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A Life In Movies: Brendan Benson · All The Right Movies

• 0:04
  Hi everyone, welcome to A Life in Movies, the movie interview
• 0:07
  show brought to you by All the Right Movies.
• 0:09
  My name's Luke. On the show we talk to people in
• 0:12
  entertainment about 5 films that have personally picked out as
• 0:14
  being important to them, movies that they love.
• 0:17
  Today I'm talking to a musician who's been around since the mid
• 0:20
  90s and in that time he's put out seven highly regarded albums
• 0:24
  as a solo artist and three albums with the much loved rock
• 0:27
  group The Raconteurs. And you can add to that a number
• 0:29
  of producing credits as well. It's a pleasure to welcome
• 0:32
  Brendan Benson. Hi, Brendan, how you doing?
• 0:35
  Hey, I'm good man. Thank you very much.
• 0:37
  Thanks for having me on. Pleasure, pleasure.
• 0:40
  So how are things being, how are things being with COVID and the
• 0:44
  getting out on tour? Dandy.
• 0:47
  They've been, well, that part has been non existent.
• 0:52
  Really. Yeah.
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  Haven't been, haven't been able to do any touring.
• 0:57
  I mean, there's a pipeline of course, of bands now.
• 1:01
  Funnily. Through to, to catch up.
• 1:03
  Everyone's playing catch up and people are scrambling, but, and,
• 1:07
  you know, it's still kind of just doesn't feel to me it it it
• 1:11
  shall we say, I don't know, kind of like Keystone cops out there.
• 1:14
  Yeah. You know, a bit like I'm waiting
• 1:17
  for maybe the dust to settle a little bit.
• 1:19
  Yeah, it's still pretty hairy, and it keeps on going up and
• 1:22
  then down and then back up again.
• 1:23
  Yeah. And I mean, I'm not even talking
• 1:26
  about the virus really. I'm thinking I'm talking about
• 1:30
  the, you know, the just the, I don't know the well, the
• 1:34
  lockdowns and the policies and the, you know, it's just good.
• 1:38
  Is it, is it this or that? Are we doing this?
• 1:40
  Are we not? Are we?
• 1:40
  Yeah, But I. Don't know.
• 1:42
  Yeah, and everybody's got a different opinion.
• 1:44
  Yeah, exactly. Yeah, yeah.
• 1:46
  So where you where you're at? Where where you're calling from.
• 1:50
  I'm in Nashville, TN, my hometown, in my home studio,
• 1:55
  which is not really in said home, it's just Outback.
• 1:59
  Yeah, so come to you live from Nashville, TN, We're talking
• 2:03
  about 5 movies that Brennan's chosen personally.
• 2:06
  Are these your top five films of all time, or just ones that
• 2:09
  you've got a personal connection to or?
• 2:12
  I don't I yes, yes and no. Some are a few are kind of, I
• 2:18
  wouldn't say top. I have a hard time doing lists
• 2:24
  like that. Like, you know, even my son
• 2:25
  asked me what's your favorite song ever, you know, and I'm I
• 2:28
  just can't commit to that. So, so suffice to say these are
• 2:32
  these are some go to some definite like if they're on,
• 2:36
  it's like if, if they happen to be on the television, they're
• 2:40
  the movies that I I have to watch, right.
• 2:43
  OK, you're you're obliged. You're obligated to watch on TV.
• 2:47
  You're halfway through when you and you're not doing anything.
• 2:49
  Not yes, exactly. OK, so do you want to tell me
• 2:54
  about the first film that you want to talk about?
• 2:57
  Well, you tell me because you have a list there.
• 2:58
  Or we could, you know, let's go by your list, so.
• 3:01
  You bring it on. OK.
• 3:03
  First one I've got is Angel Heart.
• 3:06
  This one is particularly nostalgic for me.
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  Probably personal, you know, probably not going to be
• 3:12
  universally, you know, loved or whatever or even liked or what
• 3:17
  you know. But I think this is Mickey
• 3:21
  Rourke in all his glory as as he was meant to be just to kind of
• 3:26
  like kind of like rough potato faced Irishman, you know, like
• 3:32
  from the Bronx or from Harlem, where he's no, he's from the
• 3:35
  Bronx that he always says or something in the in the movie.
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  I love the fashion too, of this movie.
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  It's takes place. Mid 50s I think. 50s OK,
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  Sometimes it's like, yeah, you're not sure if like, gosh,
• 3:48
  is this like, you know, because it takes place in New Orleans.
• 3:51
  A lot of it takes place in New Orleans, which is very, very
• 3:54
  dear to my heart. I'm from New Orleans.
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  I grew up near New Orleans. Did you really cool?
• 3:58
  I did and in the early years, in my early years, I, you know, I
• 4:04
  went to the French Quarter every every weekend for art class and
• 4:08
  had beignets and yeah, man, the whole deal.
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  So this this movie just kind of, you know, evokes those those
• 4:16
  feelings and and like the and a particular kind, or maybe that's
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  just the New Orleans kind. It's just that old man.
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  It's just just everything's so old and, you know, historic or
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  so. And it's not like Europe
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  necessarily. There's more like it's more kind
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  of sinister maybe, or kind of yeah, mad, you know, sort of.
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  There's this, well, voodoo, you know, just.
• 4:39
  Yeah. Shit going on, yeah.
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  So those scenes, I've never been to New Orleans, those scenes,
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  did they take place in and around?
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  Did you identify them from from your childhood?
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  Yeah, there was, there was, well, there was a scene.
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  There's some scenes or one scene in a in a graveyard, which is an
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  above ground graveyard. You know they all their graves
• 5:00
  have to be. Above Oh, that's right, because
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  they float, don't they? If they right, the sea level
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  comes up. Exactly.
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  So if they're so consequently they're kind of beautiful.
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  I mean, they're kind of A, and they're of course intriguing and
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  weird. So that I mean those kind of,
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  you know, I recognized those things and I don't know what
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  else. Oh, and there was like, I think
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  at one point he went out onto the Bayou and and or they
• 5:26
  filmed. I mean, they went everywhere.
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  They did the French Quarter, they did the Bayou, They did,
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  you know, the swamp, which is kind of the Bayou, but I don't
• 5:35
  know they I'm not remembering here.
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  Oh they did well the horse races and stuff and the jumbo like the
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  gumbo pot. That's right.
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  Yeah, The scenes in New York at the start as well.
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  And the one that really stood out for me is the one at Coney
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  Island where, yes, he goes to see the guy who gives him the
• 5:55
  the nose guard. Yes, and his.
• 5:57
  Wife's in. Yeah, yeah.
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  And, and just just really struck me.
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  I, I think, I think you've, you've visited New York quite a
• 6:05
  few times. Have you ever been down the
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  corner? Yeah.
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  Not as much as I would think. I think I've only been a couple
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  times maybe. I think once was to play a show
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  there some festivals, so that wasn't really seen much.
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  But I, I, no, I haven't really spent much time there.
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  I've always, I was always interested in the city.
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  Yeah, you know, I never wanted, you know, but that's a really
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  cool weird scene out. There really weird, yeah.
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  You know, I mean, yeah, it's kind of like it's a culture.
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  It's like, it's a kind of a culture.
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  It's like beach culture, but it's like City Beach culture.
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  Yeah. But also it's it's also kind of
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  reminiscent of New Orleans, you know, out there in Coney Island,
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  I think because maybe just because of the, you know, this
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  carnival vibes and yes, yeah. Oh yeah.
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  You know. So can you remember when you
• 7:01
  when you first saw the film? When I did see the film, I think
• 7:05
  it was probably in the 80s, you know, soon after it was it's
• 7:08
  probably out on on cable is when?
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  I saw it. For the first time.
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  So I never I never really got to see it in this.
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  And the music's great in this. The music's great in Angel
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  heart. Like, I mean the score, the but
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  also the the, you know, the hand picked songs, you know, and
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  Brownie McGee and Sonny Terry are singing in it and or
• 7:29
  performing in it, I think. And I don't know, it's cool
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  stuff. But and of course in New Orleans
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  you have music, jazz and all that.
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  Oh, right. I was going to say that when I
• 7:39
  did see it, I was way into his vibe.
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  And I remember well, I got obsessed with Mickey Rourke.
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  And Like a Prayer for the Dying is another favorite of mine.
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  Yeah, great. And I kind of got I kind of
• 7:51
  wanted to do my hair like Mickey Rourke.
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  I remember, you know, I tried to grow it and and and use, you
• 7:56
  know, pomade to get it to slick back a little bit, but kind of
• 8:00
  to shovel kind of fallen. And I just went into his
• 8:04
  character and his look and his Interestingly though, I wasn't
• 8:08
  into 9 1/2 weeks. No what?
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  He's best known for. Yeah, I was very notorious.
• 8:13
  I'm 41 years old, so that was kind of like a notorious VHS
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  when I was growing up. Right, right.
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  And I do remember Angel how it. Was it was very controversial.
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  It was, yeah, it was I think. I think he started starred in
• 8:27
  the straight to video sequel as well. 9 1/2 weeks too.
• 8:32
  I haven't seen that one. I have.
• 8:33
  Not seen that I don't care to either.
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  No, he got weird, didn't he Mickey workout, not weird.
• 8:38
  I shouldn't say that he's I I still my I'll still oh, pulpit
• 8:43
  granted village I that should be on my list.
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  Amazing. Yeah.
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  Dang. It that should be on there, but
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  we don't want to make it to make it work centric, do we?
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  But. You know, he's I always been a
• 8:53
  huge fan of him. So anything he does, and in
• 8:55
  fact, Oh yeah, Sin City man and. I really like him in.
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  There's a film called You're the Dragon around this time as well,
• 9:02
  around the late 80s. You're the dragon?
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  Yeah. It's.
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  Well. Is that Jet Li?
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  No. No, no, no, he's he's a, he's a
• 9:10
  cop in Chinatown and it's, I think he's fighting against the
• 9:14
  triads. Triads something like.
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  That all right? Nice.
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  And that's got the same kind of vibe as Angel Heart.
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  I'm surprised I didn't know that.
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  Oh, it's great. You know, his character again,
• 9:25
  Pope of Grinch Village, same, same sort of like, you know,
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  kind of brutish. Or yeah.
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  I don't know he's. He's got a good look, he looks
• 9:35
  good in a Mac and a cigarette. Yes, right, He's classic man.
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  He's. Like, yeah, he's classic, but I
• 9:42
  think that he kind of went by the wayside in the 90s, and then
• 9:45
  I think he picked up his boxing career again in the 90s.
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  And also he did something interesting that that wrestler
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  movie. Yeah, right.
• 9:53
  Wasn't that him? Yeah.
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  And I don't, although I can't recall it very well, I do
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  remember liking it. I remember thinking that, you
• 10:01
  know, Dang, he's still got it. Yeah, great Bruce Springsteen
• 10:06
  song on that on that film as well.
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  Oh yeah. Fantastic.
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  So what about favorite scenes? Is there any that stick out?
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  What's your favorite scene from Angel Honey?
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  So many. Well, I love what's her name, of
• 10:21
  course. Lisa Bonet.
