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The Warriors (1979) & Xanadu · Citizen Frame

• 0:00
  Music.
• 0:36
  It was a mistake. I broke the rules. Well, now what the hell do we do? Huh?
• 0:42
  Answer that, muse. I don't know. I'm sorry. Just never should have happened.
• 0:47
  Well, it did. I love you, Sonny.
• 0:52
  Kira? I'll love you forever. I will. I'll love you forever.
• 1:01
  Kira? Wait! I'll love you forever.
• 1:10
  Hey, buddy. Once in a while, we like to throw a little treat.
• 1:15
  But if not today. To our listening audience. Yeah.
• 1:21
  Many films will say Harrison Ford. Yes, Harrison Ford had a couple of small
• 1:26
  outings before he hit the big with Star Wars playing Han Solo.
• 1:29
  But his next big outing would be, you know, that was pretty much it.
• 1:34
  He can do anything he wanted once he signed on to play Indiana Jones.
• 1:39
  A lot of actors do that. They'll go on to their, they got their stepping stone,
• 1:45
  which would be, say, Star Wars.
• 1:48
  And then their next decision is the go-to.
• 1:52
  This is the one that could catapult them into A-list status, as they say.
• 1:57
  Michael Beck didn't do that. Saw they not? Unfortunately.
• 2:01
  Poor guy. I like, before we get any further in this conversation,
• 2:04
  I like Michael Beck. He's a pretty grounded guy.
• 2:08
  He's come to peace with it. He's even said, by doing the second film we're going
• 2:13
  to talk about today, Warriors opened the door for his career,
• 2:18
  and this one certainly closed it.
• 2:21
  Which is kind of sad, but he's accepted it.
• 2:24
  And Michael Beck has worked to this day and working nonstop.
• 2:29
  So, good on him. but yeah i
• 2:32
  mean we'll obviously get to it but i
• 2:36
  i think the problem with xanadu that we'll
• 2:39
  be talking about he was horribly miscast but we'll
• 2:41
  get more to it in detail later beck is a stage actor well all these guys are
• 2:47
  1979 warriors now the warriors came out at a perfect time this is the transition
• 2:53
  period from the 70s and the 80s which is kind of where xanadu went believe or not,
• 3:00
  and we'll dig into that one.
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  Yeah, Michael Beck is basically, if the transition from the 70s to the 80s had
• 3:07
  a face, it would be Michael Beck's face. So.
• 3:12
  But this was coming to the end of Gritty Crime Drama. We've talked about this before.
• 3:16
  Gritty Crime Drama really was hit big in the 70s with Freakin's French Connection
• 3:22
  with Sam Peckinpahs. I think he did The Getaway.
• 3:26
  You had a great film called The Driver. Now, The Driver is an underrated little gem.
• 3:31
  We wouldn't have a film called Drive that just came out a few years ago.
• 3:34
  We wouldn't have Michael Mann do Thief. It's the driver that really catapulted
• 3:41
  the success of their director,
• 3:47
  which was Walter Hill, as well as Michael Manns when he copied it a bit when he did Thief.
• 3:55
  So, this was coming to the tail end of this kind of thing. Serpico was coming out.
• 4:00
  Oh, Serpico, sorry. Fuck. What was it? Oh, Don't Day Afternoon.
• 4:05
  No, that's early 70s. yeah no this was oh my god cruising cruising yes freaking
• 4:11
  coming out freaking again and,
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  so you have these you still have these dark ones but we'll pave the way the
• 4:19
  dark ones would slowly come and go into the 80s and then we get into like more
• 4:22
  of the bubblegum kind of stuff,
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  but it was walter hill i'm a big fan of walter hill this is
• 4:27
  really dragging on i don't give a fuck walter hill and richard
• 4:30
  donner kind of came out around the same time richard donner's success
• 4:33
  with the omen then he got him superman and we know
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  his whole story walter hill did to
• 4:39
  the driver and then you got the warriors now
• 4:43
  the warriors is was kind
• 4:45
  of controversial at the time wasn't a big hit this is
• 4:48
  now considered a cult hit it is also considered i
• 4:52
  don't i think of all the cult hits most of the cult hits are kind of
• 4:54
  still kind of campy but i think this is almost this
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  is near dear to my heart this cult hit next to the
• 5:01
  thing is in my these two
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  this film is in my top 10 film of all time let's get that out of the way yeah
• 5:08
  I first watched it on a tv screening many years ago and it was on movie drum
• 5:14
  which was a series that BBC2 did where they would it was like late Sunday night
• 5:18
  where they would each week they would have a cult film it was first introduced by Alex Cox and then.
• 5:24
  Mark Cousins then was the guy who introduced it, you know, a film each week,
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  you know, a cult-type film.
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  And this was one of them. I always enjoyed Movie Drone, that series.
• 5:34
  And this was one of them. And that's when I first came upon The Warriors.
• 5:38
  And I've loved it. It's became a real favorite.
• 5:41
  The Warriors, I was introduced to it on afternoon TV.
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  It was actually quite played a lot on afternoon TV. Edited, but by today's standards,
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  not much editing because it's pretty tame by today's standards. Totally.
• 5:54
  But the reason it had some very controversy is that New York at the time was
• 5:58
  going through a rough patch.
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  Crime was up. Everything was, it didn't have a really good look.
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  It doesn't have that New York, New York image that we all know and love.
• 6:09
  And it wasn't until Giuliani became mayor where crimes, they had like 2,000 murders a year.
• 6:16
  11,000 crimes occurred every week.
• 6:19
  Mayor Giuliani came in and it dropped by 56%. That's fucking impressive. Yeah.
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  It's considered now one of the most safest cities in the country, in the U.S., that is.
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  And it had, obviously, tourism. We all know the story of New York.
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  But he was famous for, you know, the whole alleyways, getting rid of alleyways in New York.
• 6:39
  And so businesses would have to get their deliveries in a different way.
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  I don't know how he managed it.
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  But he cleaned it up and good on them. But at the time...
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  Back in the 60s, when this trouble really started kicking off, Saul Uric wrote a book.
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  And this book was a look at gang violence in the city of New York.
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  And that book featured a gang called The Dominators.
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  And this is where we got The Warriors from. Now, the book is called The Warriors
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  as well, because The Warriors represents all the gangs that are represented
• 7:17
  in the film and in the book.
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  But they decided to make The Warriors the name of our gang, because it just sounds cooler.
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  Yeah, actually their full name is actually the Coney Island Warriors.
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  But yes, essentially, yeah, the sort of protests and stuff at the time were
• 7:36
  down to, it boiled down to really this film. probably a lot of people protesting
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  against it that hadn't actually watched it, but a lot of it was down to basically
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  it was seen as promoting gang violence.
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  I can understand why people would be a little uproar because the city is trying
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  to rebuild itself and you're reflecting what was, and the gangs were going on
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  in the city, people in New York.
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  This is the only fantasy element is the makeup and the costumes.
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  And the way it's presented, yeah. And they did that on purpose just to give
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  a little fantasy element so people didn't take it too seriously.
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  But even during the time they had to hire gang members to watch their stuff and the posters,
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  they had gangs were pissed because they weren't
• 8:15
  being represented but they had actors playing the gangs and the
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  posters themselves they had to basically dial down the posters about these are
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  the armies of the night they are so many hundred thousand strong that type of
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  thing they had to actually reissue the posters toned down essentially basically
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  the studio got cold feet and were very worried,
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  And so they should be. They got a film here and they got to make sure that it
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  makes it, that it makes its money.
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  So I have nothing against what the studio did. Yeah, but inadvertently.
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  There's no but, there's no but. No, there is. I realize they, they have to be careful.
• 8:51
  You have this thing about. Well, you're going to let me finish.
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  Are you going to let me finish? You have this thing where studios shouldn't have to profit.
• 8:57
  No, no, no, no. They have to sacrifice their film for the, for the greater good of art.
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  No, no, that's not what I'm going to say.
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  Inadvertently, they're sort of getting cold feet. actually affected
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  the box office so they made less money
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  whenever it was originally released obviously
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  the profits grew um on the likes of video and dvd and such but due to the the
• 9:21
  studio getting cold feet they actually affected their own profits you know obviously
• 9:26
  they're a business they're looking to make money but they did make a mistake
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  by sort of toning down the promotion of it essentially because it affected the money they made.
• 9:36
  So, you know. Let's talk about the gangs involved behind the scenes.
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  Ha ha ha. Are they real life gangs?
• 9:44
  No, I'm talking about the fucking crew. Right? The director and the producers.
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  Ha ha ha.
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  All right, Walter Hill, as you know, he did The Driver, 48 Hours,
• 9:58
  Southern Comfort, Streets of Fire, Trespass, Red Heat, Extreme Prejudice, and Last Man Standing.
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  He's also the creator of Alien. That's a big one. Yep.
• 10:06
  He is just a wonderful director, Will Burst, does all the different genres, really into Westerns.
• 10:12
  You can tell most of his films have a modern Western feel to him.
• 10:16
  Well, yeah, with the whole sort of gang, the right type gang type thing,
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  even Alien, you know what I mean? That's about the sort of, you know,
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  the ragtag gang, you know, on the Nostromo and stuff. So yeah,
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  there's definitely that element there.
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  Oh, his whole film is the Streets of Fire, plays like that with the Tafou,
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  Southern Comfort, plays like that. Extreme Prejudice, Last Man Standing is a Western.
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  But yeah, he has that feel to him. So it's like a good composer.
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  You always know when you're hearing their sound. You always know when you're
• 10:45
  watching a Walter Hill film. He's got his, that's his mark. That's his trademark.
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  You also had a couple of young producers, Frank Marshall, who went on to produce
• 10:53
  all of Spielberg's stuff, worked in Amblin Entertainment, also directed the
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  movie Alive, which I really like, and Arachnophobia.
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  You've got Joel Silver producing, who ended up doing the Lethal Weapons in the
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  Matrix films. He's Action God. You have Lawrence Gordon.
