenre of horror
• 22:41
  Speaker 11: because you've got the hearse.
• 22:42
  Speaker 2: And Maximum Overdrive. You could even go with like Killdozer,
• 22:46
  Speaker 2: The Wraith.
• 22:47
  Speaker 11: I mean, there's a lot of those that sort of
• 22:48
  Speaker 11: fall into that realm, which it's actually sad that it
• 22:52
  Speaker 11: is a subgenre.
• 22:52
  Speaker 2: I feel like the car is the best one because
• 22:54
  Speaker 2: I like the car more than Christine. I don't know
• 22:56
  Speaker 2: if that's going to sound sacrilegious possibly, but I don't know.
• 22:59
  Speaker 2: I just think it's more fun.
• 23:01
  Speaker 1: I was pretty entertained with the Wraith, let me tell you.
• 23:04
  Speaker 1: It's bad, but man, it's entertaining.
• 23:07
  Speaker 8: Is this our third killer car movie, then?
• 23:11
  Speaker 1: We'll have to keep, I don't know. We need to
• 23:13
  Speaker 1: keep score, I suppose.
• 23:14
  Speaker 15: It felt like it, like it definitely, like the guy
• 23:16
  Speaker 15: who made it was definitely a fan of Spielberg. Like
• 23:18
  Speaker 15: he was trying to make a hybrid of Duel and Jaws.
• 23:21
  Speaker 15: Like the opening scene is basically the scene at the
• 23:23
  Speaker 15: beginning of Jaws where the woman gets attacked. We see
• 23:25
  Speaker 15: the POV of the shark. You know, you see the
• 23:27
  Speaker 15: POV of the car, like looking out the brown windshield.
• 23:31
  Speaker 15: You know, it kills the young couple. Cut to, you know,
• 23:33
  Speaker 15: the protagonist laying in his bed. His wife wakes him up.
• 23:36
  Speaker 15: How does A connect to B? Well, it's just like
• 23:39
  Speaker 15: it turns into kind of Jaws. Like that's the Chief
• 23:41
  Speaker 15: Brody character that comes in as James Brolin. So it
• 23:44
  Speaker 15: kind of felt like an interesting hybrid of those two
• 23:48
  Speaker 15: in a way. At least from the first half. Like
• 23:51
  Speaker 15: what I got from that.
• 23:53
  Speaker 1: Again, like you were saying, there were so many that
• 23:56
  Speaker 1: fell into that trap in the next ten years. And
• 23:59
  Speaker 1: I don't know, since then. They're still doing them, really.
• 24:01
  Speaker 1: But it became such a big trend to try to
• 24:04
  Speaker 1: tap into that version of it. So, yeah, this, I guess,
• 24:08
  Speaker 1: was one of the first ones.
• 24:09
  Speaker 2: So that's something.
• 24:11
  Speaker 11: I wonder if you could even argue that Jaws kind
• 24:13
  Speaker 11: of set the precedent for patterns within horror. Because as
• 24:16
  Speaker 11: he's mentioning, you look at the car in Jaws, it
• 24:19
  Speaker 11: has that same pattern.
• 24:20
  Speaker 2: Of the initial victim.
• 24:22
  Speaker 11: introduce the characters, secondary victim, then the involvement of characters.
• 24:26
  Speaker 11: I mean, think of how many horror films that have that.
• 24:28
  Speaker 11: I mean, Halloween does that, Friday the 13th. I mean,
• 24:30
  Speaker 11: so many horror films start off with that initial murder
• 24:34
  Speaker 11: or death, introduction of characters, second murder, and then the involvement.
• 24:38
  Speaker 11: It's like, but you try to think back further into
• 24:41
  Speaker 11: earlier horror, I start struggling pre-Jaws to find something that
• 24:46
  Speaker 11: fits into that realm.
• 24:48
  Speaker 1: Jaws is definitely structure-wise one of the most influential movies ever.
• 24:53
  Speaker 1: It is funny how many things sort of borrow from
• 24:57
  Speaker 1: that even without realizing it at this point.
• 24:59
  Speaker 2: And they do use explosives in Jaws. That's true. Yeah.
• 25:05
  Speaker 1: It's like, you know, I.
• 25:08
  Speaker 15: Can't remember, did the semi-truck blow up at the end
• 25:11
  Speaker 15: of the door or did it just crash?
• 25:12
  Speaker 2: I know it ramped off a cliff. I know the
• 25:15
  Speaker 2: car ramped off a cliff at the end of the car.
• 25:17
  Speaker 2: And it blew up.
• 25:19
  Speaker 11: If I recall correctly on Duel, the car that the
• 25:23
  Speaker 11: semi-truck hits blows up because it had already kind of
• 25:26
  Speaker 11: caught on.
• 25:26
  Speaker 2: Fire because it overheated. If I recall, I don't think
• 25:31
  Speaker 2: the actual semi-truck itself blows up.
• 25:34
  Speaker 11: Even though it is like some sort of gasoline tankard
• 25:38
  Speaker 11: or something like that, I don't recall it blowing up.
• 25:41
  Speaker 15: Yeah, I couldn't really remember. So I thought maybe that
• 25:44
  Speaker 15: could be like, you know, maybe they're thinking... Like, this
• 25:47
  Speaker 15: is our duel moment. It's like the car finally ramps
• 25:50
  Speaker 15: off and it's going to finally be destroyed. And then
• 25:53
  Speaker 15: we're going to blow it up like Jaws. And we
• 25:56
  Speaker 15: get that movie in there also.
• 25:58
  Speaker 2: But I don't know.
• 25:59
  Speaker 11: But you could almost argue then that basically Spielberg just
• 26:02
  Speaker 11: rehashed a lot of the motifs that he created in
• 26:05
  Speaker 11: Duel for Jaws.
• 26:07
  Speaker 4: Exactly.
• 26:07
  Speaker 1: Yeah. And massively improved. Everybody still loves Duel. I think
• 26:12
  Speaker 1: Duel is way too long. I think Duel... is a
• 26:15
  Speaker 1: great setup and it's sort of a fun, like half
• 26:18
  Speaker 1: of a movie, but it, to me, it just drags
• 26:20
  Speaker 1: on where it's like he learned what he needed to
• 26:22
  Speaker 1: with duel and then like perfected it with jaw.
• 26:25
  Speaker 11: And Spielberg's really, really big on bringing back a lot
• 26:28
  Speaker 11: of different scenes that worked in earlier films into later films.
• 26:32
  Speaker 2: I mean, that was my whole issue when I saw
• 26:33
  Speaker 2: the war of the world to remake is early on.
• 26:35
  Speaker 11: It's like a really fun film, but like in the
• 26:37
  Speaker 11: second half, by the time they got into the farmhouse,
• 26:41
  Speaker 11: It slowed down to a halt, and then with the
• 26:42
  Speaker 11: whole machine in the basement, I'm like, this is just
• 26:44
  Speaker 11: the velociraptors in the kitchen with the kids. They even
• 26:48
  Speaker 11: do the trick with the mayor and all that. It's
• 26:50
  Speaker 11: just he's rehashing his bag of.
• 26:52
  Speaker 2: Tricks at that point.
• 26:54
  Speaker 1: A lot of directors end up doing as they go on.
• 26:57
  Speaker 1: So I guess as many movies as he's made, I
• 27:00
  Speaker 1: don't know. Do you run out of stuff, do you think?
• 27:04
  Speaker 1: Do you have to start going over stuff you've already done?
• 27:06
  Speaker 2: Well, they would call it a callback. They wouldn't call it.
• 27:10
  Speaker 8: This is my style I'm going to show you what I.
• 27:12
  Speaker 11: And that's a legitimate question it's like what's the difference
• 27:15
  Speaker 11: between like an homage to your earlier works and what's
• 27:19
  Speaker 11: and then what's ripping them off I guess it just
• 27:21
  Speaker 11: is entirely measured by whether you liked it or.
• 27:23
  Speaker 15: Not yeah especially especially the scene where Oscar Schindler shoots
• 27:28
  Speaker 15: Hitler and he's like smile you son of a bitch
• 27:30
  Speaker 15: and he blows up like that was just kind.
• 27:31
  Speaker 1: Of It's the special cut that you saw, right?
• 27:35
  Speaker 9: Yeah.
• 27:36
  Speaker 2: No, it's on that Criterion Edition. Yeah, it's in the alternate.
• 27:39
  Speaker 1: Disc 3. Yeah.
• 27:42
  Speaker 11: Which then, when Tarantino did that in Glorious Bastards, is
• 27:46
  Speaker 11: that an homage to Schindler's List or is it a rip-off?
• 27:51
  Speaker 1: Hey, hey, hey. Tarantino does never borrow from any.
• 27:54
  Speaker 2: Pre-existing... None at all. I'm sorry.
• 27:57
  Speaker 4: My bad.
• 27:59
  Speaker 1: So this one, I mean, again, you start to question
• 28:01
  Speaker 1: what's going on, but I guess, I mean, if we
• 28:03
  Speaker 1: want to go before anything even hits the screen, that
• 28:07
  Speaker 1: quote that we get.
• 28:09
  Speaker 2: Yeah, Anton LaVey. Anton LaVey.
• 28:11
  Speaker 1: Any movie that starts off with a quote from Anton LaVey,
• 28:14
  Speaker 1: I mean, that kind of says a lot, doesn't it?
• 28:16
  Speaker 8: There is no question about what's driving the car at
• 28:19
  Speaker 8: that point, right?
• 28:20
  Speaker 4: I guess.
• 28:21
  Speaker 1: Again, by the end, I'm still kind of like, so
• 28:23
  Speaker 1: that's what we're supposed to say? Like, this is one
• 28:25
  Speaker 1: of those, and again, this was a very 70s thing
• 28:27
  Speaker 1: where you really didn't have to answer any questions. Like,
• 28:30
  Speaker 1: by the 80s, you had to follow through with everything.
• 28:33
  Speaker 1: You had to iron out all the details for people
• 28:35
  Speaker 1: or they'd start being pissy about it. But the 70s,
• 28:38
  Speaker 1: they just didn't care.
• 28:39
  Speaker 11: And I think that's a problem, too, at least when
• 28:40
  Speaker 11: it comes to horror, is the more that you know,
• 28:42
  Speaker 11: the more you can rationalize away. Just because even with Jaws,
• 28:48
  Speaker 11: it's an animal attack film to where they explain essentially
• 28:50
  Speaker 11: why it's behaving the way it does, even if it's
• 28:52
  Speaker 11: just in the beast's nature. It essentially is sort of that,
• 28:56
  Speaker 11: you know, it's Moby Dick reworked to a certain extent.
• 28:59
  Speaker 11: But if you go all the way back to Hitchcock's
• 29:01
  Speaker 11: The Birds, he doesn't tell you why they act that way.
• 29:04
  Speaker 11: And that's the whole thing is what makes it terrifying
• 29:06
  Speaker 11: is you don't know. Because as soon as you know
• 29:09
  Speaker 11: that reason, it's like, yeah, that's pushing it. Or you
• 29:12
  Speaker 11: can try, you know, rationalizing your mind. I just recently
• 29:15
  Speaker 11: saw Sinister. And I stopped it after the first hour
• 29:19
  Speaker 11: because I was like, this is going good.
• 29:20
  Speaker 2: I like where this is going. And I know it's
• 29:24
  Speaker 2: going to tell me too much in the end and
• 29:26
  Speaker 2: ruin itself. And son of a bitch, it did. And
• 29:29
  Speaker 2: I was like, fuck you, movie. Because you had so
• 29:31
  Speaker 2: much going for you, so much. And you got greedy.
• 29:34
  Speaker 11: It's the same when I like saw paranormal activity it
• 29:37
  Speaker 11: gives you too much horror films work so so much
• 29:41
  Speaker 11: better whenever they are minimalist and that's something where american
• 29:45
  Speaker 11: audiences become obsessed with having to know that answer at
• 29:49
  Speaker 11: least foreign horror films avoid that pitfall anytime there's like
• 29:52
  Speaker 11: a American remake of a foreign horror film, they make
• 29:56
  Speaker 11: the ending clear cut and typically the protagonist wins. Whereas
• 29:59
  Speaker 11: if you go back and watch the original, oftentimes it's
• 30:03
  Speaker 11: left ambiguous and the protagonist loses. It's a very Americanized
• 30:07
  Speaker 11: mentality when it comes to horror that's arisen since like
• 30:09
  Speaker 11: the 70s.
• 30:10
  Speaker 1: Yeah. Well, I've many times referenced this version, which is
• 30:15
  Speaker 1: the Michael Myers.
• 30:17
  Speaker 4: Mm-hmm.
• 30:17
  Speaker 1: That's why he's so amazing in that first one. There's
• 30:20
  Speaker 1: no reason. I mean, he's crazy as a child. He's
• 30:24
  Speaker 1: crazy as an adult. You don't know why he's unstoppable.
• 30:26
  Speaker 2: He just is.
• 30:27
  Speaker 1: He's the boogeyman, and that's why he's scary. This stupid
• 30:31
  Speaker 1: backstory we get in the remake is just like, okay,
• 30:33
  Speaker 1: now he's just white trash. Why do I care? Why
• 30:36
  Speaker 1: do I give a rat's ass about this guy?
• 30:39
  Speaker 16: Well, even with the original series on Halloween, when you
• 30:42
  Speaker 16: get to part two and Loomis starts explaining it, and
• 30:44
  Speaker 16: then it will skip to part four, they explain it
• 30:46
  Speaker 16: a little bit more. And it takes everything away from him.