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  Lisa Bonet always any scenes with her, particularly ones
• 10:29
  where she's washing her hair. Yeah, yeah. 11 She was.
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  She's washing this like she's got this huge head of hair.
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  And she's. Yeah, washing it in this out
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  outdoors in this basin. And he's tripping over the
• 10:40
  chickens and. He's and he's, yeah.
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  He's tripping over the chickens and tripping out over chickens
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  and yeah, yeah. And there's little kids that.
• 10:46
  Yeah. That's a great scene there.
• 10:47
  I don't know. Yeah.
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  It's a good a good scene that introduces them.
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  The two characters doesn't. It.
• 10:52
  That's right, yeah, it's really, it's right.
• 10:54
  And there's a yeah, the, the flirting in that scene, the
• 10:58
  enter, whatever you want to call that is really.
• 10:59
  Yeah, yeah. He's good at that.
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  He's a good flirter. Yeah, he is.
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  Yeah, acting a little coy. Cheeky.
• 11:07
  Would you call it cheeky? Cheeky.
• 11:08
  Yeah, cheeky's good. Very pretty girl epiphany Your
• 11:21
  Your name is sushi. Hey, what are you after him for?
• 11:37
  Johnny favorite. I'm really after him, I'm just
• 11:40
  being paid to find out where he is.
• 11:43
  He could be 6 feet under. Then I have to buy a shovel.
• 11:51
  You mentioned about when you, you, you were born.
• 11:54
  Were you born in New Orleans? So you know around that.
• 11:56
  I was born in Michigan, Detroit or Royal Oak, MI right and then
• 12:01
  moved down there. And then did you go back to
• 12:03
  Detroit? And then back to Detroit.
• 12:05
  Yep. Right, OK, right.
• 12:07
  Cool. When I was, I was thinking when
• 12:09
  I was like 12 or 13, so I was really in New Orleans till, you
• 12:13
  know, for the first whatever, 10 years of my life.
• 12:17
  Right, OK, but. But I remember them well, you
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  know. So it's and I, and like I said,
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  it just New Orleans kind of sticks with you.
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  I mean, I think if you've spent some time there, you, you become
• 12:27
  sort of possessed. It.
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  Possesses you, you know? What I mean?
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  Yeah. So what do you can if you can
• 12:35
  cast your mind back? What are your earliest memories
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  of of watching movies like the earliest ones you can remember
• 12:39
  as as a kid? Oh wow, springing to mind right
• 12:44
  now is my obsession. Just I remember being obsessed
• 12:48
  with horror movies but but unable to watch them, which is
• 12:53
  why I was obsessed. I think so I mean, yeah, so I
• 12:56
  mean I can't really speak on them per SE, but I can speak to
• 13:01
  how affected I was namely. Well, we're we're going to talk
• 13:06
  I remember we're going to talk about one of them so I'll, I'll
• 13:08
  save that one, but OK. And also Godzilla, Godzilla
• 13:12
  movies were huge. That was my, that was my first
• 13:15
  time in a theater, I think, although I think my parents took
• 13:19
  me to see Rocky Horror Picture show maybe, or some weird or
• 13:23
  Phantom of the Opera. It was, there was some, I know
• 13:27
  that's those are very different things, but but anyhow, I, I
• 13:31
  don't really, I don't remember much of it except for the
• 13:34
  fantasy of it all. I mean, just except for being in
• 13:37
  this dark place and seeing this on seeing this screen, this
• 13:41
  huge, enormous screen, you know, and it was so loud and all that.
• 13:45
  But but no, the Godzilla movies I think kind of got me like into
• 13:51
  movies, going to see movies, you know, like the magic.
• 13:53
  Of it. Yes.
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  And I want the next one to come out or I want to see the another
• 13:57
  one and you know. So what about film #2?
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  Then? Which one are you choosing for
• 14:02
  film #2? Well, let's go to Alien because
• 14:04
  I couldn't watch Alien when it came out.
• 14:06
  I still knew of it. I still knew about it's the
• 14:09
  Legend of Alien movie. You know, how scary it was and
• 14:13
  how horrifying and even my parents were, we're scared too.
• 14:16
  So I think that, or, you know, at least as a kid, that's what
• 14:19
  I, I saw. I, I think I saw them.
• 14:23
  I saw alien much later. And I loved aliens and I loved
• 14:27
  drawing. I was, you know, I, I still like
• 14:31
  to draw and I'm artistic. And when I was a kid, I drew
• 14:34
  aliens all the time. And I drew like Giger kind of
• 14:37
  stuff, you know? Right.
• 14:38
  Weird. Creepy shit and.
• 14:42
  So with that, that was that inspired by the film.
• 14:44
  Well, it was kind of boat. I mean, it kind of they kind of
• 14:46
  happened together. I was at the same, you know, I
• 14:48
  was, I was drawing, I was getting into drawing I guess
• 14:51
  and, you know, in art and stuff. And then I, when I saw Alien and
• 14:56
  so, yeah, I guess I must have been like maybe 13 or 14 when I
• 14:59
  saw Alien for the first time because it kind of coincided
• 15:04
  with that, that part of me that sort of like, you know,
• 15:07
  Illustrator, I was, I was waiting to illustrating not, not
• 15:10
  so much because later I got into painting a little bit.
• 15:13
  But but. When I was younger, I was into
• 15:15
  that kind of, I don't know, just and I drew Godzilla a lot when I
• 15:18
  was a kid. So, so I guess all that to say,
• 15:22
  Alien had a cool aesthetic, you know, like had a had a really
• 15:28
  like Star Wars had an aesthetic, you know, and Empire Strikes
• 15:31
  Back, the whole. All of it.
• 15:33
  I think Alien had its own too, you know, a mood and A and also
• 15:37
  is that who whoever directed that?
• 15:39
  I think that was the first time I was ever or ever noticed the
• 15:42
  directing of something. Right.
• 15:44
  I was really conscious. Conscious.
• 15:45
  That's right of. Course.
• 15:50
  But yeah, every conscious of like behind the camera thinking
• 15:54
  about like, I don't know why they did stuff or why they or I
• 15:58
  don't know, like or how well they did stuff, you know,
• 16:01
  thinking about wow, that was that's really good, man.
• 16:04
  I don't know, but the the main thing about alien that it I mean
• 16:11
  that affected me so profoundly, so deeply and affected, I think
• 16:16
  the entire world or everyone who saw it.
• 16:19
  In fact, was the scene, you know, where the alien burst out
• 16:22
  of the guy's chest, right? He's been like, you know, they
• 16:27
  had this thing on his face and no one knows what happened.
• 16:29
  It get went down his throat and then he's during it's during
• 16:32
  dinner where he has that, you know, freak out, choking gas,
• 16:36
  you know, he's like and it fucking splits his rib cage and
• 16:40
  just takes off. And I and I've heard also, I've
• 16:45
  since heard from like, well, a therapist, actually one of my
• 16:50
  therapists, I'll go ahead and admit that he told me.
• 16:54
  He said, he said, you know, that scene was, you know, regarded
• 16:59
  among, you know, also the, the, the, the psychoanalytical world
• 17:04
  or the psychology world as being really brilliant and, and also
• 17:09
  recognized it as having this huge universal trigger.
• 17:13
  Kind. Of for people, a lot of people,
• 17:16
  you know, I mean, it's just simple.
• 17:17
  It's really it's just like my just what's in me coming out and
• 17:21
  it's maybe and it makes and it made me sick or something, you
• 17:24
  know, I don't know. I mean, I don't know if that's
• 17:26
  universal or if I'm just admitting to a lot of weird shit
• 17:29
  right now, but no. But I think that's true, you
• 17:31
  know, just it provokes. A reaction though, doesn't it?
• 17:34
  Yes, Right, exactly. So it's, I think, I think Alien
• 17:37
  had a lot of, you know, I think it had an effect on people like
• 17:41
  Jaws, you know, to, to maybe. Afraid of the.
• 17:44
  Water and afraid of sharks, Yeah.
• 17:46
  I think alien. Made people afraid of space and
• 17:48
  afraid of aliens. Well, you.
• 17:51
  Mentioned Star Wars the the the film wasn't.
• 17:54
  I mean, I think it landed in development hell for years and
• 17:58
  years until the success of Star Wars and Star Wars, like any
• 18:01
  studio wanted any sci-fi film that would just put it into
• 18:03
  production, which is why that that came about maybe a couple
• 18:07
  of years after Star Wars, Yeah. Oh, nice.
• 18:10
  That's cool. I didn't know that.
• 18:10
  Yeah. I mean, that's and that's
• 18:13
  nothing I love, you know? I love movie culture.
• 18:15
  I don't know why I don't. I should really look into it
• 18:18
  more because it is really fascinating.
• 18:21
  I don't like reading about music.
• 18:22
  Like I don't read music biographies or any of that crap.
• 18:27
  Or you know. Or even.
• 18:29
  Music journalists and shit. Like, I mean, I don't really
• 18:32
  read articles on music anyhow, but I never thought about movies
• 18:37
  like because that's just that's fascinating and I don't think
• 18:40
  I'd put it on the list, but Hearts of Darkness is another
• 18:44
  one of my favourites. Favorite movies really.
• 18:47
  Hearts are darkness. Which one's that?
• 18:48
  Now that that's. The about the making.
• 18:52
  Of apocalypse. Now, yeah.
• 18:54
  Amazing. Yeah.
• 18:55
  Hearts, the what is it? Heart of Darkness is the book, I
• 18:58
  think. Or something.
• 18:59
  Yeah. I don't.
• 19:00
  Know I can't remember but yeah that's funny.
• 19:02
  We you talk about 5. You wanted me to come up with
• 19:06
  five movies and I was hard pressed to come up with five.
• 19:08
  Now I'm like, I want to talk about all the movies anyhow.
• 19:13
  I don't know what I where I was going with the apocalypse or the
• 19:15
  hearts of darkness thing, but well.
• 19:17
  Yeah, I mean, that's an incredible documentary and and
• 19:20
  it really like get behind and see see how how how invested
• 19:25
  Francis Ford Corporal award. I wonder how?
• 19:27
  How, how much do you think that was?
• 19:30
  I mean, I'm just kind of thinking this now, but how much
• 19:33
  of that was, do you think, staged or dramatized or acted?
• 19:40
  Like, for example, I mean, 'cause it was so gnarly, the
• 19:43
  whole, I mean, the making of that movie.
• 19:44
  And indeed it was, I think it was hard.
• 19:47
  It was all against all odds and adversity or whatever.
• 19:49
  But I don't know, like, like the conversation, what's his name?
• 19:57
  Talking with the director, Francis, talking about Marty and
• 20:01
  talking about how he, you know, if he's in the hospital and he's
• 20:04
  sick and if he drops dead, do you realize, you know?
• 20:07
  I just I. Don't know some of.
• 20:08
  That stuff, I wonder if it was kind of almost mockumentary.
• 20:12
  Oh, from. All reports it it was pretty
• 20:14
  genuine I mean we've done a podcast on Apocalypse now so the
• 20:18
  research that went into that far and wide about about the meek
• 20:22
  and of. And yeah, Martin Sheen had a
• 20:24
  heart attack brought on by. Brought on by Was it the?