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  You've got the music, wonderful, wonderful score by Barry DeVorzen.
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  Not to mention, he also wrote with Joel Walsh in The City, which is a fucking great song.
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  Yeah. I mean, I can keep calling all the people that started their careers around this film.
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  At the end, although we will get to it, I did notice that a lot of these producers
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  like Gordon and Joel Silver are actually producers on Xanadu as well.
• 11:32
  Yeah, yeah, we'll get to that one. They really fucked their boy over that one.
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  Of themselves, arguably. Yeah.
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  Now, before we get into this, this is a little controversial what happened on the set.
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  So the film, and you can tell by watching it now with some of the edits,
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  that this film was based around Fox.
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  Yes, Fox was played by an actor still around today, Thomas Waits.
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  We know him from The Thing.
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  And it is too bad they couldn't have a happy medium.
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  But during the filming, they felt swan. Michael Beck had more of a presence.
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  So they kept kind of brushing off the character of Fox.
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  Thomas Waits did not like this. He walked off the set. That's why his death
• 12:15
  is on screen, but it's by a stuntman. Yeah.
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  And his voice is done by soundbites from other sentences he used in the film before he left.
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  He also, to this day, has his name removed. Yeah. He's not in the credits. He's not in the poster.
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  But he has embraced the film, and he does the fan service by going to all the Comic-Cons and stuff.
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  So he has come to terms with it. But even Walter Hill to this day says he regrets winning.
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  Yes, they have sort of patched things up.
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  Apparently, Waits did write a couple of letters of apology to Walter Hill,
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  but Walter Hill himself, to his credit, actually said that if he was a more
• 12:56
  experienced director, he would have handled it properly.
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  So they both sort of have admitted to their own faults within this situation,
• 13:04
  and they have patched things up, and things are all good now type thing.
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  Originally, Mercy was supposed to be the love interest for Fox.
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  That's right. yeah and actually as the movie plays out because
• 13:18
  i don't like character of mercy she should have been written out personally
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  she's a bit yeah you know watching it
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  and knowing what went on you notice the way
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  thing there's strange editing of the scenes that she's
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  in and stuff you know and you know it's
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  a bit sort of whenever you know what went
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  on in the background it but you can
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  notice things that are a little jarring where they're patched
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  together yeah that's exactly what happened because
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  there's really no chemistry between them two um but there
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  was with fox and her if there's a couple scenes where
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  they're sitting together and obviously with
• 13:54
  the intent of them getting a romance that would have been all right
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  with me but it's but you know whatever
• 14:00
  happened character and quite a decent enough
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  character but the problem is it's the way
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  she's used in it and you can see there's been a lot of editing going on
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  well let's jump into this there we
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  go i'm sorry i'm sighing because it's early in
• 14:14
  the morning and we're about to talk xanadu so fuck fuck
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  you all from making me have to do this uh we got michael beck as swan the great
• 14:23
  great great love to see him he's fucking huge actor now james remar is ajax
• 14:28
  doris wright is cleon brian tyler snow david harris is cochise tom mckillareck
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  is cowboy fox is tom played by Thomas Waits.
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  And then we got the rest of the cast, which is Rembrandt, Vermin, and then Mercy Cyrus.
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  We got the DJ, played by the late thing, Lynn Thigpen, who actually made a great career.
• 14:47
  She had a very good career until Sally C. passed, but she had a great career
• 14:50
  and she did it by just playing lips.
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  She's a good character in this.
• 14:56
  She's very good as the narrator. Oh yeah. Hey, Bobbers, you know.
• 15:01
  And then we got a boy, David Patrick Kelly, who plays Luther.
• 15:07
  Yeah. Became more famous for Twin Peaks as well as Ben Horn's brother.
• 15:14
  But yeah. Nobody cares about that. Twin Peaks fans, though? No,
• 15:17
  they don't. They don't even know who this man is.
• 15:19
  They probably couldn't tell you his name. Well, the Twin Peaks fans.
• 15:23
  Real fans of David Patrick Kelly, that means non-Twin Peaks fans,
• 15:27
  would know him from Commando.
• 15:30
  Fucking great movie. He pops up on a load of things, actually.
• 15:33
  Yeah, he's in all Walter Hills. So is Remar. They're all...
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  Because like Walter Hill and like other directors like to keep some of the-
• 15:42
  Part of the gang. Part of the gang.
• 15:45
  And speaking of gangs, we got the Gramercy Riffs, the Punks,
• 15:48
  the Lizzie's, the Baseball Furies, the Turnbull ACs, the Rogues, the Boppers.
• 15:53
  Well, the Boppers are pretty much everybody. Yeah. And the Orphans. The worst gang.
• 16:01
  Led by a part of David Schwimmer. I have that in my notes.
• 16:06
  Yeah. I have power land David Schwimmer. even years ago I remember re-watching
• 16:11
  this with a bunch of mates and I was laughing thinking it was like a shit version
• 16:16
  of David Schwimmer who at the time, this was in the 90s so at the time,
• 16:20
  had just become famous through Friends, but yeah they're like the shitest gang ever you know.
• 16:27
  I do like when we how we introduce the bands, very quick it's a short film,
• 16:31
  it's an hour and a half and they're all going to meet Cyrus and we see all these
• 16:35
  side conversations that they're having We find out they can't bring weapons.
• 16:39
  They can only bring, I think, six or seven of them.
• 16:43
  Just these different rules for all these gangs to meet in Central Park. Yes.
• 16:47
  And quite a neat idea.
• 16:50
  And the whole concept is Cyrus wants to get everyone together.
• 16:54
  And they say, well, just a quarter
• 16:57
  of you guys being here, we will have a bigger force than the police.
• 17:01
  Yeah. So his whole saying is to take over the city. Yeah, exactly.
• 17:05
  At the time, it's not that crazy.
• 17:08
  Well, yes. I mean, Cyrus, yeah, he basically wanted to bring peace amongst the
• 17:12
  gangs for them to unite and then take over the city, basically.
• 17:16
  And I love also the touch. Technically, this is a science fiction film because
• 17:21
  it's set in the near future.
• 17:24
  I didn't catch any of that. I didn't catch any of that. It depends on the version
• 17:27
  you watch, but in the more comic book-y version, you know, with comic book-y
• 17:32
  sort of credits, there is a title that says sometime in the future.
• 17:38
  Oh, yeah. But it was removed at one point as well by the studio and then reinserted.
• 17:44
  There's another version of this, guys. Doesn't hurt the film,
• 17:47
  whether you like it or not.
• 17:48
  A lot of people didn't like it because they'd rather stick with the graininess
• 17:51
  and the original material, which I understand. But there's a comic book version of it.
• 17:55
  It's not an actual comic book, but there's a director's cut.
• 17:58
  Now, when you buy the Blu-ray, I think it comes with both versions.
• 18:01
  And with the director's cut, I actually really fucking enjoy. I think it's very fun.
• 18:06
  And it's introduced by Walter Hill. He says, the book and our tale was supposed
• 18:12
  to be about the Spartans, the famous story about a small group of soldiers having
• 18:18
  to fight their way back home.
• 18:20
  And that's kind of what Saul was going for and what Walter Hill was going for.
• 18:25
  So he wanted to show that by each shot, the film itself is done with a slide shot.
• 18:33
  So it slides and then you go to the next scene. But in the director's cut,
• 18:38
  they freeze into it and it turns into a comic book picture.
• 18:41
  You see little bubbles of the dialogue that we just saw and heard and then it
• 18:45
  cuts to another page in the comic to the next scene. Very clever, very fun.
• 18:50
  Watch it, but maybe because it's very fun, maybe that's not what the real fans really want.
• 18:56
  They want this version, which is fine. I understand that 100%.
• 19:00
  Even with the more raw version, it still plays like a comic book.
• 19:05
  Oh, yeah, it does. It does. I wouldn't have made that reference,
• 19:08
  though, until I saw the director's cut. Right.
• 19:12
  But yeah, it does, now that I know that that was Walter Hill's intent.
• 19:16
  Yeah, I would even say that it is, in various ways
• 19:19
  quite campy as well you know in
• 19:22
  terms of you know i know there was the controversy about it you
• 19:25
  know you know people thinking that it was promoting gang violence but this is
• 19:29
  very much a comic book take on gang violence obviously it was a different time
• 19:34
  and these days we're much more desensitized to screen violence but certainly
• 19:39
  watching it in 2025 it does feel almost innocent you know.
• 19:45
  I don't think it's innocent. I think the violence is there.
• 19:49
  I don't want to talk about the violence. It's not gratuitous violence,
• 19:52
  guys, at all. But none of it was in the 70s.
• 19:57
  The 70s was more about the rawness of the characters, the locations.
• 20:02
  The settings. The settings, the dialogue. It was raw. The stories. Yeah.
• 20:08
  That's what the violence. And the violence, yes, you'll have some violence like
• 20:13
  Death Western will go over the top. especially Wimmer, he got was nuts.
• 20:17
  But this one does have it. What they do though is they use sound effects really
• 20:24
  to emphasize the violence.
• 20:25
  The famous one we'll talk about with my favorite, the Baseball Furies,
• 20:29
  when they're swinging the bat, they intensely add a sound of the wolf sound
• 20:34
  of swinging the bat to let you know that this thing's swinging fast and hard.
• 20:38
  And the clanking of the word, the bats on the bats and stuff.
• 20:41
  Yeah, exactly. So when someone does take a hit, it might look cheesy,
• 20:46
  but we don't see that cheesiness because the sound of what we've already given
• 20:50
  shows that this guy's taking a hit. Yeah. It makes any sense.
• 20:55
  But it's really about grittiness. Grittiness does not necessarily mean violence. Yeah.
• 21:00
  With the violence here, it almost feels at times like dance because it's obviously
• 21:05
  choreographed like dance would be, you know. We'll get to that.
