Latest / All The Right Movies / The Warriors (1979) | Ep. 45 - Part 1

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The Warriors (1979) | Ep. 45 - Part 1 · All The Right Movies

• 0:04
  All the right movies. These are the armies of the
• 0:08
  night. I say the future.
• 0:11
  Is. Ours 100,000 strong now there
• 0:15
  ain't but 20,000 police in the whole town.
• 0:18
  They outnumber the cops 5 to one.
• 0:20
  It's all our turf. They could run New York City
• 0:27
  tonight they're out to get the warriors.
• 0:29
  The warriors rated R Coney Island St. gang the warriors
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  travel up to the Bronx for a meeting of minds headed up by
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  the enigmatic Cyrus of the gramercy rifts.
• 0:39
  The warriors get free and for cyrus's murder and have to bop
• 0:42
  their way back home as rival gangs line up to exact
• 0:46
  vengeance. A low budget and a cast of
• 0:48
  nobodies didn't stop the Warriors hit #1 at the box
• 0:50
  office before controversy struck.
• 0:52
  Since its release, it's become hugely influential in popular
• 0:55
  culture and is now a bona fide cult classic.
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  My name is Luke and a couple of desperate dudes with me are
• 1:02
  Westie. We're going like everybody else.
• 1:05
  Nine guys, no weapons. I'm Matt.
• 1:08
  I'm sick of waiting for trains. ATR Ms. Heavy Muscle are headed
• 1:12
  up to the Bronx. Can you dig out?
• 1:36
  Hi everyone, welcome to All the Right Movies, the one and only
• 1:39
  podcast on classic and hit films.
• 1:40
  Full of magic. Whole lot of magic.
• 1:43
  Oh yeah. We're coming out to play this
• 1:47
  week as we tell you the insane behind the scenes story of
• 1:50
  Walter Hills. The Warriors a long time coming,
• 1:54
  got a time in the limelight. I'm surprised that it has, but
• 1:57
  I'm excited of. Course you are.
• 1:58
  You're not the only one who's surprised.
• 2:01
  And you are the only one who's excited, yeah.
• 2:07
  Well, we'll get into all of that.
• 2:09
  We'll, we'll hold it back for a bit, yeah.
• 2:11
  It's too good to pass up, even if it's not true, yeah.
• 2:15
  Now, before we get into all of it, it's time to tell you about
• 2:18
  the exclusive movie content you can get by becoming a patron of
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  are available on general release.
• 2:29
  The rest are in our podcast archive, available only to our
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  patrons. This is episode 101 of the
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  podcast. So I guess the only question is,
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  Thank you guys. Thanks.
• 3:58
  OK, so that's out of the way. Back to the show.
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  It'll come as no surprise to most.
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  This one was my choice, of course.
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  Yeah. Yeah, so why do I want to talk
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  about this film? I never watched it as a kid.
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  I was aware of it because of the come out to play thing.
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  My brother used to do an impression of it and he mimicked
• 4:16
  the bottles on his fingers with the weird voice and everything.
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  But because I had no context, I thought he was doing a Freddy
• 4:22
  Krueger impression. The fingers.
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  Thing. I mean, I've mentioned on many
• 4:26
  occasions how much Elm St. terrifies me, so I avoided the
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  Warriors like the plague. Which is weird because I kept on
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  going back to Elm Street, all the sequels and all the shit.
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  There you go. Yeah, but.
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  No warriors. So I didn't watch this until
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  maybe 10 years ago, and I was instantly captivated.
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  Set in New York, of course, so it's a big take, but the kind of
• 4:46
  urban wasteland thing appealed to me.
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  The immediacy of that opening scene grabbed me by the balls
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  and didn't let go. It's got such a strong identity,
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  and I love the world that Walter Hills created.
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  It's by no means perfect, and we're bound to have some fun
• 5:00
  with that over the course of the show.
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  Yeah. Yes.
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  Matt, we've talked about this before, but I'm particularly
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  interested in what Westy makes of this whole thing.
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  So with that, in my Westy the Warriors, where you're at with
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  this film? I mean 10 years ago for you I
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  thought this is like baked into your childhood.
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  No, no, I was a fully formed adult and I took this to be
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  heart. That's even worse.
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  Yeah, I'm even more confused. Yeah, I was going to say, well,
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  this one's new to me. And the fact that I remember
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  kind of seeing it, but I just remember it being on and I've
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  never actually seen it all the way through.
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  I never sat and watched it. What a treat, Westy.
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  And, and let it absorb the way that it has over the last few
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  weeks. Let's be honest.
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  I mean, I wish I'd have seen this younger.
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  I wish I'd have seen it younger because there's so much I say in
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  this that it's influenced other things.
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  I did absolutely adore the soundtrack.
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  I love the pace. There's a really great pace.
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  There's a really great tone and there's a really great energy to
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  the film. And I can see why it's so
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  beloved by people, because when you tap into that energy, it's
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  really hard to forget and it kind of stays with you.
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  And it really is an uplifting film in that respect, where it
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  has got this kind of electricity to it and this vibrancy to it.
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  So I do get why people love it. I wish I'd loved it a little bit
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  more, but then again, I could have hated it a lot more.
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  So it's not to say that I completely disliked it.
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  I really did enjoy it. But well, I've got a lot of
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  things to talk about. Let's just leave it there.
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  Yes, we are a lot of things to unpack.
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  Yeah. And Matt, have you got more
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  things to add to that? Well, I mean, you know, it's the
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  worry. Isn't it?
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  It's the worry, the one there's no doubt about that I.
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  Mean, you put the pole up and I was just already expecting to
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  talk about Jack Nicholson, one of his finest performances and
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  no, sorry, I'm sadly talking about Michael, Beckon said.
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  There's a turn of events. Yeah.
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  Well, two world class performances there.
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  Luke. Yeah.
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  Luke's put the pole up and turned you into a popsicle.
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  That's what he's doing, yeah. Exactly.
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  No, there's not a big story on this one for me.
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  Long term Pavement, we'll know. We did cover it a while back.
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  It wasn't a film I was familiar with back then.
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  And I'll repeat what I said, which is when I watched it back
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  then, I was surprised because in my head I always had this
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  packed. It was like a post apocalyptic
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  drama set after nuclear Holocaust or something.
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  I had no idea it was set in the contemporary world.
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  So there were things I liked about it, the things I didn't
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  understand about it. And I think given that the
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  classic treatment means we can really get into those, which
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  will be quite funny. And I'm just interesting to see
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  how much this you can justify with a straight face look.
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  Because this. Is an odd film.
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  It's an odd film. Granted, it's odd.
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  It's odd. It's got it's own unique style.
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  I'm sure we'll get into all of that.
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  Oh, we definitely will. The Warriors was Co written by
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  David Shaber and Walter Hill, directed by Hill and produced by
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  Lawrence Gordon for Lawrence Gordon's Productions and
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  distributed by Paramount Pictures in the theatres on
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  February the 9th, 1979. Shot on location at night in New
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  York City, it stars Michael Beck as Swan, Oscar Worthy obviously,
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  obviously also Deborah Van Volkenburg as Mercy, David
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  Patrick Kelly as Luther, James Remar as Ajax and many many
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  others. Not a bad performance between
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  them. Just a collective 1.
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  Yeah, OK gang, let's pop our way up to the buggy down Bronx for a
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  conclave. That's going to be a real big
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  item. Maybe we'll get to waste a few
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  heads along the way. I wouldn't mind laying a little
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  something down on the way back. You've got a one track brain,
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  you know that? A blister in opening to the
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  Warriors. Oh, boys have their colors on as
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  they take the long ride up to Van Cortlandt Bark and Matt,
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  you're going to take the reins. I am do you know what great
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  start of this film? Great all great credits.
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  The score starts off quite eevey but it just builds and builds in
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  intensity till it becomes this massive # and rush of
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  adrenaline. Love that POV shot where you
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  rushing through the tunnel like a train.
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  It's visually so resting and it grabs you immediately.
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  The editing, that's incredible. The way it cuts between all the
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  various gangs on the move, the instructions being given up by
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  Cleon, the way it takes you back and forth, gets all the
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  exposition, which is quite boring out of the way that is so
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  much more interesting than you would think is possible.
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  So the editing, camera work score all top notch here.
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  And it is when we get our first sight of the other gangs as
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  well. So you got the poppers with
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  those knotty dresses, magnificent purple waist courts,
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  fantastic feathers in their caps when you knew there was a book
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  coming. I.
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  Know what's coming? You have the high hats.
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  The high. Hats.
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  Who is thinking of forming a gang?
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  In deciding on a unique identity?
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  Who in their right mind puts their hand up and goes?
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  Have we thought about being mimes?
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  I bet no one's taking that idea. There's a reason no one's taking
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  that idea. It's ridiculous.
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  I've said it before, it makes Billy Crystal and Spinal Tap.
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  Every time I see them walk through there it's similar kind
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  of bad. Yeah, I mean, how these guys are
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  supposed to strike fear into anyone else, I don't know, like,
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  watch out, they might pretend to lock you in a phone box and
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  that's about it. A phone box of emotion milk was
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  a bad choice. So yeah, these credits the
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  fantastic because it completely tells you what the rest of the
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  film is going to be. Looks great kill soundtrack the
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  content however. Oh, wow.
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  I mean, I mean, is this the best it's going to get?
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  Matt, don't let me down here. There's.
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  No, it's not peak too early. It's not peak too early it.
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  Doesn't peak too early, thank God.
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  Thank God there's a shot of Coach.
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  He's on the train. No dialogue, but I just love the
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  way he's gesturing with such confidence.
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  He's obviously telling Fox a tale about how he's picked up
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  some chicks or busted somebody's head, and he's so animated.
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  It's really, really great. The real St. gang in Coney
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  Island were called the Homicide. No subtlety with that name.
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  They weren't very happy with the Warriors cast wearing their gang
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  colours on their turf, so the cast were limited to where they
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  would go in costume in corny for fear of their heads being busted
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  open, right? Right.
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  Quite childish quite honestly. Gang warfare is quite Yeah,
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  Originally, the film opened during the day with the scene
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  between Cleon and his girlfriend, who tells them that
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  she doesn't want to go up to the Bronx.
• 11:29
  Let's start with Greece. I don't want you to go clear,
• 11:34
  but just played by Pamela Potty. Mr. Sidney Potty, his daughter.
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  Oh, wonderful. The next scene sees the Warriors
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  lined up on the boardwalk with Cleon giving instructions to the
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  Warriors before the set off. And editor David Holden, he
• 11:45
  recommended that he'll cut the scene because the vast majority
• 11:48
  of the film is shot at night, so couldn't from this scene to
• 11:51
  night time would be too jarring. And he'll agreed and went back
• 11:54
  to do the reshoots. And this ended up being the
• 11:56
  talking head footage which is into cut between the train
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  shots. Oh right, nice.
• 12:00
  It would be quite a soft opening this wouldn't it?
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  Just standing like a sunrise with his girlfriend saying don't
• 12:04
  go. But the reshoots were filmed one
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  rainy night in Corny, and the shots are so tight in the actual
• 12:10
  film because they had to take cover from the rain in this tiny
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  room, and they only had a single overhead light for the shots.
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  So that's why it's right in your face.
• 12:18
  So those open credits set of Cyrus is this mystical shaming?
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  So when we finally get up to Van Cortland Park, I'm on the edge
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  of my seat waiting to see who this guy is.
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  Has it been dropped from another planet to save us all?
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  And then he shows up and I think he does live up to expectation.
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  I think he's got a a good look. I think he exudes such.
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  I'm going to edit out your right there, Matt.
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  OK. You're all going to be like
• 12:40
  that. So you're not undermining
• 12:42
  things, OK, just. Keep me opinions to myself then.
• 12:46
  This is like Luke's fucking Netflix special, doesn't it?
• 12:49
  This will be a very short episode, Luke, if you're going
• 12:52
  to cut out. It's a solo.