• 20:32
  His. What a hat.
• 20:34
  Why I? Think it was like his lifestyle
• 20:38
  and he, I think it was only mid 30s his.
• 20:42
  He had stress levels. He was into drinking drugs and
• 20:46
  he took that over. But also the production was no
• 20:48
  good either because it was just a part either loads of booze on
• 20:52
  the gore. And that was happening every
• 20:54
  day, all day. And production was 18 months.
• 20:58
  And they were that you Coppola was shooting for 18 months.
• 21:01
  So it just took its toll, yeah. It's pretty much generating like
• 21:06
  Alcoholics and drug addicts and yeah, I mean.
• 21:09
  I'm. Speaking hyperbolically, of
• 21:12
  course. 'Cause.
• 21:14
  I mean, that movie's wow. Before you know, before you
• 21:18
  know, all the hype or all that surrounding it, it's still, you
• 21:24
  know, it's still a awesome movie, man.
• 21:27
  It's just, it's incredible. One of the best.
• 21:29
  Yeah, Yeah. So bring it back to Alien
• 21:32
  favorite scene, is it? That's cool.
• 21:34
  Is it the chest burst of scene or is it a different one?
• 21:37
  I think I like the scenes involving Oh, no, no, my
• 21:41
  favorite scene is is the when he becomes when when they land on
• 21:45
  this planet, this strange planet and they venture out and then
• 21:51
  they come across that enormous alien that's like calcified or
• 21:57
  something or like just what the we can't even.
• 22:01
  That's just genius that that affected.
• 22:04
  I mean, you know, I felt that one for sure, Yeah.
• 22:07
  That's amazing at the atmosphere that's built with the, the, the
• 22:13
  effects and the lighting because they've got all of those eggs
• 22:17
  underneath. Oh yeah, yeah.
• 22:19
  And then they've got fields. Yeah.
• 22:21
  And. They.
• 22:22
  Oh man, so good. They must have been incredible.
• 22:25
  What the hell was? Going.
• 22:26
  On, on that production, I wonder, you know, they must have
• 22:29
  been having a blast or not, I don't know.
• 22:47
  There's. A.
• 22:48
  A layer of mist just covering the eggs that react when broken.
• 22:59
  OK, so Film 3. Which one are you going for,
• 23:03
  Brendan? Oh well.
• 23:04
  You might have to remind me now what I say because I've I said I
• 23:08
  sent you a list and I can't now, but I can't remember and I don't
• 23:10
  have the list in front of me. It's a lament of surprise.
• 23:13
  It is. Let's go with taxi driver.
• 23:16
  Oh. Shoot.
• 23:18
  OK, well, I own the score on vinyl.
• 23:20
  I love the Mason. Score.
• 23:22
  Score is amazing. Robert De Niro.
• 23:23
  'S He's so compelling. So I mean he's a psych, he's
• 23:28
  psycho and we're just watching his sort of spiral or and his
• 23:34
  wow, but then also he's he's also a hero.
• 23:38
  Like I mean what is? It like yeah, like anti hero
• 23:41
  maybe Yeah and a hero. He has.
• 23:44
  I don't know where to even begin with that one.
• 23:46
  You got to help me out here because.
• 23:48
  Well, every. Scene that I have the films that
• 23:51
  you picked have rewatched just to well, actually there's a
• 23:54
  couple that I've never seen before, but taxi driver the what
• 23:59
  I noticed on the rewatch is that the number of scenes that are
• 24:05
  just that would just blew me away.
• 24:07
  The scene with the guy who's called Easy Andy with the guns,
• 24:10
  he takes him to the yes. Incredible.
• 24:13
  And he's showing him and that and the, the, the, the camera
• 24:17
  pans as he, as he does his hand across the oh wow.
• 24:20
  Yeah, it's. So good, man.
• 24:21
  Why is that? Why is that so good?
• 24:23
  That's so weird. Scorsese does that shit, man.
• 24:26
  He's he taps into that shit that we don't, I don't know, man.
• 24:29
  We don't notice that that's that does something to you.
• 24:33
  Like, I don't know that that's true.
• 24:37
  That's just that movie is so artful, you know?
• 24:39
  What I mean? It's just high art.
• 24:42
  I mean, I hate to sound like so pretentious about it, but it's
• 24:44
  it's, it's like just one of my favorites.
• 24:47
  It's such a mood, such a cool New York mood, like.
• 24:52
  I love. All the and then, you know, he's
• 24:55
  we get that street performer doing with the hair different.
• 24:59
  Yeah, with the hair plastered hair.
• 25:01
  And like we get some shots of New York, like candid seems like
• 25:05
  seems like pretty real. You know, there's one scene.
• 25:10
  Well, it's not even a scene. It's during the credits at the
• 25:14
  end. I just just, I just remember
• 25:16
  this there. I think it's at the end of the.
• 25:19
  Is it? No, I think it's during the
• 25:22
  movie. So it's a scene where the
• 25:26
  cameras may be in the back seat of his taxi.
• 25:28
  So we're looking at the back of his head and we're kind of
• 25:31
  looking at it's night time and we're looking at the street
• 25:34
  scene, New York street scene. And I think he's driving through
• 25:36
  drives through some, you know, some water coming out of a Yeah,
• 25:41
  that's. Near the start, yeah.
• 25:42
  And then and then suddenly the music and the and the cameraman
• 25:47
  or whatever, they zoom in, the camera zooms in on his rear view
• 25:51
  mirror. And he's.
• 25:53
  Adjusting it and then the movie. I mean, I'm sorry, the music,
• 25:58
  it's not even the in the music. It's overdubbed a backwards.
• 26:04
  It's like it's. Like a glass pink that they,
• 26:06
  that they, that they reversed. So it goes.
• 26:10
  Just as. Easy.
• 26:11
  Just as easy. Adjusting.
• 26:13
  The mirror and it's so fucking weird, man.
• 26:16
  It's like I trips me out because the first time I ever saw it, I
• 26:18
  was like, whoa, I gotta rewind. Like what did I do that's?
• 26:22
  That's. That's incredible, Was right at
• 26:24
  the end when he drops off. Yeah, Sybil Shepherd's
• 26:27
  character. So you know what I'm talking.
• 26:28
  About right. Yeah, I know exactly.
• 26:29
  What you're talking about, Yeah, because it could very.
• 26:32
  Easily just go slip by unknown. It could, yeah.
• 26:35
  Yeah, that OK. Whatever, but it's really.
• 26:37
  It really stands out. Really recognizable.
• 26:39
  Yeah. I think it's it's after what's
• 26:44
  all said and done, he saves Iris.
• 26:46
  He gets the the letter from her mum and dad saying, you know,
• 26:50
  thank you for returning our daughter.
• 26:51
  Yeah, reading up that letter. Wow, yeah.
• 26:54
  And I don't wonder who read. That letter, I love that.
• 26:57
  Oh God, I I should know this. I can't remember you.
• 27:00
  Should you? Being I should know.
• 27:02
  This. But that's that.
• 27:04
  Little Scorsese called that that sound that you mentioned a
• 27:08
  musical sting. He said that it represents
• 27:12
  Travis's not a law. You know, it's things seem on
• 27:16
  the open up in two weeks time he's going to go crazy again and
• 27:21
  it won't be a happy ending for him.
• 27:23
  Wow. No way this is the Scorsese says
• 27:27
  this has said that. Yeah, a musical.
• 27:31
  A what? A musical sting.
• 27:32
  A musical. Sting is what he called it.
• 27:34
  And he also said when Bernard Herrmann was doing the music for
• 27:38
  it, he said he wanted something in there to to signify that.
• 27:42
  And Herman did what he what he was doing.
• 27:43
  And he said I need something extra.
• 27:46
  And Herman was leaving the room. And he said, of course, Izzy,
• 27:49
  just play it backwards. Herman said that, yeah.
• 27:56
  That is. So good, man.
• 27:57
  I mean, I've, I've like waited my like a whole life to hear the
• 28:02
  explanation of that. Like it never occurred to me to
• 28:04
  look up, look it up or anything. But that's great, man.
• 28:07
  I love that, Yeah. How cool.
• 28:09
  That really sticks out. It really.
• 28:11
  Does a musical sting? I like that.
• 28:13
  I mean, Scorsese's use of music is, you know, half of it, I
• 28:18
  think. I mean, yeah, he's so
• 28:19
  incredible. That score?
• 28:23
  That saxophone score, is it it? It won't quit.
• 28:27
  Yeah. If I've seen the film, that's
• 28:28
  that's. Oh, yeah, it's amazing.
• 28:30
  Oh. It's so.
• 28:31
  Good, I know. And that's probably the only
• 28:34
  time I ever really like saxophone.
• 28:36
  I think generally, generally speaking, I think I'm not really
• 28:40
  wouldn't listen to a saxophone song, but right.
• 28:43
  No jazz. Nah, I.
• 28:45
  Mean, I like bebop, you know, I like like old school jazz and
• 28:48
  yeah stuff but yeah I. Not.
• 28:52
  Not so much the like the Kenny G kind of stuff.
• 28:55
  Yeah. But.
• 28:59
  Oh yeah, and then so the obvious to to to maybe state the obvious
• 29:04
  about taxi driver. But you know, the the scenes
• 29:07
  where he's Oh, well, I mean, I think most of these scenes are
• 29:11
  seem like they're they are improvised, you know, I mean the
• 29:16
  scene and the, you know, you looking at me, you looking at
• 29:20
  me. I think that's, that's an
• 29:21
  improvisation, I think, right. I'm looking at you for
• 29:24
  confirmation. It, it, it is, yeah, the report
• 29:29
  score that if I can cast my memory back, that Scorsese's on
• 29:33
  the ground with the headphones on and he's asking them just to
• 29:38
  say what we what we, what you would see as as a kid if you
• 29:41
  were looking in the mirror. And De Niro says the you're
• 29:44
  talking to me. But Scorsese's picking up the
• 29:47
  street sounds and he can't hear what he's saying, so he's asked
• 29:51
  him to repeat it and repeat it and repeat it.
• 29:53
  And that's why you get it over and over and over again.
• 29:56
  Oh, that's. Hilarious.
• 29:57
  No way. So it's not actually.
• 29:59
  I mean, that was an afterthought.
• 30:00
  They were like, wait, let's leave it all in there.
• 30:02
  Yeah. Oh, that's great.
• 30:05
  That's really great. Yeah.
• 30:06
  That's. I love that stuff about films.
• 30:08
  I mean that. Yeah, I totally get off on that
• 30:10
  crap. And I think also just to stretch
• 30:14
  it further, the report is that it's.
• 30:17
  Came from a. Springsteen gig that they both
• 30:19
  went to see in 1975 at the Roxy in LA.
• 30:23
  He said that apparently he says that and they took it because
• 30:26
  this came out a year later 00. Springsteen says it, yeah.
• 30:30
  He said it to the to the crowd. In between?
• 30:32
  Like in between songs, yeah. Wow.
• 30:35
  Dude, that's my mind's blowing up.
• 30:39
  You're blowing my mind. That's so cool, man.
• 30:41
  Holy shit. And OK, I'll feed you scenes.