• 30:50
  Speaker 16: It takes all of his... Like you said, why is
• 30:53
  Speaker 16: he doing this? Well, it doesn't matter why he's doing it.
• 30:55
  Speaker 16: He's just doing it.
• 30:56
  Speaker 1: He's just evil. He was the embodiment of evil, which
• 30:59
  Speaker 1: the car is. It is just pure evil, and that's it.
• 31:03
  Speaker 8: But then he becomes truly supernatural and superpower. He turns
• 31:08
  Speaker 8: from just a man into.
• 31:10
  Speaker 2: A supervillain, too, because he.
• 31:12
  Speaker 1: Which Michael Myers?
• 31:13
  Speaker 4: Yeah.
• 31:14
  Speaker 1: Because he always kind of had that for me. They
• 31:16
  Speaker 1: just didn't show you a million different examples, but you
• 31:19
  Speaker 1: kind of got that sense of why is that? Why
• 31:22
  Speaker 1: is it he always seems to come out ahead and
• 31:26
  Speaker 1: still get up afterwards? It just gets beaten to death
• 31:29
  Speaker 1: over the sequels, but I think he always kind of
• 31:31
  Speaker 1: had that element.
• 31:32
  Speaker 11: Well, and it's also left ambiguous in the first one, too,
• 31:36
  Speaker 11: whether it is just a really... tough guy who just
• 31:39
  Speaker 11: got out of an insane asylum and he doesn't care
• 31:41
  Speaker 11: that you're inflicting pain on him, he's going to kill you.
• 31:43
  Speaker 11: He's not very reactionary towards that. And so it works
• 31:47
  Speaker 11: either way. But again, it's like as soon as you
• 31:49
  Speaker 11: start humanizing him, he loses.
• 31:51
  Speaker 2: That fear factor.
• 31:52
  Speaker 1: And that's why I like that first one so much.
• 31:55
  Speaker 1: And that's why I still put it way above any
• 31:57
  Speaker 1: of the sequels. And that's a decent series. But that
• 32:00
  Speaker 1: first one stands alone because of that. Just because it leaves... everything,
• 32:05
  Speaker 1: you know, to you, to make up your mind what
• 32:08
  Speaker 1: you think about it, which I guess is kind of
• 32:10
  Speaker 1: the strength of the car. It doesn't really spell anything out.
• 32:13
  Speaker 1: It's just like, well, look at this car killing people.
• 32:17
  Speaker 1: have fun with this. It doesn't ever really give you any,
• 32:20
  Speaker 1: you know, the most we get is the hallowed ground thing.
• 32:23
  Speaker 1: It's like that's the closest thing we get to piecing
• 32:26
  Speaker 1: it together, to even the people involved piecing it together.
• 32:29
  Speaker 11: Yeah, but you never really know what sparks that initial
• 32:32
  Speaker 11: event that caused it to come there. I feel like
• 32:34
  Speaker 11: if it were remade today, they'd have to explain to you,
• 32:36
  Speaker 11: you know, these Indian burial grounds are desecrated or they
• 32:40
  Speaker 11: would give you some rational explanation as to.
• 32:42
  Speaker 2: Why it's there, why that town, why those people. Well,
• 32:46
  Speaker 2: that's what I wondered was, did it exist before that?
• 32:49
  Speaker 1: Had it always been killing people somewhere else and it
• 32:52
  Speaker 1: just showed up here? Or was it just, you know,
• 32:55
  Speaker 1: created because of something in this town and it never
• 32:58
  Speaker 1: left that little area? I don't know. Again, they don't
• 33:01
  Speaker 1: spell that out and it's probably better that they don't.
• 33:04
  Speaker 2: It would have gotten weighed down too much. I think
• 33:08
  Speaker 2: it would have been less interesting.
• 33:11
  Speaker 8: I don't like an over-explanation of hardly anything when it
• 33:14
  Speaker 8: comes to that. I mean, when you say, okay, it's supernatural,
• 33:17
  Speaker 8: then okay, stop there and stop asking questions and let's
• 33:20
  Speaker 8: just have fun with it.
• 33:21
  Speaker 2: It's like, okay, hold the show.
• 33:22
  Speaker 15: Where's the science behind this car that's driving itself?
• 33:27
  Speaker 4: Right.
• 33:27
  Speaker 2: I have to know.
• 33:29
  Speaker 8: I did appreciate also that they were, the characters wouldn't
• 33:36
  Speaker 8: even call into question whether it was supernatural until they
• 33:39
  Speaker 8: were forced to confront that it was. It was still
• 33:42
  Speaker 8: a guy until the very end, almost the very end
• 33:46
  Speaker 8: of the film. Oh, I, I prefer that because now,
• 33:49
  Speaker 8: like you said, if they remade it now, it would
• 33:51
  Speaker 8: be in the first 10 minutes, they would know that
• 33:54
  Speaker 8: it was possessed.
• 33:55
  Speaker 5: I don't know the question that anybody would even come
• 33:57
  Speaker 5: to that conclusion at the point they came to it.
• 34:01
  Speaker 4: Like, I don't know.
• 34:03
  Speaker 1: It's still questionable for you.
• 34:05
  Speaker 5: Well, I mean, it's like if, if, if some random
• 34:08
  Speaker 5: killer car was going around killing everybody, it would take
• 34:10
  Speaker 5: a lot more for me to decide, Oh yes, this
• 34:12
  Speaker 5: is possessed by the incarnation of evil.
• 34:15
  Speaker 1: Um, That's the first thing I jumped on.
• 34:17
  Speaker 2: You could even argue, too, that James Brolin never ends
• 34:19
  Speaker 2: up believing that.
• 34:20
  Speaker 11: Because, like, the Ronnie Cox, you know, the weepy cop character.
• 34:23
  Speaker 2: The most put-together drunkard ever. Yeah. Even at the end,
• 34:29
  Speaker 2: he's like, you saw that face, like, it's over.
• 34:30
  Speaker 11: It's just like, he pretty much doesn't give a shit
• 34:34
  Speaker 11: why it happened. What matters to him, from his point
• 34:37
  Speaker 11: of view, is that the incident is over.
• 34:39
  Speaker 5: See, what I wondered is, is it over? Because then
• 34:42
  Speaker 5: you see it driving away in the end credits.
• 34:44
  Speaker 11: Well, you know, they actually talked about doing a sequel
• 34:47
  Speaker 11: to it for a while. But, I mean, they'd originally,
• 34:50
  Speaker 11: from what I researched, they'd plan on doing one, but
• 34:52
  Speaker 11: it just didn't do the money they thought it would.
• 34:55
  Speaker 1: It's going to the city. It's car two, car in
• 34:57
  Speaker 1: the city. Following the Bay structure.
• 34:59
  Speaker 5: It felt like there was going to be a sequel.
• 35:01
  Speaker 11: Universal pumped a lot of money into it. And, I mean,
• 35:05
  Speaker 11: they did release it as a summer blockbuster, but the
• 35:08
  Speaker 11: problem was they.
• 35:08
  Speaker 2: Released it in May of 1977. 1977. And people are
• 35:13
  Speaker 2: going to see something else at the time. I don't
• 35:16
  Speaker 2: know what you're talking about. They chose poorly. And the
• 35:20
  Speaker 2: only people that.
• 35:20
  Speaker 8: Ended up seeing it were people that couldn't get into
• 35:23
  Speaker 8: the other movie.
• 35:25
  Speaker 11: Probably half the grosses that went towards the car were
• 35:27
  Speaker 11: people buying tickets to the car so that way they
• 35:30
  Speaker 11: could sneak into Star Wars.
• 35:31
  Speaker 2: It's like, no, I got a ticket for a movie
• 35:34
  Speaker 2: in here. I'll pass on Star Wars and see the
• 35:37
  Speaker 2: car to Lost in New York. Sounds like a winner. Now,
• 35:41
  Speaker 2: I would watch that if it killed Macalor Culkin, and
• 35:43
  Speaker 2: you wouldn't. Don't deny.
• 35:47
  Speaker 3: That.
• 35:47
  Speaker 2: Speaking of which, I know this is going to be
• 35:48
  Speaker 2: a complete tangent.
• 35:49
  Speaker 11: I just recently saw Skyfall. How is that not Home
• 35:53
  Speaker 11: Alone in the last ten minutes?
• 35:55
  Speaker 1: It is.
• 35:55
  Speaker 2: It's close. Judy Dench and all have set up all
• 35:58
  Speaker 2: that little goofy stuff. I got more of a Straw
• 36:00
  Speaker 2: Dogs vibe from that than Home Alone. No, I got more. Well,
• 36:03
  Speaker 2: she didn't have micro-machines, but they had micro-machines. I got
• 36:05
  Speaker 2: that vibe, yeah. What am I watching here?
• 36:11
  Speaker 11: I don't know, because everyone put Skyfall so high ranked
• 36:14
  Speaker 11: above these. I forgot to say that Casino Royale is
• 36:16
  Speaker 11: still the superior of the Daniel Craig's for me.
• 36:20
  Speaker 1: But I've always said, and everybody likes to credit that
• 36:23
  Speaker 1: to Home Alone, I've always said Home Alone totally ripped
• 36:26
  Speaker 1: off Nightmare on Elm Street. Because she totally booby traps
• 36:30
  Speaker 1: the house, gets books on it, sets up an entire
• 36:33
  Speaker 1: elaborate booby trap my own house scheme. He's just supernatural.
• 36:37
  Speaker 11: Which actually, as you all were just mentioning, that's essentially
• 36:39
  Speaker 11: Straw Dogs when he's having to protect.
• 36:42
  Speaker 2: We should see how far we can take that.
• 36:45
  Speaker 1: That's where all of these seem to go. It's like, well,
• 36:47
  Speaker 1: who ripped off who?
• 36:48
  Speaker 2: Let's keep going back. Or homage. Again, it's all whether
• 36:50
  Speaker 2: you like it or not. So there you go.
• 36:52
  Speaker 1: That's true.
• 36:53
  Speaker 2: I didn't like it, so rip off with him alone.
• 36:57
  Speaker 8: You didn't like Home Alone?
• 36:58
  Speaker 2: Oh, you didn't like Skyfall. I like Skyfall, it's just
• 37:01
  Speaker 2: that part I felt was unnecessary.
• 37:03
  Speaker 10: That part was, I was conflicted on that part, really,
• 37:05
  Speaker 10: because that was, in a lot of ways, in a
• 37:07
  Speaker 10: lot of ways, that was the most exciting sequence of
• 37:11
  Speaker 10: the movie, but at the same time, it just so
• 37:12
  Speaker 10: was not James Bond.
• 37:14
  Speaker 11: And prior to that, is this an homage or a
• 37:16
  Speaker 11: ripoff of Silence of the Lambs before this?
• 37:19
  Speaker 2: I don't know.
• 37:20
  Speaker 1: Yeah.
• 37:21
  Speaker 2: And not only that, but James Bond has his own
• 37:23
  Speaker 2: Alfred movie.
• 37:25
  Speaker 1: That he left for like 30 years.
• 37:28
  Speaker 2: Longer than that.
• 37:29
  Speaker 1: How long was that?
• 37:29
  Speaker 2: He just disappeared. Didn't know where he went. Never really
• 37:32
  Speaker 2: checked in. That was a huge span of time.
• 37:36
  Speaker 4: I don't know.
• 37:37
  Speaker 15: It's basically the end of the movie is just James
• 37:39
  Speaker 15: Bond crying like, I want to go home. It's weird
• 37:43
  Speaker 15: how he decides to like, you know, when the shit
• 37:45
  Speaker 15: really hits the fan at the end of the movie.
• 37:46
  Speaker 4: Like, you know, they don't know.
• 37:47
  Speaker 15: Like the first place he thinks to go to is
• 37:50
  Speaker 15: his childhood home. Like, you know, as the perfect fortress.
• 37:53
  Speaker 2: It's like, okay.
• 37:55
  Speaker 4: I don't know about that.
• 37:57
  Speaker 2: It's strawdaws. Maybe it's Home Alone. But anyway, back to
• 38:01
  Speaker 2: the car.
• 38:01
  Speaker 1: As I was saying, the guy that likes his custom cars,
• 38:04
  Speaker 1: James Bond, this car, that was my thing the whole
• 38:08
  Speaker 1: time sitting there. I'm just like, what the hell kind
• 38:09
  Speaker 1: of car is that? Because it does look pretty damned evil.
• 38:12
  Speaker 2: It's a Lincoln. It's some sort of modified Lincoln.
• 38:14
  Speaker 1: Yeah, a Mark III black coupe. So yeah, it's an
• 38:18
  Speaker 1: evil fucking car.
• 38:20
  Speaker 2: Which they made, I think they made six of them.
• 38:24
  Speaker 11: Six of the custom cars, which apparently one still exists.
• 38:30
  Speaker 1: They said, yeah. I read one of them they sell
• 38:32
  Speaker 1: to a collector in Europe, I think.
• 38:34
  Speaker 11: Yeah, that's where it's at, the one that exists. Three
• 38:36
  Speaker 11: of the six were destroyed in the whole barrel roll thing.
• 38:39
  Speaker 11: Even if you slow it down, you can tell the
• 38:42
  Speaker 11: two different angles. And then two of them were destroyed
• 38:45
  Speaker 11: when it goes off the canyon.