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  End of a multi negative. Yes, so I think he's got a good
• 12:56
  look. I think he exudes such an air of
• 12:58
  confidence and superiority. Yeah, I mean, he's just looking
• 13:01
  down on people immediately when he starts calling everybody
• 13:04
  suckers, right from the word gore.
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  That's quite demeaning, isn't it?
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  He's. Got an incredible, I think he's
• 13:08
  got an incredible presence. To be honest.
• 13:11
  It is quite laughable the way he looks in certain ways.
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  But I mean, he's got a Christ like figure.
• 13:16
  He has, yes, he has. And it's very much kind of made
• 13:19
  that way. It really works.
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  I think I was kind of taken about when he came on the
• 13:23
  screen, like I'm going to have to listen to what he says.
• 13:25
  Yeah, well, yeah. I mean, the first question put
• 13:28
  you on the backfoot. Can you count?
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  It's a really strange way to start things off.
• 13:31
  It's really belittling as well. It's.
• 13:33
  Really. Belittling.
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  Yeah. Suckers.
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  Can you count? Well, yeah, you Dick.
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  And count 1 asshole in here. And his plan seems to be quite
• 13:44
  sound. You know, he's done his maths.
• 13:46
  Yep. And everybody seems to be
• 13:47
  kneeling at his altar and maintaining the truce.
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  He says that the Moon Runners are right by the van Kotlin
• 13:52
  Rangers. Nobody's wasting nobody yet.
• 13:54
  That is a miracle. So we know this is quite an
• 13:57
  historic summit that we're a part of here.
• 13:59
  Yeah, to maintain authenticity. While The Hill wanted to use
• 14:02
  real gang members in the film, they were used as extras in the
• 14:05
  conclave scene. So to keep things in check,
• 14:07
  he'll also infuse this being crowd with undercover cops just
• 14:12
  in case the natives started getting restless.
• 14:14
  This outrageous but by and large.
• 14:16
  But by and large they behave themselves.
• 14:17
  Jesus Christ, thankfully. It's as dangerous as getting the
• 14:20
  gang from the Warriors together. Yeah, exactly.
• 14:23
  It's actual. See why?
• 14:24
  Even more so? Because these are actual
• 14:26
  murderers. Yeah, yeah.
• 14:29
  But the neighbours didn't behave themselves.
• 14:30
  The the surrounding apartments shooting got disturbed by nearby
• 14:34
  residents who were being kept up in the early hours by the noise
• 14:36
  of the shoot and David Straight, the location manager, said.
• 14:39
  We actually paid them off so they would stop playing their
• 14:41
  stereos so loud and not screw up the soundtrack.
• 14:44
  Right, right. Because of all the commotion
• 14:46
  from various disruptive sources throughout the film, the entire
• 14:49
  dialogue in the film was looped in post production and I think
• 14:53
  that's as obvious as there. Yes, it is.
• 14:55
  Yes, the. Sound levels don't match, do
• 14:57
  they? No, it's as obvious as Jason the
• 14:59
  Argonaut it. Is it is, Yeah.
• 15:02
  And when filming this conclave scene, many of the non actors
• 15:05
  and extras left the set when they got bored which diminished
• 15:07
  the numbers for the same and as a result the film and schedule
• 15:10
  change to get the crowd scenes shot earlier on in the night.
• 15:13
  Yeah, when certain extras did leave the set, they often did it
• 15:17
  wearing their costumes because they preferred them to their own
• 15:21
  clothes, much to the chagrin of the costume department.
• 15:25
  So to combat this, every extra was given a raffle ticket after
• 15:28
  they returned the costume at the end of the shoot where one of
• 15:30
  them was in line to win a a brand new color TV.
• 15:34
  Which, you know, is all very nice.
• 15:35
  I mean, at the time, yeah. Unfortunately, the lucky winner
• 15:38
  was mugged on the way home with his brand new TV was taken from
• 15:41
  him. Really.
• 15:44
  Yeah. And Cyrus was supposed to be
• 15:49
  played by a gang member, but he disappeared the night before
• 15:52
  filming and nobody saw heard from him ever again.
• 15:54
  And Roger Hill was then drafted in his last minute replacement.
• 16:01
  So that guy has been murdered? Yeah, he's dead, I would
• 16:03
  imagine. Clearly.
• 16:04
  Concrete boots, Yeah. Roger Hill, who ended up playing
• 16:07
  Cyrus, said that he had played Hamlet three months prior to
• 16:10
  filming this scene, which was sufficient preparation.
• 16:13
  Can thou dig it? Wonderful.
• 16:20
  I really like Roger Hill's delivery in in those lines, like
• 16:23
  we've been fighting for 10 square feet of ground.
• 16:26
  I really like the way that he pronounces things that he's in
• 16:28
  the nations and obviously you've got that iconic can you dig it
• 16:32
  line, which in the mix doesn't sound like him.
• 16:34
  The third one that he says, yeah, it sounds like somebody
• 16:37
  else has dubbed it in. Probably it's very possible.
• 16:40
  And I mean, speaking about the the whole Jesus symbolism and
• 16:43
  the Christ mythology, especially related to this guy.
• 16:45
  I mean, Cyrus is just such a powerful figure, I think in all
• 16:49
  of this. And there's so much respect
• 16:50
  from, but that platform, the build from that is shoddy beyond
• 16:53
  compare, isn't it? That's going to fucking go.
• 16:56
  And he just tumbles into it and it smashes open.
• 16:59
  But it's just, there's so many things here.
• 17:02
  The police arrived just silently and it just builds the tension.
• 17:05
  There's a fantastic whip pans that create this, the
• 17:08
  transitions between the crowd getting more and more riled up,
• 17:12
  which looks really, really good. And there's one of my favorite
• 17:14
  shots in the whole film is that just really close moving camera
• 17:18
  of just that gun being passed through the crowd.
• 17:20
  I don't know who it's going to. And then there's that really
• 17:22
  great reveal of Luther. You need to think.
• 17:24
  It's just absolutely wonderful film, Megan, because it just
• 17:27
  builds the tension and that sound ramps up and then that
• 17:30
  gunshot goes off. And I'm like, yes, this is
• 17:33
  directed by Walter Hill. Absolutely 100.
• 17:36
  Percent. Because that gunshot is just
• 17:38
  reverbing into the night as he falls backwards like Christ
• 17:41
  through a shortly made wooden floor.
• 17:43
  And I was like, right, yeah, I know where I am with this.
• 17:45
  Now. I kind of wait for this to
• 17:46
  continue because I want to see, yeah, I want to see more of this
• 17:49
  because this is exactly what I signed up for, and this is
• 17:52
  exactly what I was expecting. So for me, this was a scene that
• 17:54
  really needs to hit home. And it really does.
• 17:56
  I think it's beautifully directed and it's beautifully
• 17:58
  shot. Yeah, I think it sets up Luther
• 18:00
  well as well. He's got the brass balls to kill
• 18:02
  the one and only in front of 1000.
• 18:04
  Pages that close up with his face when the gun comes up, it's
• 18:07
  just like, oh, you don't trust him immediately.
• 18:09
  And it's a great performance as well.
• 18:11
  Craig Baxley was the stunt coordinator who would go on to
• 18:14
  direct action Jackson of all things very nice, and he wanted
• 18:17
  to bring in a stuntman from LA to do the stunt after Cyrus get
• 18:20
  shot. The stereo wouldn't stretch the
• 18:22
  budget and Baxley said, the only two Blackstone men in New York
• 18:25
  at the time. But they didn't want to do it.
• 18:26
  And I'm going to quote Baxley directly here for this next part
• 18:29
  of the story. OK, so there was only two
• 18:32
  Blackstone men in New York. They didn't want to do it.
• 18:35
  So he said I had to do it. I came out with Afro Sheen in my
• 18:38
  hair, black skin and my blue eyes.
• 18:41
  I thought I was going to get killed.
• 18:45
  Just let your soul go. After he fell down he got mobbed
• 18:52
  and he thought he was in for it but they picked them up and they
• 18:54
  were cheering. Thankfully, he didn't get.
• 18:56
  Killed Jesus, not another disappearance on my hands.
• 19:00
  So when you're president of the biggest gang in the city, you
• 19:03
  don't have to take any shit. That is, unless you get shot by
• 19:06
  a lunatic. Sad times for Cyrus.
• 19:08
  Yeah, absolutely. So with Cyrus wasted, chaos
• 19:14
  ensues as our heroes flee the scene.
• 19:16
  Wester, you're picking up the action.
• 19:18
  I think this is just a wonderful sequence as it just continues
• 19:20
  the modernist. It shows the scale of the
• 19:22
  conclave. Like we've said, it shows them
• 19:23
  Koreans work and it shows everything and have the panic.
• 19:26
  Everybody's running in different directions.
• 19:28
  It's really great timing of the police reveal because Fox has
• 19:31
  seen what's going on. Luther's got the gun on him.
• 19:34
  Is it going to go? Lights, come on.
• 19:36
  Classic. Love it.
• 19:37
  Seen it a million times since. But I think, again, if I'd
• 19:39
  watched this as a kid, I'd be like, wow, I didn't expect that.
• 19:42
  That was incredible. How did that happen?
• 19:44
  Not as an adult, no. Not like me then.
• 19:50
  Because I would have, I would have expected that 1,000,000
• 19:53
  miles, seen it too many times for you.
• 19:56
  Like I've seen them stay. The police are there.
• 19:58
  So here we go, right. The lights are going to come up.
• 20:00
  I did expect more from Fox, but we'll get into that later
• 20:02
  because he says absolutely fuck all about anything.
• 20:04
  But we'll get into that. I'm sure there's reasons.
• 20:08
  But it's just this bit that gets me is just how cool Cleon is and
• 20:11
  the way that he goes up and he tries to chill out.
• 20:13
  He tries to just get involved and did standing over Cyrus and
• 20:16
  then Luther's like that's him. The Warriors did it, the
• 20:20
  Warriors and then the riffs come on to Cleon, right?
• 20:23
  He's absolutely. He's like Shaft.
• 20:25
  He's just he's. Got some Kung Fu moves,
• 20:28
  Brilliant. And then all the risks do is
• 20:29
  just get on top of him and just elbow drop him.
• 20:31
  Just death elbow, loads of elbows.
• 20:34
  And loads of static elbows. So watching The Rockers, it's
• 20:38
  from like WWF, there's like loads of like massive elbows in
• 20:42
  there until he's dead. It really adds to this whole
• 20:45
  madness of the scene. And I think it's great the way
• 20:47
  Fox has just stood there. And I still love that guy.
• 20:50
  He likes windows. So I still love that guy, of
• 20:52
  course. And I still love the, you know,
• 20:54
  the whole point in the finger and you're just like, oh shit,
• 20:57
  out of everybody. It's the people that we're with
• 20:59
  that we like who are in the shit now, and we've got to stick with
• 21:02
  them through this. And it really adds to that
• 21:04
  tension and it's really, really well done again.
• 21:07
  OK. I'm loving the positives,
• 21:08
  Westie. Yeah, get them out the fucking
• 21:11
  way. And in the ensuing chaos after
• 21:15
  the shooting of Cyrus, to maintain relative control, the
• 21:18
  extras were asked to move in circles within circle, circle
• 21:21
  Sundrig rings running in the opposite direction to each
• 21:23
  other. And to make it even more simple,
• 21:26
  extras were given the One Direction which was follow the
• 21:29
  guy in front. Nice.
• 21:31
  Like a more simple but effective Yeah, we'll look out for it.
• 21:34
  When you watch it next, it's clear to see an effective,
• 21:37
  controlled amount of confusion. So after this bit the fled the
• 21:40
  scene, you get the bit which I want to talk about, which is the
• 21:43
  hideout in the graveyard. And what they're saying gets
• 21:45
  really right is the fact that they're all just sweating the
• 21:48
  bollocks off here. You can feel like the humidity
• 21:51
  in the air, you can see how much the sweating.