• 21:11
  You know.
• 21:13
  Yeah, but let's talk about the, I love when Luthor shoots Cyrus.
• 21:20
  Can you dig it? Yeah.
• 21:23
  I know there was a rumor not too long ago, actually, they're going to remake
• 21:27
  the Warriors. Awful idea.
• 21:29
  Yeah, I know. It wouldn't make any sense. It wouldn't work. Yeah.
• 21:33
  But it, and they wanted Denzel Washington to play Cyrus.
• 21:37
  That would actually be kind of cool as a cameo.
• 21:40
  Yeah, that would work. But just do not remake it, please.
• 21:44
  Oh, no. They won't touch it. They were going to do a TV show. Didn't work.
• 21:49
  The video game's pretty good. Video game's pretty good.
• 21:52
  But yeah, you have our boy Luther, and he just shoots point blank Cyrus.
• 21:55
  Nobody else sees this. We do get a witness who comes, obviously,
• 22:00
  who snitches on him at the end, but nobody else sees this.
• 22:03
  Yeah. I think it's kind of funny. But the one witness, and this is talking about
• 22:07
  what happened with Fox's exit in the film, he's the key witness.
• 22:12
  So this gang, the rogues, that he's part of, Luther's part of,
• 22:16
  has to find him because he's the one who witnesses the killing.
• 22:21
  So that's another key story that kind of disappears,
• 22:25
  once we lose Fox well yes and then I
• 22:28
  think there's some I mean obviously there's more than one witness because
• 22:31
  one of them does come to the rogues you know around the start of the third act
• 22:36
  you know and basically the same what's the effect of yeah we've got new information
• 22:40
  here yeah I mentioned that but it's the Gramercy riffs he goes to not the rogues
• 22:46
  sorry the riffs Yeah, the Gramsci riffs.
• 22:50
  And that's our narrator. I love the narrator and how she just kind of gives you one code.
• 22:55
  And the music is a way of leading us into the next scene.
• 23:02
  And when she finally gives the announcement, these guys look out.
• 23:06
  They're coming for you. The gangs are coming for you.
• 23:09
  And they play Nowhere to Run. Yeah.
• 23:12
  It's a great soundtrack overall. It's a great soundtrack.
• 23:16
  And but as they play Nowhere to Run we get the glimpses of the main the main
• 23:21
  gangs we're going to see the Furies the Punks the Turnit the Turnbable ACs the Lizzy's so forth yeah,
• 23:27
  I do like the fact when they are running away and they're in the graveyard and
• 23:30
  they're hiding from the cops and this is where Ajax ego starts kicking in a
• 23:35
  bit he feels he should be the leader but Swan's war chief,
• 23:38
  so he automatically becomes the leader,
• 23:41
  And there's a little tit for tat. Okay, guys, we got to go. Let's hurry.
• 23:45
  We got to get to the train. And then they stop Rembrandt. Hey, don't forget to tag us.
• 23:49
  So we have to stay out and fucking start spray painting fucking gravestones.
• 23:54
  Yeah. And apparently real life gangs were pissed at some of the graffiti that
• 23:58
  is done for the film because they were like graffitiing over their graffiti.
• 24:02
  And apparently it caused a bit of friction on set with the rail gangs who were
• 24:08
  basically doing security type thing for the crew and the cast.
• 24:14
  Yeah, they had a hard time with those guys.
• 24:20
  As you meet each... The tumble ACs are kind of boring. They're on a bus.
• 24:25
  They're kind of skinheads. Yep. And they get to the train in time.
• 24:29
  Nothing big. But what happens or as each encounter happens, it gets more aggressive.
• 24:36
  Yes. So it does, and that's kind of where we're at. It kind of picks up too.
• 24:40
  So we give, you know, for people first time viewing it might think it comes off cheesy.
• 24:44
  It's not. You got to look at the bigger picture and it does get some really cool fights. One thing.
• 24:50
  Especially the bathroom scene with the punks. Yeah. One thing.
• 24:53
  Yeah, it's the best fight.
• 24:54
  One thing that it does jar a little, it's nothing major, but the streets are
• 24:59
  deserted. So there's no like members of the public or even people working in
• 25:04
  the train stations, you know, which.
• 25:06
  Well, you got to keep in mind is what it was at 2 a.m. Yeah.
• 25:10
  And yes, 2 a.m. and you're in the south side. So you're in, you're in the ugliness
• 25:14
  of, you're in the underbelly.
• 25:16
  Those, the only shot in the really ugly, pretty much desolate streets.
• 25:21
  Well, I can sort of accept it. That's how they played on it.
• 25:24
  That's how they played on it. I can accept it in my head in terms of,
• 25:27
  yeah, because it's so dangerous in this sort of universe, you know,
• 25:31
  whenever this is set, you know, in the near future, that it's so dangerous,
• 25:35
  you know, people just wouldn't go outside their doors, especially after, you know, nightfall.
• 25:39
  I do like, and I didn't catch this the first couple of viewings,
• 25:43
  where Fox, the train, they're on the train, they're all happy,
• 25:48
  and our will be at Coney Island.
• 25:49
  At this point, they don't know they're being attacked.
• 25:52
  Yes. They just think they're just gangs being gangs. they're being
• 25:55
  hunted that is so the fire
• 25:58
  starts and it stops the train they have
• 26:01
  to get off the train to get to another train station cause them to go back on
• 26:04
  foot and there's a great line that fox says he goes guys who cares about the
• 26:08
  fire we need to worry about who set the fire yeah he's the wise one he starts
• 26:13
  putting the piece together that this is an ambush yes that's right so again soymor,
• 26:20
  character development for this character that's suddenly taken away from us.
• 26:23
  At this point as well, they don't know that they're marked men and Cochise,
• 26:28
  their former leader, has just been killed in this sort of confusion after Saris
• 26:33
  has been assassinated, essentially.
• 26:35
  Now, we need the orphans. We need a bunch of pussies.
• 26:40
  Fucking hell. You know, Mercy had more balls than these guys.
• 26:44
  Well, she even, whenever they are, I actually felt sorry. I feel sorry for them
• 26:49
  in a way because they are dicks and they are pussies.
• 26:52
  But Mercy, essentially, I mean, she's on the ball whenever they're saying,
• 26:56
  okay, okay, we'll let you guys walk through our neighborhood.
• 26:59
  And next minute she goes, clack, clack, clack, clack, clack, clack.
• 27:03
  Well, here's the funny thing is, that's why I don't like the character.
• 27:07
  She wanted them to fight the warriors. Aye, because she wants,
• 27:11
  she's impressed with like tough guys and all that sort of thing.
• 27:14
  Yes, it's, you know. I didn't really get her whole thing.
• 27:18
  That's why I don't like her, I think she's miswritten I think it's a romantic
• 27:25
  interest shoehorned in, I don't mind the character herself and the actress,
• 27:29
  but overall it does feel a little shoehorned in just for the sake of a romantic
• 27:36
  interest and then with all the confusion, who shoes a romantic interest to,
• 27:40
  that makes things a bit more weird. We cut to Luther,
• 27:46
  And he's telling me, he's going, okay, guys, the Warriors have just passed a
• 27:51
  few more gangs and we got to get there first. We got to get to them because
• 27:55
  obviously they're witnesses.
• 27:56
  And he's like, yeah, we got to get them, man. We got to get them.
• 27:59
  And then one of the guys, the rogues goes, dude, why are you fucking smiling?
• 28:03
  Because I'm having a good time.
• 28:06
  I love how it's completely over the top sort of almost pantomime acting, you know what I mean?
• 28:12
  But it works here a hundred percent. So it does.
• 28:17
  He comes off as deranged and you know just because he had no reason for killing
• 28:21
  Cyrus and even later on I think he says because I felt like it,
• 28:26
  and there's also a scene where they I think it's this scene actually where there's
• 28:32
  the girl selling you know the stuff yeah it's the scene before this one but
• 28:36
  yeah what about the money you owe what money,
• 28:42
  no he goes did he say for what that's it that's right That's what they're doing.
• 28:47
  It's for what? Yeah, as he's talking, reporting everything in,
• 28:51
  his gang buddies are taking candy bars and shit.
• 28:54
  That's right. And he's like, good, you're going to pay for that?
• 28:55
  He's like, for what? That's right.
• 28:58
  He comes across like a sort of five-year-old, you know?
• 29:03
  He is. That's exactly what he is. And you find that out at the end when he gets
• 29:06
  his comeuppance. Exactly, yeah. Yeah. You mind your little bitch.
• 29:13
  But that's kind of what we talked about. you mentioned with the comic book theory
• 29:16
  that is stuff like that when you have hammy acting and that's deliberate guys
• 29:21
  I'm not putting it up at all that's deliberate because they want people to know
• 29:25
  it's only a fucking movie so the cops get involved now and then now we got,
• 29:31
  Cochise, Vermin, Rembrandt they get separated they meet the Lizzie's we got
• 29:36
  Ajax, Cowboy, Snow and Swan they meet the Furies, Mercy gets separated well
• 29:41
  hold on Cochise was killed,
• 29:45
  during the struggle at the, you know, after Saturdays, but you don't really see it.
• 29:49
  No, that was Cleon. That's the leader. That's right. Sorry. Yeah.
• 29:52
  I get the names mixed up. Yeah. Cool. Cute. Yeah. You're right. Yeah. Sorry.
• 29:55
  Yeah. I apologize for anybody listening to this podcast. Yeah.
• 30:00
  Sorry. I'm getting the names mixed up.
• 30:03
  But yeah, so this is where we start getting, things start picking up a little
• 30:07
  more. Now, I love the Furies.
• 30:10
  Now, Walter Hill says the Furies design was based on Kiss. That's right.
• 30:14
  I don't see it. I actually think, and he won't mention it, because you actually
• 30:19
  mentioned it technically takes place in the not-too-far future.