• 38:47
  Speaker 1: And that, I think, was the knockoff version. I thought
• 38:49
  Speaker 1: they said they had one that they, like, slapped together
• 38:51
  Speaker 1: over a Thunderbird and made it kind of look like
• 38:54
  Speaker 1: that so they didn't have to build another one. Like,
• 38:56
  Speaker 1: I'm sure that cost a fortune to do custom. So,
• 38:59
  Speaker 1: since they knew they were going to drive it off
• 39:01
  Speaker 1: a cliff, they just kind of made it look pretty close.
• 39:03
  Speaker 1: And you really only get an undershot anyway, really, so.
• 39:07
  Speaker 2: Jesus!
• 39:08
  Speaker 6: Mother Christ!
• 39:09
  Speaker 1: Magruder, look!
• 39:10
  Speaker 8: There it is!
• 39:14
  Speaker 2: Come on, stay in close!
• 39:18
  Speaker 1: He'll have to stop! He can't take us both!
• 39:22
  Speaker 8: He'll turn off and we got him!
• 39:31
  Speaker 11: The scene, like Greg was saying, when it barrel rolls
• 39:33
  Speaker 11: over the two cop cars, that's at the point when
• 39:35
  Speaker 11: it sold me the first time I ever saw the movie.
• 39:37
  Speaker 2: Okay, this has gotten to the level of silly that I.
• 39:41
  Speaker 8: No, I love the chasing the parade. The one guy
• 39:46
  Speaker 8: gets trampled by the horse, and it's really an actor
• 39:49
  Speaker 8: getting trampled by a horse.
• 39:51
  Speaker 2: You can't recreate that stuff.
• 39:54
  Speaker 1: I just like that the guys on horses were trying
• 39:56
  Speaker 1: to distract it, so all of a sudden it became,
• 39:58
  Speaker 1: at that point I was like, The car's just a bull.
• 40:01
  Speaker 1: It's a rodeo.
• 40:01
  Speaker 2: It was a rodeo.
• 40:02
  Speaker 12: Yeah, when the guy tucked and rolled, he was like,
• 40:05
  Speaker 12: he looks like a rodeo clown right now.
• 40:06
  Speaker 2: They probably used rodeo clowns.
• 40:08
  Speaker 1: Probably.
• 40:09
  Speaker 5: Did anybody else feel like the horses were multiplying?
• 40:11
  Speaker 2: Because I swear there were only like two at first.
• 40:13
  Speaker 12: Yeah, they were like 85 by the end of the scene.
• 40:15
  Speaker 2: It's like a whole stampede. Well, it's the Southwest. Horses
• 40:19
  Speaker 2: are everywhere.
• 40:19
  Speaker 12: They were just roaming free.
• 40:23
  Speaker 2: Waiting for the parade.
• 40:24
  Speaker 8: Those kids, you only saw two cars there. Most of
• 40:26
  Speaker 8: those kids rode their horses to school.
• 40:28
  Speaker 4: I see.
• 40:29
  Speaker 2: Which is the one thing I'll give the car. It
• 40:30
  Speaker 2: does take care of most of the annoying characters in
• 40:33
  Speaker 2: the movie.
• 40:35
  Speaker 11: Most horror films, they usually leave that one or two
• 40:37
  Speaker 11: annoying characters you're supposed to find endearing or funny or something.
• 40:41
  Speaker 2: No, this one kills most of them all. I guess
• 40:44
  Speaker 2: that'd be your guy.
• 40:45
  Speaker 5: Because he survives.
• 40:46
  Speaker 2: I like him. He's like the jerk of the movie.
• 40:48
  Speaker 5: I found the French horn player to be endearing and funny, personally.
• 40:52
  Speaker 1: I'm glad when he dies.
• 40:54
  Speaker 2: I mean, he needed to die.
• 40:56
  Speaker 5: I'm not going to argue that.
• 40:57
  Speaker 2: Anybody have whistles and birds? Come on. I enjoyed his scene.
• 41:04
  Speaker 1: He's the kind of guy that would turn up in
• 41:05
  Speaker 1: every Friday the 13th from then on. You're like, oh,
• 41:08
  Speaker 1: that guy's asking for it.
• 41:10
  Speaker 2: What did really.
• 41:11
  Speaker 5: Annoy me, and this seems to happen a lot, and
• 41:13
  Speaker 5: it always bugs me, is the very first scene when
• 41:16
  Speaker 5: the car is chasing... the bikers and they're all screaming
• 41:19
  Speaker 5: like crazy because this car is right behind them. At
• 41:21
  Speaker 5: no point do they think to like veer their bike
• 41:23
  Speaker 5: to the left. Like they just stay right in the path.
• 41:25
  Speaker 5: And this seems to happen a lot, like in movies
• 41:28
  Speaker 5: or TV shows where people are getting chased by cars,
• 41:30
  Speaker 5: especially on foot. They'll just, stay in the path and
• 41:33
  Speaker 5: then get run over somebody else at.
• 41:35
  Speaker 2: That point they were on that canyon road where you
• 41:37
  Speaker 2: really didn't have much of a shoulder.
• 41:38
  Speaker 5: Right but they were in a straightaway and like he
• 41:41
  Speaker 5: kept hitting the back the back of his wheel and
• 41:43
  Speaker 5: he never just.
• 41:44
  Speaker 2: Veered that was when they were on the bridge.
• 41:46
  Speaker 5: Yeah but there was a whole lane there was there.
• 41:49
  Speaker 12: Was a there was also a turnoff at one point
• 41:51
  Speaker 12: when the girl was being chased that was pretty that
• 41:54
  Speaker 12: was pretty blatant well like.
• 41:56
  Speaker 2: I signed with the car at one point.
• 41:58
  Speaker 8: I said, hit your brakes, and then he's going to
• 42:00
  Speaker 8: pass right by you.
• 42:01
  Speaker 9: That seems like an effective strategy.
• 42:03
  Speaker 8: Go ahead, get the guy.
• 42:05
  Speaker 2: I'll go the other way. Yeah, that was the top one.
• 42:08
  Speaker 11: Which actually, wouldn't that be an interesting story to be like,
• 42:10
  Speaker 11: so are you still dating so-and-so?
• 42:15
  Speaker 4: No.
• 42:15
  Speaker 2: Devil car ran him off into a canyon. It happens.
• 42:19
  Speaker 1: It's the damnedest thing.
• 42:20
  Speaker 5: Literally.
• 42:22
  Speaker 2: Kind of happened to the last boyfriend, too.
• 42:26
  Speaker 5: I kind of wish the movie had been allowed to
• 42:28
  Speaker 5: be gorier as well, because when he slams her into
• 42:30
  Speaker 5: the wall there, I just really wanted to see what
• 42:32
  Speaker 5: that did to her legs.
• 42:34
  Speaker 3: Wow.
• 42:35
  Speaker 7: I don't know.
• 42:36
  Speaker 5: And maybe that's... I don't know.
• 42:38
  Speaker 2: And PG was badly bruised.
• 42:39
  Speaker 11: I feel like they got away with a little bit
• 42:41
  Speaker 11: more in the pre-PG-13 days, like Jaws got away with
• 42:46
  Speaker 11: a little bit more. But at the same time, maybe
• 42:50
  Speaker 11: just Universal and Spielberg had... It was the same film, dude.
• 42:53
  Speaker 11: I didn't even think about that. Maybe they just wanted
• 42:55
  Speaker 11: to remake Jaws over and over. Keep cashing in on
• 42:59
  Speaker 11: the same damn thing.
• 43:00
  Speaker 1: It was still PG, though.
• 43:02
  Speaker 2: It was PG. I was surprised, yeah. But I guess
• 43:04
  Speaker 2: that's why.
• 43:05
  Speaker 8: The description of it, it said, maybe, I think it said,
• 43:08
  Speaker 8: maybe unsettling for pre-teens. It was a blue and white bar,
• 43:14
  Speaker 8: which I'd never seen that. And I'm like, I'm going
• 43:16
  Speaker 8: to read this. And it said, maybe unsettling for pre-teens.
• 43:19
  Speaker 2: That's when I was watching all this.
• 43:21
  Speaker 4: Right.
• 43:22
  Speaker 8: So if you're 13, watch it.
• 43:24
  Speaker 2: Definitely. It'll unsettle you.
• 43:27
  Speaker 8: You know, was.
• 43:28
  Speaker 2: Anybody else bothered?
• 43:29
  Speaker 8: I mean, I don't mind that the bad guy, the
• 43:31
  Speaker 8: evil guy, I guess the only real evil human in it.
• 43:36
  Speaker 2: You're talking about Amos? Yeah, that he lived.
• 43:38
  Speaker 8: I'm okay with that, but he was almost redeemed in it.
• 43:43
  Speaker 8: He was kind of like, he helped save everybody. He
• 43:47
  Speaker 8: helped solve the problem and he was standing there side
• 43:50
  Speaker 8: by side with him and they're all smiling at each other,
• 43:52
  Speaker 8: I might have turned and punched him. Even if he
• 43:56
  Speaker 8: helped me kill the car, I might have still turned
• 43:58
  Speaker 8: and punched him because he He wasn't very nice to him.
• 44:01
  Speaker 2: He was a son of a bitch. What was that
• 44:03
  Speaker 2: guy's job, though?
• 44:04
  Speaker 5: He had all this access to dynamite?
• 44:06
  Speaker 2: He ran a demolitions company. Did we know that before
• 44:09
  Speaker 2: the dynamite?
• 44:09
  Speaker 10: Yeah.
• 44:10
  Speaker 2: Oh, I totally missed that. He was on his truck. Yeah,
• 44:13
  Speaker 2: I was going to say.
• 44:14
  Speaker 12: You were busy watching the guy listening to birds. You
• 44:18
  Speaker 12: missed the truck.
• 44:18
  Speaker 2: Yeah, I just didn't like that he was... Okay, he's
• 44:21
  Speaker 2: okay now. He's one of us. He helped us kill
• 44:23
  Speaker 2: the devil car.
• 44:25
  Speaker 5: I'm sure a lot of it's just relief at that moment. Plus,
• 44:27
  Speaker 5: they just saw this weird fire demon in the sky.
• 44:29
  Speaker 8: I still would have liked that.
• 44:30
  Speaker 11: I like how they wear a tutu where it's just,
• 44:31
  Speaker 11: we need you. It's not, you can redeem yourself or
• 44:34
  Speaker 11: that we like you.
• 44:35
  Speaker 2: It's just, fuck, we need you. God damn it.
• 44:37
  Speaker 1: Just do this, you jerk.
• 44:39
  Speaker 5: So, if the car spared him because he was evil,
• 44:42
  Speaker 5: the James Brolin character, the car just kind of teased him. So,
• 44:47
  Speaker 5: is he like maybe semi-evil and we just don't know it?
• 44:50
  Speaker 2: What happened to his wife? Well, his girlfriend.
• 44:53
  Speaker 1: That's a good question.
• 44:55
  Speaker 4: Oh, his wife.
• 44:57
  Speaker 2: Maybe that's why.
• 44:59
  Speaker 1: I'll tell you what he was, though. Now, based on
• 45:01
  Speaker 1: that first scene, when the kids are waiting for him
• 45:04
  Speaker 1: out front, which, first of all, I thought he made
• 45:05
  Speaker 1: him go out and put helmets on to play hopscotch.
• 45:08
  Speaker 1: I was like, wow, that is an overprotective father. And
• 45:12
  Speaker 1: then he came off the motorcycle. I was like, oh, well,
• 45:14
  Speaker 1: now it makes more sense. I was just like, wow,
• 45:16
  Speaker 1: he is really protective. But then I was like, okay,
• 45:19
  Speaker 1: he wheels out on the motorcycle, sitting back behind there.
• 45:22
  Speaker 8: A dune buggy.
• 45:23
  Speaker 1: I'm like, this is the coolest dad ever.
• 45:26
  Speaker 8: Why didn't they take the dune buggy to school instead
• 45:27
  Speaker 8: of cramming three people on the road?
• 45:29
  Speaker 1: Which seems really unsafe.
• 45:31
  Speaker 2: I think the car recognized him as a fellow... polluter
• 45:34
  Speaker 2: of the environment.
• 45:35
  Speaker 15: I don't know maybe you got a doom buggy you
• 45:38
  Speaker 15: know maybe i don't.
• 45:40
  Speaker 11: Know when no country for old men was written but
• 45:43
  Speaker 11: maybe this was the inspiration for cormac mccarthy because if
• 45:46
  Speaker 11: you think about it the car and all the incidents
• 45:49
  Speaker 11: none of themselves maybe it's just as i want to
• 45:54
  Speaker 11: say immaterial but um it's akin to all the stuff
• 45:58
  Speaker 11: that's going on with anton sugar and um the Josh
• 46:03
  Speaker 11: Brolin character.
• 46:03
  Speaker 2: It's like, really, it's the movie, it's Tommy Lee Jones' story.
• 46:08
  Speaker 2: When you get right down to it, maybe.
• 46:09
  Speaker 11: This is all about just this cop, because his dad
• 46:12
  Speaker 11: was killed in the line of duty. So maybe it's
• 46:15
  Speaker 11: all about him having to come to terms with that
• 46:18
  Speaker 11: big challenge in his life or something along that line.
• 46:20
  Speaker 2: Is that stretching it too much?
• 46:22
  Speaker 1: I'm trying to see them working that in.
• 46:25
  Speaker 2: Stretch the bullshittery of it. I think it can be
• 46:28
  Speaker 2: done here.