• 21:53
  And I think one of the things the worries just get right, it's
• 21:56
  it is that visceral sense of like clammy summer nights.
• 21:59
  You can really feel that in the air.
• 22:01
  You know that heat where you underwear sweats and it crawls
• 22:03
  up there anyway? It's hot, OK.
• 22:05
  Yeah, yeah. Anyway, it's hot.
• 22:07
  Anyway, it's hot. So yeah.
• 22:09
  So location, self fantastic, surround by the tombstones, the
• 22:13
  grace, there's a lot of foreshadowing going on, a lot of
• 22:15
  symbolism, which I really like, and it sets up the simplicity of
• 22:18
  the narrative going forward. And all that is really nicely
• 22:20
  done. But it's also the scene where I
• 22:21
  started to get a bit concerned about going forward with this
• 22:24
  film because if these are our main characters, the people
• 22:27
  we're supposed to identify with and root for, it's already feels
• 22:30
  a bit like him because we'll get to the performances in a bit,
• 22:32
  but I'm already looking at Swan going, this guy, this guy's in
• 22:36
  charge really seriously. This is the guy everyone's
• 22:38
  backing really. Like, you don't get like any
• 22:41
  sense of leadership from him. And everyone's saying a Jack no
• 22:44
  Swan's war chief. Swan's war chief.
• 22:46
  I'm on the Ajax's side, to be honest.
• 22:48
  Like, why? You know, James Raymour has
• 22:51
  something about him, I think. Yes, he does.
• 22:53
  Because you have these counters called Ajax and Swan and they
• 22:56
  say no, I want to be war chief. I want to be war chief.
• 22:59
  This is the first bit where I feel.
• 23:01
  This. Should be set in the future,
• 23:03
  like the language doesn't feel right for the times, like these
• 23:05
  kind of terms and these kind of names.
• 23:07
  So it's an interesting scene because it starts to set up some
• 23:10
  of the problems I have with it as well.
• 23:12
  I think it's quite interesting to put the W on a gravestone
• 23:15
  kind of sound. It's really interesting.
• 23:17
  Yeah, yeah. Great.
• 23:18
  Yeah, yeah. Like you're saying,
• 23:20
  foreshadowing the warriors in the cemetery, some of the warm
• 23:22
  make at home alive. There's loads of that like that.
• 23:25
  So the scene directly after this map where we meet Masai and we
• 23:28
  get to understand the scale of the Gramercy Riffs operation.
• 23:31
  I love it. They've got a huge network and a
• 23:34
  professionally enough outfit that when Cyrus gets blown away,
• 23:37
  they've got a born leader waiting in the wings ready to
• 23:39
  take over and exert his authority.
• 23:41
  And it's Maasai who's amazing, A formidable prospect.
• 23:45
  I love him. Edward Sewer, who plays Maasai,
• 23:47
  was incorrectly tagged in the end credits as an unnamed
• 23:50
  Gramercy riff, while Dennis Gregory, an unnamed Gramacy
• 23:53
  riff, was credited as Maasai. Oh, right.
• 23:56
  Ouch. Shame, because I think Sewer has
• 23:58
  got some unique, some could say bizarre delivery in his lines.
• 24:04
  He's that incensed that Cyrus has been killed, that he's
• 24:07
  talking with all of his neck muscles contracting.
• 24:10
  Yeah. It's called something he's They
• 24:12
  talk with his teeth, isn't he? I want them alive if possible,
• 24:15
  if not wasted, but I want them. And because we're introduced to
• 24:21
  this outfit in this scene, we get those glorious transitions
• 24:24
  throughout the film where Maasai is getting regular updates from
• 24:26
  the guy with the great hair. I think, again, it shows how
• 24:29
  deep the network runs and it reinforces the world that we're
• 24:33
  in. For me, I love it.
• 24:34
  Definitely. So send the word.
• 24:36
  The riffs, along with every other gang in the city, are
• 24:38
  after the Warriors. That's that real live bunch from
• 24:41
  Corny. And I do mean the Warriors.
• 24:47
  The director. Walter Hill's first outing on
• 24:52
  the podcast. We have talked about a couple of
• 24:53
  his films on our double feature show though, so yet another
• 24:56
  reason to sign up to become a patron of ATRM.
• 24:59
  Absolutely, Absolutely. There are many of.
• 25:00
  Them how many more do you need? 10,000.
• 25:03
  More. So Hill's work as director on
• 25:06
  the Warriors, Westie, what do you like?
• 25:08
  I mean, I like a lot of what Hill does.
• 25:10
  I think it's, again, I love a confident director.
• 25:12
  I've said that time and time again that it's becoming a
• 25:14
  cliche, but I think he's got a very distinct style that comes
• 25:17
  across in this. I think it it does have a very
• 25:20
  comic book feel, which I think is what he was going for.
• 25:22
  I think the locations really, really work.
• 25:24
  And I think his location work here is is what stands out for
• 25:27
  me and how difficult this must have been to shoot and how
• 25:30
  authentic he makes it seem. I mean, in the fight scenes,
• 25:33
  they're a little bit laughable now, but I think it's 79.
• 25:35
  You would kind of go, I could save myself in that fight and I
• 25:38
  would have a good goal and kind of you could put yourself in
• 25:41
  that space. I think you can you can really
• 25:43
  experience the location, you can experience what he's trying to
• 25:47
  put across. I think it's just the
• 25:48
  multicultural ISM that he brings to each of the gangs is that
• 25:52
  there's nobody stereotype. There's nothing to do with race
• 25:54
  here. There's nothing to do with
• 25:56
  sexism. There's nothing to do with like,
• 25:58
  oh, there's the bar. I mean, there's there's sexism,
• 26:00
  but it is 79, but it's done in the way that it's it's a trap
• 26:03
  lead. Do you know what I mean?
• 26:03
  I think Hill knows that and he's playing on stereotype in a
• 26:06
  really wonderful way and in a really refreshing way.
• 26:08
  And it's just the way that he uses the location to reinforce
• 26:11
  that stereotype and puts you in that space.
• 26:14
  And there's no but he's better than what Hill to put you in a
• 26:16
  space and make you feel like you were actually there.
• 26:18
  And I feel You really, really accomplishes that in this film.
• 26:21
  Yeah, incredible use of location, Yeah.
• 26:23
  And part of the reason for those amazing locations in the film
• 26:27
  that was down to location managing David St.
• 26:29
  He was born and raised in New York and had previously driven a
• 26:31
  Cup around the city. He said my job was to take
• 26:34
  production at the most dangerous parts of New York and see if we
• 26:36
  could survive. My instinct was to go dark and
• 26:39
  dangerous. And he really did.
• 26:41
  No wonder that I've bothered about the performances.
• 26:43
  Everything's won't take and out. Yeah.
• 26:45
  Get to get the fuck out of. Here, that's a real fire.
• 26:48
  Let's get the fuck out of here. And with your wonderful
• 26:51
  comments, Westie, here comes our first question from an ATRM
• 26:54
  patron. Oh, OK, great.
• 26:56
  If you sign up on Patreon, you can ask us a question for the
• 26:58
  film we're talking about. Our first comes from Jamie
• 27:01
  Beckett. Hello, Jamie.
• 27:03
  Hello, Jamie. Jamie and Jamie says there is an
• 27:05
  incredible sense of place in The Warriors.
• 27:07
  Agreed. Great.
• 27:08
  What are the classic films have a similar sense of place in
• 27:11
  other cities as this does in New York?
• 27:14
  That's over to you. I've got three.
• 27:16
  First one I'm going for is London in the long Good Friday.
• 27:20
  I mean, that is practically a character in itself in that
• 27:23
  film. Yeah, it could.
• 27:24
  Not be set anywhere else. A second one, and I feel there
• 27:27
  might be a bit of a crossover here again, but I'm going for
• 27:30
  Venice and don't look now just because it's the complete
• 27:32
  incredible contrast to how Venice is usually seen.
• 27:36
  The City of love, except it's crumbling into disrepair, decay
• 27:40
  and horror. Outright horror.
• 27:41
  And then the last one for me is Tokyo in Lost in Translation.
• 27:46
  Very nice because. That is so disoriented and as it
• 27:49
  is for Charlotte, the character, and that it does feel like she
• 27:51
  stepped into an alien landscape almost.
• 27:54
  Brilliant, excellent. A few for me that really stood
• 27:56
  out a couple of when I was growing up that really made us
• 27:59
  want to visit the places. I think Dirty Harry is such a
• 28:01
  beautiful look at San Francisco and then so Married an Axe
• 28:04
  Murderer is such a San Francisco film as well.
• 28:07
  Highlights that it's as silly as it is for me, the definitive New
• 28:11
  York films. Taxi Driver.
• 28:12
  I think it always will be. I think it's just the way that
• 28:14
  shot is just so enigmatic and just it just really plays a
• 28:17
  role. Yeah, Heat for downtown Lai,
• 28:20
  kind of see anything else comparing to that one we've
• 28:23
  talked about very recently. If you want to sign up Pierre on
• 28:25
  is get Carter, which I think highlights Newcastle really,
• 28:28
  really well. And it still looks the same now.
• 28:30
  So if you want to see what Newcastle looks like.
• 28:33
  Crab House. It's exactly, it's not crab
• 28:34
  house, just crab. The one that's a real stand out
• 28:37
  for me is 7, which is not meant to be anywhere and kind of looks
• 28:41
  like everything, but was actually shot in California,
• 28:43
  shot in LA. But it has a real anonymity to
• 28:45
  it. And I think that's Finch's
• 28:47
  genius, where you can make something be a place and have a
• 28:49
  presence, but not actually sure where it is.
• 28:51
  So I think that's a really nice contrast to the other ones on
• 28:53
  the list. I think a film that we've talked
• 28:55
  about our double feature show recently and we're getting
• 28:58
  Patriot plugs left, right and centre here, but training days,
• 29:01
  LA locations are pretty spectacular for me.
• 29:03
  Yes, Yeah. Brilliant.
• 29:05
  You all give a sense of danger and on ease.
• 29:07
  Much like this film. Yeah, the film that I really
• 29:10
  love, but it's it's certainly not for the faint hearted is
• 29:13
  Miss 45, the able Ferrara film from 1981.
• 29:17
  That's the second feature after Driller Killer that's also set
• 29:20
  in New York, where you can feel the filth and the grime under
• 29:23
  your own fingertips as Zoe learned Exact's beautiful
• 29:27
  revenge on the city. It's visually striking, Just
• 29:30
  like I said, watch with caution if you're interested.
• 29:33
  Check that one out if you do. Yeah.
• 29:35
  Yeah, don't at me. Or maybe do see what happens.
• 29:41
  What's happening to what you're saying about the location,
• 29:43
  Westie? I think that along with the few
• 29:45
  other elements, those give the Warriors such a unique visual
• 29:48
  identity. Unlike any of that.
• 29:49
  I can't think of another film really like this.
• 29:52
  I think it's uniquely the Warriors in most departments.
• 29:56
  Just look at those costumes. So strike and so individual.
• 29:59
  I mean, they had to be to be able to differentiate the gangs.
• 30:01
  I mean, you've got the minds, of course, you've got, you've got
• 30:05
  the Savage Huns, you've got the electrical eliminators.
• 30:07
  They're amazing. They're all amazing.
• 30:09
  And Hill and his crew have put in so much attention to detail.
• 30:12
  The majority of prayers he needs to go to Bobby Mannix, who was
• 30:15
  the costume designer. Walter Hill's brief to her for
• 30:17
  the costumes was Don't think anything's too weird.
• 30:21
  Brilliant. I'd love a brief like that I'd
• 30:22
  never get. Yeah, but I think Hill is such a
• 30:26
  great director of visuals. Think of that conclave scene,
• 30:29
  which is huge, with the aura of Cyrus and the crowd full of
• 30:33
  different identities, the fact that it's all shot at night, but
• 30:37
  it's brimming with colourful energy.