• 30:47
  You tell me what you cause cause another another another great
• 30:52
  scene is when he goes to the the politicians speech, you know, or
• 31:02
  whatever. Oh yeah.
• 31:03
  And. And he's talking to the Secret
• 31:06
  Service guy like. What do you guys what?
• 31:09
  Do you guys? Carry.
• 31:10
  Like a you guys got a 45 or, you know, just all that stuff like
• 31:15
  that seems so I don't know, like that seems improvised, you know,
• 31:19
  Yeah. Yeah.
• 31:20
  I mean, that performance in that scene is incredible because
• 31:22
  Travis is playing this, like, cool and friendly.
• 31:25
  But then he he says something like, you've got to look out for
• 31:29
  people. Yeah, you go.
• 31:30
  You've got to look out for people here.
• 31:32
  There's a lot of crazy people around.
• 31:34
  He's really intense. And then he pulls this big smile
• 31:36
  and walks away. Yes, but he messes up with his
• 31:39
  zip code. Is that what you call it?
• 31:41
  Yeah, right. Right.
• 31:42
  He gives them. One extra digit, yeah.
• 31:46
  Oh, so good. And.
• 31:47
  Then and then everything with Cybil Shepherd, how Cybil
• 31:50
  Shepherd is all like, I like how she's also, you know, got the
• 31:55
  kind of that the Vaseline lens going on, like the the, the kind
• 32:00
  of what is that look glowing? She's always glowing, yeah.
• 32:04
  Yeah, she's fantastic and beautiful.
• 32:06
  She is so unbelievably gorgeous. Knockout.
• 32:08
  Yes. Wow, Yeah, just.
• 32:13
  And then, yeah, his mistreatment of her, I don't know, not
• 32:17
  mistreatment. I guess his, you know, just
• 32:22
  unsophisticated self. Yeah.
• 32:25
  It just totally misunderstands the situation, totally misjudges
• 32:27
  the situation. Takes it.
• 32:28
  Or a porno, yes. Yes.
• 32:31
  And then is yeah. And then is like, you know,
• 32:33
  horrified, like it. I mean, yeah, I don't know that
• 32:40
  that that movie is just the movie that keeps on giving.
• 32:44
  I think you. Know I'll watch that every time
• 32:46
  that's. Another one.
• 32:47
  So what's your? What?
• 32:48
  What scene are you going for for your favorite in that one?
• 32:52
  Oh. Man, well, I'm gonna have to go.
• 32:54
  We'll have to go. We get we'll have to cut to the
• 32:56
  chase, go with the when it goes down in the in the down in the
• 33:03
  brownstone the the murder at the end the you know, because oh,
• 33:11
  the music is so good too, man, all I can hear is the music,
• 33:15
  but. He's.
• 33:18
  Yeah, just a camera. It's like slow motion at times
• 33:20
  and stuff. And, and just that apartment,
• 33:23
  man, just that, yeah, that New York apartment that's so
• 33:26
  perfect. Just that, you know, 1500 coats
• 33:30
  of glossy paint on the walls and, you know, and then, oh,
• 33:34
  yeah. And then he's, and then he does
• 33:35
  the motion when the cop comes, right?
• 33:38
  He's he's yeah, he's out of the bullet.
• 33:40
  He's out of. Yeah, and he says any motions to
• 33:44
  the cop, I think. I mean, I, I he well, he motions
• 33:49
  at like he's shooting his himself with his hand, which I
• 33:52
  don't know what you thought. I've always thought that meant
• 33:54
  like, kill me. Yeah, maybe like.
• 33:58
  Like, yeah, or 'cause he. Tries.
• 34:01
  Doesn't he? He tries to put his out.
• 34:02
  That's right. That's right.
• 34:03
  He yeah, he tries. That's right, so I didn't I I
• 34:06
  don't know that scene is wow really intense this suck
• 34:10
  there's. Oh, and there's.
• 34:12
  An aerial shot, right? There's like an aerial view of
• 34:18
  of the, of all the people trying to.
• 34:20
  Yeah, that's man. They cut the.
• 34:23
  Ceiling. They cut the ceiling and pull
• 34:25
  the Dolly a Dolly track in there.
• 34:27
  I think it took about 3-3 months to to create that like track in
• 34:32
  the ceiling and they got it in 30 minutes to takes because
• 34:36
  Jodie Foster was a child labor law.
• 34:39
  She couldn't work past a certain time, so they had to do it in
• 34:42
  Yeah, in a heartbeat she was. She was working as a child,
• 34:46
  That's so how old was she, 12, really?
• 34:52
  Yeah. I know, I know.
• 34:54
  I mean you. Know, I remember that being
• 34:56
  controversial. I think I remember it being
• 34:58
  controversial before my time, like before, before I saw it
• 35:01
  even. Yeah.
• 35:02
  When does that? When did that movie come out?
• 35:04
  Actually, when I was 70. 6. Yeah, I was 6.
• 35:10
  But. Yeah, it's interesting.
• 35:13
  Like today's standards too, right?
• 35:15
  Yeah, like. I mean, even now that's
• 35:17
  something that something like this comes out and it's there's
• 35:20
  an uproar. Yeah, that's true.
• 35:22
  I guess. I guess I'm Yeah.
• 35:23
  OK, right. I mean, there's lots to kind of
• 35:26
  consider. She's she's a prostitute.
• 35:29
  She's speaking like this. I don't know.
• 35:31
  I just, you know, it's yeah, she's 12.
• 35:34
  That's my my son's. 11. Yeah.
• 35:38
  Tough to bear. Wow, why did they do that?
• 35:43
  Different times. Then different, yeah, I mean,
• 35:45
  Jodie was. Jodie Foster.
• 35:47
  Was probably, you know, I mean, just gunning for the role too.
• 35:51
  I don't know. But she's, I think it's her
• 35:54
  sister who was quite a bit older than her but had like the same
• 35:58
  build. She's a body double in certain
• 36:00
  scenes. Oh.
• 36:01
  Really. That's interesting.
• 36:03
  This is great. Why don't you talk the whole
• 36:05
  time? Nobody wants to hear me.
• 36:08
  This is silly man me. Stumbling over who, what, how
• 36:11
  what the hell, what happened in the movie?
• 36:13
  I can't even. But yeah, tax.
• 36:16
  That's gotta be my favorite scene.
• 36:18
  And yeah, I just urge everyone to just listen that music again.
• 36:24
  Yeah, you know, Yeah. Incredible.
• 36:26
  Yeah. So.
• 37:23
  When you, I mean, I know that you said you were into art and,
• 37:26
  and you were doing those kind of things, but I was like, what,
• 37:31
  what kind of things, What kind of things influenced you when
• 37:34
  you were young and like, how did you get into to music?
• 37:37
  I I think. I was just, I was, you know, I
• 37:41
  was a product of young parents and my parents.
• 37:44
  So, so that meant my parents were kind of, I mean, they still
• 37:47
  were partying and listening to great music, going to shows and
• 37:51
  seeing, you know, and, and I think, I think I just maybe I
• 37:57
  got it, you know, I mean, I, I think I was, I was exposed to
• 38:03
  music like the Stooges and MC5 and, you know, Bowie and T Rex
• 38:09
  and Roxy Music and all that kind of stuff when I was a kid, when
• 38:13
  I was a baby, really. And then, and then later I've
• 38:16
  discovered, rediscovered all that stuff.
• 38:17
  But, you know, I'm trying to think of why I have no good
• 38:22
  answer really, for why I got into music.
• 38:24
  I mean, I loved it. I mean, I guess probably to be
• 38:27
  more popular at school. I mean, that was, yeah, that was
• 38:30
  a reason, you know, just to. Yeah, that could make me cool.
• 38:32
  I don't know. It's cool.
• 38:33
  Yeah, that's cool. Maybe get a girlfriend, you
• 38:36
  know, a deal. But but yeah.
• 38:41
  And I just, I love the music, but it's interesting because I,
• 38:43
  I mentioned, I think that I was, I also painted and I was kind of
• 38:48
  always been artistic, I guess. And, and there was a point at
• 38:53
  which when I was maybe 18 or something, I kind of need, I, I
• 38:58
  thought I needed to decide which route I would take, like if I
• 39:01
  wanted to pursue music or art, you know, painting.
• 39:05
  I mean, I was kind of way into, I was, I was into portraiture.
• 39:09
  I kind of like doing that. I was studying that.
• 39:11
  I wasn't like, I mean, I was an apprentice to an artist and I
• 39:14
  was in it. I was in it like pretty deep and
• 39:18
  and also into music, though music was kind of taken off too
• 39:21
  and the art thing was more of. AI mean?
• 39:24
  The art world was like I said, I was an apprentice to this artist
• 39:28
  and it was so it was more structured and more kind of like
• 39:30
  a maybe not as fun a lot. I mean, yeah, definitely not as
• 39:33
  fun. A lot of times he'd have me
• 39:34
  reading. Sometimes I'd just be reading
• 39:36
  like about European history and shit.
• 39:38
  It was, you know, or, or he'd make me go out and draw flowers
• 39:41
  and I didn't want to draw flowers, you know, hated, hated
• 39:43
  drawing flowers, but or I, I was actually like made to, you know,
• 39:49
  wax his floors. I mean, I did that as well too.
• 39:52
  Literally waxed on. Waxed off like made.
• 39:54
  A joke to my. Friends like he's treating me
• 39:56
  like I'm like Karate Kid or something.
• 40:00
  But for that reason I chose music.
• 40:05
  I just consciously said I think I'm going to try to.
• 40:09
  I think I actually did say I think I want to be a rock star.
• 40:11
  I'm going to be a try to be a rock star.
• 40:14
  None of my friends. It's more appealing, yeah.
• 40:16
  And it's, but yeah, so I guess all what I was trying to say,
• 40:21
  what were you you were asking me?
• 40:23
  What? Oh, yeah.
• 40:23
  So I literally just kind of chose music when I could have
• 40:27
  chosen painting, I suppose. And I didn't have to choose
• 40:29
  either, which is the funny part, I mean.
• 40:31
  But at the time I felt like too conflicted about it.
• 40:34
  So. So I, yeah, I'm kind of made it
• 40:38
  a point to pursue music I. Guess I'm just.
• 40:43
  I'm just now thinking about this, you know?
• 40:46
  Did he ever do a normal job? Like quote UN quote?
• 40:48
  Normal job? Yeah, plenty.
• 40:50
  Like, I've done a bunch, yeah. Waited tables a ton, washed
• 40:55
  dishes a ton. You know, mostly I sucked at
• 40:57
  waiting tables, to be honest. I moved to LA, Los Angeles.
• 41:01
  And. Got a like got a job at a
• 41:05
  restaurant and I wanted to be a busboy.
• 41:08
  I wanted to purposely I just, I wanted to just be quiet.
• 41:11
  I mean, no one talked to me. I just want to like, you know,
• 41:15
  bus tables do my thing, clock in, clock out and and then maybe
• 41:19
  get some hears listening to some people talk or whatever.
• 41:21
  But it was, I was so first of all, they wouldn't, I mean,
• 41:25
  people were like wouldn't really hire or people I think look down
• 41:30
  on me for being like as a dishwasher or, or a waiting or
• 41:34
  busing tables instead of waiting or something.