• 46:30
  Speaker 1: It didn't get killed because it would have been fun
• 46:31
  Speaker 1: if then in the next movie he's like, remember when
• 46:33
  Speaker 1: your dad got killed by that evil car?
• 46:35
  Speaker 2: But you don't know what happened to his dad.
• 46:39
  Speaker 1: But within this movie we see. So we don't know
• 46:41
  Speaker 1: what happens in car two.
• 46:44
  Speaker 8: We've done Hoover and the car now, you know, 70s manly.
• 46:51
  Speaker 2: Lead roles. With mustaches. What's that?
• 46:55
  Speaker 8: With mustaches. I think Brolin might out man.
• 47:01
  Speaker 1: Well he's not completely ridiculous i mean burt reynolds is
• 47:05
  Speaker 1: pretty ridiculous and i think was very self-aware of how
• 47:09
  Speaker 1: silly his you know he was perceived and just went
• 47:12
  Speaker 1: with it that was his selling.
• 47:13
  Speaker 8: Point except for the um uh the the painted portrait
• 47:17
  Speaker 8: of him in the girlfriend's i.
• 47:19
  Speaker 1: Was gonna mention that because i was like.
• 47:21
  Speaker 8: Why don't i have that yeah it was it You know,
• 47:24
  Speaker 8: the absurdity of her having it is not one thing,
• 47:27
  Speaker 8: but it's that him sitting and posing for it. Some
• 47:30
  Speaker 8: guy that manly for that length of time, I don't
• 47:34
  Speaker 8: think he would have put up with it.
• 47:35
  Speaker 5: Maybe if he had a photograph or something. Just from memory,
• 47:39
  Speaker 5: because if I recall, it wasn't very good.
• 47:42
  Speaker 1: I was like, now I really want it because it's
• 47:44
  Speaker 1: a bad painting. But then he was in there after
• 47:47
  Speaker 1: the car had gone through it. It was still sitting there.
• 47:50
  Speaker 2: I was like, Dude, take it with you.
• 47:52
  Speaker 1: Put it over your mantle.
• 47:53
  Speaker 2: Come on. I thought that has to still exist somewhere.
• 47:57
  Speaker 2: Somebody's got it.
• 47:58
  Speaker 1: I hope Josh has it in the house somewhere.
• 48:02
  Speaker 11: Maybe it's hanging somewhere with the painting from the end
• 48:04
  Speaker 11: of Ghostbusters 2.
• 48:05
  Speaker 2: One can hope.
• 48:07
  Speaker 8: Oh, yeah.
• 48:08
  Speaker 2: Not the Vigo one, but the one where like... With
• 48:11
  Speaker 2: the Ghostbusters. With the Ghostbusters with maybe that shitty, shitty.
• 48:15
  Speaker 11: Shitty painting that's at the end of that movie. It
• 48:18
  Speaker 11: undoes all the coolness of the Vigo painting.
• 48:20
  Speaker 2: That's old master right there.
• 48:22
  Speaker 3: Come on, man.
• 48:23
  Speaker 1: That is classy material.
• 48:25
  Speaker 2: But I don't know. I mean, why didn't James Brolin
• 48:31
  Speaker 2: take off? He just sort of disappeared.
• 48:34
  Speaker 1: That's what I was thinking. Well, I blame his wife
• 48:35
  Speaker 1: for that.
• 48:36
  Speaker 2: There's a lot of TV, you know?
• 48:40
  Speaker 1: Well, that's the thing, though. As I was watching, I
• 48:42
  Speaker 1: was like, he was kind of at that point. Like,
• 48:44
  Speaker 1: he was a big star right around here. He, at
• 48:47
  Speaker 1: least in his world, he sort of solidified himself as
• 48:50
  Speaker 1: a leading man and was kind of getting bigger roles.
• 48:53
  Speaker 1: And then I was like, Josh is a way bigger
• 48:55
  Speaker 1: star now. Like, he totally, like, if you think Brolin now.
• 48:58
  Speaker 2: And Josh started out smaller.
• 49:00
  Speaker 1: Yeah. And it took a long time for Josh.
• 49:03
  Speaker 11: Whereas James, it seemed to be like it was right
• 49:05
  Speaker 11: off the bat that became, like, the, you know, fire
• 49:08
  Speaker 11: in the pan hit that he was.
• 49:10
  Speaker 2: And then it's just like, what happened to him?
• 49:11
  Speaker 11: It's like, he suddenly became big in the early 70s
• 49:14
  Speaker 11: as sort of the sex symbol and then he was
• 49:17
  Speaker 11: getting roles very much akin to Burt Reynolds and then
• 49:21
  Speaker 11: just I.
• 49:22
  Speaker 1: Think he hit the pinnacle once he got to Pee
• 49:24
  Speaker 1: Wee's Big Adventure it was all downhill from there.
• 49:27
  Speaker 11: And even by then that was almost just sort of
• 49:29
  Speaker 11: like a gag cameo I don't think.
• 49:33
  Speaker 13: It's impossible that talent plays into that to some degree
• 49:37
  Speaker 13: I'm just going to jump out there with.
• 49:38
  Speaker 2: That one I mean, that's true, but, I mean, he
• 49:41
  Speaker 2: didn't have the strongest track record in a way of, like,
• 49:43
  Speaker 2: roles that he went with.
• 49:45
  Speaker 4: I don't know.
• 49:46
  Speaker 11: I mean, Josh Brolin doesn't have the strongest track record
• 49:48
  Speaker 11: if you look at him, like, really pre-milking that. You know,
• 49:53
  Speaker 11: he did a lot of, like, cheesy stuff as well,
• 49:56
  Speaker 11: even starting off with the Goonies. Goonies is cheesy. So
• 49:59
  Speaker 11: it's like, I don't know. I don't know why he
• 50:02
  Speaker 11: never really took off or eventually got that role that really, like,
• 50:07
  Speaker 11: He had the opportunity to.
• 50:08
  Speaker 2: Well, wasn't it Hotel he was on?
• 50:11
  Speaker 13: Yes.
• 50:12
  Speaker 1: I feel like that was the turning point. I think
• 50:14
  Speaker 1: all of a sudden that became sort of, not really
• 50:16
  Speaker 1: a hit, but it became very recognizable on TV. And
• 50:20
  Speaker 1: at that point, he was like a TV star. I
• 50:22
  Speaker 1: think he had changed gears, whether he knowingly did it
• 50:25
  Speaker 1: or not. I think everyone then associated him with that show,
• 50:28
  Speaker 1: and then he got sort of downgraded to TV star.
• 50:31
  Speaker 1: And at that point, I don't remember any big leading
• 50:34
  Speaker 1: roles coming along after that. It seemed like that was...
• 50:37
  Speaker 1: That was the dividing line is then he became TV-sized,
• 50:40
  Speaker 1: and that's how it went for him here on out.
• 50:44
  Speaker 2: That seems to be a way that people just disappear.
• 50:46
  Speaker 2: It's like they start doing TV. It's just like, what
• 50:48
  Speaker 2: happened to them?
• 50:48
  Speaker 1: It used to be. You don't have that anymore.
• 50:51
  Speaker 2: You can kind of cross over now. There was that period, though,
• 50:54
  Speaker 2: in the 80s and early 90s where that would be.
• 50:57
  Speaker 11: Nowadays, yeah, now that you've got so many TV shows
• 51:00
  Speaker 11: that are, taking notes between Mad Men or just all
• 51:03
  Speaker 11: the stuff they do on AMC or Showtime or any
• 51:05
  Speaker 11: of those shows. It's not so much the case as
• 51:07
  Speaker 11: it used to be.
• 51:09
  Speaker 9: I don't think it was ever a choice that people made.
• 51:11
  Speaker 13: It's not like James Brolin said, I feel very passionately
• 51:15
  Speaker 13: about this hotel project, and I'm going to go ahead
• 51:17
  Speaker 13: and take a chance on this one. I mean, you
• 51:18
  Speaker 13: got demoted is basically what happened. If you weren't making
• 51:20
  Speaker 13: money as a film star, you're like, well, I'll make
• 51:22
  Speaker 13: some money and do some TV, and it's kind of
• 51:24
  Speaker 13: all over from here.
• 51:26
  Speaker 1: I think it changes in the executive minds. I think
• 51:28
  Speaker 1: it changes in the public minds. The star may not
• 51:31
  Speaker 1: have any idea what's going on until it's way too late.
• 51:33
  Speaker 8: Well, it may have been Star Wars, too. This flopped. And, well,
• 51:40
  Speaker 8: we've got a TV role for you. Was there anything
• 51:44
  Speaker 8: after this?
• 51:45
  Speaker 2: Actually, after Star Wars, it could have been just, fuck
• 51:48
  Speaker 2: James Berlin, we've got Harrison Ford.
• 51:51
  Speaker 1: Let's keep everything to him.
• 51:52
  Speaker 8: Awesome Indiana Jones, though.
• 51:55
  Speaker 1: Better than Tom Selleck.
• 51:57
  Speaker 2: Tom Selleck.
• 51:58
  Speaker 11: But really, I mean, Burt Reynolds would have disappeared if
• 52:01
  Speaker 11: it weren't for the fact that Anderson used him in
• 52:04
  Speaker 11: Boogie Nights.
• 52:05
  Speaker 1: Well, I was going to say, he fell into that
• 52:06
  Speaker 1: exact trap. Evening Shade. And it's funny, nobody remembers that.
• 52:11
  Speaker 1: That was probably, that's probably what paid for his museum
• 52:15
  Speaker 1: that he built. Because, I mean, if you think about it,
• 52:17
  Speaker 1: that's probably the most steady work he had. He was
• 52:19
  Speaker 1: a big star, but you know, he blew all that
• 52:21
  Speaker 1: 70s money. It's like the only thing that he's probably
• 52:24
  Speaker 1: not living in a home right now is because Evening
• 52:27
  Speaker 1: Shade was on for years and like was a pretty,
• 52:30
  Speaker 1: I mean, it's a pretty cushy network job. I'm sure
• 52:32
  Speaker 1: that had a decent paycheck and like he just sort
• 52:35
  Speaker 1: of flew under the radar. It's like that got a
• 52:37
  Speaker 1: lot of viewers from people that were 60 and he
• 52:41
  Speaker 1: cashed in on that for years and years there and
• 52:43
  Speaker 1: then was, you know, again, totally out of the limelight
• 52:46
  Speaker 1: until Boogie Nights brought him back. So he's a pretty
• 52:49
  Speaker 1: good example of how that happens with TV. He got
• 52:51
  Speaker 1: demoted completely to TV.
• 52:54
  Speaker 11: Of course, I could see it to where suddenly he might...
• 52:56
  Speaker 11: I don't even know if James Brolin.
• 52:58
  Speaker 2: Still is acting.
• 53:01
  Speaker 11: But I could see it to where he might get
• 53:03
  Speaker 11: roped into some project with some other offbeat director. You know,
• 53:07
  Speaker 11: Wes Anderson or somebody to where they get him in
• 53:10
  Speaker 11: for like a guest starring role and it kind of
• 53:13
  Speaker 11: puts him back.
• 53:15
  Speaker 1: Tarantino bringing him back.
• 53:17
  Speaker 11: Well, Tarantino keeps talking about wanting to do some sort
• 53:19
  Speaker 11: of Warren Beatty project. He was even talking about that
• 53:23
  Speaker 11: back when he was doing Kill Bill.
• 53:24
  Speaker 1: He was going to be Bill.
• 53:25
  Speaker 2: He was going to be Bill.
• 53:27
  Speaker 11: And then I think he read David Carradine's autobiography and
• 53:32
  Speaker 11: went with Carradine instead.
• 53:36
  Speaker 2: It's interesting whenever you have directors that will just grab
• 53:39
  Speaker 2: someone and give them something to showcase with, like Anderson
• 53:42
  Speaker 2: did with Burt Reynolds. which I think Reynolds was very,
• 53:46
  Speaker 2: very pissed that he didn't win Best Supporting Actor.
• 53:49
  Speaker 1: That was his only chance.
• 53:50
  Speaker 8: Mark Wahlberg probably wouldn't have a career that he has
• 53:52
  Speaker 8: now if it weren't for Boogie Nights. If it weren't
• 53:55
  Speaker 8: for Boogie Nights. I mean, he was floundering too, and
• 53:59
  Speaker 8: he really took off after that.
• 54:02
  Speaker 1: Now he's working with Michael Bay. Look where his career's gone.
• 54:05
  Speaker 8: And he was in The Happening.
• 54:08
  Speaker 1: Some of the finest movies.
• 54:10
  Speaker 2: I remember when The.
• 54:11
  Speaker 5: Happening came out, and I haven't seen it since it
• 54:13
  Speaker 5: came out, so I don't know how I feel about
• 54:15
  Speaker 5: it now, but I was the only one who liked
• 54:16
  Speaker 5: that movie.
• 54:17
  Speaker 1: You may still be.
• 54:18
  Speaker 2: The only one. I don't know. I kind of want
• 54:22
  Speaker 2: to watch it.
• 54:22
  Speaker 5: Again to see if maybe I still like it or
• 54:24
  Speaker 5: if I was just stupid back then.
• 54:27
  Speaker 8: I'll defend The Village, but I won't defend it.
• 54:29
  Speaker 2: See, The Village is the one that spurned me.
• 54:31
  Speaker 1: I liked The Village more than most people.
• 54:33
  Speaker 4: I liked The Village.
• 54:34
  Speaker 12: I don't know if I liked it or not. It
• 54:36
  Speaker 12: was ruined for me before I saw it. Somebody just
• 54:39
  Speaker 12: told me what happened. And that's the whole.