• 30:39
  When I think of the Warriors, I see it in neon, not darkness,
• 30:43
  because it feels like full of life and vibrancy.
• 30:46
  Lots of red, lots of yellows, lots of greens.
• 30:48
  Hill isn't one of the great visualists, Ridley Scott, a
• 30:51
  Kubrick or anything like that, and his films could be dismissed
• 30:54
  as pulpy crap by certain sections of people.
• 30:57
  Snobs, snobs, let's call it. Let's call it as.
• 31:00
  It is. That's right, yeah.
• 31:02
  But it's very cinematic and very appealing to me.
• 31:04
  I think the visuals alone in this this film is enough to make
• 31:06
  you just sit up and pay attention.
• 31:07
  Yeah, definitely. And in Hill's mind, the film
• 31:10
  takes place in a distorting future.
• 31:12
  Which, yes, that's absolutely what I think as well.
• 31:16
  And at the beginning of the film, you wanted a legend that
• 31:18
  said sometime in the near future that got nixed by Paramount
• 31:22
  because they felt it was too much like Star Wars.
• 31:24
  And Hale said. I thought the movie was close to
• 31:26
  being incomprehensible without that because it always seemed to
• 31:29
  me to be a science fiction movie.
• 31:31
  I mean, the man said it right there.
• 31:33
  In the near future or a long, long time ago too much like Star
• 31:40
  Wars. It's the opposite, mate.
• 31:42
  The absolute opposite. Direct, opposite.
• 31:46
  Neil's original concept for the film was to divide the film into
• 31:49
  chapters and start each one with a splash panel like the comic
• 31:51
  book, he said. I don't think you can understand
• 31:54
  the movie without understanding my infatuation with the American
• 31:57
  comic book. But his plans were scuttered
• 31:59
  because of the budget was low and the post production deadline
• 32:02
  was really, really tight. Yeah, so the white transitions
• 32:06
  that are used in the original cut of the film were kind of his
• 32:09
  replacement of the comic book aesthetic to denote that
• 32:11
  difference scenes were happening at the same time.
• 32:13
  So it's like a page turning then.
• 32:15
  Yes, exactly. Yeah, as well as the comic book
• 32:17
  aesthetic, Orson Wells was prepped and ready to do a short
• 32:20
  narration for the film. The film.
• 32:25
  Drunk as a skunk, I would imagine.
• 32:26
  No, we're talking. Wells would have done any old
• 32:29
  shit as long as it kept him in. Jane at that.
• 32:31
  Time 79. Yeah, definitely.
• 32:34
  Obviously Awesome Wells would have cost Paramount bulk at
• 32:36
  that, and Hill didn't get his intro either.
• 32:39
  But he did get to tinker with the film in 2005 and put his
• 32:42
  original ideas in the director's cut version of the film.
• 32:45
  And Hill himself provides the voice over for the opening.
• 32:48
  Oh, OK. OK.
• 32:49
  So Matt, what are your thoughts on Hill as director here?
• 32:53
  Really strange mixture because in one hand it's classic Walter
• 32:55
  Hill and it's very on Walter Hill at the same time because
• 33:00
  it's very visually striking. There is, I think, a strong John
• 33:04
  Carpenter look and feel to this because the visual is absolutely
• 33:08
  the very clean. There's no scene in this that
• 33:10
  looks cluttered or looks like it hasn't been thought through the
• 33:14
  prism of how can this film be taught in the most visual manner
• 33:17
  possible to the point where it's one more sense.
• 33:19
  I think this could be a silent film and you could still tell
• 33:22
  what's happening like 90% of the time because it's very.
• 33:26
  Precinct 13 isn't it? Very precinct 13.
• 33:28
  It is. It is, yeah.
• 33:29
  Yeah. And that that's the visual
• 33:31
  clarity that Hill brings. There's no on it.
• 33:33
  It's really streamlined, really well paced, all classic Walter
• 33:36
  Hill. But on the other hand, I always
• 33:38
  think Walter Hill of bringing some grit to a film and being
• 33:41
  tornly consistently picks a 26 with it and he nails it.
• 33:45
  This has jumbled and it doesn't have the the grid and what it
• 33:48
  is. It's really quite camp a lot of
• 33:50
  the time it is. It's really.
• 33:52
  Close it is. Like a lot of.
• 33:53
  Hunky young guys wandering the streets stripped to the waist or
• 33:56
  leather waist courts. There's nothing wrong with the
• 34:00
  Philippine camp, don't get me wrong, But I'm just not sure
• 34:02
  Walter Hill wants this to be camp, or as camp as it gets.
• 34:05
  Yeah, I think just on one hand it's very Walter Hill, and on
• 34:07
  the other, I'm just not sure what's going on.
• 34:09
  And he used to seem to have lost control of it a bit.
• 34:12
  Yeah, I can see where you come with that.
• 34:13
  And I can understand why people would be put off by the kind of
• 34:18
  tone which undermines the reputation that it has, because
• 34:22
  it's got a bit of a reputation, a badass reputation.
• 34:24
  The Warriors was based on the 1965 novel, the same name by
• 34:28
  Saul Urich. Or on that.
• 34:29
  Later producer Lawrence Gordon came across the book by chance
• 34:33
  at a bookstore. He read the back and was bought
• 34:35
  in immediately. And around the same time,
• 34:37
  director Otto Preminger, who directed An Anatomy of Murder
• 34:40
  among other things, was also taken by the novel and wanted to
• 34:43
  do a movie adaptation, which was entirely faithful to the book,
• 34:46
  right? Right.
• 34:47
  The day before signing the contract, Lawrence Gordon came
• 34:51
  in with a better offer to usurp Preminger.
• 34:53
  Wow, did they just read the? Back.
• 34:58
  That sounds good, all right. And Gordon then hired David
• 35:01
  Shaber to adapt it into a screenplay.
• 35:04
  Shaber had worked on TV and Broadway, and coincidentally,
• 35:07
  his only movie credit at that time was adapting the story for
• 35:10
  the stage musical Such Good Friends for the Big Screen.
• 35:12
  And that film itself was directed by Otto Preminger.
• 35:15
  Small world. Small world.
• 35:17
  All right, there you go. Can you believe it?
• 35:18
  Haven't worked with Walter Hill in his first few films It's Hard
• 35:20
  Times and The Driver. Gordon sent him a copy of the
• 35:23
  screenplay and the book. He'll like what he read but
• 35:26
  didn't think any studios will be interested.
• 35:28
  So his and Gordon's attention moved to a western movie called
• 35:31
  Last Gun, written by Hill and Roger Spotterswood.
• 35:35
  Amazing financing fell through on that.
• 35:38
  So they went back to the Warriors.
• 35:39
  Gordon persuaded Paramount to stump up the cash and they felt
• 35:43
  there was a useful market they could tap into with this film
• 35:46
  that could really get the teeth into it.
• 35:47
  I would have loved to have seen that.
• 35:48
  West No. Definitely.
• 35:50
  That's good, beautiful, Hill said.
• 35:52
  We've got the green light in April or May 70 years and we
• 35:54
  were in theaters in February 79. So it was an accelerated
• 35:57
  process. Yeah, that's despite Hill
• 35:59
  shooting around 150,000 feet of film, the equivalent of about 30
• 36:03
  hours. He didn't make the job easy for
• 36:06
  his editing team. One of them, David Holden,
• 36:07
  affectionately called Hill the Blanket because he covered
• 36:10
  everything. Amazing.
• 36:13
  Love that. Yeah, that name hasn't caught
• 36:15
  and we need to revive that. Yeah, the blanket.
• 36:17
  It sounds like nice it. Sounds comfy, yeah.
• 36:21
  Who you on set with? The blanket should be wonderful.
• 36:26
  The film went over budget and over schedule as a result of the
• 36:28
  permanent night shoot, Hill said.
• 36:30
  The movie was shot in the summer of 70 years and we were all LA
• 36:33
  guys, so we didn't understand how short the nights were in New
• 36:36
  York City in the summer and in the contracts at the time, the
• 36:39
  crews lunches were an hour and it took long to reassemble after
• 36:42
  that, so we're basically shooting a work day that
• 36:44
  amounted half a day in Hollywood.
• 36:47
  An hour lunch? Wow, that's amazing.
• 36:49
  An hour lunch at 3:00 AM. So a lot went on during
• 36:54
  production, which meant it went over budget and over schedule
• 36:57
  and kind of explains the ramshackle nature of it.
• 37:00
  And that's my excuse paper and over the cracks here.
• 37:03
  First up is the whole Thomas G Waits debacle.
• 37:06
  Waits played Fox in The Warriors.
• 37:09
  The structure of the narrative was changement shoot largely
• 37:11
  because there was a spat between Hill and Waits which ended in
• 37:14
  Waits being fired halfway through filming, a huge decision
• 37:18
  which could have completely derailed production and has done
• 37:21
  in the past many times on many, many projects.
• 37:23
  Yeah, there are different reports as to why Thomas Waits
• 37:26
  was given the boot. Allegedly, he repeatedly left
• 37:28
  the set to get high, and when he returned, he was very disruptive
• 37:31
  in the shooting script. Fox was the hero of the piece,
• 37:34
  and I'm kind of see this as why he doesn't see anything through
• 37:36
  the film. It kind of makes sense.
• 37:38
  Was he pissed off? Yeah, so Fox was the hero of the
• 37:41
  piece and ended up that with mercy at the end.
• 37:43
  This all changed mid shoot when Hill thought that Beck and Van
• 37:46
  Valkenburg had great on screen chemistry.
• 37:49
  I don't know, it seems like he's just thrown under that train for
• 37:52
  no reason whatsoever. I think that's an excuse.
• 37:54
  Yes, that's. Been done in retrospect.
• 37:56
  Absolutely an excuse chemistry there like.
• 38:00
  They don't at all. Not at all.
• 38:02
  Yeah, and the way the story was rewritten didn't appeal to wait,
• 38:05
  who wasn't a fan of the violence, he said.
• 38:08
  We saw the shooting and we were labeling over the Saints with
• 38:11
  all this violence, and I was getting really fucking
• 38:13
  frustrated because I could see this was almost obscene with
• 38:16
  violence. It wasn't what I signed up for.
• 38:19
  I signed up to be a part of the love story and difficult
• 38:21
  circumstances that changes these people.
• 38:24
  What a load of shit, how aggressive that it's not what I
• 38:27
  fucking want to do. I want to be the fucking love
• 38:29
  story. I don't need a fucking gang film
• 38:31
  with violence. Of course you do man.
• 38:33
  You just call. The Warriors, it's about gangs.
• 38:37
  That's a lie as well, he'll apparently told Craig Backs to
• 38:42
  the stunt coordinator. You have to come up with a way
• 38:44
  to kill this guy. I don't give a shit how you kill
• 38:46
  him. Just kill him.
• 38:48
  And when it happened, Waits said it was like someone cut my soul
• 38:51
  out and left a shell. Editor David Holden said that
• 38:54
  Tom Waits had a a bad attitude which threatened the harmony of
• 38:56
  the Warriors cast, so the decision was made to drop him.
• 38:59
  They made-up the scene where Fox gets thrown onto the tracks and
• 39:02
  killed. It's not even Waits in that
• 39:04
  scene. It was his stunt double and they
• 39:06
  filmed and cut around his double.
• 39:07
  And I don't really think that it sticks out that it isn't.
• 39:10
  Thomas Waits, if you didn't know.
• 39:12
  If you didn't know, no, I mean, it is.
• 39:13
  He is shot in the back, isn't he?
• 39:15
  Yes, he shot from the. Time and you'd already see him
• 39:17
  but. Yeah, but he has got about an
• 39:19
  extra £20 on him or something like that.
• 39:21
  Yeah. And it's and it's in slow MO.
• 39:23
  I thought he would have done it a little bit quicker just to so
• 39:25
  it's not as obvious, but yeah. It's just the fact it doesn't
• 39:28
  get remarked on. Like no one mentioned what
• 39:30
  happened to Fox. Yeah, who seems quite important.