• 30:24
  I almost had a clockwork orange feel with these guys. Well, this is a clockwork orange.
• 30:29
  I've had a clockwork orange feel overall with this. this is more a comic book-y
• 30:35
  version of Clockwork Orange, but yes, definitely.
• 30:38
  Yeah, with the Droogs and the Baseball Furies, there's similarities.
• 30:41
  But with Kiss as well, with the face makeup, yeah.
• 30:45
  Yeah, well, you had that eye makeup. One eye was covered in black.
• 30:48
  Wasn't that a McDowell thing? Yeah.
• 30:51
  That's kind of what I was talking about because the Furies have one eye kind
• 30:54
  of covered in black. Yes. But yeah, it was definitely an afterball.
• 31:00
  But this whole chase scene, really nice. And what I like about it,
• 31:03
  it shows how smart they are. So when they're being chased by the Furies,
• 31:07
  I like the choreography.
• 31:08
  Even though the Hauden Furies run, they kind of run in sync. Yeah.
• 31:11
  And they have the bass underneath their arm and how they run with the bass.
• 31:14
  It's very, very fun. And it's quite intense.
• 31:18
  And you have Ajax and I'm not going to break them down.
• 31:23
  Ajax and Cowboy have to separate because Swan is going to take Snow and goes,
• 31:31
  Let's separate So they're going to go around They're going to slingshot around
• 31:37
  And attack them from behind It's actually very cool And I like that There's
• 31:41
  little stuff like that That makes these guys Especially swans Smarter than the
• 31:45
  average Than what we would think,
• 31:48
  And I love the line where Ajax looks at Cowboy and he goes, can you keep running? He goes, no.
• 31:54
  He goes, good. I'm tired of running from these pussies. Yeah.
• 31:58
  And that's where we get the fight scene. And it is a nice choreographed scene.
• 32:02
  Craig Baxley and his family are stunt coordinators and they did a lot of stunt work here.
• 32:08
  In fact, they're the punks. Part of the gangs, yes. They're part of the gangs.
• 32:13
  Craig Baxley went on to be a filmmaker. but yeah so it's very well choreographed
• 32:18
  I love this whole scene with the theories the only thing is and it's not to
• 32:22
  take away from the fight still pretty good I just think it was how badass they were,
• 32:27
  I'd like to see a little more,
• 32:30
  badassery because I just felt they went down too quick yeah I think overall
• 32:34
  with a lot of the fights the warriors are a bit too good I mean obviously that's
• 32:40
  the point of it but I would have liked to have seen more,
• 32:43
  I mean I'm not having gonna dig at it you know
• 32:46
  not at all um i still love it but i think
• 32:49
  yeah they're able to set up more
• 32:52
  threat against the warriors man increased the sort
• 32:54
  of tension and drama but like but as i mentioned though i think that each fight
• 32:59
  gets more intense it does and you'll see that you'll see that with the punks
• 33:04
  yes that's because after the punk scene they're all cut up and blues yep and
• 33:09
  so and And it's probably the most violent of the scenes.
• 33:13
  But yeah, I would have liked to have seen the Furies put up more of a fight. Yeah. The Lizzie's.
• 33:20
  This scene was, I don't know. Is it me or is the head of the Lizzie's the worst fucking shot ever?
• 33:27
  Well, apparently they were originally, Rembrandt was supposed to be killed in this scene.
• 33:32
  He should have. Yeah. I think it would have added the attention and the threat. Yeah.
• 33:37
  But, yeah, I mean, this is Stormtrooper shit in terms of bad shots.
• 33:41
  I mean, they're missing a point blank, essentially, almost.
• 33:45
  But it's a pretty cool scene overall, you know, and I do find it a lot of fun.
• 33:51
  And I think some of the members of the Lizzie's are actual professional stunt women.
• 33:55
  You know, I know the one that gets beaten with the jar is.
• 33:58
  That's the really cool thing about this film. Yes. You don't notice the actors from the stunt doubles.
• 34:03
  Yes, because it's stunt men and women playing characters.
• 34:07
  Yeah. Yeah. And that's why I really enjoyed that.
• 34:11
  There's no quick cutaway, so you can't see the actress' face.
• 34:14
  These guys are taking the hits.
• 34:15
  I mean, if you were to be super critical, you would say that the Lizzie scene
• 34:20
  is a bit daft and they're terrible shots and all that.
• 34:23
  But it's part of the fun, part of the camp.
• 34:26
  Yeah. You know? Yeah, because they finally had them. They kind of waited quite
• 34:30
  a while to take these guys down.
• 34:33
  That's right. But the scene was necessary because this is where they find out
• 34:38
  one of the girls tells them, oh, you're a badass. You're being hunted because you killed Cyrus.
• 34:45
  And that's where Rembrandt tells them they think we killed Cyrus.
• 34:49
  So now they're caught on to what's going on. So it's kind of like a data dump.
• 34:54
  Yeah. But yes, apparently Rembrandt was supposed to be killed in this scene.
• 34:59
  He should have. You needed, don't get me wrong, they're the guys,
• 35:03
  the badasses, but I think we needed more warriors casualties.
• 35:06
  Yeah, we only had Fox, essentially. And the only reason we had Fox is because he got fired.
• 35:11
  Exactly. And Ajax gets arrested for, you know, with the whole thing with the
• 35:16
  undercover policewoman on the bench. That's a good scene.
• 35:18
  I didn't like it at first because I thought, why are you taking out the cool
• 35:21
  character? He's the best one.
• 35:23
  But I get it because once you take him out, your warriors are a lot more weaker
• 35:29
  because he's the badass of the group.
• 35:31
  Yes, I would say in terms of that scene, it does feel a bit sort of thrown in into the mix.
• 35:37
  You know, would an undercover policewoman really be hanging out in a park on
• 35:42
  her own? Yeah, probably.
• 35:45
  High risk, but yes, you know. You've got women who tend to be prostitutes.
• 35:49
  I know that, yeah, but usually they would sort of travel in numbers.
• 35:53
  Yeah, but you clearly see there's like 12 cop cars to come and get them.
• 35:57
  Yeah, well. So they're obviously waiting.
• 35:59
  Yeah. So I think she was all right. But I do, I do, and I do like his scene
• 36:04
  because he's such a badass, but now he's handcuffed and he, how fucking.
• 36:09
  He's trying to rip off the bench and stuff. So yeah, she's.
• 36:12
  Yeah. She's seen that coming and he really played that. Yeah.
• 36:16
  And when the cop hits him in the stomach, he looks up with him,
• 36:19
  he's bleeding out of the mouth. He goes, you fucking wimp.
• 36:22
  Yeah. It shows them he's done. He's, he's caught. He's, they've won.
• 36:26
  And it's a quick vulnerable moment for our boy Ajax.
• 36:30
  Well acted. Yeah. By Remar. Very well acted.
• 36:33
  Do you know James Remar was Hicks in Aliens?
• 36:39
  Right. Originally? Did you know that? Right. Yeah.
• 36:42
  There's actually scenes in Aliens where Hicks is on the screen,
• 36:45
  but it's his back. It's actually James Remar. I didn't know that. Yeah.
• 36:48
  So it's basically the Alex Stolson, Back to the Future.
• 36:51
  Yeah. Yeah. He, Cameron, and not to take away from James Remar,
• 36:55
  we all make mistakes. I like the guy.
• 36:58
  But he got busted for buying an eight ball.
• 37:02
  Right. He was doing something about drugs. Yeah. And London,
• 37:06
  England wanted him gone. Okay.
• 37:08
  And that's where Failing Aliens, and that's why he's written out.
• 37:11
  Right. And then Michael Bayne came in to replace him. Right.
• 37:14
  We'll get to Michael Bayne later on when we're discussing Xanadu.
• 37:18
  Apparently he auditioned for the Michael Beckerel. Thank fuck he didn't get it.
• 37:25
  Oh, boy. Yeah. All right, back to a good movie.
• 37:30
  So we find out when Cyrus, when Gramercy riffs are told who shot Cyrus,
• 37:35
  they finally make it to Coney Island.
• 37:37
  And you know what's funny? We talked about improv scenes and stuff like that.
• 37:42
  And some of the best lines of all time are improv. Totally.
• 37:45
  But this one, come out, Warriors come out and play. And the clap and the smacking of the bottles.
• 37:51
  All improv, boy, our boy, Kelly.
• 37:54
  And just what a creepy scene. And it's done by the laughable villain he is. He's a cartoon villain.
• 38:04
  But he's intense here. It's intense. We saw a lot of violence.
• 38:09
  We just washed over the punks fight scene in the bathroom, which was fucking
• 38:15
  wonderful. That's great. The fighting. It's the best one.
• 38:17
  But this part is creeper than all of that combined because it's just so eerie.
• 38:26
  It's a threat of violence. You know, he's so deranged that, yeah,
• 38:31
  he used those bottles no problem at all, you know, to bump off whoever comes in his way.
• 38:37
  Really well played and kind of iconic and funny as well at the same time, you know?
• 38:43
  Yeah. And I do like when Swan, see, the problem is they try to do these moments
• 38:48
  with Swan and Mercy and it didn't
• 38:51
  work before they get back to Coney Island. It can feel a bit forced.
• 38:56
  Yeah they're sitting on the train and these people from
• 38:59
  prom or a wedding or something come on the train and
• 39:02
  she starts pretending to clean herself up and he puts her hand down and
• 39:05
  says which is pretty much what i'm saying you don't have to
• 39:08
  prove anything to them which it just seemed there is
• 39:11
  some stuff as well and the stuff whenever they're you know in
• 39:14
  the underground as well and mercy basically you know tries it on with him and
• 39:19
  he sort of like you know saying i don't like the way you live you know what
• 39:23
  i mean taking the moral high ground and stuff yeah they do feel a bit sort of
• 39:27
  in retrospect I didn't notice this before but watching it for the podcast,
• 39:33
  and knowing what we're doing behind the scenes you do sort of you do realise
• 39:38
  that they do feel a bit shoehorned in these couple of scenes with Mercy and
• 39:43
  Swan yeah this should have been played on the background,
• 39:46
  when Swan and Ajax are trying to figure out what's going to happen and then
• 39:50
  have this suddenly put in for her and Fox that's the way it was supposed,
• 39:55
  to be played yeah they feel like they were filmed.