• 41:36
  It was very odd. You know, I was new to Los
• 41:39
  Angeles trying to navigate, you know, coming from the Midwest.
• 41:41
  You got a job at the restaurant washing dishes.
• 41:44
  That's how you made money. So I, I would do jobs
• 41:46
  landscaping did a lot of that. You know, worked at a lighting
• 41:51
  company for you know they lit up the the bands that played at the
• 41:59
  casinos. Very depressing time of my life.
• 42:03
  It was. I was.
• 42:04
  Living in Detroit and it was The MGM Grand and I was just broke
• 42:08
  and like didn't have a record deal or anything, you know, I
• 42:12
  didn't. Have so.
• 42:15
  So I got his job at this lighting place and we'd have to
• 42:17
  get up at like 5:00 in the morning and be there and then
• 42:20
  film to film Boston or to, you know, to like, I'd work a what
• 42:24
  do you call? It a spotlight.
• 42:26
  Spot, right? Yeah.
• 42:27
  You know. Bands like Boston would play and
• 42:30
  it's kind of fun, but yeah, it's also kind of weird, yeah.
• 42:35
  Yeah, it's got a shelf life. It made me want.
• 42:36
  To it made me want to write another record it.
• 42:39
  Is man OK? So film #4 The Shiner.
• 42:46
  Oh. Yes, this might be my all time
• 42:48
  favorite movie, if I had to say like 1.
• 42:51
  I mean, you know, you know, my stance on that I don't like to
• 42:54
  say, but yeah, it's got everything.
• 42:58
  It's it's such a simple concept, you know, but it seems so count.
• 43:04
  It's so just, I don't know, it's, it's so juicy with.
• 43:12
  Packed with, you know. Yeah, just psychological crazy
• 43:16
  stuff, you know? I love it.
• 43:19
  I love psychological thrillers, but the most I think, I think, I
• 43:22
  guess, I guess that would you know, when I look at Netflix and
• 43:25
  they say. You know.
• 43:27
  Yeah, I like the psychological thrillers.
• 43:29
  That's the the like watching a man kind of come apart, you
• 43:36
  know? It's kind.
• 43:38
  Of similar, a similar journey that Jack Torrance goes on in
• 43:41
  The Shine and that Travis does in Taxi Driver.
• 43:45
  Yeah. Oh, I see a descent, kind of a
• 43:47
  descent into madness. Yeah, yeah, yeah, yeah, right.
• 43:51
  Kind of. Yeah, isn't.
• 43:52
  That yeah, they're like the. Exterior is having that
• 43:55
  psychological impact on them. Let's.
• 43:56
  Now let's analyze the movies I've chosen, right.
• 44:01
  I mean, think about that's kind of whoa, that's kind of
• 44:04
  indicative, maybe Telltale or something.
• 44:07
  But no, yeah, you're, I mean, just these movies being about,
• 44:10
  you know, one man or not all these movies, but.
• 44:15
  These couple of these movies. But yes, like that's fascinating
• 44:20
  for me to to me to watch just someone kind of come up,
• 44:26
  unravel, unravel. That's the word.
• 44:29
  And Kubrick, I mean Stanley Kubrick, I'm a huge fan of.
• 44:32
  I can, I can definitely recognize and identify his work
• 44:36
  and, and I always love it. It's talk about a mood.
• 44:40
  He's got one mood and Oh yeah. I'm.
• 44:43
  Down for it, it's great. It's like.
• 44:46
  Even minimal, like even like I'm thinking that the music for his
• 44:49
  stuff is very yeah. Down.
• 44:52
  Down, down, down that opening. Down with the with that music.
• 44:56
  Fantastic. That Oh my God, in that.
• 45:01
  Yeah, yeah, jeez, it's so good, man, so good.
• 45:05
  And it's like sounds really also sounds very 70s.
• 45:08
  It's like sounds like a mogue or something.
• 45:12
  Oh yeah. OK, well.
• 45:13
  Jack, I mean Jack Nicholson is just.
• 45:17
  I could watch. Him all day I mean, so he's.
• 45:21
  Got that, Corny? Already.
• 45:22
  Yeah, he's just yeah, He's any. He's got the expressions, man.
• 45:25
  He's got the he's so those eyebrows, those eyebrows.
• 45:29
  Yes, he's so and he's so what's the word?
• 45:33
  He's so well, he's just a he's so different in every character.
• 45:39
  I like that you know, he's he's 'cause you I mean there's
• 45:42
  similar like he does do he does have a thing, I guess a a
• 45:47
  typecast or not a typecast A. Yeah, I suppose you kind of know
• 45:51
  what you get baseline with Jack. He brings Jack, doesn't he?
• 45:54
  Brings Jack to everything, yes. I think yes, right, But and I'm
• 46:00
  OK with that. Like, I'll watch that.
• 46:02
  I love that. That scene in the the hotel
• 46:05
  room, the room 237, where there's the beautiful woman that
• 46:09
  turns into Oh yeah, oh man. Forget about it.
• 46:12
  Like, yeah, dude, that's so gnarly.
• 46:16
  Or I mean, his, his. I loved, I love all the scenes
• 46:20
  with with Lloyd Floyd. Floyd the bartender.
• 46:26
  Lloyd. Yes, yes.
• 46:28
  Yeah. And just just him, his rants at
• 46:32
  the bar and and then of course, meeting the caretaker that no,
• 46:39
  yeah. Grady.
• 46:40
  Grady. Grady, Yeah.
• 46:42
  Oh. And then as he real, as Grady is
• 46:45
  kind of like he spills a drink on him right there in the
• 46:47
  bathroom, the bathroom scene. Yeah, that's good.
• 46:50
  I. Think that might be my favorite
• 46:51
  scene, the bathroom scene. Grady's drying him off, you
• 46:57
  know, sort of, you know, Jack's kind of like in this position,
• 47:02
  like he's like, you know, being frisked or something or, you
• 47:05
  know, yeah. He's got a drink.
• 47:07
  In his hand. So it's all perfectly white in
• 47:09
  there. And then you can't really get a
• 47:12
  good look at Grady. You kind of can't like, but
• 47:14
  there's only like, you only get. And then finally you get to see
• 47:17
  him. It's just so intense.
• 47:18
  I don't know, man. There's a scene.
• 47:20
  There's a moment just before that you've but yeah, you've
• 47:23
  always been the caretaker. Amazing.
• 47:26
  There's a there's a moment just before that, just before he
• 47:28
  throws his drink on Jack, there's a woman who walks
• 47:33
  through past him into the into the distance.
• 47:38
  She's got like this kind of like gold ball gown.
• 47:41
  She's got like a handprint, like a red handprint on her behind on
• 47:47
  her ass. Oh, really?
• 47:48
  Yeah, yeah. Just you.
• 47:49
  You wouldn't. If you weren't looking for it,
• 47:51
  you wouldn't see it. But Jack isn't.
• 47:53
  Noticing it in the movie? No, no.
• 47:55
  No, no, not at all. OK.
• 47:56
  This is just wow. In the background, yeah.
• 47:58
  Oh. Great.
• 47:59
  All right. I'm gonna have to watch that
• 48:00
  again. Yeah, that I think The Shining
• 48:03
  has been. Been.
• 48:05
  Analyzed right like by. To death.
• 48:08
  Yeah, to death. And there's like, Oh yeah,
• 48:10
  that's right. I'm just now remembering.
• 48:11
  There's there's so many theories about that movie, isn't there?
• 48:15
  There is. Yeah, there's that documentary,
• 48:17
  the documentary Room 237, which Lords a crazy documentary.
• 48:21
  I gotta see that. Again, I'm not even sure I
• 48:24
  really even saw that whole. I think I just heard about that
• 48:27
  documentary or something. I got to see that because, well,
• 48:30
  I like that kind of stuff. But that, yeah, that movie is.
• 48:34
  And I mean, I might be inclined to believe a lot of it.
• 48:38
  I mean, Kubrick sounds like seems like the kind of guy that
• 48:40
  might do that. Like, you know, just kind of put
• 48:42
  some stuff in there, maybe symbolic stuff, maybe trying to
• 48:47
  say something. I don't know, there's a lot of.
• 48:49
  Stuff about I think he maybe appreciated.
• 48:52
  That himself? I don't know.
• 48:53
  I'm making this up, but no, no no.
• 48:55
  Definitely. I think there's a lot of stuff
• 48:57
  in there about Native Americans, the treatment of Native
• 49:01
  Americans. There's a lot of stuff in there.
• 49:03
  There's a lot of like World War 2 symbolism in there as well.
• 49:10
  But there's there's a lot of theories about.
• 49:14
  He faked. The the moon landing was and he
• 49:16
  filmed it and that's why the kid Danny's got this space.
• 49:19
  Oh, that's right. That's it, Yes.
• 49:21
  Yeah, I love that shit, man. That's great.
• 49:24
  Wow. And then, yeah, that's his
• 49:26
  spaceship sweater dripping out. And was there something to do
• 49:29
  with the carpet too, in the hallway there?
• 49:31
  Wasn't there some the pattern? Yeah.
• 49:33
  Yeah, the the pattern changes around from one shot to the
• 49:39
  next. So it's say for example, it's
• 49:40
  going like triangular, it's facing Danny on one shot and
• 49:44
  then it's facing the other way on the next shot, just to
• 49:47
  disorientate I suppose, right? What?
• 49:50
  A strange what I mean or or the OR or it was an accident, It was
• 49:54
  accidental or is it purposeful? Can you tell?
• 49:57
  I. Would imagine, I mean, no one,
• 49:59
  well, not that I knew him personally, but no one.
• 50:01
  Cubrics, yeah, I would imagine that there's not one single
• 50:05
  frame that isn't thought out. And it's true, yeah.
• 50:08
  And specific I love it. A crazy film.
• 50:13
  And it needs that. Like, what film did we talk
• 50:17
  about like Apocalypse Now? That needs more than just the
• 50:20
  one rewatch, yes. I agreed yes, that's chock full.
• 50:24
  I think. In fact, I think it gets
• 50:26
  overlooked maybe because maybe because of the sort of the you
• 50:32
  know, here's Johnny. I mean, everything got like and
• 50:37
  then I can't remember, but there's just some pretty, what
• 50:41
  do you call them like? Iconic, iconic, right?
• 50:45
  Things that maybe that over shadow a lot of yeah yeah you
• 50:48
  know the actual film itself like I mean if you yeah not seeing
• 50:52
  the forest for the trees kind of thing like because that.
• 50:55
  Here's Johnny that's larger than life.
• 50:57
  That's one of the biggest scenes in history, yes.
• 51:00
  Right. Right.
• 51:02
  God, yeah. I mean, and it's funny, it's my
• 51:04
  least I I it's my least remembered scene of the movie.
• 51:08
  I mean, maybe, maybe just because I'm used, you know, I've
• 51:10
  been just. Used to say.
• 51:12
  Used to it, yeah. Yeah.
• 51:14
  But. But yeah, I mean, and the
• 51:17
  characters and the actors, I mean, Danny for first of all is
• 51:21
  wow, I don't know. I don't know how much.