• 39:33
  No remorse. No sadness, no tears.
• 39:35
  Yeah, Now Hill has expressed a lot of regret at the whole
• 39:38
  situation and that he accepted some of the blame lay on his
• 39:42
  doorstep, which is fair enough, he said.
• 39:43
  I'm not proud of this at all. I think had I been a better
• 39:46
  director, I might have gotten through to him better, But he
• 39:49
  was well. But we felt beginning to be like
• 39:51
  a disruptive force, So what was he supposed to do?
• 39:54
  You know what? I mean, yeah, you can tell that.
• 39:56
  Waits is apologetically reflected on his involvement of
• 39:58
  the incident as well, he said. It was entirely my
• 40:01
  responsibility. It was sort of difficult at the
• 40:03
  time, probably gave the director a little more trouble than I was
• 40:06
  worth. Walter let me go, which I don't
• 40:08
  blame him for. I had a tendency to be
• 40:09
  argumentative unnecessarily. Yeah, I think he was happier in
• 40:13
  the thing anyway. Yeah.
• 40:14
  Michael Beck said the cast were taken aback by this decision to
• 40:17
  get rid of weights. They were where there was a
• 40:20
  conflict of some sort going on, but not to the extent that was
• 40:23
  eventually revealed. And it was explained to him that
• 40:26
  it made more sense for the character of Swan to end up with
• 40:29
  Mercy, considering their burgeoning.
• 40:31
  Alleged chemistry, Chemistry, chemistry.
• 40:37
  Now, despite how upset Waits was at the decision, he was
• 40:39
  contractually obliged to loop dialogue.
• 40:41
  So once filming wrapped, he had to do just that.
• 40:44
  Come in and loop his dialogue. Devastated.
• 40:47
  A pain in the ass out, yeah. Yeah, but he did ask for his
• 40:50
  name to be removed from the credits.
• 40:51
  Yeah, but you know, like you said, Westie, you went on the
• 40:54
  star in the Thing a few years after this.
• 40:57
  We love him in that he's in injustice for all as well.
• 40:59
  He's had a decent career. Yeah.
• 41:01
  Yeah, we mentioned in the conclave scene there was some
• 41:03
  disruption, but trouble did follow production around as they
• 41:06
  move from location to location. And I think it's important to
• 41:09
  give some context here about the state of the city of New York in
• 41:11
  the late 70s. The Son of Sam had been
• 41:14
  terrorized in the streets less than 12 months before the film
• 41:16
  was shot. The city was in severe economic
• 41:19
  decline. Gangs did own the streets at
• 41:21
  night. There were 17133 murders in
• 41:24
  1979, the 7th most on any year on record.
• 41:28
  Compare that to 386 last year, 2020. 3.
• 41:32
  And police presence was limited because budgetary cuts, so much
• 41:35
  so that people were urged not to go out at night.
• 41:38
  Right, So bad situation. Despite this, Hill tried to
• 41:41
  befriend the New York street gangs as much as he possibly
• 41:43
  could. It did all go off without any
• 41:46
  incident. Mostly.
• 41:47
  One scene had to move location because the surrounding
• 41:49
  abandoned buildings were sworn by gang members jeering and
• 41:51
  shouting from broken windows because the gangs hadn't been
• 41:54
  paid to shoot on their turf. And often gang members would
• 41:58
  come up to the actors and try to start some shit.
• 42:00
  They got taken care of by security before they got to the
• 42:03
  cast. But Terry Michaels, who plays
• 42:04
  Vermin, said They would say you think you're tough and we just
• 42:07
  say no. We're just actors.
• 42:10
  But Vermin thinks he's tough in this He's.
• 42:12
  Like he thinks he's an actor as well.
• 42:18
  There were instances where gangs threw bricks at the cast and
• 42:21
  crew, and most were only a scene that was set to be shot in Ave.
• 42:24
  A in Alphabet City. That's the Lower East Side.
• 42:26
  It had to be moved locations because there was a double
• 42:29
  homicide around the block of that night.
• 42:31
  Yeah, OK. Yeah, scary stuff.
• 42:33
  A lot of gangs were engaged by the production, but not all
• 42:36
  gangs in New York were. Many of those that weren't part
• 42:39
  of the shoot sent death threats to crew members and on one
• 42:42
  occasion thousands of dollars of equipment was damaged by a gang
• 42:44
  when production went to lunch. And that's the hour for you.
• 42:47
  Just do half an hour like we do, you'll be absolutely fine.
• 42:50
  So after the destruction, a gang called the Mongrels were hired
• 42:53
  for £500 a day to protect the gear.
• 42:55
  Unbelievable, producer Frank Marshall said.
• 42:58
  In those days, it was really about fists and being macho.
• 43:01
  I think the worst thing that could have happened was somebody
• 43:03
  would have pulled a knife. It was exciting and dangerous.
• 43:06
  You could never make this movie today for more than one reason,
• 43:09
  Frank. Yes, exactly.
• 43:11
  For more than not, that's not it.
• 43:16
  So considering the multiple problems on set and resistance
• 43:19
  from Paramount, it's a wonder Hill came out with anything even
• 43:21
  semi coherent. Detractors of the film may say
• 43:24
  that he didn't, but you can't deny that it has a unique style
• 43:27
  and identity all of its own, and the majority of that is because
• 43:30
  of Walter Hill. Yeah, the cast.
• 43:38
  A cast of nobodies in The Warriors, and we're unlikely to
• 43:41
  be talking about any of them at length ever again.
• 43:43
  No, So let's make it count. A huge casting call was
• 43:47
  completed in New York, James Remar, who plays Ajax, said.
• 43:50
  I think they auditioned every actor in the city.
• 43:52
  Due to the low budget. Hill was looking for unknowns
• 43:54
  only and only New York actors were cast to give the film
• 43:57
  authenticity. And the first one is Michael
• 43:59
  Beck, AKA Stiff Steve, who plays Swan.
• 44:05
  He's the hero of the piece, Westie.
• 44:08
  Michael Beck is in great nick and his hair hasn't changed
• 44:12
  since The Warriors came out. If you look at him now, he looks
• 44:15
  like Jon Bon Jovi. Now he does.
• 44:18
  He's hairs the same in case people don't recognize him.
• 44:21
  That's how successful his career was after The Warriors.
• 44:24
  He did some terrible films, some of which I'm ashamed to say I've
• 44:26
  seen. I mean, is he one of the best in
• 44:28
  the film? But that's not that's not really
• 44:30
  saying much. He's probably got them all
• 44:33
  screen time, which makes you feel like he's one of the best
• 44:35
  in the film, but that doesn't really come across.
• 44:38
  And I just wish with the whole heart that Cleon had survived
• 44:42
  and got us through this instead. Totally.
• 44:44
  And with this guy's number two, we would have been great that
• 44:46
  imagine that, you know, if he's not against the orphans with
• 44:48
  Cleon and this guy's number two, he would have been he's a
• 44:52
  perfect, strong silent type. And it feels like he's just been
• 44:55
  pushed to the front, doesn't quite know how to, because he
• 44:57
  just says to everyone, yeah, keep talking, yeah, what we're
• 44:59
  going to do. And then he just reacts.
• 45:01
  I mean, it's, I know it's not about you.
• 45:02
  It's not about what you say. It's about what you do.
• 45:04
  And that's what Swan is. He's just, he's reacts.
• 45:07
  Exactly. And it's not about.
• 45:09
  It's not about. He's got no opinion.
• 45:10
  He's just got action. No.
• 45:12
  And his actions always work and they're always good.
• 45:14
  And he makes the right decision. And he's looking out for
• 45:15
  everybody when he needs to look out for everybody.
• 45:17
  And he just wants to get them home.
• 45:19
  And he's got morals and I think Beck plays that really well.
• 45:22
  I think he plays it with like a real confidence of self and like
• 45:25
  a real confidence of the character and knows that he does
• 45:27
  not really have to say much. But at the same time, there's no
• 45:30
  real subtlety to the character. There's no subtlety to the
• 45:34
  performance. He's like, it's just one of
• 45:36
  that. You know what that if you get a
• 45:37
  toy where it just it just pivots at the waist and just just
• 45:42
  smashes every every other toy. It's got no intricacies that it
• 45:45
  doesn't bend at the elbow. And then he man toys and there's
• 45:49
  twenty man toys. They just punch people in the
• 45:51
  face. You want to see he's like, can
• 45:53
  your fingers move? No, your fingers are just fists.
• 45:56
  And that's all I am. And I've got this bald haircut
• 45:58
  and that's it. I think honestly, it's the way
• 46:00
  that he looks and he buys into the confidence of this character
• 46:03
  not having much intelligence and just being street smart.
• 46:06
  And being street smart means being reactionary.
• 46:08
  And that's all he is. And if that's all he needs to
• 46:10
  be, he does that really, really well.
• 46:12
  I would like to see a little bit more from him.
• 46:14
  That's fine if you are in an actual gang and you're not
• 46:16
  performing on the big screen to be to entertain people.
• 46:20
  But that's the point, isn't it? The lines are blurred.
• 46:23
  He kind of believes that he is. I think that's the whole point.
• 46:27
  I think we need to play down our expectations here because of the
• 46:30
  material. It's not Cuckoo's Nest, is it?
• 46:33
  It's not Chinatown. No, you're not going to put De
• 46:35
  Niro in this role. Well, on that, Westie, yeah, I
• 46:39
  was going to save it till later, but Tom Mckittrick plays the
• 46:43
  role of cowboy. Yes, there's a wild suggestion
• 46:46
  floating around the Internet that Robert De Niro's approach
• 46:49
  for the role, but he declined it.
• 46:51
  Of Cowboy. You believe that?
• 46:52
  Yeah, I can. Believe he declined it, Yeah.
• 46:59
  More believably, Tony Danza was in the frame to play a vermin
• 47:03
  but declined so he could work on TV show Taxi.
• 47:05
  Right, that makes sense. Danza doesn't want to be in it.
• 47:07
  Yeah, There's no way that De Niro was even a realistic
• 47:10
  thought. Not at all, no.
• 47:13
  So Walter Hill was the writer producer on Alien, the original
• 47:16
  Alien, and when it came to casting Sigourney Weaver for
• 47:19
  that film, Hill screened a film that she'd appeared in called
• 47:22
  Madman from 1978. Michael Beck also starred in
• 47:25
  that film, which ultimately landed the role of Swan in The
• 47:28
  Warriors. Must be some performance.
• 47:30
  I've never seen that. I need to check that out in that
• 47:31
  case. The cast had to say in shape for
• 47:34
  the shoot. Beck would wake up at 1:00 PM
• 47:36
  after his night shoot, go for lunch, then straight to the gym,
• 47:39
  Marcelino Sanchez, who plays Rembrandt, said.
• 47:42
  Sometimes I wonder if this is a motion picture or a marathon.
• 47:45
  Yeah, I mean, there's a lot of run.
• 47:46
  There's a lot of running, there's a lot of workouts, yeah.
• 47:49
  A lot of sweat. And after the success of The
• 47:51
  Warriors, Michael Beck's next film was opposite Olivia Newton
• 47:54
  John in the much maligned Xanadu.
• 47:57
  Xanadu, xanadu xanadu. Well.
• 48:01
  OK, now. Beck said something needy as
• 48:03
  good as that Westie. What did he say it was?
• 48:05
  The Warriors opened a lot of doors for me in film, which
• 48:08
  Xanadu then closed. What is in it?
• 48:11
  Best thing that's ever come out of his mouth.
• 48:17
  And as we're talking about the leader of our crew, it's time
• 48:20
  for our second Patreon question. This is a combination of a few
• 48:23
  questions we had. The initial one came from John
• 48:27
  Rapash. Hi, John.
• 48:27
  Hello, John. John.
• 48:28
  John said you and the boys are forming a gang to take back the
• 48:31
  streets. What do you call yourselves?
• 48:33
  What type of get was needed to look the part?