• 39:58
  During reshoots actually these scenes with Mercy and Swan yeah,
• 40:02
  But we got the takedown. It is very comic book when he's about to shoot Swan
• 40:07
  and he throws the knife and he hits his hand.
• 40:11
  And he's like, Like a screaming child.
• 40:16
  He has a child. And then he takes the knife out of his wrist and he glasses
• 40:21
  his blade with Luther's hair. I did like that touch. Yeah. Yep.
• 40:26
  And then the refs appear. Yeah, they get their clumpins.
• 40:30
  Yeah. And then they walk the beach within the city great fucking song.
• 40:33
  Brilliant song, brilliant ending, brilliant, you know, damn end credit sequence. I just love that.
• 40:38
  Yeah, brilliant way to wrap it up, essentially. A classic.
• 40:44
  This is my top ten film. For all its flaws, I mean, it does have some flaws.
• 40:49
  I still can easily look over them and just, it's pure enjoyment.
• 40:55
  The only flaws I think it really has is the flaws that because we know the backstory
• 40:59
  of what happened to Fox's character, we can see those, those little cuts and those little resuits.
• 41:06
  Otherwise, if I didn't know that story, I would have fucking just went off.
• 41:10
  I would have known it. So it kind of does suck knowing some of this,
• 41:12
  but I'll tell you what, I could go and I'll watch this again easily.
• 41:17
  Yeah. And put it in the background to go do something. Oh yeah,
• 41:19
  totally. Yeah. So. Yeah.
• 41:22
  Well, special treat for you guys. Special fucking treat.
• 41:28
  Before we start, oh, fuck me. I'm going to go get a tin of Monster and suck
• 41:33
  that fucker down because we're about to talk fucking Xanadu. Right.
• 41:38
  I think the cast and crew of Xanadu were on those high-energy drinks as well
• 41:44
  whenever they were making it or some form of amphetamines or something.
• 41:48
  They were on a lot more than that. Yeah. This is fucking.
• 41:53
  All right, guys. I got my monster. Hey, this one is. What is this?
• 41:57
  I shouldn't give these guys any fucking price. They're not paying us.
• 41:59
  I hate those energy drinks.
• 42:02
  Well, this one's called Ultra Fantasy Ruby Red. That's perfect for Xanadu.
• 42:09
  It's Ultra Fantasy Ruby Red for sure. And a lot of other colors thrown into
• 42:13
  the mix. Like somebody vomiting up a rainbow.
• 42:17
  I'm going to open this one up. This came out at the same time with Under the
• 42:19
  Rainbow came out. I remember that one with Chevy Chase.
• 42:22
  It was about a movie about the making of The Wizard of Oz.
• 42:25
  Okay. Carrie Fisher and Chevy Chase. And it had people playing the dwarf,
• 42:29
  the little people playing it because they're in the same hotel with the dwarves
• 42:33
  that were featured in the film.
• 42:34
  It's terrible and it's so not politically correct.
• 42:38
  I haven't seen it. But apparently on the set of the real Wizard of Oz,
• 42:43
  apparently there was a lot, allegedly a lot of sexual harassment to Judy Garland
• 42:48
  by the little people in real life, apparently.
• 42:52
  Oh, there you go. Like, you know, pulling up her skirt and that sort of thing.
• 42:56
  But anyway, we're here to talk about Xanadu.
• 42:59
  Yellow Brick Road. Yeah, yeah. Wow.
• 43:03
  I'm going to take a sip of my monster now. Right. I can't handle those energy drinks.
• 43:09
  Here's the problem. I have to have this because I'm out of coffee.
• 43:14
  Because we're talking about Xanadu?
• 43:15
  That too. I'm out of coffee and we're talking sanity.
• 43:19
  Okay. All right, here we go. Michael Beck's next leading role.
• 43:24
  Come here. Michael, God love you, Michael. Michael Beck's next leading role
• 43:29
  was a complete departure from his very beloved rare-isle tough guy persona, Beck.
• 43:35
  Yep. Demonstrated in The Warriors.
• 43:39
  Now, he has said, and he quotes, The Warriors opened a lot of doors for me in
• 43:43
  film, which he had to do then closed, which is kind of sad.
• 43:47
  He's terribly miscast you know
• 43:50
  number one here's the big problem he's not
• 43:53
  a singer and in fact during the song that
• 43:57
  that he does do with olivia newton john around the midway mark it's not even
• 44:03
  him singing it's cliff richard it's actually cliff richard yeah cliff richard
• 44:08
  has a couple songs in here yes yeah and that's and that just worsens the film because it's fucking,
• 44:14
  Cliff Richard Cliff,
• 44:17
  you'll be getting a load of hate mail probably death threats from his region
• 44:21
  of fans I don't give a fuck no talent ass clown fuck that I don't care to be
• 44:28
  fair Cliff Richard you know what I am so tired of you,
• 44:32
  never just going you know Karen he is talentless but no you always have to go
• 44:37
  with the fucking right at the fence to be fair he has talent It's just not,
• 44:42
  his type of act isn't for me, let's just say.
• 44:46
  But, you know, he can't sing, but he's not for me, you know.
• 44:51
  And he has legions of OAP fans out there, so.
• 44:55
  Clearly, you're a fan. That's fine. That's not the worst. You got his box set.
• 44:59
  But he's not my company. Oh, he's good. You just said he's good.
• 45:04
  He has a certain amount of talent, yes. Wow. He's not for me. Wow.
• 45:09
  You know? Wow. He's only for you, and he's got a lot of talent. Wow.
• 45:14
  This is unreal. Leave Harry Webb alone.
• 45:17
  Alright this is directed by Robert Greenwood I could give a fuck,
• 45:23
  I heard a brilliant recent review of this by a writer guy I know he said that
• 45:30
  Xanadu is the result of straight men making a musical.
• 45:37
  That actually is pretty good I'll give it that one he said something like this
• 45:42
  is what happens when you let straight men make musicals,
• 45:46
  Joel Silver well Joel Silver is not I don't think I think he's I think he's
• 45:51
  gay I don't know I don't know,
• 45:54
  Joel Silver and Lawrence Gordon two wonderful powerhouse producers are back
• 45:58
  and so is Barry DeVorzen sorry Barry I liked your score in the Warriors.
• 46:03
  But yeah so a handful of people from the Warriors came out pardon the pun yep
• 46:10
  and and did this piece of shit and brought per Michael Beck, down with him.
• 46:17
  You know, this story reminds me of, well, I think Leah Thompson had it better, actually.
• 46:22
  But Howard the Duck? We talk about Leah Thompson, Howard the Duck,
• 46:25
  and how it destroyed her career. And she even says that.
• 46:29
  But she, thankfully, had a list of pretty solid outings with Jaws 3D,
• 46:35
  which, yes, I actually like that film. I actually do like that film.
• 46:38
  And you have Red Dawn. You have All the Right Moves. Back to the Future.
• 46:43
  Back to the Future. her back in the first back to the future and i
• 46:46
  believe some kind of wonderful just came out so she had her
• 46:49
  she started her career so it
• 46:52
  wasn't a sophomore outing for her to do howard the duck and she's
• 46:55
  done well for herself she's worked a lot good on her but she wasn't the it girl
• 47:00
  that she was after howard the duck it damaged her career a lot it did but this
• 47:05
  destroyed michael backs yes i really sadly think it did he does a lot of tv
• 47:10
  like i said good on him i'm and i like to see them, but,
• 47:15
  At the end of the day, he should have had... I mean, James Remar and David Kelly skyrocketed.
• 47:23
  Yeah. Luther and Ajax both skyrocketed from that film.
• 47:27
  Too bad. Too bad that Michael Beck did get that same success.
• 47:31
  Technically, I mean, in a way, you could watch this as a sequel to The Warriors.
• 47:36
  And that Swan has, you know, he stopped the whole sort of violent past.
• 47:42
  You know what I mean? He's turned his back on his violent past.
• 47:44
  He's settled down, he's doing a bit of art, he's changed his name and then he
• 47:49
  ends up in this weird fantasy with... Don't you think Michael Beck's name in
• 47:53
  this is Sonny? Oh, Sonny?
• 47:56
  What, Sonny? Sonny? Don't you think Swan would have been a better name for him in this one?
• 48:00
  Oh yeah, it would have been a direct sequel to The Warriors where a more mature
• 48:04
  and wiser Swan had decided to sort of, you know,
• 48:08
  put all his valiant stuff to the past and sort of move on and become I'm a grown-up,
• 48:13
  and then, I don't know, dancing shit with Sam Olivia Newton-John and Gene Kelly.
• 48:19
  At a weird fantasy nightclub. You know?
• 48:23
  What's this about? There is a bare minimum of story here. Here it is.
• 48:31
  You have a man named Sonny, who is architect slash painter. Struggling artist.
• 48:39
  Yeah, struggling artist. and he wants to do something. He wants something else for himself.
• 48:44
  So he meets when he tears up one of his artwork pieces and he throws them out
• 48:50
  the window and says, I'm done.
• 48:51
  Those art pieces all flow and fall in front of a mural.
• 48:56
  A mural is all these muses pop out, including our girl Kira played by Olivia Newton-John.
• 49:03
  From Greek mythology? So she's now, yes, she is now his muse.
• 49:07
  Yes. And then you meet Danny, who is actually wonderful. I do like, I like Kelly a lot.
• 49:16
  Gene Kelly is a wonderful, I love singing Lorraine. But anyways, he plays Danny.
• 49:22
  Who once had Kira as a muse when he was a swing band leader back in the 1940s. That's right.