• 51:24
  I mean, I he, he of course he's great.
• 51:25
  But I mean, maybe it's Kubrick too, knowing what to do with
• 51:30
  him. How however he got this stuff
• 51:33
  out of this kid, you know, it's great.
• 51:35
  I mean just the kid tearing around on a on a on his thing
• 51:39
  and his big wheel big. Wheel, Yeah.
• 51:42
  Pretty pretty convincing man. He's like you.
• 51:45
  Know he's he's getting it it's. You know, yeah.
• 51:47
  And it's that sound when they go from the hard floor to.
• 51:50
  The carpet. He's heard.
• 51:52
  That he I love that. I love that Kubrick heard that
• 51:55
  or somebody heard that because I've heard that.
• 51:58
  I I like that. It's AI mean not necessarily a
• 52:01
  kid on a big wheel, but yeah, you have the same sort of thing.
• 52:05
  It's oh, it's great, man. That's just one of those
• 52:08
  universal things, I guess. It's huge.
• 52:12
  It's huge. The sound design throughout the
• 52:14
  film. It really it just, I think out
• 52:16
  of the full films that we've that you've picked and we've
• 52:19
  talked about, I think they all have an atmosphere in common,
• 52:23
  like a sense of dread, Yeah. Yeah.
• 52:27
  That would. That would check out Yeah.
• 52:31
  These are movies that I listed. Yes, that.
• 52:33
  That checks out. Yeah.
• 52:35
  And in anticipation, you know, or tension.
• 52:39
  I love that. I mean, I think I'm drawn Yeah.
• 52:42
  I think it's safe to say that I am drawn to that more the darker
• 52:46
  side of things. And I was talking to a friend
• 52:49
  just the other day in fact saying.
• 52:53
  That's my. Go to When I write a song that's
• 52:54
  almost kind of my go to. So, you know, people are going
• 52:58
  to think I'm like, you know, when I'm gone, if they listen to
• 53:01
  my body of work, they're going to think I'm, I was so tormented
• 53:04
  or so sad, you know, but it's not necessarily that it's that I
• 53:10
  I just find that more compelling.
• 53:12
  I kind of just want to talk about that in my songs.
• 53:14
  I want to just that or, and that's very it's cinematic to me
• 53:17
  or you know, I say that like, but it's it, it's evocative.
• 53:21
  It's more, I don't know, it's hard and but it's also harder.
• 53:25
  To. Evoke these more, more positive
• 53:32
  feelings, convey those positive feelings in in a real way, and
• 53:37
  not just, you know, in a silly way, but.
• 53:40
  I was going to say, was you just with the you're talking there
• 53:43
  about the lyrics? I always see your music as
• 53:47
  positive, I said. I suppose it's that just a
• 53:50
  juxtaposition between the music, the lightness and the dark, I
• 53:53
  think. I think the music is makes it
• 53:56
  seem positive, but when you listen to it, if you listen to
• 53:59
  the lyrics, I think a lot of times they're like, I'll, I'll
• 54:02
  mention the second time now I'm going to mention my therapist.
• 54:07
  He said what he said to me. I when I gave him my last
• 54:09
  record, he said, he said, I don't like it.
• 54:12
  It's too it's you're you're talking about death too much.
• 54:18
  Two of I I I was that. Say those different words, but.
• 54:21
  Yeah, dear life, right. Ironically, this I was like what
• 54:24
  it's called dear life. I mean, like, you know, we had a
• 54:28
  an argument and then we had a laugh.
• 54:29
  But I guess what I'm trying to say is the lyrical content
• 54:34
  usually is I kind of go dark instead of, you know, but, but,
• 54:39
  but, but on my last record, I did, contrary to what he's
• 54:43
  saying, I did make a point of trying to not sing about being
• 54:51
  sad. You know what I mean?
• 54:52
  I was trying to think about being happy at times and maybe
• 54:55
  it came across. I don't know.
• 54:56
  But it's hard to do is all. Yeah, it.
• 54:59
  Is I mean, I don't, I mean maybe just speaking from personal
• 55:03
  preference, but I don't want to hear about maybe that's.
• 55:07
  It maybe, OK, maybe that's it. I mean that OK, but maybe you're
• 55:10
  like me and that we just kind of gravitate to the to the
• 55:14
  miserable stuff because it's yeah, it's kind of, I don't know
• 55:19
  what it is. It's more, it's more I.
• 55:22
  Think it's more challenging, it's more interesting.
• 55:24
  Do you think it's more promise? Maybe is is it?
• 55:26
  Is it less understood too? Maybe.
• 55:28
  I mean, maybe you're maybe happiness.
• 55:30
  Yeah, happiness, you don't. Really care about as long as you
• 55:32
  know, as long as you're happy, then why question it?
• 55:34
  But yeah, you know, when you're, if you're sad, I mean to use
• 55:38
  these dumb terms here, but just, you know, if you're sad, I mean,
• 55:41
  you're probably more inclined to ask yourself why.
• 55:43
  And and then, if you're like me, you'll dwell on it and ponder it
• 55:48
  for hours and upon hours. But if you But if you're happy,
• 55:53
  you're not asking questions. Why am I happy?
• 55:55
  Why am I? You're just happy.
• 55:56
  So that's it exactly. It's very straightforward.
• 55:58
  Exactly. And then?
• 55:59
  No one wants, no one cares. No one wants to hear from you.
• 56:01
  Shut up, Mr. Happy. Just kidding.
• 56:07
  So. What about favorite scene for
• 56:10
  The Shining then? Brendan?
• 56:12
  Which one are you going for? OK, all right, all right.
• 56:16
  No, I got it. I got my favorite scene.
• 56:19
  All right. Scatman Crothers, forgetting his
• 56:22
  name. But he comes.
• 56:24
  Back to the hotel, he finally, after traveling first, you know,
• 56:28
  he gets he has this, he has a shining, he has a what does he
• 56:31
  call it? Oh, sorry, my memory, man.
• 56:34
  Anyhow, he has a feeling. So he goes back to the hotel and
• 56:37
  he's got to travel. He's got to fly through
• 56:39
  snowstorms from Miami. He's in Miami and he's getting
• 56:42
  back going, trying to get back to.
• 56:44
  Where are we? Where's the overlook?
• 56:46
  It's like. Oregon, isn't it?
• 56:48
  So Colorado, one of those two? Yeah, anyhow, so, and he's got
• 56:53
  to get the, the up the hill to get to the overlook through this
• 56:57
  torrential, this terrible snowstorm again.
• 57:01
  I mean, against all odds, he gets finally arrives at the
• 57:04
  place, right? And he's walking and he gets
• 57:08
  into the place and he's in there, what, 2 minutes calling
• 57:12
  for people, you know, Hello. Anybody home?
• 57:16
  And Jack comes out from behind the pillar suddenly hiding
• 57:19
  behind the pillar with an axe and just whoa, man, like throws
• 57:24
  the axe into him. Doesn't just, you know.
• 57:26
  Swing the. Axe.
• 57:27
  He throws it into his chest, killing him, of course.
• 57:31
  And that's that. I mean, I was kind of like, no.
• 57:34
  We're thinking, OK. He's going to come save the day
• 57:38
  or something. He's got some out.
• 57:42
  Like. Why, Why go through all of those
• 57:44
  scenes with him and like trying to get the trying to get the
• 57:48
  bobcat to get up the mountain and trying to, you know, trying
• 57:52
  to book tickets or trying to get a hold of them, all that crap.
• 57:54
  It's so great. OK.
• 58:26
  So final film, final stretch, stretch.
• 58:30
  Let's do. This I forget.
• 58:32
  Oh, I know. Quest for fire Quest for.
• 58:34
  Fire. This is a strange one.
• 58:36
  OK, did it. I bet is you didn't see and you
• 58:38
  had to see it, right? I have.
• 58:40
  Never seen it, never even heard of it.
• 58:42
  Is that? Why is this movie not in the
• 58:48
  annals of? Know.
• 58:51
  What I just want to say annals, why is it not better known this
• 58:56
  should this should be in the this should be up there with, I
• 59:00
  mean taxi driver. Yeah.
• 59:02
  I mean, it was well received at the time from what I've read,
• 59:04
  and it won Oscars, it won, it won awards independent.
• 59:07
  Was it pretty independent? I think yeah, it.
• 59:10
  Was, I think it's a Canadian French production.
• 59:13
  OK, I just it was. Filmed in.
• 59:15
  Canada, man. I mean that that movie floored
• 59:19
  me as a kid. I mean that that was the I say
• 59:22
  as a kid, I don't know how old I was.
• 59:24
  I was probably not a kid. I mean teens or whatever.
• 59:27
  But yeah. But it was it it epitomized
• 59:32
  everything that I liked that I that.
• 59:36
  I mean, it was although, although it was kind of it was
• 59:39
  more historically accurate or real or what am I trying to say
• 59:43
  here? It was true to life.
• 59:46
  Yeah. It also also kind of embodied
• 59:50
  that fantasy world that I like. We talked like the aliens, me
• 59:53
  drawing Godzilla and this kind of like, and I later I was
• 59:56
  always into Dragons and and then kind of because of Dragons, that
• 1:00:00
  kind of was into like the lands where Dragons were from.
• 1:00:03
  I hope somebody's tuning in right now.
• 1:00:10
  And then, you know, and of course, and actually the like
• 1:00:13
  the English countryside, you know, and that sort of misty
• 1:00:17
  mountaintop vibe, you know. Right.
• 1:00:19
  Yeah. So Quest for Fire had that going
• 1:00:22
  for it, man. It was just the beautiful, I
• 1:00:24
  mean, the, the cinematography stunning, man.
• 1:00:27
  Just fuck. I, I don't, I forget where it's.
• 1:00:31
  I actually did know where it was filmed at one point, but now I
• 1:00:33
  don't. I think it may be in Canada
• 1:00:36
  there. Was some in?
• 1:00:36
  Canada, there was some in Kenya and there was some in Scotland.
• 1:00:40
  That's right, Scotland, yes. Yeah.
• 1:00:42
  OK, so you're. So now anybody who hasn't seen
• 1:00:46
  this movie already, you got it. You got to consider it, right?
• 1:00:50
  I mean, Oh yeah. These places I.
• 1:00:52
  Mean. It's it's great.
• 1:00:53
  And there's not a. Word spoken in the whole movie.
• 1:00:56
  I mean, you know, that's the big thing.
• 1:00:57
  Yeah, just. That's the thing, yeah.
• 1:00:59
  And that's a hard sell. Isn't it?
• 1:01:00
  It is. Man, but I mean, I was also I
• 1:01:04
  saw it in a movie theater, you know, I haven't seen it much.
• 1:01:07
  I don't think I've seen it subsequently many, you know,
• 1:01:11
  many times, but on on on just television or whatever on the
• 1:01:15
  screen. But so I'm sure it's hard, you
• 1:01:17
  know, because it made, I mean it just.
• 1:01:20
  It it. Floored me, man, I, I was, I was
• 1:01:24
  in it the whole time, you know, there's not, not even despite
• 1:01:27
  the there was no words spoken. There were.
• 1:01:30
  There was language, you know. But not.