• 48:37
  Liam Moore asked a similar question.
• 48:39
  He said if the ATRM were a gang in the movie, what would your
• 48:41
  look be? Costume, hair, weapons, Maxim,
• 48:43
  Shira, Ryan Shibu asked a similar question about gang name
• 48:46
  and gimmick. Yeah, shout out to all of you
• 48:49
  fellas. Thanks for your questions.
• 48:51
  So we'll be doing a combination of the questions.
• 48:52
  Yeah, OK. Westie, over to you.
• 48:55
  Well, I'm going to keep it movie themed and I'm going to keep it
• 48:57
  my favorite movie themes. So I've got two different gangs.
• 49:01
  So join what you want. If you want to pick it up, run
• 49:04
  with it. Just I've got two different
• 49:05
  ones. Yeah, if you want to pick it up,
• 49:07
  run with it. If you want to send it right
• 49:08
  back, send it right back. The first one is the space
• 49:11
  unders. Send it right back.
• 49:14
  That's I've thought you would, you're not invited.
• 49:17
  So it's just loads of cobbled together leather, loads of boots
• 49:21
  and that and just looking like, you know, bounty hunters from
• 49:24
  Space Hunter, basically adventures in the Forbidden
• 49:26
  Zone. If you haven't seen that film,
• 49:27
  would just look like Peter Strauss in that film and go
• 49:29
  around fucking people up. And the second one is the
• 49:32
  Hungarian art house bastards. They were just dressed as 1920s
• 49:35
  peasants and where you'd all dress in black and white and
• 49:37
  just carry buckets of feces. I don't think either sound
• 49:43
  appealing to be honest, but I'll go for the space hunters.
• 49:45
  OK, there you go. You see, you said that right
• 49:47
  back too quick, didn't you? There you go.
• 49:50
  And now you're a Hungarian peasant.
• 49:52
  Who's laughing now? Yeah, you see exactly.
• 49:54
  The Hungarian Outhouse bastards. It's with Bellator as the
• 49:56
  leader. You know, like what it takes us
• 49:58
  to get back to Coney Island. Fucking five days it.
• 50:01
  Would have been all in one shot though.
• 50:03
  Weston. It would be one shot, you're
• 50:05
  absolutely right. OK, well this is a tricky one
• 50:07
  for me, but I've used the 70s New York set as inspiration,
• 50:10
  obviously. Not again.
• 50:12
  Yeah, and I think what's missing from the roster of St. gangs in
• 50:15
  this film is Disco. Yeah, this is slap bang in the
• 50:18
  middle of the era. Of course, Disco would be dead a
• 50:20
  year later, so we might have to rebrand, but for now, we are the
• 50:23
  hot pants. I'm out.
• 50:26
  No, you're not, Westie. Come on, we're wearing one piece
• 50:28
  sequins, jumpsuits, silk. Might you liking the sound of
• 50:32
  this already? Disturbed more than anything.
• 50:35
  Disturbed. OK, right.
• 50:38
  I think it's just the right level of camp to fit into the
• 50:40
  world of the Warriors. We've got big, luxurious hair.
• 50:43
  We'll travel on white horses, like Bianca Jagged when she made
• 50:46
  an outrageous entrance to Studio 54.
• 50:49
  OK, right. We've got horses.
• 50:51
  That's dramatic. Don't.
• 50:51
  Watch Pants on horses. We don't really.
• 50:53
  I mean, I wouldn't be threatened by this guy.
• 50:56
  I would. I think we'd be more threatened
• 50:58
  by us than the high hats I. Don't know, like at least
• 51:02
  they've got integrity. The hot fences on white horses.
• 51:05
  Brave farts. Wonderful.
• 51:11
  What about you? The streets are a jungle.
• 51:14
  Let's face it, in this film, yes they are.
• 51:16
  We would be the performing monkeys.
• 51:18
  We'd be dressed up in gorilla suits with baller hats and would
• 51:22
  have big butterfly Nets. Have either of you got any any
• 51:25
  respect for who we are at all? It's outrageous.
• 51:28
  There's the hunts in the performing monkeys.
• 51:30
  There's space on this. Yeah, you said we were covered
• 51:32
  in feces. Self respect.
• 51:34
  We had buckets, man. We could.
• 51:36
  Cover all the people in feces. All right then.
• 51:37
  That's upset. It'd be fine.
• 51:40
  Then I can. Because we just live in.
• 51:41
  The trees and swing from branch to branch.
• 51:44
  Brilliant. I can see us in the get UPS that
• 51:46
  the the gorillas have at the end of Trading Places very much.
• 51:51
  Like that very similar vibe. Well, thank you for the
• 51:55
  question, fellas. John, Liam, Maxim, Ryan.
• 51:59
  I don't know if that's satisfied.
• 52:01
  I don't think it would have. Been surprised we did, sorry.
• 52:04
  The Hot Bands, the Space Hunters and the Performing Monkeys.
• 52:08
  Yes. Yeah, make a choice.
• 52:10
  So not the most memorable of lead performances from Michael
• 52:12
  Beck. And I think we'd all agree that
• 52:15
  it's a shame that Thomas Waits wasn't in the lead.
• 52:17
  Yes. Yes.
• 52:21
  Next up, another unknown. I'm talking about Deborah Van
• 52:23
  Volkenburg, who plays Mercy. Now, I don't think I'm being
• 52:26
  controversial here, and I don't think she gives the best
• 52:28
  performance in the film. But no, no, it's not
• 52:33
  controversial. But it's a very low bar.
• 52:36
  It is I. Do think that she holds her own
• 52:39
  though. But I think Van Volkenburg has
• 52:41
  got something quite beguiling about her.
• 52:43
  She's got good screen presence. I think she looks like a star as
• 52:46
  well now. I like her when she completely
• 52:49
  messes things up for the Warriors just as they've smooth
• 52:52
  things over with the Orphans. Yeah, chicken noises, asking for
• 52:55
  one of their vests, shithousing them out of the entire scene.
• 52:59
  As they're walking away as well, I'm expecting one of them to
• 53:01
  like snap at any point. Yeah, as they're walking away,
• 53:04
  why don't you Dick heads just walk back home?
• 53:06
  Fucking hell. Steady on, love.
• 53:08
  We're doing it, man. You know, we're out.
• 53:12
  She's a hard ass from the outset and doesn't take no shit.
• 53:14
  And I do really like that about the character.
• 53:17
  There's no and there's no heirs and graces with mercy.
• 53:19
  Yeah, but I mean, I just don't know what she's doing with the
• 53:22
  orphans in the 1st place. Is she a prostitute?
• 53:24
  It's kind of viable. It's it doesn't specifically see
• 53:27
  in the film, Swan suggests. Sol roads point to that.
• 53:32
  You know, it's the oldest profession.
• 53:33
  Nothing wrong with that. Yeah, I mean, but if you if you
• 53:36
  look at it and you want that character to be something and
• 53:38
  cling on to them, then there should have been a new gang that
• 53:40
  hadn't been invited, that only had a few members.
• 53:43
  But it kidnapped her and she was being held captive and they were
• 53:46
  like really starting to build. And then the Warriors wiped them
• 53:49
  out as they were a new gang and she got the Warriors.
• 53:51
  That would have been fucking brilliant.
• 53:53
  But yeah, it is confusing. It's very.
• 53:55
  Confusing. I don't think that Mercy is that
• 53:58
  well written. She's just a hanger on and
• 54:00
  doesn't get much to do to be honest.
• 54:02
  I don't know why she stays with the Warriors in the 1st place.
• 54:05
  I don't know where she belongs. She just gets dumped into this
• 54:09
  story. I don't really understand her
• 54:11
  situation. I've really disliked that scene
• 54:14
  with her and Swan on the subway tracks.
• 54:16
  The dialogue's pretty awful, the performance is not that much
• 54:19
  better, and I really don't understand why Mercy would be
• 54:21
  interested in Swan when she's pleading with him.
• 54:24
  It's that's horrific, that isn't it.
• 54:27
  But I do like it when he's giving her some shit and she
• 54:29
  says, what kind of crap is this? She's still, she's still giving
• 54:32
  it back. So there's quite a few negatives
• 54:35
  there. But I really don't think that's
• 54:37
  on Van Volkenburg, to be honest. I think she really does stand
• 54:40
  out. And when it comes to some kind
• 54:42
  of redemption for Mercy, when I think she realizes that her life
• 54:45
  could be better than she's making out, she comes to that
• 54:47
  conclusion on the train when she sees that prom couple.
• 54:50
  Yeah. And that's done without
• 54:51
  dialogue. I think she sells that well,
• 54:52
  Yeah. That's a really great team.
• 54:54
  Yeah. So overall, I think Van
• 54:56
  Volkenburg Mercy a stand out of the remaining crew that make it
• 54:59
  back to corny. But you know, low bar, yeah.
• 55:03
  I mean, she definitely brings that character out of the
• 55:05
  shadows. That character could have been
• 55:07
  absolutely none avoid and forgotten and she makes a kind
• 55:09
  of stick in your head. Yes, Van Volkenberg got totally
• 55:12
  dinged up during filming. The only person who sustained
• 55:15
  injuries. Hardly surprising considering
• 55:17
  she gets manhandled throughout the whole film.
• 55:19
  Yeah. Well, during the subway scene
• 55:21
  where the police show up while Mercy and Fox are running away,
• 55:24
  Fox has hold of Mercy's arm. And as we've said, we had
• 55:27
  sustained double plate Fox in the scene and he didn't let go
• 55:30
  of Van Valkenburg's arm when they fell to the ground and so
• 55:33
  he ended up breaking her wrist. Jesus.
• 55:36
  So you'll notice that after this scene, when Mercy reappears,
• 55:38
  she's wearing a jacket that she found.
• 55:40
  Like I said earlier on, this was to cover the cast on her arm,
• 55:43
  but she says they're looking for someone in a pink top.
• 55:45
  Yeah, looking for somebody in a pink tap.
• 55:49
  That's terrible, terrible dialogue replacement for
• 55:51
  whatever it needed to be. What's the excuse?
• 55:54
  They're looking for someone in the pink tap.
• 55:55
  Write it down. All right, just say that.
• 55:59
  So what about this blue jacket? Are they not now looking for
• 56:01
  somebody in a blue? Jacket and a pink top because
• 56:03
  you can still see. Another scene in the subway when
• 56:09
  Swan throws the baseball bat at the copper's legs when he cocks
• 56:12
  just before throwing the bat, he caught Van Volkenburg Square in
• 56:15
  the face. She was rushed to hospital.
• 56:17
  She got three stitches in her face.
• 56:18
  Still got the scar. It's.
• 56:20
  A good throw to the leg as well, though that's right off the
• 56:22
  shin. Right.
• 56:23
  Painful one. Really painful.
• 56:25
  Van Volkenburg was cast after persistence from her agent.
• 56:28
  Originally, Hill was looking for a Puerto Rican actress for the
• 56:31
  part. When he cast her, he told Van
• 56:33
  Volkenburg that she was the unobvious choice.
• 56:36
  That's a beautiful thing to say, isn't?
• 56:38
  It and she didn't shoot any of her scenes until around a month
• 56:40
  into the film and schedule, but before she made her first
• 56:43
  appearance to spend a week on set to get into the groove of
• 56:46
  the night shoot. And she said there's a tribal
• 56:48
  feeling about this film. And I really felt close to all
• 56:51
  the guys, even if it wasn't needed.
• 56:53
  I wanted to be on set because I belonged with my fellow actors.
• 56:56
  There's a camaraderie, isn't there, between everybody, Yeah.
• 56:59
  When filming the subway tunnels, Van Volkenburg, Beck and the
• 57:02
  crew had to negotiate their way through an inch and a half of
• 57:05
  black steel dust generated through years of wheels grinding
• 57:08
  on the tracks. And they were also accompanied
• 57:11
  by giant subterranean rats, which are commonplace in the
• 57:14
  subway system. I saw one last year, Navy shape
• 57:17
  my pants. Absolutely massive.