• 54:40
  Speaker 11: Problem with his films is that they can be ruined
• 54:44
  Speaker 11: because they are so built on that twist, that reveal,
• 54:49
  Speaker 11: that aha. And if you know the reveal ahead of time,
• 54:51
  Speaker 11: suddenly whatever you're watching is just utterly implausible.
• 54:54
  Speaker 16: Well, The Village I thought was interesting until you get
• 54:57
  Speaker 16: to the punchline. And I mean, there's no way that
• 55:01
  Speaker 16: you could go in there watching that movie and knowing
• 55:04
  Speaker 16: that And still be able to have the impact of,
• 55:07
  Speaker 16: you know, if you just went in blind. Yeah, like
• 55:09
  Speaker 16: you say, all of his movies are like that.
• 55:12
  Speaker 8: I still thought it was interesting, even if you know
• 55:14
  Speaker 8: the reveal ahead of time. I think the construction, it's
• 55:18
  Speaker 8: almost like dog tooth. That people would be so convinced
• 55:21
  Speaker 8: that this could, you know, they would convince themselves that
• 55:26
  Speaker 8: things outside of their world didn't exist. Or they were
• 55:30
  Speaker 8: lied to so much that they would believe these things.
• 55:33
  Speaker 2: I don't know. I think.
• 55:36
  Speaker 8: That's just as interesting to me, actually more interesting than
• 55:38
  Speaker 8: the twist.
• 55:39
  Speaker 2: The twist, it's nothing to me.
• 55:41
  Speaker 8: I still think the rest of it's what drives people
• 55:44
  Speaker 8: to choose to do something like this is the interesting
• 55:48
  Speaker 8: part of the story.
• 55:50
  Speaker 5: I always get excited every time you mention Dogtooth. It
• 55:52
  Speaker 5: comes up every so often. I always get excited because
• 55:54
  Speaker 5: I really loved that movie. I really related to it
• 55:57
  Speaker 5: in a weird way. More than most people, probably.
• 55:59
  Speaker 1: Yeah.
• 56:03
  Speaker 13: I like that we've talked about the village and all
• 56:06
  Speaker 13: these films and have never actually mentioned the name M.
• 56:08
  Speaker 9: Night Shyamalan. Like we're afraid to conjure him.
• 56:10
  Speaker 2: Much like the cartoon. That guy disappears out of thin air. Hello.
• 56:15
  Speaker 2: Get out of here. He just flies your film.
• 56:18
  Speaker 11: He reached that peak with Unbreakable and then just kind
• 56:21
  Speaker 11: of stepped down each time.
• 56:23
  Speaker 2: It's like Candyman. If you say his name three times,
• 56:25
  Speaker 2: he'll make another bad movie. So we have to keep
• 56:27
  Speaker 2: that in check.
• 56:30
  Speaker 9: I can defend... Was it The Woman in the Water?
• 56:32
  Speaker 9: The Lady in the Water?
• 56:32
  Speaker 2: The Lady in the Water.
• 56:34
  Speaker 9: I actually love that movie because it was hilarious.
• 56:37
  Speaker 10: Okay.
• 56:37
  Speaker 8: Well, I thought there were parts.
• 56:39
  Speaker 13: The very idea that he would write himself a role
• 56:42
  Speaker 13: as a super genius who knows he understands, who the
• 56:46
  Speaker 13: critics hate because they don't understand how.
• 56:48
  Speaker 8: Brilliant he is.
• 56:49
  Speaker 2: No, that is genius.
• 56:50
  Speaker 11: The only thing I remember of that was the teaser
• 56:53
  Speaker 11: that just had Paul Giamatti walking around polishing and cleaning
• 56:56
  Speaker 11: the pool and all this stuff.
• 56:58
  Speaker 4: I was like.
• 56:59
  Speaker 11: aw, he didn't win the Oscar for Sideways and look
• 57:02
  Speaker 11: at where he's gone.
• 57:03
  Speaker 4: It's a mile.
• 57:05
  Speaker 13: Well, the fact that he played a critic and then
• 57:07
  Speaker 13: it's just like critic torture porn, it's kind of amazing.
• 57:11
  Speaker 8: Well, the critic is. He's saying, well, I can't die.
• 57:14
  Speaker 8: I can't die here. You can't kill me. Last Airbender.
• 57:20
  Speaker 8: There were some redeeming things about it. I'm not going
• 57:24
  Speaker 8: to defend it. Like I said, I'll defend the village.
• 57:26
  Speaker 2: But therein... Of itself, it's like, is that the only
• 57:29
  Speaker 2: movies that he's capable of making?
• 57:31
  Speaker 11: Or is it what studios expect of him and what
• 57:34
  Speaker 11: audiences expect of him and that's all they'll let him do?
• 57:37
  Speaker 1: Then that would be The Last Airbender.
• 57:38
  Speaker 2: Well, The Last Airbender.
• 57:40
  Speaker 1: That's an entirely different direction.
• 57:41
  Speaker 2: That's true.
• 57:42
  Speaker 1: And there's not really a twist that I know. I
• 57:44
  Speaker 1: still haven't watched it yet.
• 57:45
  Speaker 8: I went in with a, because my kids would watch
• 57:48
  Speaker 8: The Last Airbender show, the cartoon.
• 57:51
  Speaker 4: Which is good.
• 57:51
  Speaker 2: Yeah, it's really good.
• 57:53
  Speaker 8: I thought, okay, I'm going to go in this with
• 57:54
  Speaker 8: no preconceived thoughts on this. I'm just going to watch
• 57:58
  Speaker 8: it and see how it looks and how he adapted it.
• 58:01
  Speaker 8: And it is boring. I've not seen a more boring film.
• 58:06
  Speaker 8: You're like, this is exciting stuff. You could take the
• 58:10
  Speaker 8: whole series and cram it into one movie and have
• 58:12
  Speaker 8: a fantastic movie.
• 58:14
  Speaker 2: It's boring.
• 58:16
  Speaker 11: To me, of what I've seen of it, it basically...
• 58:19
  Speaker 11: That film to Shyamalan is what I feel like either
• 58:23
  Speaker 11: Green Hornet is to Michel Gondry or what Planet of
• 58:26
  Speaker 11: the Apes is to Tim Burton.
• 58:28
  Speaker 2: Every now and then you'll have these kind.
• 58:30
  Speaker 11: Of artsy directors suddenly sneak out and try something that's mainstream.
• 58:34
  Speaker 2: It's like, no.
• 58:35
  Speaker 1: That was the best time for Burton and then he
• 58:38
  Speaker 1: went down.
• 58:40
  Speaker 11: Actually, Burton pulled off Batman, though, so I guess you
• 58:43
  Speaker 11: can't knock him too much because he did actually... really
• 58:46
  Speaker 11: set the precedent for what a lot of different action
• 58:48
  Speaker 11: films and superhero films were after that but michelle gondry
• 58:53
  Speaker 11: green hornet it's like what.
• 58:55
  Speaker 8: He's not right anyway though i mean no he can
• 58:58
  Speaker 8: turn out crap just as easily as he can turn.
• 59:00
  Speaker 15: It and like anyone could have directed that like you
• 59:02
  Speaker 15: never got a sense of it he was directed by
• 59:05
  Speaker 15: him like it could have been like you know the
• 59:07
  Speaker 15: guy who did who's the guy that did Superbad. Like
• 59:09
  Speaker 15: I would have believed it if you told me that
• 59:10
  Speaker 15: guy did it or like Judd Apatow direct. Like because
• 59:13
  Speaker 15: it was so much like the first half was so
• 59:15
  Speaker 15: much of like the Seth Rogen kind of slacker Apatow
• 59:18
  Speaker 15: comedy and then they just threw in a bunch of
• 59:20
  Speaker 15: special effects and it just there was just no identity
• 59:23
  Speaker 15: to it.
• 59:23
  Speaker 2: I was like anyone could have really there's no identity
• 59:26
  Speaker 2: to it. Get Harmony Corrine to do like a fantastic
• 59:29
  Speaker 2: form wow just think about.
• 59:33
  Speaker 1: That so i don't know oh sorry did you have
• 59:40
  Speaker 1: more like cool stuff you wanted to talk about because
• 59:43
  Speaker 1: i kept taking note of things but they were very
• 59:45
  Speaker 1: funny things to me so do we want to go.
• 59:49
  Speaker 12: Yeah i laughed a lot yeah during the whole thing.
• 59:52
  Speaker 11: Very much like all the ronnie cox stuff anytime he's
• 59:55
  Speaker 11: on screen i was just like what the hell is
• 59:57
  Speaker 11: this guy still doing employed right i It's like everyone
• 1:00:01
  Speaker 11: just takes pity on him, and the whole department lets
• 1:00:04
  Speaker 11: him work there. At least he still had a steady
• 1:00:07
  Speaker 11: career of character bit roles, at least up through the 90s.
• 1:00:11
  Speaker 11: I mean, kind of after Total Recall and that, he
• 1:00:13
  Speaker 11: sort of disappeared.
• 1:00:14
  Speaker 8: Robocop.
• 1:00:15
  Speaker 13: Yeah.
• 1:00:16
  Speaker 8: Well, not great, but I remember that scene pretty well.
• 1:00:20
  Speaker 1: Yeah, I mean, that became his role for years there.
• 1:00:25
  Speaker 2: John Marley had had a solid career prior to that.
• 1:00:28
  Speaker 11: I mean, whether you look at his little bit role
• 1:00:30
  Speaker 11: in Godfather, for me, my favorite John Marley role is
• 1:00:33
  Speaker 11: in Faces, the Cassavetes film. He's fantastic in that. Wow,
• 1:00:38
  Speaker 11: everyone in Faces, you know, Seymour Cassell was great in that, too.
• 1:00:42
  Speaker 4: But, um.
• 1:00:44
  Speaker 2: You know, Kathleen Lloyd, who plays James Brolin's girlfriend, she's
• 1:00:48
  Speaker 2: the only one where I don't know what the hell
• 1:00:49
  Speaker 2: she did before. She's so weird. Or after. And she
• 1:00:52
  Speaker 2: just looks.
• 1:00:52
  Speaker 1: Yeah. She's just.
• 1:00:53
  Speaker 2: Well, just her behavior.
• 1:00:54
  Speaker 1: Like, throughout the entire thing, it's just weird and doesn't
• 1:00:58
  Speaker 1: seem to match anything going on.
• 1:01:00
  Speaker 9: I loved that performance.
• 1:01:01
  Speaker 13: I actually thought that the hitchhiker actually reminded me a
• 1:01:04
  Speaker 13: lot of her.
• 1:01:05
  Speaker 9: I think it was just the writing.
• 1:01:06
  Speaker 13: And I guess that has to do with there being
• 1:01:07
  Speaker 13: three different writers or five different writers or how many
• 1:01:10
  Speaker 13: different writers there are. But it was... a weird character
• 1:01:12
  Speaker 13: with lots of very strange monologues. And I felt like
• 1:01:16
  Speaker 13: she was just having fun with it and.
• 1:01:17
  Speaker 9: Doing what she could because it was just so bizarre.
• 1:01:20
  Speaker 11: I feel like everybody's having fun with this movie. I
• 1:01:22
  Speaker 11: don't watch it at any one point in time and
• 1:01:24
  Speaker 11: think that somebody is just not having or is not.
• 1:01:27
  Speaker 2: Able to sell it.
• 1:01:27
  Speaker 11: I feel like everybody's able to sell these characters because
• 1:01:29
  Speaker 11: they realize the whole thing's tongue-in-cheek to begin with.
• 1:01:31
  Speaker 2: I mean, if it's a movie.
• 1:01:33
  Speaker 11: About a car that is Satan incarnate going around picking
• 1:01:36
  Speaker 11: off people in a desert town, how can you not
• 1:01:39
  Speaker 11: have fun with it?
• 1:01:40
  Speaker 1: I mean, she's selling it. She just seems like she's
• 1:01:41
  Speaker 1: from a different movie. Like, everybody else seems like they're
• 1:01:44
  Speaker 1: in that town and they're pretty, you know, set in
• 1:01:46
  Speaker 1: this movie. And then she's just doing her own thing.
• 1:01:48
  Speaker 2: It's very strange. She's very spunky.
• 1:01:49
  Speaker 1: She is, but in a weird way.
• 1:01:50
  Speaker 9: I felt like there was some sexual tension between her
• 1:01:52
  Speaker 9: and the car, too.
• 1:01:54
  Speaker 2: I don't know.
• 1:01:55
  Speaker 8: The most memorable part of the movie is her telling
• 1:01:57
  Speaker 8: him off.
• 1:01:58
  Speaker 2: I mean, even the girl, she was like, she was fantastic.
• 1:02:01
  Speaker 8: Like, she's, you know, talking about the movie, like, giving
• 1:02:03
  Speaker 8: her own review.
• 1:02:04
  Speaker 2: This was the best part.
• 1:02:05
  Speaker 5: Again, I wasn't really entirely clear.
• 1:02:07
  Speaker 4: I mean.
• 1:02:09
  Speaker 5: At first, why she was just kind of doing this.
• 1:02:11
  Speaker 5: She just looked at the woman next to her and
• 1:02:12
  Speaker 5: they just kind of nodded at each other. And she
• 1:02:13
  Speaker 5: gets up and starts cursing at the car.
• 1:02:15
  Speaker 2: That's what I thought. She was creating a diversion. They
• 1:02:22
  Speaker 2: just nodded at each other.