• 49:29
  So he meets Danny, not by chance. He does meet Danny, and Danny wants to build a nightclub.
• 49:36
  And this is Sony's way of being able to take his artistic experience and put it into Xanadu.
• 49:45
  Now, Xanadu, what does he have that he puts into Xanadu? He does nothing.
• 49:50
  No, I know. There's no merles, there's no painting There's nothing in his attitude
• 49:56
  That he would have contributed to What did he contribute?
• 49:59
  He doesn't even sing at it And you know to have a musical Where the lead male
• 50:06
  Only sings one song And it's not even him singing it, it's Cliff Richard Is,
• 50:10
  you know, that's not good for a start Apparently there were a lot of Like the Warriors,
• 50:14
  apparently there were a lot of Behind the scenes issues with this In
• 50:17
  terms of the writing of it And apparently
• 50:21
  Joel Silver at one point he admitted it himself
• 50:24
  locked a writer in a room to complete the script Olivia Newton-John said they
• 50:30
  were still writing the script whenever they were filming it so like the Warriors
• 50:34
  there was a lot of stuff going on behind the scenes obviously different types
• 50:38
  of stuff going on I mean there weren't gangs that were threatening them maybe there should have been.
• 50:43
  So yeah I mean what would do get the result of it is basically,
• 50:50
  an extended music video All right, so we've got Libby Newton-John plays Kira,
• 50:55
  Gene Kelly plays Danny, Michael Beck plays Sonny, and who gives a fuck about the rest?
• 50:59
  It's just so bad. Even in the openings, you know, you got the Universal logo
• 51:04
  with the big Universal, and you got the globe.
• 51:08
  So you've got a fucking plane flying around the planet, and then you got a fucking
• 51:12
  Concorde flying over around the planet.
• 51:15
  Then you got a UFO, and then you got a fucking star.
• 51:18
  And I was like, what the fuck is this? This is the transition of technology
• 51:21
  or the fucking... To futuristic 80s.
• 51:25
  Yeah, the history of flight.
• 51:28
  Right up to the sort of, you know, the high-tech futuristic 80s, you know.
• 51:33
  And they do that as well later on when they have, you know, whenever Gene Kelly
• 51:37
  is envisioning... I can't say that word.
• 51:41
  Whenever he has a vision of what he imagines Xanadu will be like and you see,
• 51:45
  like, the sort of swing band.
• 51:46
  But yet michael beck wants rock and roll and you've got the sort of you know
• 51:50
  the very late 70s disco-y type rock stuff going on as well so there is that
• 51:57
  meld of the two eras not saying it's done very well by the way i'm just saying it's done.
• 52:02
  And then they got, here's the problem. Besides the Gene Kelly stuff,
• 52:06
  which we know he can dance. Yes.
• 52:09
  There's no choreography here. I think what they did, so you got the fucking
• 52:13
  muses, the muses come out of the fucking mural, and they start fucking dancing.
• 52:17
  And there's no rhyme or rhythm here. They're just, they probably just go, and action, just move.
• 52:23
  And so they must have just danced. And it's like, then this fucking dance goes
• 52:28
  on for like 10 minutes. I'm the wax spark. Fuck me.
• 52:30
  Please end. Yeah. I'm the wax spark. I mean, there obviously is a certain amount
• 52:34
  overall of choreography going on.
• 52:36
  And some of it actually works quite well later on.
• 52:38
  You know, the dance sequences and stuff. Oh, okay.
• 52:41
  Yeah, no, I'm serious. But in terms of like a narrative and a plot and drama
• 52:46
  and tension, it's basic.
• 52:49
  And here's another thing. I actually really like Olivia Newton-John.
• 52:52
  I've always liked Olivia Newton-John.
• 52:53
  So I know her career wasn't ended. Like Bex, you know, it obviously took a hit with this.
• 52:59
  And I don't think she does anything wrong here.
• 53:02
  She did two of a kind with John DeVolta and that ended her career.
• 53:09
  God love her taking away too young, but she she's always had such a massive
• 53:15
  fan base that she's kind of thrived on that.
• 53:17
  Yeah, but we're singing career and other things. I mean, obviously she was a
• 53:20
  pop star as well with all that, you know, let's get physical, physical.
• 53:24
  I bet you thought that was Olivia singing there, but yeah.
• 53:29
  I do feel sorry for her here as well because I mean she,
• 53:33
  looks amazing she obviously is highly talented she was a highly talented woman
• 53:40
  and you know this is a mess overall So when he first runs into Kira and she
• 53:47
  kisses him, fucking stupid.
• 53:50
  But that was deliberate because she's supposed to be his muse so then he's doing
• 53:56
  the album cover and she's on the album cover again delivered because he needs
• 54:00
  to find her. That's the whole point. What about his boss? Yeah.
• 54:03
  What about Sam? You mean Samson? Yeah. What about him?
• 54:08
  What's the point in his character? You know, it's just a bit,
• 54:11
  I don't know. Samson's probably the only character I kind of laughed with.
• 54:15
  There's a scene where he wants to find out who's the cover girl on this album
• 54:20
  because he wants to know who the girl was that kissed him.
• 54:23
  Yes. And he goes to this guy, does all the hiring.
• 54:26
  This guy looked just like fucking Napoleon Dynamite. I know.
• 54:30
  Do you remember the guy I'm talking about? Yes.
• 54:32
  Mirror image Napoleon I was waiting for him to go dude it was the 70s you know
• 54:38
  they always had those types of characters you know the glasses and all sorts yeah yeah.
• 54:45
  This is terrible but then he randomly meets Gene Kelly on the beach and they
• 54:50
  become friends instantly no I don't think that's random I think that was the
• 54:55
  muse doing that bringing them together,
• 54:57
  yes you don't you didn't really see the you really got to peel the layers from this film The subtext.
• 55:03
  So, and also I got to admit, you know, Sonny is kind of a dick.
• 55:09
  This guy hires him back just to do his fucking job. He whines and bitches the whole time.
• 55:15
  He's a terrible employee. He's a terrible employee.
• 55:19
  He is worth having his shit.
• 55:23
  But he's a dreamer, you know. Fuck that.
• 55:26
  That's basically what they're trying to say. But if you were his boss,
• 55:30
  you would be pulling your hair out, you know.
• 55:32
  And even the way he gets on, the way he, you know, in that scene later on where
• 55:37
  he basically sacks himself.
• 55:38
  But he's like, you know, sort of mocking the way that his boss would have sacked
• 55:42
  him, you know, and all. It's just, it's a bit cringe.
• 55:45
  I feel so sorry for having me back here.
• 55:48
  It just like, yeah, God love him, he's trying. Yes. He is, I hate saying it.
• 55:55
  He's the worst thing about this film. Yeah. He is.
• 55:59
  He is. Yeah, the fact that he's not a singer or whatever, you know what I mean?
• 56:03
  That's immediately a bad start.
• 56:06
  Yes, but he can roller skate.
• 56:11
  So I love the scene after he meets Gene Kelly,
• 56:15
  and he goes and he sees Kira on the pier or whatever, and he decides,
• 56:22
  he goes up to a stranger and goes, I just need to borrow your motorcycle.
• 56:27
  Oh, okay. Bring it back.
• 56:29
  Yeah. This is, I mean, I know it is a fantasy, but this is also a fantasy land
• 56:33
  where everybody's really nice to each other in LA.
• 56:36
  What the fuck? So, Grand Theft Auto, that's okay then. Okay. Yeah.
• 56:41
  We'll add that to our boy Sonny's wonderful career path.
• 56:48
  Even the, what do you call it, even the popcorn lady is really nice.
• 56:52
  Everybody's just really super duper nice to each other. I wanted a fucking bad
• 56:55
  guy. There's no villain here. Where's the villain?
• 56:58
  There is a villain. And it's the producers and director.
• 57:03
  So he goes into, he finds, I love how he didn't recognize this place before.
• 57:09
  It's fucking huge. Yeah. And he's doing the album cover and it's on the album
• 57:12
  cover. He never recognized it. He lives in the city where this is.
• 57:16
  And he's, I've never seen this before. Fuck off. Yeah.
• 57:19
  It would be like living beside, I don't know, a huge football stadium on your door.
• 57:24
  Step, like Windsor Park, say, for example, and not noticing it every day until
• 57:29
  all of a sudden the magic muse came along and showed it to you.
• 57:33
  So he breaks in and there's Kira's dancing to magic. Yes. The main song. On the roller skates.
• 57:41
  Yeah. And she's like disappearing. I can't find you. I can't see you.
• 57:45
  How do I find? I'm like, oh my God, this is terrible.
• 57:49
  This is like cringe. It almost played like an H&R Puff and stuff.
• 57:54
  Kind of 70s children's show. Yes. Where the actors aren't meant to really be
• 57:59
  acting. They're just there to have fun.
• 58:01
  Sadly, he's meant to be acting, but I don't think he's having fun.
• 58:06
  Fuck, I wanted so bad to hear come out and play.
• 58:10
  Something. I want that Ajax to pop up. You know, if they knew this movie was
• 58:16
  so bad, what they should have done is brought back some of the cast from the
• 58:20
  Warriors and have them playing roles and have like Luther played the boss.
• 58:25
  You know? That would have been, at least you had your little nits.
• 58:28
  It would be kind of a wink at the audience.
• 58:30
  Sarah's wink, Sarah's laugh. Yeah. Can you dig it?
• 58:34
  That could be the opening fucking of Xanadu. Can you dig it?
• 58:37
  You know? And then you've got Lynn Thigpen could be the DJ again.
• 58:41
  Yeah. And so you- And the club. Yeah. Yeah, you had something.
• 58:45
  You could have gone, because people would have went with it, had a laugh.