• 1:01:35
  Recognizable, right? Prehistoric I mean or
• 1:01:38
  prehistoric I guess. And even and when I say this, I
• 1:01:42
  said when I said historically accurate, if I did say that I
• 1:01:47
  wanna maybe qualified, I don't even know if that's true or not.
• 1:01:52
  Actually it fails. It though, doesn't it?
• 1:01:54
  Yeah, if I. Mean it.
• 1:01:55
  Fails us or maybe the question. Of fire is right is the that's
• 1:02:00
  the pre kind of the prehistory here like that's that's what
• 1:02:03
  we're trying to get to like how valuable that what how what a
• 1:02:07
  that was the one that was the life giving resource that was
• 1:02:12
  and so must be preserved and how you and how they how these some
• 1:02:16
  tribes were. You know more caveman about it.
• 1:02:24
  You know more. Neanderthal.
• 1:02:27
  Neanderthal, yeah, sure, in in their ways and in their actually
• 1:02:31
  Physiology, probably. But yeah.
• 1:02:33
  And then other tribes were more refined and knew how to knew,
• 1:02:37
  you know, knew how to make fire. So these.
• 1:02:39
  So this this tribe that we're the in the movie that we're
• 1:02:43
  hanging with, they're pretty bonehead.
• 1:02:46
  They kind of don't know much. They're pretty primitive.
• 1:02:49
  That's the word I'm looking for. And, and they're, you know,
• 1:02:53
  they're trying to save fire in a, in a like a bird cage type
• 1:02:58
  thing and keep it dry and keep it burning.
• 1:03:00
  And you know, there's a fight, looked like there was a fire guy
• 1:03:03
  fight, a guy who kind of kept the fire and.
• 1:03:05
  Yeah, yeah. That's.
• 1:03:06
  Right. Yeah, and.
• 1:03:08
  So it goes out and now the only way, I mean, they're like they,
• 1:03:11
  they the only way they can get fire now is to happen upon it,
• 1:03:13
  to steal it. Maybe it maybe lightning.
• 1:03:16
  I mean, maybe they're lucky, but otherwise they die like.
• 1:03:20
  Yeah, man. Basics.
• 1:03:23
  Isn't it? Yeah.
• 1:03:25
  Really like, you know, real. But.
• 1:03:28
  But then of course, there's other tribe.
• 1:03:29
  We learn, we we meet other tribes along the way and are,
• 1:03:32
  you know, maybe the one the. The one the.
• 1:03:35
  Tribe from of actually. What's her name?
• 1:03:39
  Tommy Chong's daughter, I believe.
• 1:03:42
  Yeah, Rea. Dawn Chong.
• 1:03:43
  Don Chong. That's right.
• 1:03:45
  She's in it and that's she's gorgeous, but she's
• 1:03:47
  unrecognizable. You know, she's totally.
• 1:03:50
  Unrecognizable because of the yeah.
• 1:03:52
  Looks. Awesome, though it looks like
• 1:03:54
  crazy crazy cool. Yeah, and then him.
• 1:03:58
  And then their love affair. I mean, I don't, I don't.
• 1:04:01
  This show is probably lots of spoiler alerts here, but yeah.
• 1:04:04
  No, but is that OK? Is it OK to say?
• 1:04:07
  I mean, yeah. That's fine.
• 1:04:09
  Yeah, that's fine. Yeah, I suppose.
• 1:04:12
  What the. What I was thinking when I was
• 1:04:13
  watching it. And this is a film that I've
• 1:04:15
  never heard of. Yeah, never even.
• 1:04:17
  I'm not. I just had.
• 1:04:18
  No, most people will just laugh. I mean, you know.
• 1:04:22
  But most people, I was kind of, I was kind of.
• 1:04:28
  Reluctant. At first it's quite grizzly at
• 1:04:30
  the start, but then, Oh yeah, yeah, it kind of it kind of the
• 1:04:35
  wolves. They get attacked.
• 1:04:36
  And then? And then get.
• 1:04:38
  Eaten. That's oh by another.
• 1:04:40
  They get attacked by another tribe.
• 1:04:42
  Yeah, that's gnarly. Oh, but I love that shit when I
• 1:04:44
  was sorry. Go on, go on.
• 1:04:48
  But it does kind of, it makes you think kind of like in
• 1:04:51
  wonder, is this really what happened?
• 1:04:53
  I wondered if it happened like that or maybe something along
• 1:04:56
  these lines. But also there's, there's a lot
• 1:04:57
  of in that short space of time, the this tribe, this very
• 1:05:01
  primitive tribe that you talked about, they do learn quite a bit
• 1:05:05
  and they, they evolve quite a bit throughout throughout their
• 1:05:07
  journey. They learn.
• 1:05:08
  Yeah, right. Yeah, they learn.
• 1:05:10
  They come across woolly mammoths.
• 1:05:12
  And. What happens?
• 1:05:13
  They see and then someone else. I wish I this is where my memory
• 1:05:16
  fails me, but yeah, they learned that the woolly mammoth isn't.
• 1:05:22
  Yeah, they make friends. They make friends, right?
• 1:05:23
  Right, right. Yeah, yeah.
• 1:05:25
  Oh, and, you know, it's a great scene.
• 1:05:26
  One of my, you know, I don't know if it's my I'll, I'll, I'll
• 1:05:31
  pick another scene, but one of a great scene.
• 1:05:34
  Is. When they're on their along,
• 1:05:36
  they're on their journey to find fire and they're and it's been
• 1:05:40
  days they're hungry as shit. They're.
• 1:05:43
  They're you. Know they're bored.
• 1:05:44
  Remember, they're like picking. They're up at a tree or
• 1:05:47
  whatever. Yeah, that's.
• 1:05:49
  Right. But anyhow, they.
• 1:05:50
  At one point they come across, they look, they they're standing
• 1:05:53
  over this valley and they look down in the valley and they can
• 1:05:56
  see like deer, deer like animals that.
• 1:05:59
  Are a herd of them. And they start, they start kind
• 1:06:03
  of, they start salivating, they start kind of dancing or kind of
• 1:06:07
  getting revved up. I mean.
• 1:06:10
  The acting in this movie is so good.
• 1:06:12
  I know. It's so weird.
• 1:06:13
  I mean, we, it's just your guess is as good as mine.
• 1:06:17
  But but they did it. I don't know.
• 1:06:20
  They did shit that they communicated to us like really
• 1:06:22
  well, I think you know, Yeah. Oh yeah.
• 1:06:24
  Yeah, and made it. Seem and and made us also
• 1:06:27
  realize just. I don't know.
• 1:06:30
  Man, just, I mean, it's, it's not fathomable, you know, of
• 1:06:33
  course it's not like, but it's, it's still sort of relatable,
• 1:06:37
  you know, I mean, if these are just concepts or concepts,
• 1:06:40
  right? I mean so.
• 1:06:42
  Basic needs. For heat and and food and and
• 1:06:45
  warmth and love. And I mean, everybody can relate
• 1:06:47
  to that exactly. Yes, and then, oh, and then he's
• 1:06:49
  and then he's like he's feeling. Yeah, he starts to.
• 1:06:52
  Feel things for this person and then he doesn't so he doesn't
• 1:06:54
  want to leave. He doesn't want and he wants to
• 1:06:56
  smell where she slept. The movies.
• 1:06:59
  I mean, it's brilliant, you know, I know a lot of people
• 1:07:02
  maybe won't get it or you know, won't feel the same way.
• 1:07:05
  It's maybe it's niche, maybe it's pretty specific, but and
• 1:07:09
  then of course there's the, you know, there are, there's the
• 1:07:15
  can't really call them sex scenes.
• 1:07:16
  I don't know what we call them. Yeah, there's.
• 1:07:18
  A lot of humping in there isn't. There's humping.
• 1:07:22
  Which of course every no one really can get over, including
• 1:07:24
  myself, I guess. But, you know, just the way they
• 1:07:28
  kind of, they kind of take it, you know, the men sort of take
• 1:07:31
  whatever and then, you know, and learning and just, I don't know
• 1:07:36
  that that that part of the movie I thought was kind of cool too.
• 1:07:39
  And Radon Chong kind of, you know, yeah.
• 1:07:41
  Teaches him about, you know, just being more sensual about it
• 1:07:46
  and, you know. And she's the one who brings
• 1:07:48
  fire to the tribe as well. That's right.
• 1:07:49
  She shows her right at the end. How to to make it.
• 1:07:52
  Yeah. Oh, and that making the fire
• 1:07:53
  thing, I was, you know, I was loving that too when I was a
• 1:07:56
  kid. Like, yeah, I think I was trying
• 1:08:00
  to do it. I think I, you know, probably
• 1:08:01
  tried to do it like that. Never, never.
• 1:08:05
  Could didn't work. So what about favorite scene
• 1:08:08
  then? Brendan?
• 1:08:09
  Which one are you going to go for?
• 1:08:10
  I. Think my.
• 1:08:11
  Favorite scene might be out when they they it's not even a it's
• 1:08:19
  not even OK. It's a good scene where they
• 1:08:22
  they're coming upon, they're trying to find their friend.
• 1:08:24
  I think you know, they've lost their friend to the tribe.
• 1:08:26
  Remember, he's like hanging up. He's like being like hog.
• 1:08:29
  He's hog tied and they and his friends come upon the the tribe,
• 1:08:34
  the the village. But outside the village is
• 1:08:38
  quicksand or something. Or like, yeah.
• 1:08:40
  They and they get. Caught in this, and I don't know
• 1:08:43
  if the quicksand was put there by the tribesmen or the
• 1:08:46
  tribespeople. Yeah, yeah.
• 1:08:47
  Good point. Probably, Yeah, 'cause they were
• 1:08:49
  pretty. Advanced.
• 1:08:51
  And so they're sunk up to their necks, I think.
• 1:08:54
  And yeah. And then the.
• 1:08:56
  When the villagers. So when the villagers find them
• 1:09:01
  that way is a pretty funny scene.
• 1:09:02
  I mean, yeah, they're all just kind of like, you know, Yeah, it
• 1:09:04
  is. Throwing.
• 1:09:05
  Shit at throwing rocks at them and like yeah.
• 1:09:08
  Because the first one got stuck in there originally, and then
• 1:09:12
  these two friends get up and go and look for them, and then they
• 1:09:15
  get caught in the. That's right.
• 1:09:16
  Yeah. Yeah, That's great.
• 1:09:17
  Totally fantastic. Yes.
• 1:09:38
  All right. Well, did you like it?
• 1:09:39
  Did you like the movie? Yes, yes, I did.
• 1:09:45
  It is, it is a, it's challenging because there's no dialogue, the
• 1:09:50
  pace, so. It's.
• 1:09:51
  Different like Piers. I'm actually people who listen
• 1:09:56
  mate. Disagree, but I'm usually fine
• 1:09:59
  with with something that's got a bit of space.
• 1:10:02
  Slow A. Slower paced, yeah.
• 1:10:04
  I'm I'm OK with that but if it goes beyond two hours then
• 1:10:08
  usually I might start to drop off.
• 1:10:10
  Yep. So so.
• 1:10:11
  This, this was fine. OK, All right, good.