• 1:02:23
  Speaker 5: And it went on for so long again before the
• 1:02:26
  Speaker 5: other one started running off. It was just very strange
• 1:02:30
  Speaker 5: to me.
• 1:02:30
  Speaker 8: You could have been out of town by now if
• 1:02:31
  Speaker 8: you would have started running when I started confronting you.
• 1:02:34
  Speaker 1: Yeah, I don't even think I realized that was all
• 1:02:35
  Speaker 1: part of the same plan. They both just seemed like
• 1:02:37
  Speaker 1: they were doing random things at that point.
• 1:02:39
  Speaker 8: I think what it was is they had this unspoken communication.
• 1:02:42
  Speaker 2: You ready? Yeah, I'm ready.
• 1:02:44
  Speaker 8: And I don't think the other woman knew that what
• 1:02:46
  Speaker 8: she was doing was causing a distraction. Oh, shit, I'm
• 1:02:49
  Speaker 8: supposed to run.
• 1:02:51
  Speaker 5: Also, it seemed really risky because at that point, I mean,
• 1:02:54
  Speaker 5: obviously the car wasn't going into the graveyard at first,
• 1:02:56
  Speaker 5: but they had no reason to think that he wouldn't
• 1:02:58
  Speaker 5: if provoked enough. Like, they didn't realize about the hallowed
• 1:03:01
  Speaker 5: ground thing or anything like that. They could have come
• 1:03:03
  Speaker 5: in at any point. And she was trying to get
• 1:03:05
  Speaker 5: him to come out of the car and then you'd
• 1:03:06
  Speaker 5: have this man that she'd have to deal with stalking
• 1:03:10
  Speaker 5: through the graveyard towards them to probably kill them.
• 1:03:12
  Speaker 1: And then he would have been attacked by 30 kids.
• 1:03:15
  Speaker 2: With trombones.
• 1:03:16
  Speaker 1: Yes. Deadly musical instruments. Well, of the other silly moments,
• 1:03:23
  Speaker 1: like the other car, like the cop that gets like
• 1:03:27
  Speaker 1: an inch away from him and then he just starts
• 1:03:29
  Speaker 1: like tipping. Why is it that like, As soon as
• 1:03:33
  Speaker 1: it barely turned sideways, it burst into flames.
• 1:03:36
  Speaker 2: It was just immediately on fire.
• 1:03:38
  Speaker 1: And I'm like, don't get me wrong, I like when
• 1:03:40
  Speaker 1: things are on fire.
• 1:03:40
  Speaker 2: Because the car is the devil.
• 1:03:43
  Speaker 5: I assumed it was just because the explosives went off
• 1:03:45
  Speaker 5: early and we.
• 1:03:47
  Speaker 2: Only had that one shot.
• 1:03:49
  Speaker 17: I was still enjoying it, but kind of for the
• 1:03:51
  Speaker 17: wrong reasons at that moment. I like that little moment, though,
• 1:03:54
  Speaker 17: where it just goes right up to the door and
• 1:03:55
  Speaker 17: it's like he's trying to open it up and he
• 1:03:57
  Speaker 17: realizes he can't get out. And the car just kind
• 1:03:59
  Speaker 17: of slowly pushes it shut and he goes to sneak
• 1:04:01
  Speaker 17: out the other.
• 1:04:02
  Speaker 11: End and he realizes he's fucked either way.
• 1:04:04
  Speaker 2: It was a good setup.
• 1:04:05
  Speaker 1: It was just funny that it immediately.
• 1:04:07
  Speaker 2: Burst into flames. I don't know.
• 1:04:08
  Speaker 4: Really, though, like.
• 1:04:10
  Speaker 5: It's a very silly film, but every so often there'd
• 1:04:12
  Speaker 5: be little bits or little shots that I would just
• 1:04:13
  Speaker 5: kind of be really satisfied that I thought this was
• 1:04:17
  Speaker 5: really good. And that was one of them I thought
• 1:04:18
  Speaker 5: that was really good.
• 1:04:19
  Speaker 2: The other one when.
• 1:04:21
  Speaker 5: Kathleen Lloyd's character gets hit and she just saw it
• 1:04:24
  Speaker 5: on the phone and in the distance in the window
• 1:04:26
  Speaker 5: you could see the light come up. And if it
• 1:04:28
  Speaker 5: had not cut away to that other shot, that would
• 1:04:30
  Speaker 5: have been just a perfect scene for me. But they
• 1:04:33
  Speaker 5: cut away and it just really killed it.
• 1:04:35
  Speaker 1: Well, I was just like, did she live in the
• 1:04:37
  Speaker 1: middle of a road? Because he went out the back
• 1:04:40
  Speaker 1: and he was down, like he didn't go through a
• 1:04:42
  Speaker 1: yard or somebody else's house, just right down the road.
• 1:04:45
  Speaker 1: I was like, did they build her house in the
• 1:04:46
  Speaker 1: middle of a road?
• 1:04:48
  Speaker 5: The one cop kind of mentioned, you know, she was
• 1:04:51
  Speaker 5: special because she cursed him. It flew four feet off
• 1:04:53
  Speaker 5: the ground. Like, just kind of acknowledging it didn't wrap
• 1:04:55
  Speaker 5: up anything.
• 1:04:56
  Speaker 2: It just kind of.
• 1:04:57
  Speaker 8: But it was just me out in the back of.
• 1:04:59
  Speaker 2: Her house and on a road. Maybe the road curved around.
• 1:05:03
  Speaker 2: I don't know.
• 1:05:04
  Speaker 13: I just like how she was like, I can hear
• 1:05:06
  Speaker 13: the engine. I can hear the engine. And she never
• 1:05:08
  Speaker 13: looked out the window.
• 1:05:08
  Speaker 6: I liked when the car is coming towards the parade
• 1:05:10
  Speaker 6: and twice you see the glint of.
• 1:05:19
  Speaker 2: Yeah, that was another good one, too. Sun coming off
• 1:05:21
  Speaker 2: of the car in the distance.
• 1:05:22
  Speaker 5: Just kind of off in the distance.
• 1:05:23
  Speaker 8: And he can't see it, and he's supposed to be
• 1:05:25
  Speaker 8: looking for it.
• 1:05:25
  Speaker 2: I thought that was.
• 1:05:26
  Speaker 11: Or there's just that one wide shot where you have
• 1:05:28
  Speaker 11: this really long stretch of what's almost like the outskirts
• 1:05:31
  Speaker 11: of Monument Valley, and you just see the dust trail,
• 1:05:34
  Speaker 11: and that's it. You don't actually see the car in
• 1:05:36
  Speaker 11: any of that shot. You just see the dust trail
• 1:05:39
  Speaker 11: that's produced, and that's earlier on.
• 1:05:41
  Speaker 1: They do set up that, especially with the horn. When
• 1:05:44
  Speaker 1: you hear it coming, you're like, oh, we're screwed. Once
• 1:05:48
  Speaker 1: they know it's on the way, it's like somebody's dying
• 1:05:51
  Speaker 1: in a minute.
• 1:05:51
  Speaker 11: It's kind of like the fact that it wants to
• 1:05:53
  Speaker 11: get people stirred up and afraid of it before it
• 1:05:55
  Speaker 11: actually shows up. It wants to make its presence known
• 1:05:58
  Speaker 11: before you even know what direction it's coming from. Like
• 1:06:00
  Speaker 11: hearing a monster roaring in the woods sort of thing.
• 1:06:04
  Speaker 1: Again, that's probably my favorite part was those stupid kids.
• 1:06:11
  Speaker 2: Because it does.
• 1:06:12
  Speaker 1: It just busts in and 30 kids are running around.
• 1:06:16
  Speaker 2: It's just complete insanity at that point.
• 1:06:20
  Speaker 5: It doesn't get a single one of them.
• 1:06:21
  Speaker 2: That's kind of disappointing too.
• 1:06:23
  Speaker 5: The only person who got killed was by a horse
• 1:06:25
  Speaker 5: in that scene. One of the 80 horses that suddenly erupted.
• 1:06:29
  Speaker 1: And I thought he was going to pick off the
• 1:06:30
  Speaker 1: other teacher. She took off and I was like, you're
• 1:06:33
  Speaker 1: leaving the graveyard. You're going to get taken out.
• 1:06:35
  Speaker 2: No.
• 1:06:37
  Speaker 4: But even like.
• 1:06:39
  Speaker 11: The different Native Americans they have working in the station
• 1:06:41
  Speaker 11: with them. Because there's this one thing, if you don't
• 1:06:44
  Speaker 11: listen for it, it's in passing when they're setting the scene.
• 1:06:48
  Speaker 11: And you have the really big guy talking on the
• 1:06:51
  Speaker 11: phone with someone.
• 1:06:52
  Speaker 2: It's not really in passing. It's pretty.
• 1:06:55
  Speaker 11: dominant but basically they like infer that somebody over the
• 1:06:59
  Speaker 11: phone is just like shouting out racial slurs at him
• 1:07:02
  Speaker 11: he's just like and he's like very funny big guy
• 1:07:05
  Speaker 11: you say something like that again and me come over
• 1:07:08
  Speaker 11: there and shoot him up um he big arrow straight
• 1:07:10
  Speaker 11: up your ass.
• 1:07:11
  Speaker 2: It's like he just like throws an insult back and
• 1:07:13
  Speaker 2: i was like that's kind of funny i like this.
• 1:07:15
  Speaker 13: Character That's sort of a popular 70s trope was that
• 1:07:19
  Speaker 13: sort of social justice Native American thing.
• 1:07:24
  Speaker 1: I'm like, who's making fun of Native Americans in Utah?
• 1:07:27
  Speaker 1: Aren't there still a lot of... I don't know. Wouldn't
• 1:07:30
  Speaker 1: you be kind of used to that? It's not like
• 1:07:32
  Speaker 1: they moved into your neighborhood.
• 1:07:33
  Speaker 7: No.
• 1:07:34
  Speaker 1: Kind of the other way around.
• 1:07:35
  Speaker 2: Americans are racist by nature. That they are.
• 1:07:38
  Speaker 1: Speaking of evil.
• 1:07:40
  Speaker 5: I found myself trying to decide to think.
• 1:07:41
  Speaker 2: Extruded Americans. I'm sorry. I don't know.
• 1:07:43
  Speaker 5: I found myself trying to figure out if any of
• 1:07:45
  Speaker 5: the characters might be Mormons. I decided they're not because
• 1:07:51
  Speaker 5: they either drink or curse or flip people off or such,
• 1:07:54
  Speaker 5: and Mormons don't do any of those things.
• 1:07:57
  Speaker 1: Or that racy hopscotch.
• 1:07:58
  Speaker 11: Which, again, I figured the only reason they chose Utah
• 1:08:00
  Speaker 11: is so they could have those desert.
• 1:08:02
  Speaker 2: Backdrops, which was, to me, just a cool decision. It
• 1:08:06
  Speaker 2: probably was cheap, too, to shoot there.
• 1:08:10
  Speaker 1: I don't know, the other moment I thought, and again,
• 1:08:12
  Speaker 1: it's always him edging up the things, but like, actually
• 1:08:15
  Speaker 1: one that was really good, I liked the Brolin confronting
• 1:08:18
  Speaker 1: him in the middle of the road. Like, that was
• 1:08:20
  Speaker 1: kind of awesome. And like, he just gets off the
• 1:08:23
  Speaker 1: bike and he's just like, okay, you've watched him mow
• 1:08:25
  Speaker 1: people over several times. I'm like, this is kind of
• 1:08:27
  Speaker 1: a cool little standoff here. But it gets kind of
• 1:08:30
  Speaker 1: silly as he gets up to the door and he
• 1:08:31
  Speaker 1: just smacks him in the head. It's fun. Like, it works.
• 1:08:36
  Speaker 1: But that's what I don't get is, like, then he
• 1:08:38
  Speaker 1: just sort of knocks him over. Like, he doesn't really even, like,
• 1:08:40
  Speaker 1: do any damage. And the next thing you know, he's
• 1:08:42
  Speaker 1: in the hospital. Like I said, why was he in
• 1:08:44
  Speaker 1: the hospital? They're keeping him there overnight. Like, I don't know.
• 1:08:46
  Speaker 1: I was like, didn't he just sort of knock him
• 1:08:48
  Speaker 1: on the ground? Like, I don't even think it hit
• 1:08:50
  Speaker 1: his head, did it? It just, like, shoved him, really.
• 1:08:52
  Speaker 5: I still don't know why he was spared.
• 1:08:54
  Speaker 2: You know again that.
• 1:08:56
  Speaker 18: That yeah at that point when the car just the
• 1:08:59
  Speaker 18: car feels like because he took refuge in his shed
• 1:09:02
  Speaker 18: and then just he wasn't going to kill him he
• 1:09:04
  Speaker 18: just kept kind of teasing him he didn't want him
• 1:09:06
  Speaker 18: to open the door but but.
• 1:09:09
  Speaker 11: I like the fact that you don't know why he
• 1:09:11
  Speaker 11: seems to have been chosen though this.
• 1:09:13
  Speaker 13: Is a reincarnation of his father Can we talk about
• 1:09:15
  Speaker 13: the heroics of that doctor, though, to lose your daughter
• 1:09:18
  Speaker 13: and the next day still report him to work?
• 1:09:21
  Speaker 9: What a dude.
• 1:09:22
  Speaker 2: He's a turper. Good doctor.