• 58:47
  Here's these guys who play all these badasses in this last film,
• 58:50
  this gritty crime drama. and then you put them in this shit,
• 58:54
  It would have been, people would have went with it. It also feels like,
• 58:58
  a lot of it feels like it's some sort of like Andy Warhol type experimental art film,
• 59:05
  you know, because it's just, it's sort of, it's kind of baffling a lot of it.
• 59:10
  Yes, I can get it. It has a sort of cult fan base or it's grown a cult fan base
• 59:14
  over the years, you know, just through the sheer OTT camp silliness,
• 59:19
  but you need something of substance as well.
• 59:23
  There's no substance here it's just colours and not very good dance scenes apart
• 59:29
  from Gene Kelly obviously who's a great you know sort of legendary type dancer
• 59:33
  but and Olivia Newton-John is amazing as well but that's all there really is some dance scenes,
• 59:39
  let's not use words like amazing.
• 59:42
  I'm talking about overall I'm not talking about in this film I'm talking about
• 59:45
  overall I love Olivia Newton-John you know to me she's a perfect woman but I'm
• 59:52
  talking about in their careers overall, not in this. This is a misstep.
• 59:57
  30 minutes into this film and nothing has happened. Nothing happens at all anyway. It's just colors.
• 1:00:04
  Oh my God. And then you got Danny, Gene Kelly, you knew you were going to give him a solo bit.
• 1:00:09
  Of course. And he's dancing to the memory of Kira once she helped him revive
• 1:00:14
  his solo career in the 40s with swing music.
• 1:00:17
  And he knows the clarinet.
• 1:00:20
  Yes. It's actually I'll give it as due it's a nice little dance sequence but
• 1:00:26
  again you've got the two main talented people by themselves dancing and they
• 1:00:31
  can actually dance they can actually perform,
• 1:00:35
  fuck me.
• 1:00:37
  It's just nothing personal against Michael Beck but anytime he appears it does sort of take,
• 1:00:48
  his sort of let's just say not very good acting and singing and dancing.
• 1:00:54
  Well, he's not even singing.
• 1:00:56
  Here, it looks even worse whenever he is up against two people who can actually
• 1:01:00
  dance and sing and perform and do all of this musical stuff,
• 1:01:04
  i.e. Olivia Newton-John and Gene Kelly.
• 1:01:07
  There's a sequence where,
• 1:01:10
  Kira shows up at his workplace. Yes. And they decided to dance on one of the
• 1:01:15
  sound stages with the rollerblades, the roller skates on. That's right.
• 1:01:19
  That's where Cliff Richard's singing. Yeah. Yeah, this was soul destroying.
• 1:01:23
  And once this weird thing pops up, there's a fucking dialect.
• 1:01:26
  What I can only describe as looks exactly like a dialect pops up in the middle
• 1:01:31
  of it, you know, with all this weird sort of set design and stuff.
• 1:01:35
  It's just a music video set. Yeah, that's exactly what it is. Yeah.
• 1:01:40
  No, it's supposed to be. I know. This is, like I say, this is an Elan Kiered
• 1:01:45
  music video, this whole film.
• 1:01:47
  And then Simpson, they dance and they're like, la, la, la, la,
• 1:01:51
  la. And they get kicked out.
• 1:01:54
  Yeah, the boss appears. Oh, my God. There's a line in this. They're running
• 1:01:57
  out. They're rolling out, I guess you could say. They're rolling out.
• 1:02:02
  And she goes, oh, my God. This is amazing. And she says, she makes the comment,
• 1:02:08
  wow, that was our first dance.
• 1:02:09
  Together and he goes ha ha this was our first getting kicked out together too
• 1:02:14
  I know it's cringe oh my god this is terrible,
• 1:02:20
  this is almost like watching the naked gun without
• 1:02:24
  it knowing it's a parody like watching a parody you know yeah if these guys
• 1:02:29
  were more self aware this would be better oh totally if it had it been you know
• 1:02:34
  what I mean like if they had it been more in on the joke type thing and they
• 1:02:38
  knew that this is like this is basically bonkers,
• 1:02:41
  let's run with it, let's go over the top, like you know at the end of the Warriors
• 1:02:46
  with Kelly and the whole come out to play, or what for,
• 1:02:52
  you know you know, give us something here to sort of, but obviously in retrospect
• 1:02:57
  it's easier to look back on these things and sort of, but yeah,
• 1:03:02
  it does appear there were,
• 1:03:04
  whatever problems were going on behind the scenes, it It ended up a mess on
• 1:03:08
  the screen due to the final product.
• 1:03:10
  It was a sequence that you mentioned earlier where Danny and Sonny,
• 1:03:16
  Danny wants a good swing.
• 1:03:18
  Over there, there could be a swing band playing. Yes.
• 1:03:21
  Then you've got the rock band that Sonny kind of envisions. That's right.
• 1:03:26
  It's actually probably the best scene in the film.
• 1:03:30
  It's still pretty bummer. It's kind of, and I like the band that's playing,
• 1:03:34
  the band called The Tubes. Yes.
• 1:03:36
  They have a song called She's a Beauty. It's a great song from the 80s. Yeah.
• 1:03:40
  So I kind of like that.
• 1:03:43
  What I think. But the saying I liked it is stretching it.
• 1:03:47
  I'm trying to find the jelly bean on the pile of shit here.
• 1:03:51
  Did you notice, Fudd, at one point with the sort of 80s, with The Tubes band,
• 1:03:56
  at one point, the guitar players grab a couple of the female dancers and use
• 1:04:03
  them as guitars and stuff,
• 1:04:05
  it's just like, this is fucking mental, you know so it is and then after that fucking chaos,
• 1:04:14
  we get another music video, but this time it's fucking animated the cartoon,
• 1:04:21
  yeah oh my god it's now a Disney cartoon and everything.
• 1:04:27
  I don't know what's going on here. You know, I've sort of, I'm just watching
• 1:04:31
  the colors at this point, you know, like a child.
• 1:04:36
  Oh, and then we got another music video. ELO does a lot of music for this.
• 1:04:39
  I like ELO. I like ELO, yeah.
• 1:04:41
  But I don't like this ELO. ELO do actually the main sort of song at the end. You know that, Zenitoo.
• 1:04:48
  Wow, that was beautiful. Better than Bubblegum.
• 1:04:52
  Should have cast me.
• 1:04:56
  At least it might have been funnier. There's a shopping sequence during All
• 1:05:00
  Over the World by ELO's playing, and they're shopping. They're trying to get Danny this new look.
• 1:05:05
  And there's no choreography at all. It's just like, go. It's just like a...
• 1:05:10
  It's too much, as well, visual effects. There were obviously very good sort
• 1:05:15
  of groundbreaking effects at the time, but they are milking at no end,
• 1:05:19
  you know, with the whole,
• 1:05:21
  you know, all these, again, more colors and colors and all the rest and the
• 1:05:26
  mannequins are coming to life then and it's just, it's,
• 1:05:30
  I mean, it's beyond camp, you know, it's just, you said a word earlier, it's chaos.
• 1:05:36
  It's a powerful scene, powerful scene.
• 1:05:39
  Where Sonny tells Kira that he loves her. That's right. And then she goes, I can't have this.
• 1:05:46
  I can't have this kind of hurt. This wasn't supposed to happen.
• 1:05:50
  You know, you know what, you know what fucking Sonny's thinking?
• 1:05:52
  He's like, fuck, I didn't think that was coming.
• 1:05:54
  Yeah. Yeah. Yeah. So she leaves. That's right. The big breakup.
• 1:05:59
  Yeah. Yeah, he needs to find her.
• 1:06:02
  He goes to heaven. Yes, he goes, I'm only here for Xanadu to happen.
• 1:06:08
  And then I have to go to my father, who's... I know.
• 1:06:12
  So he goes to Greek heaven.
• 1:06:16
  Then, oh my God, I just... He runs through a fucking wall or something.
• 1:06:21
  At one point they're flying as well. But anyway, he runs through a wall at this point.
• 1:06:25
  And he ends up in heaven, like Greek mythological heaven.
• 1:06:29
  And Zeus for some reason Zeus and his wife have American accents and aren't
• 1:06:36
  Greek anymore but you got there's that after she leaves,
• 1:06:43
  He makes this line, it's so bad. I mean, these are bad. There's no Xanadu because there's no Kira.
• 1:06:51
  Don't forget his shorts. Don't forget his shorts. Those tight shorts. The roller skates.
• 1:06:56
  Yeah. And then he's on his skates and then he looks, he sees the mural for the
• 1:07:02
  first time where they came from.
• 1:07:04
  Then he decides, I don't know how he got the idea.
• 1:07:06
  I'm going to go all the way back and I'm going to fucking roller,
• 1:07:09
  I'm going to rollerblade all the way and I'm going to go full on head first into this wall.
• 1:07:17
  I mean, any person in the real world would do themselves serious injury.
• 1:07:22
  I mean, it's serious dumb stupidity shit but not in Xanadu because it's magic
• 1:07:27
  world and he ends up in heaven which is nice.
• 1:07:33
  Oh my god. And then he's like, Kira, I love you. I want you to stay.
• 1:07:37
  And then Dad's like, no, fuck off. And then the mom kicks in.
• 1:07:41
  Yeah, it's buffers. And then Keir's like, no one's ever asked me to stay before.
• 1:07:46
  Bullshit. You're fucking hot. Well, Gene Kelly did for a start.
• 1:07:49
  Yeah, Gene Kelly, didn't he? I was like, you fucking, come on.
• 1:07:53
  You bang these men and then you leave.
• 1:07:57
  There's no way they didn't ask you to stay. I mean, I don't know.
• 1:08:00
  You're one straight male that would dump Olivia Newton-John and her prime.
• 1:08:05
  I know I certainly wouldn't.