• 57:21
  Andrew Lasdlo's favorite scene in the whole film is that kiss
• 57:23
  between Swan and Mercy in the train tunnel.
• 57:25
  He said that it was timed with the passing train as the
• 57:28
  reflection created a machine gun like effect of flashes.
• 57:32
  And editor David Holden said the shot was worth the price of
• 57:34
  admission alone. It's a good shot.
• 57:37
  Repurpose it for a different scene because it's an aggressive
• 57:41
  kiss. It is.
• 57:44
  So not necessarily Katharine Hepburn Van Volkenburg, but she
• 57:49
  is memorable as mercy. Definitely.
• 57:54
  Finally on our cast list, an outrageous performance from
• 57:57
  David Patrick Kelly. Who plays the heinous Luther
• 58:00
  Matt. Yeah.
• 58:01
  What on earth can you say about this performance?
• 58:04
  Yeah, he really wants to be Sean Penn, doesn't he?
• 58:07
  He's kind of got the Sean Penn look, but I mean, he.
• 58:09
  Does look like him, yeah. You know what, what's going on
• 58:11
  in general? I mean the acting.
• 58:14
  What's going on in general? I just don't understand like the
• 58:17
  acting, it's either wood and odds.
• 58:18
  Ridiculous like this. There's no happy medium.
• 58:21
  No one's gone. I'll try this at A7.
• 58:23
  It's either 3 or 11 and there's not a lot you can say about this
• 58:27
  performance other than it's just ludicrous.
• 58:29
  There's no attempt to give any line any attempted.
• 58:33
  Suddenly it's all aimed at the back streets, you know.
• 58:36
  Can't quite hear you, David. A little louder, please.
• 58:38
  It's weird, isn't? It and you know sometimes that
• 58:40
  kind of performance can work you know Gary Oldman and Leon choose
• 58:44
  the scenery like no tomorrow it still works this doesn't work
• 58:49
  well he just comes across as a noisy buffoon and at the end
• 58:52
  when swan asks him why he killed Cyrus you know no reason I just
• 58:57
  like doing things like that I mean come on after all this and
• 59:01
  there was no grand plan to any of it and again that kind of
• 59:05
  thing can work in different hands the joke in The Dark
• 59:07
  Knight famously doesn't have a grand plan he just makes things
• 59:10
  up as he goes along but the writing is obviously
• 59:13
  substantially better this is no joker here it's.
• 59:16
  No, he's not turning around, going.
• 59:17
  I just want to see the world burn as he.
• 59:19
  It's like it's not happening. Yeah.
• 59:20
  Exactly. I'm just amazed that he looked
• 59:23
  at every line delivery he gave. So went, yeah, that's fine,
• 59:26
  David, More please. More of that.
• 59:27
  Move on. Print it.
• 59:30
  There's a scene where his second in command, Cropsy, asks him why
• 59:34
  he's smiling, and he says because I'm having a good time.
• 59:39
  It's a ludicrous delivery, like all of them.
• 59:42
  It's insane. David Patrick Kelly was cast
• 59:44
  after Lawrence Gordon and Walter Hillsong in a Broadway player
• 59:48
  called Working. He played quotes a hippie that
• 59:51
  espoused peace and love but was extremely passive aggressive,
• 59:54
  which they thought fit the profile of Luther.
• 59:57
  Although I think it's just more straight up and down aggressive.
• 1:00:00
  There's no passage. There's nothing passive about
• 1:00:01
  this performance. There's nothing passive, no.
• 1:00:03
  For what? For what?
• 1:00:08
  When he went in for his second meeting, Hill told him, I think
• 1:00:11
  you are the spirit of this movie, really. 40% proof.
• 1:00:18
  It was during this viewing of Kelly on Broadway that brought
• 1:00:21
  Lynn Figpin to the attention of Hill and Gordon.
• 1:00:24
  She was also in working and she got cast as the DJ in the
• 1:00:27
  Warriors. Yes, a much better performance
• 1:00:29
  than David Patrick Kelly. Yes, yes.
• 1:00:30
  And only, only half her face. Yeah.
• 1:00:32
  Yeah, well, Kelly was a fan of Kurosawa and Toshiwa Mufuni
• 1:00:38
  films, and he said he wore the headband for Luther in homage to
• 1:00:42
  Mufuni, which I'm sure he's delighted when he heard that.
• 1:00:46
  He's fallen well short. He has, yes.
• 1:00:48
  I mean, he was completely in character at all times during
• 1:00:52
  the shoot, according to Jewel Wise, who played Cropsey.
• 1:00:54
  Like you said, he's second in command.
• 1:00:56
  It was until the very last day of film and when he brought his
• 1:00:58
  Co stars Irish soda bread. In the case of beer, probably to
• 1:01:01
  say sorry. Yeah, yeah.
• 1:01:03
  Sorry for me performance. There's some bread.
• 1:01:05
  Sorry about that. So there's some bread in the
• 1:01:08
  case of beer. For what?
• 1:01:10
  Sorry for. You can dial it down.
• 1:01:14
  Now thank. You.
• 1:01:15
  I think Kelly has got quite lofty opinions of what's going
• 1:01:19
  on in this film and more specifically his performance.
• 1:01:22
  Hill said that he told him that he had a Richard the Third
• 1:01:25
  quality, which Kelly used as inspiration for the part he
• 1:01:28
  said. I was reading Hubert Selbly's
• 1:01:30
  Last Exit to Brooklyn and Sartre is nausea for this kind of
• 1:01:33
  existential epiphany that he's got going on in there.
• 1:01:36
  That's amazing. What are you talking about?
• 1:01:39
  That is the best. That's one of the best quotes
• 1:01:41
  I've ever heard. Sartre.
• 1:01:43
  And they're like. Existential epiphany.
• 1:01:45
  Epiphany. I've just had one of them.
• 1:01:48
  That was amazing. Well, regardless performance
• 1:01:53
  that we said, I was a working theatre guy, very much into the
• 1:01:57
  theatrical avant-garde. The people that influenced me in
• 1:02:00
  movies were theatrical innovators who were great at
• 1:02:03
  making Jessie's mythic. What I was trying to do with The
• 1:02:05
  Warriors was tweak the method acting conventions of that time.
• 1:02:09
  But I broke one of the chords of method acting, which is not to
• 1:02:12
  judge your character. I mean, he's looking at a
• 1:02:15
  different performance. He's.
• 1:02:17
  Living in a different world. It's even a different script.
• 1:02:21
  Yeah, lofty, lofty opinions. Lofty performance, yeah.
• 1:02:26
  Yes, yes. Well, of course there are
• 1:02:27
  memorable performances elsewhere in the film.
• 1:02:29
  We'll be talking about James Remar as Ajax a little later.
• 1:02:32
  Yeah. So unknowns are plenty in the
• 1:02:34
  Warriors cast, none of them knocking it out of the park.
• 1:02:37
  Van Volkenburg has great presence.
• 1:02:39
  Kelly is deranged. In fact, he's almost mute.
• 1:02:43
  Slightly off casting, I think, with Dorsey Wright, who played
• 1:02:46
  Cleon, and Thomas G Wade, who played Fox, wasted early on.
• 1:02:50
  Definitely the best performers in the film.
• 1:02:51
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  The middle. With gangs mobilizing, the
• 1:04:19
  Warriors have nowhere to run, nowhere to hide.
• 1:04:21
  Matt, it's over to you to start off the second act.
• 1:04:24
  Yes, because here we go. Best part of the film for me,
• 1:04:27
  the DJ mobilizing the gangs. You've brightened up a little
• 1:04:31
  bit, haven't you? Hasn't.
• 1:04:33
  He, for this bit to come along, got through.
• 1:04:35
  The actors don't have to worry about those anymore.
• 1:04:37
  Yeah, they're done, Matt. They don't need to worry about
• 1:04:39
  them anymore. The Phone Under the Train Tracks
• 1:04:41
  film is firing on all cylinders in this scene, and it might seem
• 1:04:44
  fairly obvious, but all the same, it's such a neat trick to
• 1:04:47
  it takes such an upbeat, joyous song like Nowhere to Run, not
• 1:04:50
  changed in terms of tempo or delivery.
• 1:04:52
  It doesn't become like a downbeat or miserable version,
• 1:04:55
  but in context, the lyrics just take on a completely different
• 1:04:59
  meaning and it actually becomes quite a threatening song.
• 1:05:01
  And I really, really like that. Yeah, I love that.
• 1:05:04
  I love that. Yeah.
• 1:05:04
  And then if you mix that in with all the images of the various
• 1:05:07
  gangs taken to the streets, getting ready for the battle,
• 1:05:10
  that incredible shot of the Warriors where they've ducked
• 1:05:13
  into the shadows while the police go past and the bathed in
• 1:05:15
  red from the lights, it's fantastic stuff.
• 1:05:18
  I do think this scene promises something that it doesn't
• 1:05:21
  deliver, to be honest, You know, because this scene makes us
• 1:05:23
  think the streets are going to be overrun by these gangs.
• 1:05:26
  The Warriors are going to run into someone in every three
• 1:05:28
  corners. There's going to be a huge
• 1:05:30
  brawl. The vast majority of these we
• 1:05:31
  never see again. Yeah, Yeah.
• 1:05:34
  Which is a shame. I'd like to see more of these
• 1:05:35
  gangs later on in the film because this scene, I think it
• 1:05:38
  really has some menace to it. The edit in the sensational and
• 1:05:41
  honesty. I think The Warriors is at its
• 1:05:42
  best when there's no dialogue. As soon as the Countess are
• 1:05:45
  talking, the film falls apart. So this scene, no dialogue, just
• 1:05:48
  the music, Hill's visual style, the editing, it's brilliant.
• 1:05:51
  We mentioned in the the last segment, but Lynn Thigpen, who
• 1:05:55
  plays the DJ, when she finally came to see a cut of the film,
• 1:05:59
  she was devastated that in all of her scenes it's just a close
• 1:06:01
  up of her mouth. She didn't realize because it
• 1:06:04
  was shot in a full close up with a full face.
• 1:06:07
  Obviously she didn't appreciate that her voice is incredible and
• 1:06:10
  how influential that single shot would become on future.
• 1:06:13
  Absolutely. Yeah, Yeah.
• 1:06:15
  Well, after we see the extent of the threat the Warriors are
• 1:06:17
  facing. I love it when the fellas have a
• 1:06:19
  brush with the Turnbull ACS. I really like the visuals here.
• 1:06:22
  The Warriors are lined up in single file awaiting orders.
• 1:06:26
  But obviously Ajax is getting restless with his requisite
• 1:06:29
  horrific language. Don't miss that when he goes.
• 1:06:33
  The actress, who played the Temple of Seas, went to a nearby
• 1:06:35
  hamburger joint in costume. Many parents of the restaurant
• 1:06:38
  thought they were a real gang and fled the scene of fear of
• 1:06:40
  being beaten up. They are the most threatened and
• 1:06:44
  looking gang in the whole film. They are chains, really.
• 1:06:47
  Mad Max, isn't it? Yeah.
• 1:06:49
  I mean, it's hardly surprising considering when filming this
• 1:06:52
  scene under the L train here, the class got pissed on from
• 1:06:55
  above by a street gang. Oh, really?
• 1:06:57
  Pissed on from a great height? Wow.
• 1:06:59
  Yeah, Hill said. It seems funny now, but it was
• 1:07:03
  not at the time. And then the lads make a run for
• 1:07:07
  it. It's kind of like a microcosm of
• 1:07:09
  the entire film. They're running from point A to
• 1:07:11
  point B, trying desperately not to get their heads kicked in.
• 1:07:15
  Yeah, I think it's a good action sequence, showing that the
• 1:07:17
  streets are crawling with gangs out for only one thing.
• 1:07:20
  You may not get the rumbles and the action that you want to see,
• 1:07:23
  Matt, but I think that it does do a good job of making the
• 1:07:27
  streets seem very dangerous for the Warriors.