• 1:09:26
  Speaker 11: My other favorite moment is the quietest hospital in the world, too.
• 1:09:29
  Speaker 2: It's like he's the only one there.
• 1:09:30
  Speaker 1: It's a small town.
• 1:09:31
  Speaker 2: Someone's got to run the building.
• 1:09:32
  Speaker 11: I kind of want to know what town that was
• 1:09:35
  Speaker 11: in Utah, in all honesty.
• 1:09:36
  Speaker 2: I bet you they have the car days. It's like
• 1:09:40
  Speaker 2: up in Pennsylvania, they have blob days. I mean, there
• 1:09:43
  Speaker 2: are all these little small towns that totally capitalize on
• 1:09:46
  Speaker 2: the films that were shot there. Woodstock, Illinois still does
• 1:09:50
  Speaker 2: a thing for the Groundhog because they didn't shoot Groundhog
• 1:09:53
  Speaker 2: Day in Puxatawney whatsoever. So, I don't know. I would
• 1:09:58
  Speaker 2: hope they do.
• 1:10:00
  Speaker 1: Somewhere there's like a car that doesn't look anything like
• 1:10:03
  Speaker 1: that one because they can't afford that car. And they're
• 1:10:05
  Speaker 1: just like, look, it's the car. It's a Beetle or something.
• 1:10:10
  Speaker 11: Then you go back and it's just really, they've just
• 1:10:12
  Speaker 11: erased themselves in the map. And just kids, once they
• 1:10:15
  Speaker 11: get so long of an age, they have to walk down.
• 1:10:17
  Speaker 11: It's like the running of the bulls. It's like they
• 1:10:19
  Speaker 11: just give you an instrument. You know that you're going
• 1:10:21
  Speaker 11: to have, it's like if you don't kill guys, you
• 1:10:25
  Speaker 11: get to survive onto adulthood. And then your children have
• 1:10:28
  Speaker 11: to do this right of passage.
• 1:10:31
  Speaker 1: The running of the cars.
• 1:10:33
  Speaker 2: You have to carry an instrument.
• 1:10:36
  Speaker 1: My other favorite moment is when he's in the garage
• 1:10:39
  Speaker 1: with it. And then the other teacher lady that was
• 1:10:43
  Speaker 1: watching the kids is like, stay out of here, stay
• 1:10:44
  Speaker 1: out of here. And then she goes back to take
• 1:10:46
  Speaker 1: care of the kids, and he closes the door, and
• 1:10:49
  Speaker 1: he latches. I'm like, okay, first of all, he can't
• 1:10:52
  Speaker 1: fit through the door. He's a car. And he drives
• 1:10:55
  Speaker 1: through buildings. If he's going through there, door open or not,
• 1:10:58
  Speaker 1: he's going through that wall.
• 1:10:58
  Speaker 2: I assume he was latching him just so the kids
• 1:11:00
  Speaker 2: wouldn't come out.
• 1:11:03
  Speaker 1: Don't come running into this evil demon car.
• 1:11:05
  Speaker 2: I don't know. I just thought that was funny.
• 1:11:06
  Speaker 1: He's like, don't you go.
• 1:11:07
  Speaker 3: Through here, car.
• 1:11:09
  Speaker 2: Like, that car's not going to fit through the door. Well,
• 1:11:13
  Speaker 2: it is.
• 1:11:13
  Speaker 8: I mean, why else would his, it was his dad
• 1:11:17
  Speaker 8: showing back up. He was saving it. You know, he
• 1:11:19
  Speaker 8: didn't like the girlfriend. He wanted him to be the sheriff.
• 1:11:24
  Speaker 8: He took care of that. He wanted him to be
• 1:11:26
  Speaker 8: a better sheriff. He took care of that. Protected his family.
• 1:11:31
  Speaker 8: And his father, he picks up his father's badge and
• 1:11:35
  Speaker 8: he keeps it in his pocket. And that's when he's
• 1:11:36
  Speaker 8: able to overcome the barring.
• 1:11:39
  Speaker 2: It was his dad.
• 1:11:40
  Speaker 1: I thought it was my mother, the car, not my mom.
• 1:11:43
  Speaker 2: But again, see, there we go. It goes back to
• 1:11:44
  Speaker 2: the whole thing.
• 1:11:45
  Speaker 11: Maybe we're interpreting it too literally.
• 1:11:49
  Speaker 2: Like maybe the car really doesn't exist.
• 1:11:51
  Speaker 11: Maybe it's just an allegory for just that challenge that
• 1:11:54
  Speaker 11: you have to face within your career, at least in
• 1:11:56
  Speaker 11: that situation, where you truly go up against evil and
• 1:11:58
  Speaker 11: that's what either makes or breaks you in your life.
• 1:12:01
  Speaker 2: You're giving it too much credit. I don't think so.
• 1:12:04
  Speaker 4: I don't know.
• 1:12:06
  Speaker 5: I like the idea of it being as bad.
• 1:12:09
  Speaker 1: It can work well i think it ties in again
• 1:12:12
  Speaker 1: the fact that they set it out in the west
• 1:12:15
  Speaker 1: somewhere is like it totally fits that that old like
• 1:12:18
  Speaker 1: that ghost story goes on forever even if it wasn't
• 1:12:21
  Speaker 1: satan it's just the ghost train stories the ghost riding
• 1:12:25
  Speaker 1: a horse like that ghost out in the west thing
• 1:12:28
  Speaker 1: has been going on since we got here you know
• 1:12:31
  Speaker 1: since there was a west they've been telling some version
• 1:12:34
  Speaker 1: of that story. And this, to me, was just some
• 1:12:35
  Speaker 1: sort of an updating of, you know, and now it's
• 1:12:38
  Speaker 1: a ghost car out in the West just driving around
• 1:12:40
  Speaker 1: killing people because it can.
• 1:12:41
  Speaker 2: I think I kind of see that.
• 1:12:43
  Speaker 4: I don't know.
• 1:12:45
  Speaker 2: I'd still like to see a sequel.
• 1:12:47
  Speaker 1: Now.
• 1:12:48
  Speaker 2: Get Josh Brolin. And get James Beck. Seriously.
• 1:12:53
  Speaker 13: No, I really, I like that the whole city at
• 1:12:55
  Speaker 13: the very end was Los Angeles.
• 1:12:57
  Speaker 2: Ronnie Cox is still around.
• 1:12:58
  Speaker 4: Yeah.
• 1:13:00
  Speaker 2: Was that supposed to be the sequel that he was
• 1:13:02
  Speaker 2: going to?
• 1:13:03
  Speaker 9: It has to have been. And like, yeah, think about
• 1:13:06
  Speaker 9: the congestion on the freeways.
• 1:13:07
  Speaker 8: It's like rubber, the end of rubber. We already mentioned that.
• 1:13:13
  Speaker 8: It's showing up at the end.
• 1:13:15
  Speaker 11: Which that I think actually is the one thing about
• 1:13:18
  Speaker 11: rubber I did not like. I liked it if it
• 1:13:20
  Speaker 11: just had ended with it's in a tricycle now and
• 1:13:22
  Speaker 11: the guy dies and like, that's it. The whole stuff
• 1:13:25
  Speaker 11: where it goes on and on with him going down
• 1:13:27
  Speaker 11: the road and recruiting stuff.
• 1:13:28
  Speaker 4: I'm like, all right, I'm done. Speed this up.
• 1:13:30
  Speaker 2: I know we're just going.
• 1:13:31
  Speaker 4: Please stop. I love Robert.
• 1:13:36
  Speaker 13: Just do it.
• 1:13:37
  Speaker 1: I don't know.
• 1:13:39
  Speaker 2: What else?
• 1:13:40
  Speaker 11: For me, it's just one of my favorite guilty pleasure films.
• 1:13:42
  Speaker 11: It's like after you've.
• 1:13:43
  Speaker 2: Made us watch, you know, Yeti and all this other stuff,
• 1:13:46
  Speaker 2: it's like, I'm going to put my flag down for cheesy.
• 1:13:50
  Speaker 1: These are group efforts. If the rest of you aren't
• 1:13:52
  Speaker 1: coming up with good stuff. So you, thank you for
• 1:13:55
  Speaker 1: throwing one into the fire here.
• 1:13:56
  Speaker 4: You're welcome.
• 1:13:57
  Speaker 5: I really liked Yeti.
• 1:13:59
  Speaker 2: I'm glad I've seen Yeti.
• 1:14:01
  Speaker 1: I'll put it that way.
• 1:14:02
  Speaker 2: We sat there together and watched it as we watched it.
• 1:14:07
  Speaker 2: I think that's what really helped.
• 1:14:09
  Speaker 8: And that people could walk by and see it on
• 1:14:11
  Speaker 8: the screen from the big picture window.
• 1:14:13
  Speaker 12: Actually, someone mentioned it the other day. He was like,
• 1:14:16
  Speaker 12: what were you watching?
• 1:14:17
  Speaker 2: I was like, yes!
• 1:14:20
  Speaker 1: I don't know.
• 1:14:20
  Speaker 12: I tried to explain it and then I was just like,
• 1:14:22
  Speaker 12: you know what? You missed out.
• 1:14:23
  Speaker 1: Yeti's nipple goes erect.
• 1:14:27
  Speaker 2: Yes.
• 1:14:28
  Speaker 1: What are you watching?
• 1:14:30
  Speaker 2: Wait, you're crazy.
• 1:14:31
  Speaker 1: He'll kill us.
• 1:14:32
  Speaker 5: Oh, come on, no.
• 1:14:34
  Speaker 9: Come on!
• 1:14:37
  Speaker 13: No.
• 1:14:37
  Speaker 9: Look at him.
• 1:14:38
  Speaker 4: Look at him.
• 1:14:38
  Speaker 2: He thinks he's got us. Come on, wait.
• 1:14:40
  Speaker 10: Wait.
• 1:14:41
  Speaker 8: Not yet. No, not yet.
• 1:14:42
  Speaker 4: Now go! No!
• 1:15:07
  Speaker 1: Well, on this one, what do you take from the
• 1:15:09
  Speaker 1: big finale? I guess if we were wrapping it up here,
• 1:15:13
  Speaker 1: obviously they're trying to destroy it, but in the fireball there,
• 1:15:17
  Speaker 1: what do you think we're supposed to take from that?
• 1:15:19
  Speaker 5: I was trying to determine something of a face or something.
• 1:15:22
  Speaker 5: I got that there was supposed to be something, but
• 1:15:25
  Speaker 5: I just saw a big fireball.
• 1:15:28
  Speaker 2: Like a snake head?
• 1:15:29
  Speaker 12: It was like a cobra or something.
• 1:15:31
  Speaker 5: It looked like there were shapes trying to form.
• 1:15:34
  Speaker 11: But again, I kind of like that it's like looking
• 1:15:36
  Speaker 11: at one of these people look at, you know, Mount St.
• 1:15:38
  Speaker 2: Helens erupts. It's like, you see a face there and
• 1:15:40
  Speaker 2: there and there and there. I mean, it's even kind
• 1:15:42
  Speaker 2: of left up at the end.
• 1:15:43
  Speaker 1: And the World Trade Center.
• 1:15:44
  Speaker 11: Ronnie Cox's character. He's like, did you see that up
• 1:15:46
  Speaker 11: in the fireball? And it's like, you don't know whether
• 1:15:48
  Speaker 11: James Rowland saw it or not. I mean, I kind
• 1:15:50
  Speaker 11: of infer that he might have, but almost that he
• 1:15:52
  Speaker 11: doubts himself for it.
• 1:15:53
  Speaker 5: He saw his father's face and he just didn't want to.
• 1:15:55
  Speaker 2: Draw attention to it.
• 1:15:58
  Speaker 1: Nope, didn't see anything.
• 1:15:59
  Speaker 4: Moving on.
• 1:16:00
  Speaker 10: It's over.
• 1:16:00
  Speaker 2: It's over. I said it's over. The movie's over. Yeah, because...
• 1:16:04
  Speaker 2: Ronnie Cox could have seen a drink.
• 1:16:06
  Speaker 8: You never know.
• 1:16:09
  Speaker 5: They never went down to find out who was in
• 1:16:12
  Speaker 5: there or see or try to dig it out.
• 1:16:14
  Speaker 3: Or anything, did they?
• 1:16:15
  Speaker 2: Well, maybe that follows.
• 1:16:17
  Speaker 5: I don't think so because I think the car drove
• 1:16:18
  Speaker 5: itself out of the rubble and has headed towards the
• 1:16:20
  Speaker 5: city now for the sequel.
• 1:16:22
  Speaker 11: I think it's just something where it's destroyed and just reappears.
• 1:16:25
  Speaker 12: Maybe it just materialized.
• 1:16:27
  Speaker 2: Yeah, rematerializes.
• 1:16:28
  Speaker 11: Because it almost is kind of inferred at the car.
• 1:16:30
  Speaker 11: It's not whenever it's not killing people. I don't get
• 1:16:33
  Speaker 11: the feeling that it exists.
• 1:16:35
  Speaker 2: Right.
• 1:16:36
  Speaker 11: I almost feel like it just will suddenly materialize out
• 1:16:39
  Speaker 11: in the desert and then just sort of make its
• 1:16:41
  Speaker 11: way towards the victims.
• 1:16:42
  Speaker 1: Yeah, I get that.