• 1:08:09
  Fuck the hell but then the damn man's all right about it Zeus and stuff he decides
• 1:08:13
  to chill out and stuff you know no I don't think this is where I get confused
• 1:08:17
  we'll get to it after this disaster ending so so he leaves yes,
• 1:08:24
  and we have this big musical number and there's Sonny it's really the next scene
• 1:08:31
  yeah but it's just he was just dumped by Zeus and,
• 1:08:36
  and Kira and there's a big dance off and there's Sonny smiling having a great
• 1:08:41
  time so yeah he was really upset about this whole breakup I guess,
• 1:08:45
  because according to him there's no Xanadu without Kira well
• 1:08:48
  there's no Kira and you look like you're having a fucking party he said
• 1:08:51
  he wasn't even going to go to the launch of the club and
• 1:08:54
  all of a sudden next thing within like a millisecond straight to the next scene
• 1:08:59
  he's changed his mind completely and he's at the club it doesn't make any sense
• 1:09:03
  so in terms of the character progression it's yeah don't look for don't don't
• 1:09:08
  okay wrong choice that's the wrong word to use,
• 1:09:13
  you don't you don't use the word progression when you're talking about fucking
• 1:09:17
  Xanadu well he's going completely against what he just said in the previous
• 1:09:20
  scene it's like I can't they don't care it's like I can't go to the club now
• 1:09:25
  you know what I mean this was only for Kira and blah blah blah all this bullshit
• 1:09:29
  and then next thing he's having a great time.
• 1:09:34
  And Kira, sir Kira, sir, as well You have Well, she's not there yet,
• 1:09:41
  Oh, she pops up pretty soon. No, spoiler, man.
• 1:09:45
  You ruined it. You ruined the magic. Yeah, oh, that's right. Sorry, I forgot.
• 1:09:50
  We had the whole buildup of them going around in circles on roller skates like dickheads.
• 1:09:54
  Now, here's the best part. You want to see a bunch of losers?
• 1:09:58
  Hire a bunch of losers who can roller skate really good, and they think they're so cool on camera.
• 1:10:05
  These guys were the orphans of janitor.
• 1:10:09
  I would have paid good money to see the actual orphans are on a cameo.
• 1:10:14
  Apparently, I'm David Schwimmer on roller skates. This could have been a really
• 1:10:18
  cool West Side Story when you're a jet, but all the gangs from the Warriors
• 1:10:23
  show up, and they all break into dance.
• 1:10:26
  Fucking, this would have been the best movie ever if you had the Warriors,
• 1:10:30
  you had the Gramercy riffs, and you had the punks, and you had the orphans all
• 1:10:36
  in their own style of dance.
• 1:10:37
  Warriors 2, the musical, I would have watched that at the end of the week. In a heartbeat.
• 1:10:43
  Yeah. They should have fired this fucking director. And then Joel Sheffer goes,
• 1:10:47
  hey, buddy, you gave me my big break, Walter Hill.
• 1:10:50
  I want you to come here and finish up.
• 1:10:53
  We want you to do a musical version of the Warriors and Xanadu. It would have been gold.
• 1:10:59
  Because the Warriors is almost, it's not a musical, obviously,
• 1:11:01
  but there's a great soundtrack and there's the DJ and you know what I mean?
• 1:11:05
  It's you know choreographed fighting so there is a sort of a big musical influence
• 1:11:10
  with the warriors it would have been perfect but sure what do we know so during
• 1:11:15
  this big montage of music you know history of music yep like we got in the beginning
• 1:11:20
  we got the history of roller skates yep yeah we got the history of flight in
• 1:11:23
  the beginning now we got the fucking history of music it's horrible.
• 1:11:27
  And she there she is she's dancing away,
• 1:11:31
  And there's Sonny, not even really running up to her and giving her a hug.
• 1:11:34
  He's just sitting there smiling. Like a gormous moron.
• 1:11:37
  Yeah. Yeah. Clueless twat.
• 1:11:40
  So at the end, Danny's like, are you okay? Yeah, I'm pretty good.
• 1:11:46
  And then there's another, one of the dance song sequences has Olivia Newton-John
• 1:11:51
  as a cowgirl, and she's putting on a terrible southern accent. No, that's dirt.
• 1:11:56
  But that's when they were doing that history of music.
• 1:11:59
  Yes. Pop, country, rock. Yeah.
• 1:12:02
  Yeah. Terrible. Yeah. But then
• 1:12:04
  she shows up at the end and she's just a waitress, but she's not Kira.
• 1:12:09
  I don't know. I don't care. I don't get that because he goes, hi. He goes, hello.
• 1:12:14
  I think it's suggested. I think the suggestion there is that she has come back.
• 1:12:21
  You know, it's left open to interpretation.
• 1:12:24
  Don't say that. Don't fucking. I fucking don't. It's David Lynch stuff.
• 1:12:28
  It's, you know, it's Robert Ears Lighthouse. I'm waiting for the dancing midget
• 1:12:31
  talking backwards. I like that.
• 1:12:36
  So I think what happened was she was allowed to go back to Earth,
• 1:12:41
  but she would forget everything, who she was, and now he ends with like,
• 1:12:47
  I just wanted to talk. And it's kind of like,
• 1:12:51
  That's their moment where they're finding each other again for the first time or something.
• 1:12:56
  Well, I don't know. It's like Jor-El leaving the planet Krypton and becoming
• 1:12:59
  Superman or something. Yeah, that's it.
• 1:13:01
  Maybe she's becoming like a human or something. Don't know. Don't give a fuck.
• 1:13:06
  You notice at the end, he goes, I just want to talk to you. And they start talking,
• 1:13:09
  but the music's overplaying them. And yet they're still talking, but we can't hear them.
• 1:13:14
  Well, that's done for effect to be fair. Oh, effect.
• 1:13:17
  Is that what that was? that's so that people years from now like idiots like
• 1:13:21
  ourselves would be saying I wonder what they were talking about did they get
• 1:13:25
  back together did they not you know what I mean it's like it's the ultimate cliffhanger you know.
• 1:13:32
  Fuck me I wish I was hanging off a cliff and I'll just fucking let go yeah like
• 1:13:36
  a literal cliffhanger yeah overall I can see why people would like it why do
• 1:13:45
  you always have to find something good because of fur Why can't you just say
• 1:13:48
  this is a piece of fucking shit?
• 1:13:51
  Because I'm fair. I think it's absolute nonsense.
• 1:13:55
  It's just a bunch of colors and sort of basically an extended music video and
• 1:14:00
  just like colors and dance sequences and completely random, no drama, no real story.
• 1:14:06
  But as someone who likes sort of campy silliness and trashy stuff myself,
• 1:14:13
  not in this case really, But I can sort of, I can understand people appreciating it for that.
• 1:14:19
  But generally it's complete nonsense.
• 1:14:21
  Yeah, this is a piece of shit. Illogical nonsense. This is a piece of shit.
• 1:14:26
  And for anyone to, you fighting any kind of silver lining here is a travesty.
• 1:14:33
  This is terrible. This is terrible. This is the, this is the, this is so bad.
• 1:14:40
  And it's not that it's so bad it's good. and it's not one of those films where,
• 1:14:47
  it's intentionally bad. This was, this was, they actually thought they were
• 1:14:51
  making something good here. You can tell.
• 1:14:53
  I know. And they thought they were making a throwback to old classic musicals of the 30s and 40s.
• 1:14:59
  They didn't succeed. They wanted their Siegfried Follies and whatnot.
• 1:15:03
  This is terrible. This is an embarrassment.
• 1:15:05
  It destroyed Michael's back career. God love him.
• 1:15:08
  It didn't help Olivia Newton, John.
• 1:15:10
  She and Kelly passed away soon. Poor bastard.
• 1:15:13
  And you just, wow. I mean, this is embarrassing. This is like Stopper or Mama Shooter.
• 1:15:20
  You've got competent producers behind the lens here. I'm not the director.
• 1:15:24
  He went on to do documentaries.
• 1:15:26
  Too bad you didn't make a documentary about how to make movies.
• 1:15:29
  But this is even everything about this film is terrible, terrible,
• 1:15:36
  terrible. It's a mess. Nothing.
• 1:15:39
  But according to Trevor. I get it. That's what he just said.
• 1:15:44
  It's a highly colorful mess.
• 1:15:46
  The monster's wearing off now. Right.
• 1:15:49
  So, there you go. If you want to spend the afternoon, watch the Warriors and Xanadu back-to-back.
• 1:15:55
  Because we thought it better today.
• 1:15:58
  All right. Guys, thanks for listening. We just threw Xanadu.
• 1:16:01
  It was kind of the last, literally it was the last minute just because of Michael Beck.
• 1:16:06
  And sadly, what it did to his career. But like I said in the beginning,
• 1:16:09
  always been fond of Michael Beck because of the Warriors.
• 1:16:12
  So, he gets a pass just because of that.
• 1:16:15
  I'll listen to you guys. Thanks for listening. to us. We greatly appreciate it.
• 1:16:18
  And give us a shout if you guys want us to do something or you have any ideas
• 1:16:24
  and restructuring if we could be more professional.
• 1:16:29
  That's not fucking happening. Give us a shout at citizenprime underscore podcast
• 1:16:33
  and Instagram and of course Facebook. I created a Twitter account.
• 1:16:37
  That's all I know so far. Oh, it's not even Twitter now. I think it's X. Yeah.
• 1:16:41
  I don't know how to use it. I don't know. It's just a word. something out.
• 1:16:46
  Yeah. Actually, Trevor was supposed to work on that, and he hasn't done shit.
• 1:16:49
  Well, I have another idea for you, but we'll discuss that once we'll go off the air.
• 1:16:53
  Oh, this should be good. Yeah, we'll be. This should be good. This should be good.
• 1:16:58
  All right, guys. Listen, thanks for listening. The new issue of PhantasmGory is out now.
• 1:17:03
  It is all over the world, available on Amazon and locally in the U.S.
• 1:17:07
  And some of the local shops around there.
• 1:17:09
  And, of course, in Belfast here, on Forbidden Planet. It is indeed.
• 1:17:14
  We're done thank you take care of yourselves.