• 1:10:13
  Yeah, there was enough. But yeah, I.
• 1:10:14
  Did enjoy it from the start when I was thinking what the fuck am
• 1:10:18
  I watching here to actually I really like this all right.
• 1:10:22
  Good, good. I'm glad.
• 1:10:23
  God, you, you. I mean, yeah, you're setting
• 1:10:26
  yourself up here, aren't you? Like, I mean, if somebody picks,
• 1:10:30
  I mean, I think I picked some pretty class, you know, some
• 1:10:32
  pretty agreeable titles. Yeah, but I guess.
• 1:10:35
  Very. Much you could have.
• 1:10:37
  You could have quite a show carved out for yourself.
• 1:10:43
  OK all. Right.
• 1:10:45
  OK, so I've. Got some quick fire questions
• 1:10:47
  Brendan, just like real quick. Just.
• 1:10:50
  First question, first answer that comes to your mind.
• 1:10:52
  No. OK, I.
• 1:10:54
  Don't say anything, I don't. Want to set you up for a fall?
• 1:10:56
  OK, so if you're doing a soundtrack for a movie, who's
• 1:11:02
  the director and who's the star? Whoa, holy shit.
• 1:11:08
  I got to think of new people. I got to think of people alive.
• 1:11:12
  Oh, could be. Living our day.
• 1:11:13
  Oh, really? It's your it's your soundtrack.
• 1:11:15
  Oh well, I'm it's. Kubrick for sure.
• 1:11:18
  Right, Kubrick's doing the. Movie and the lead is Mickey
• 1:11:22
  Rourke. Fantastic.
• 1:11:26
  All right, we'll just. We'll leave that there Let's try
• 1:11:28
  again. Give me another.
• 1:11:31
  OK, what's? Your favorite movie soundtrack?
• 1:11:33
  OK, I'm going to say decline of the Western civilization.
• 1:11:39
  Is that the Penelope Spherus punk rock?
• 1:11:43
  Elliot punk rock document? Fantastic, great, great choice.
• 1:11:48
  OK, in a film about your life, what songs would be on the
• 1:11:51
  soundtrack? Oh.
• 1:11:55
  Man, and these are good. This is.
• 1:11:57
  I'd like to give this one some thought, but as.
• 1:12:00
  We're limited. On time here.
• 1:12:02
  Let's see songs about my life. Yeah.
• 1:12:07
  No. A film about your life?
• 1:12:09
  What songs are on there? Oh, a film about.
• 1:12:10
  My life. OK, What songs are on there?
• 1:12:12
  Oh shit, OK. Oh, that's.
• 1:12:15
  Good. All right.
• 1:12:18
  Bowie Lots. Of Bowie, well, lots of Bowie,
• 1:12:22
  Ziggy Stardust era Bowie, particularly as when I was a
• 1:12:26
  kid. That'll be amazing.
• 1:12:27
  Be like. The moon age.
• 1:12:29
  Daydream will be with my kids scene and then in my teenage
• 1:12:33
  years we'll we'll get we'll get it'll have to be minor threat.
• 1:12:40
  Some minor. Threat stuff.
• 1:12:41
  Some DC hardcore in there. Then I discovered The Beatles.
• 1:12:47
  Kinda. I mean, I and and songwriting, I
• 1:12:51
  guess. So I kind of.
• 1:12:53
  So then we'll have to get some. Oh, Nelson's in there.
• 1:12:58
  You and me, you and me, baby, you and me.
• 1:13:00
  That's a That's a song that Nelson sang, but it's.
• 1:13:07
  Randy. Newman wrote.
• 1:13:10
  Right. OK, believe that's in.
• 1:13:11
  There, that was my song at my wedding with my wife.
• 1:13:15
  Lovely, and I like. That because just incidentally,
• 1:13:18
  I like it because those are two of my favorite artists, Randy
• 1:13:22
  Newman and and yeah, so let's see.
• 1:13:28
  Getting. Older.
• 1:13:30
  Here, the kinks are in. There.
• 1:13:37
  Lovely. Elvis Costello.
• 1:13:40
  There we go. I was just.
• 1:13:41
  That's fine, man. Yes, definitely.
• 1:13:43
  Elvis Costello. That's in my teenage years.
• 1:13:45
  Yeah. High school.
• 1:13:45
  Awkward high school kid. Yeah.
• 1:13:48
  You know, walking into class. Great lyrics.
• 1:13:50
  Red hair. Or something like, you know,
• 1:13:52
  Yeah. And then, yeah.
• 1:13:58
  I mean, you know well. I mean.
• 1:14:01
  Honestly, like nowadays I listen to hip hop entirely.
• 1:14:05
  I mean almost entirely. Really.
• 1:14:08
  Yeah. So I think we might.
• 1:14:11
  Have to get some hip hop in there, like namely some well,
• 1:14:15
  let's keep it. I like, I like the real kind of
• 1:14:18
  thug stuff, but keep it light. We'll put some Kanye.
• 1:14:24
  You know what? Let's go ahead and finish this
• 1:14:28
  this record out with Kanye off his new album.
• 1:14:36
  Called. Jesus.
• 1:14:42
  Lord. Fantastic.
• 1:14:44
  And that's the, that's the close I can make sure, yeah.
• 1:14:47
  Oh well. Live, aren't we?
• 1:14:49
  I think that's the song. I think that's the song.
• 1:14:50
  I'm not good with titles, but anything.
• 1:14:52
  Well, yeah, I think that song, that Jesus Lord song from his
• 1:14:56
  new album, man, it's awesome. Cool.
• 1:15:00
  OK, Who plays you in that film? Oh man, I don't know.
• 1:15:08
  I cuz I'm not, I don't know enough.
• 1:15:11
  I don't know if I don't have enough actors.
• 1:15:14
  Well, I think my son could probably do a good.
• 1:15:17
  I think he could probably do a good me as a young boy, you
• 1:15:19
  know, right? We'll just go ahead.
• 1:15:21
  And say Declan for the for the younger me and then see, I
• 1:15:24
  don't, I don't know anybody cool enough to play me.
• 1:15:34
  That's the best answer I've heard.
• 1:15:37
  OK, so out of the five films that we've talked about, if you
• 1:15:40
  could only save one, which would it be save?
• 1:15:44
  Yeah, from what? What's happening to them?
• 1:15:47
  Extinction. Oh man.
• 1:15:53
  Let's save. Taxi driver, man, because yeah,
• 1:15:56
  I mean, those people are still kicking too, man.
• 1:15:58
  They're still. Well, yeah, we sure the other
• 1:16:01
  people are too, but I don't know.
• 1:16:04
  I'm saving Taxi Driver. That's all I got to say.
• 1:16:06
  Fantastic. OK.
• 1:16:08
  Final question then. The.
• 1:16:11
  On Taxi Driver, if you could choose one of your songs to play
• 1:16:14
  it as the credits roll, which would it be?
• 1:16:18
  Man, wouldn't that be an honor? Just good Lord came in.
• 1:16:22
  Imagine. Oh.
• 1:16:27
  Well, for Taxi Driver wouldn't work for Taxi Driver.
• 1:16:33
  Oh, you know what? Yeah, I think something off my
• 1:16:35
  new album might sound kind of nice.
• 1:16:41
  Be kind of. Cool.
• 1:16:43
  Or you know what? No, only child by The
• 1:16:46
  Raconteurs. Fantastic because because he's.
• 1:16:50
  God's only man. I think he says that God's only
• 1:16:53
  man, or at some point he says lonely man.
• 1:16:56
  Yeah, was. It.
• 1:16:58
  God's. Lonely man.
• 1:16:59
  God's lonely. Man, OK, I always thought it was
• 1:17:01
  God's only man. Which is weird.
• 1:17:05
  What a megalomaniac. I am.
• 1:17:08
  Well. That again, that that movie I
• 1:17:12
  forgot to I mean, there's so much quotable.
• 1:17:16
  There's so many, so many quotables in that movie too.
• 1:17:18
  Like I love that. And, and I also love the Clash
• 1:17:22
  on combat rock, how they kind of incorporated a lot of taxi
• 1:17:26
  driver references in those songs, you know, like, yeah,
• 1:17:30
  there's a. Load of that in the in the in
• 1:17:32
  the layer clash stuff and and. That got me and he even.
• 1:17:35
  Had his hair, That's right. I think he was.
• 1:17:36
  Drummer. Had his hair like that, didn't
• 1:17:38
  he? I think he was into.
• 1:17:39
  Travis Bickle, like I think he was, Yeah.
• 1:17:42
  And I think I learned maybe about Taxi Driver from him from
• 1:17:46
  that. That could be like researching
• 1:17:50
  what he meant or whatever. Yeah.
• 1:17:52
  And oh, and there's the the speech, too.
• 1:17:54
  Like someday a real rain will come.
• 1:17:57
  Yeah, yeah. Wash all the scum off.
• 1:17:58
  The streets. Yeah.
• 1:18:01
  Usually it's music, you know, with me, that leads me down,
• 1:18:06
  takes me down at all other roads.
• 1:18:09
  Takes you to. Different paths, yeah.
• 1:18:11
  In summary then, Brendan, have you got anything coming up?
• 1:18:14
  Any music? And you know what I mean?
• 1:18:15
  I know you. Your solo, right, Came out last
• 1:18:18
  year and the rap and tours the year before.
• 1:18:19
  Yeah. I do have I'm work.
• 1:18:22
  I got some songs out being mixed right now.
• 1:18:25
  I got like 6 songs being mixed at the moment, so I'm pretty
• 1:18:28
  excited to get those back. And I think I want to just put
• 1:18:32
  out like a mini LP. I'm gonna go ahead and call it a
• 1:18:35
  mini LP even though no one does that anymore.
• 1:18:38
  But you know, six song thing and, and, and I hope to play
• 1:18:43
  some shows. I mean, you know, it'll take
• 1:18:46
  some time for the for the record to, for this said record to come
• 1:18:50
  out. So hopefully by then I'll get to
• 1:18:53
  travel around, play some of these songs for people.
• 1:18:56
  Cool. Look forward to it.
• 1:18:57
  Yeah, me too. OK.
• 1:19:00
  Well, it's been an absolute pleasure, Brendan.
• 1:19:03
  I really appreciate you coming on.
• 1:19:04
  Been great to talk to you about films.
• 1:19:07
  It's been fantastic. Good luck with.
• 1:19:09
  Everything. Take care, Brendan Benson.
• 1:19:13
  Everyone thanks to Brendan for stopping by.
• 1:19:15
  You can check out his back catalog, his work with Jack
• 1:19:18
  White and The Raconteurs, and his solo stuff.
• 1:19:20
  His latest album is Dear Life and it is fantastic.
• 1:19:23
  As for all the right movies, check out our latest videos on
• 1:19:26
  our channel. Our podcast is available on all
• 1:19:28
  major podcast platforms, so you can listen to our conversation
• 1:19:31
  on Casino if you're on the go. And our next episode is on 90s
• 1:19:34
  Game changer, The Matrix. It'd be great if you could give
• 1:19:37
  us a positive rating on Spotify and our podcast as well.
• 1:19:40
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• 1:19:43
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• 1:19:46
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• 1:19:48
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