• 1:16:43
  Speaker 5: After James Brolin gets hit in the head and the
• 1:16:46
  Speaker 5: car kind of starts glowing, that's kind of what I
• 1:16:48
  Speaker 5: thought was happening at first. And then it kind of
• 1:16:50
  Speaker 5: turned into just a whiteout. But at first I thought
• 1:16:52
  Speaker 5: it was... Well, it might have been a little bit
• 1:16:54
  Speaker 5: of both.
• 1:16:54
  Speaker 4: A little bit of both, yeah.
• 1:16:55
  Speaker 5: Just kind of he was disintegrating to reappear elsewhere. Then
• 1:16:59
  Speaker 5: why does he have to drive to the city in
• 1:17:01
  Speaker 5: the end credits? Why can't he just.
• 1:17:04
  Speaker 1: Well, he appears out in the desert and then drives.
• 1:17:07
  Speaker 1: He's got to appear somewhere and make the trek in there.
• 1:17:09
  Speaker 2: It's got to be dramatic.
• 1:17:10
  Speaker 4: Yeah, you're right.
• 1:17:11
  Speaker 2: That makes sense.
• 1:17:13
  Speaker 1: Do you think it's Satan? Or is it just evil?
• 1:17:16
  Speaker 1: Or is it a ghost?
• 1:17:18
  Speaker 2: James Brolin's dad.
• 1:17:19
  Speaker 1: Is it Christine?
• 1:17:20
  Speaker 2: It's just evil. Let's go with evil.
• 1:17:23
  Speaker 1: I thought Thelma and Louise were driving at the end there.
• 1:17:26
  Speaker 1: It's just me.
• 1:17:27
  Speaker 2: I do like that the girls finally....
• 1:17:32
  Speaker 8: Were endeared to the teacher when she started cursing at
• 1:17:36
  Speaker 8: the car. That's pretty cool. You should have seen her.
• 1:17:41
  Speaker 2: She's had this and this. I wish the score was available.
• 1:17:45
  Speaker 2: I wouldn't mind having a score to the film. I mean,
• 1:17:47
  Speaker 2: it does sound very, very familiar, but at the same time,
• 1:17:50
  Speaker 2: it's got its own unique elements to it.
• 1:17:55
  Speaker 13: The little girls did wind up being Kyle and Kim
• 1:17:56
  Speaker 13: Richards of, wait, what is that called?
• 1:17:59
  Speaker 9: The Ah, Real Housewives of Beverly Hills.
• 1:18:03
  Speaker 1: Oh, God.
• 1:18:03
  Speaker 2: Yeah.
• 1:18:04
  Speaker 1: Really?
• 1:18:04
  Speaker 4: Yeah. Wow.
• 1:18:05
  Speaker 9: Yeah, so that's kind of in character. Did you see her?
• 1:18:08
  Speaker 9: Did you see her?
• 1:18:10
  Speaker 1: Since I haven't watched that, I'm very thankful that I.
• 1:18:13
  Speaker 2: Didn't know that. Not that I've seen it.
• 1:18:15
  Speaker 11: I did try to get a print of this for midnight,
• 1:18:18
  Speaker 11: and not one exists, according to Universal, which is a shame.
• 1:18:21
  Speaker 1: It just materialized.
• 1:18:22
  Speaker 2: Maybe it never was in theaters. Do we have any proof?
• 1:18:25
  Speaker 2: I don't know. That would explain it bombing at the
• 1:18:33
  Speaker 2: box office. It never actually appeared at the box office.
• 1:18:39
  Speaker 2: All right.
• 1:18:41
  Speaker 1: If that wraps up the car.
• 1:18:42
  Speaker 11: Yeah, it didn't appear until that one day I was
• 1:18:44
  Speaker 11: at Suncoast and Brian was like, you might like this movie.
• 1:18:47
  Speaker 1: Take this, weirdo. And then I bought it.
• 1:18:49
  Speaker 5: Yeah, do it.
• 1:18:50
  Speaker 2: Like a decade later, I was like, I like this
• 1:18:52
  Speaker 2: movie enough. Let's talk about it.
• 1:18:54
  Speaker 11: And Brian's like, you know, I never would have thought
• 1:18:55
  Speaker 11: this would come back to haunt me when I saw
• 1:18:58
  Speaker 11: one copy of the car.
• 1:18:59
  Speaker 1: I thought that was the best time I've seen it.
• 1:19:00
  Speaker 2: It was on the 999 show. Yeah. The one that
• 1:19:06
  Speaker 2: you pick it up and it's lighter than a normal box.
• 1:19:08
  Speaker 1: The evil leaves the car just possesses a VHS tape.
• 1:19:10
  Speaker 2: That's EP.
• 1:19:10
  Speaker 13: EP.
• 1:19:10
  Speaker 2: I love EP. Yeah, exactly.
• 1:19:12
  Speaker 16: It's the majority of my movies from those days.
• 1:19:14
  Speaker 1: I was like, Craig, I finally got rid of that movie,
• 1:19:16
  Speaker 1: The Car.
• 1:19:17
  Speaker 11: Wouldn't that be ironic if that's exactly how it happened?
• 1:19:20
  Speaker 11: Because I don't think that's actually too much of a stretch.
• 1:19:22
  Speaker 11: Because I did buy it at Suncoast. I know that
• 1:19:25
  Speaker 11: for a fact. And it was the one at St.
• 1:19:27
  Speaker 4: Matthews.
• 1:19:27
  Speaker 1: Then I would have been like, Dave, guess what I
• 1:19:29
  Speaker 1: unloaded today?
• 1:19:29
  Speaker 2: I was going to say, it was either you or Conover.
• 1:19:32
  Speaker 4: One of us.
• 1:19:33
  Speaker 8: We've been turning that out for weeks trying.
• 1:19:36
  Speaker 2: To get it.
• 1:19:37
  Speaker 1: Maybe we teamed up and we're like, here he comes again.
• 1:19:40
  Speaker 1: You sell him something. I'm going to sell him the car.
• 1:19:43
  Speaker 8: There were times at Suncoast where we would say, okay,
• 1:19:46
  Speaker 8: you see if you can sell this tonight.
• 1:19:48
  Speaker 2: And we'd... Ma'am.
• 1:19:53
  Speaker 1: Let me tell you about Children Shouldn't Play With Dead Things.
• 1:19:56
  Speaker 2: It's a classic and fun for the whole family.
• 1:19:59
  Speaker 1: I mean, it says children right in the titles.
• 1:20:01
  Speaker 8: I recommended movies that I'd never seen.
• 1:20:05
  Speaker 2: I did everything. Children love Unico movies. Unico and the
• 1:20:08
  Speaker 2: Isle of Magic. Your child will love it.
• 1:20:11
  Speaker 8: I was top in sales for a month once because
• 1:20:16
  Speaker 8: it was right after tax season. And I guess people
• 1:20:20
  Speaker 8: were getting back. And I had the whole monologue on how...
• 1:20:26
  Speaker 8: disney would take things off of the vault take say
• 1:20:30
  Speaker 8: put them in and like this is going then this
• 1:20:33
  Speaker 8: is going in it's going to be eight years until
• 1:20:34
  Speaker 8: then and your kid's not going to be able to
• 1:20:36
  Speaker 8: say and people would walk out with 10 15 condo
• 1:20:39
  Speaker 8: man yeah and and um It was even in the
• 1:20:45
  Speaker 8: little Suncoast news that my name.
• 1:20:47
  Speaker 2: Was in there.
• 1:20:48
  Speaker 1: Greg lied to a lot of customers this month.
• 1:20:50
  Speaker 2: I sold a lot of movies. No one has sold
• 1:20:52
  Speaker 2: more copies of The Happiest Millionaire this month than Greg Caulfield.
• 1:20:57
  Speaker 1: And we got rid of the car. As a company,
• 1:20:59
  Speaker 1: we only had one copy. Some poor bastard bought it.
• 1:21:03
  Speaker 2: Congratulations. To which he says, hot damn. And it worked.
• 1:21:08
  Speaker 11: But I'm not crazy enough to at least like it
• 1:21:10
  Speaker 11: because they released that die-cast reproduction of the car about three,
• 1:21:14
  Speaker 11: four years.
• 1:21:14
  Speaker 2: Ago, which I'm not ashamed to admit that I have.
• 1:21:17
  Speaker 1: I would have that, but it's a badass car.
• 1:21:20
  Speaker 8: I'm pretty sure that as I was watching it, I
• 1:21:22
  Speaker 8: remember the Hot Wheels that looked a lot like that one.
• 1:21:27
  Speaker 2: I wonder.
• 1:21:28
  Speaker 8: I don't look up toys very often, but I wonder
• 1:21:30
  Speaker 8: if you could find it.
• 1:21:31
  Speaker 2: Hot Wheels, Satan Edition. I don't look up toys very often,
• 1:21:34
  Speaker 2: but one in the morning.
• 1:21:35
  Speaker 12: I feel like my brothers might have.
• 1:21:36
  Speaker 2: Had that one. I mean, it was.
• 1:21:39
  Speaker 1: Based on a real car, they just modified the hell
• 1:21:41
  Speaker 1: out of it. They actually lowered the window so it
• 1:21:43
  Speaker 1: made it have narrow, creepy eyes, which I thought was
• 1:21:46
  Speaker 1: kind of cool.
• 1:21:47
  Speaker 11: I mean, it's modified just slightly where it has the
• 1:21:50
  Speaker 11: lower top and the tinted red windows, and it doesn't
• 1:21:52
  Speaker 11: have the door handles.
• 1:21:54
  Speaker 2: I think the frame is pulled out a little bit, too.
• 1:21:58
  Speaker 2: And you can see that it's a Lincoln.
• 1:22:01
  Speaker 1: Sponsored by Lincoln.
• 1:22:02
  Speaker 8: And they made it a flat black as opposed to
• 1:22:06
  Speaker 8: a gloss, which.
• 1:22:07
  Speaker 2: I thought was pretty cool.
• 1:22:08
  Speaker 12: In some shots, it looks like it was just spray paint, but,
• 1:22:12
  Speaker 12: you know.
• 1:22:13
  Speaker 14: It's cool.
• 1:22:14
  Speaker 1: That was because they were about to blow up that car,
• 1:22:16
  Speaker 1: and they were like, whatever.
• 1:22:21
  Speaker 4: All right.
• 1:22:21
  Speaker 1: Well, if that is it for this one, then we
• 1:22:24
  Speaker 1: did want to thank the Dreamland Film Center for letting
• 1:22:26
  Speaker 1: us come loiter around here, and we'll see if we
• 1:22:29
  Speaker 1: can keep Keep hanging out here as much as we can. So, again,
• 1:22:33
  Speaker 1: they are at louisvillefilmsociety.org, and you can find out what
• 1:22:36
  Speaker 1: they're putting together as far as upcoming shows for this theater. So,
• 1:22:40
  Speaker 1: we'll fire up the black devil car and get the
• 1:22:42
  Speaker 1: hell out of here. Otherwise, that about does it. We
• 1:22:45
  Speaker 1: will return next week.
• 1:22:45
  Speaker 2: Same geek time, same geek feed.
• 1:22:47
  Speaker 3: Thanks for listening.
• 1:22:49
  Speaker 19: I need a lot of juice I need some bread
• 1:22:51
  Speaker 19: to use Let's burn this highway down I'm going from
• 1:22:56
  Speaker 19: C to G When the ship ain't a B No solo,
• 1:23:00
  Speaker 19: it just scrapes the ground Can't you see me undertaking
• 1:23:03
  Speaker 19: All the while I'm salivating Won't you let me Push
• 1:23:09
  Speaker 19: a little thrust at you She's.
• 1:23:12
  Speaker 2: Fighting around In my black devil car I can't hear.
• 1:23:21
  Speaker 7: The sound.
• 1:23:44
  Speaker 19: She said, love, let me inside.
• 1:23:46
  Speaker 2: Talking to all those.
• 1:23:47
  Speaker 19: Pretty girls that I meet around the world. Her name
• 1:23:51
  Speaker 19: was Gina. She had seen her. She had the greenest eyes.
• 1:23:55
  Speaker 6: And with those.
• 1:23:55
  Speaker 19: Endless eyes, I put my hair through some misdemeanors.
• 1:24:00
  Speaker 2: Can't you see me?
• 1:24:01
  Speaker 8: I'm not choosy.
• 1:24:02
  Speaker 2: Drive up that machine and I think I'm groovy.
• 1:24:05
  Speaker 6: Won't you let me take a little ride with you?
• 1:24:08
  Speaker 2: She said, love, let me inside.
• 1:24:14
  Speaker 1: Thank you.
• 1:24:40
  Speaker 19: In my black devil car.
• 1:25:09
  Speaker 6: You know I can't hear a sound In my black
• 1:25:18
  Speaker 6: devil car Yeah Baby, no You're such a time machine
• 1:25:32
  Speaker 6: Now let me drive your dream Until your dick is dry.
• 1:25:43
  Speaker 19: I can't hear the sound Thank you.
• 1:27:16
  Speaker 1: James Brolin in the car will return in a moment.
• 1:27:18
  Speaker 2: Like I said, it's one of my favorite guilty pleasure
• 1:27:21
  Speaker 2: horror films. It's just stupid fun. I like it a lot.
• 1:27:23
  Speaker 3: This episode is a production of Movie Meltdown, produced and
• 1:27:26
  Speaker 3: edited by The Oddity Studios, with opening music performed by
• 1:27:29
  Speaker 3: The Empires. For more on how to sponsor or support
• 1:27:32
  Speaker 3: the show, email producer at moviemeltdown.com.
• 1:27:35
  Speaker 7: Talk hard!