• 1:07:30
  Yeah, you don't expect all of them to get on the train either.
• 1:07:32
  That is a really tense sequence. It is, yeah.
• 1:07:35
  It's a really good. One of them is going to trip,
• 1:07:36
  like one of them would trip and fall and someone but one of them
• 1:07:38
  will get pulled back and be taken to the rips or whatever.
• 1:07:41
  And you know, it never had never happened that way, which I
• 1:07:43
  really like. That keeps the pace of the film
• 1:07:45
  going, that they all make it at this point.
• 1:07:47
  So I'll go for the bit after the fire.
• 1:07:49
  They have to go off the tree and this train is done for.
• 1:07:51
  And then we'll come to the rogues at the new stand or the
• 1:07:53
  sweet stand or whatever it is where the suites available at
• 1:07:56
  midnight. I mean, fantastic.
• 1:07:58
  Would have loved that as a kid. I would have been like, this is
• 1:08:00
  the best film I've ever seen. That's why people chocolate,
• 1:08:04
  chocolate at midnight. But it's it's it's really good.
• 1:08:07
  Yeah. I think Kelly's really great
• 1:08:08
  here. I'd honestly really like his
• 1:08:10
  performance. I know I kept a bit quiet during
• 1:08:12
  that whole point when you're talking about.
• 1:08:14
  I do really, really enjoy it because I think he's having so
• 1:08:16
  much fun. And he really.
• 1:08:18
  Injects this energy and every time he's on the screen, you
• 1:08:21
  don't want him to be on the screen, but you want to hear
• 1:08:23
  what he's got to say. Oh, you got to do you think he's
• 1:08:24
  going to do something that you just don't expect?
• 1:08:27
  He's got this real energy, this electricity to him.
• 1:08:30
  And it really works here because on the phone to somebody, but
• 1:08:33
  don't know who he's on the phone to.
• 1:08:35
  And this is, again, a huge missed opportunity for the plot
• 1:08:39
  to become a little bit more complex, just to become a little
• 1:08:41
  bit more indrogate, just to become a little bit more mature,
• 1:08:45
  I guess. And that he's talking to who he
• 1:08:47
  described as being the boss, although we never actually know
• 1:08:50
  who he's talking to. And they could have come to the
• 1:08:52
  point where the torn the Lutheran is totally calmed and
• 1:08:56
  said as the fire worked. Yeah, the fires worked, right.
• 1:08:58
  If we stop them. Yeah, Right.
• 1:08:59
  Well, they did this and right. Well, I don't know.
• 1:09:01
  But the field, the essays failed.
• 1:09:03
  All right, So it's our turn, right.
• 1:09:05
  So let's go for it. And then he could have lost his
• 1:09:07
  mind and just be like, right. It's it's up to us now because
• 1:09:10
  we own this place and I think it's just a really missed
• 1:09:13
  opportunity where I was expecting a lot more from this
• 1:09:15
  scene. But what I do get is again, just
• 1:09:18
  he'll having loads of fun, just Kelly having loads of fun and
• 1:09:21
  just really bringing home this ambiguity to the film, which
• 1:09:24
  someone could look at and go that's really clever because
• 1:09:26
  they're not giving you all the clues.
• 1:09:27
  But at the same time, I think that they just didn't really
• 1:09:29
  care about an underlying plot. They just kept it was just about
• 1:09:34
  this computer game and they just kept going forward with it and
• 1:09:36
  they didn't have to explain anything about it.
• 1:09:39
  It's great, but at the same time it's a really missed
• 1:09:41
  opportunity. Yeah, I agree with you.
• 1:09:43
  Yeah, I do, in a certain respect, agree with you as well.
• 1:09:45
  That Kelly does bring a kind of unpredictability.
• 1:09:49
  Yeah, to his performance. You never know.
• 1:09:51
  You never know what he's going to do next.
• 1:09:54
  What about the money you owe? Yeah, for what?
• 1:09:57
  And then? All of this shit that you've
• 1:09:59
  just told him, you dickhead. In the Rogues, he might notice
• 1:10:03
  have a hearse as their wheels, and apart from the driver's
• 1:10:06
  seat, there were no other seats in the car.
• 1:10:08
  Troll Weiss, who plays Cropsy, drove and the rest had on
• 1:10:11
  crates. Yeah, I don't think the budget
• 1:10:13
  stretched as far as seat, seat a prerequisite for a car.
• 1:10:21
  Just a car with Satan can't even find out.
• 1:10:24
  No, no, just one. So the boys escape the Turnbulls
• 1:10:27
  by the skin of their teeth. They talk the talk, but so far
• 1:10:30
  they ain't walked the walk. So the fire has derailed the
• 1:10:35
  Warriors and they're back on the streets.
• 1:10:37
  They're encountered with the legendary baseball Furies is
• 1:10:40
  coming up, but first they're up against the crew.
• 1:10:42
  So far down they ain't even on the map.
• 1:10:45
  Real low class. That's right, it's the Orphans.
• 1:10:48
  Yeah. When they run into the orphans
• 1:10:50
  and they have that parlay to get permission across their
• 1:10:53
  territory. In terms of writing and and
• 1:10:55
  probably acting as well, I think this might be the best scene in
• 1:10:58
  the film. I mean, my eternal issue with
• 1:11:01
  the film, which is how ridiculous are some of these
• 1:11:04
  gangs that doesn't get alleviated by seeing the
• 1:11:06
  orphans. I mean, no one did.
• 1:11:08
  No one takes them seriously. What a bunch of scruffs.
• 1:11:11
  Everyone else has put some effort into how they look and
• 1:11:14
  they're just standing in these like sweat stained T-shirts and
• 1:11:18
  jeans. It looks like they've just been
• 1:11:20
  released from prison. Yeah, they just look like they
• 1:11:22
  need a good wash the horrible, and we've talked about them a
• 1:11:25
  bit already, but the person who's great here is Thomas
• 1:11:28
  Waits. This feels like it was the first
• 1:11:30
  scene shot when Fox was going to be a major player because.
• 1:11:33
  Yeah. Absolutely.
• 1:11:36
  He's actually acting. I mean, he dominated when Swan
• 1:11:40
  gets him to come over to do the parlay and the look he has in
• 1:11:43
  his face when the lady says the orphans have a heavy Rep mess
• 1:11:47
  with us and you'll find that out.
• 1:11:48
  And he's just rolling his eyes at him.
• 1:11:50
  And then when he reads out the clipping from the newspaper,
• 1:11:53
  yeah, that's really heavy. The orphans, right?
• 1:11:55
  Oh, youth worker. She talks about you guys all the
• 1:11:58
  time. Like can barely keep the sarcasm
• 1:12:02
  out of his voice, which completely goes over the often.
• 1:12:04
  Said because the 2nd and he laughs.
• 1:12:07
  We ain't gone. Not one.
• 1:12:09
  That must be because you guys are so bad they're afraid of
• 1:12:11
  you. In this same just dominated.
• 1:12:15
  He's brilliant, he's grumpy, he's the same for me.
• 1:12:18
  It's very funny. It's really well done.
• 1:12:20
  Yeah, I mean, why would any gang carry clippings of their
• 1:12:23
  handiwork around? Them.
• 1:12:25
  To mothers. It's so hard, we are.
• 1:12:29
  Yeah, so after the gang gets split up and Fox buys it,
• 1:12:32
  unfortunately, Unfortunately, Swan, Cowboy, Snow and Ajax
• 1:12:36
  encounter probably the most iconic gang in the film outside
• 1:12:39
  of the Warriors, the baseball Fury's.
• 1:12:43
  And this is such effective costume design and makeup for
• 1:12:45
  me. They look so menacing in their
• 1:12:48
  war paint. They have a simple but effective
• 1:12:50
  weapon in the baseball bat, and those boys can run.
• 1:12:53
  Yes they can. The Furies are made-up with
• 1:12:55
  stunt performers. Steve Chambers and Leon Delaney
• 1:12:58
  were among the group and said that when they were brought in,
• 1:13:01
  they were expected to run at full speed, take after take
• 1:13:04
  after take. The end of the vomiting, the
• 1:13:08
  claim that the film makers were under the impression that
• 1:13:10
  stuntmen were superhuman beings, which I mean, you kind of think.
• 1:13:14
  But how it just keeps a lot? Yeah, it's a lot, yeah.
• 1:13:17
  But when they ended up vomiting, film makers thought, well, we
• 1:13:19
  need to get somebody else in. So the New York Rd. runners,
• 1:13:22
  like a running club from New York, were drafted in to help
• 1:13:25
  with the Fury's chase scene, right?
• 1:13:27
  They ended up working just one night, no stunt work, just
• 1:13:30
  running full tilt, take after take after take after take,
• 1:13:34
  until they threw up, right? And then they were fired.
• 1:13:38
  There's an amazing moment here when they're asking if they've
• 1:13:40
  lost them. And then the Furies appear in
• 1:13:42
  the shot as the music starts pulsing away and Cowboys says
• 1:13:45
  holy shit. It's a great visual from the
• 1:13:48
  film with an incredible sense of menace with that music Did.
• 1:13:51
  We lose these fucking clowns and watch.
• 1:13:53
  Look, holy shit. And then we get into Riverside
• 1:14:02
  Park and there's some outstanding wide shots of the
• 1:14:04
  Warriors kind of coming down the stairs on the lower level with
• 1:14:07
  the Furies above them. Yeah, it's a great chase.
• 1:14:09
  Yeah. And I do like when Ajax gets
• 1:14:12
  what he's been looking for all night.
• 1:14:13
  Cowboys tired. And that's the only excuse Ajax
• 1:14:16
  needs to bust some heads. He's sick of running from these
• 1:14:19
  wimps. Yeah.
• 1:14:20
  So when a Jackson Cowboy are running in that moment, if you
• 1:14:23
  look closer, you can see James Ramos slapping Tom Mckendrick
• 1:14:26
  the ass a number of times. Remod did this to encourage
• 1:14:29
  Mckendrick to run a little bit faster.
• 1:14:32
  It's clear as day. It is clear as day.
• 1:14:34
  He's done it about three or four times.
• 1:14:36
  Come on. I must say, Ajax loves asses,
• 1:14:40
  doesn't he? He does.
• 1:14:41
  He thinks Cleo was caught by the cops with a nightstick of his
• 1:14:44
  ass. He threatens to shove the
• 1:14:45
  baseball. Fury's back so far they're asked
• 1:14:47
  to turn into a popsicle and he's tapping Mckittrick's ass left,
• 1:14:51
  right and centre. Protesting a bit too much, isn't
• 1:14:54
  he just. Yeah, he definitely is.
• 1:14:57
  The Furies came about because of Hill's love of both baseball and
• 1:15:00
  the rock band. Kiss Gene Simmons in baseball
• 1:15:03
  colours and you've got yourself the Baseball Furies going to
• 1:15:05
  hell. And there was an Uptown gang
• 1:15:08
  called Second Base New York who wore leather jackets, not
• 1:15:11
  baseball outfits. But they are referenced by the
• 1:15:13
  DJ when she says that the Warriors are on second base.
• 1:15:16
  Yeah, I mean, this taps into a theory I got when I was watching
• 1:15:19
  it for the fifth time this week. And it's just like the whole
• 1:15:22
  thing seems like an Algary for a baseball game.
• 1:15:25
  It's like the leave home. Every single station they get to
• 1:15:27
  is a home plate that they have to pass with a challenge in
• 1:15:30
  which to do it. The fun.
• 1:15:32
  They get to the baseball theories and even she says
• 1:15:35
  they've passed second base and then when they get home, they
• 1:15:37
  get home. They were home run, but some of
• 1:15:39
  them have actually been struck out and they don't all make it
• 1:15:42
  back as a team. So I think it's got this whole
• 1:15:44
  kind of baseball now due to the whole film.
• 1:15:46
  It definitely has. Yeah.
• 1:15:47
  Yeah. It's a great point, Yeah.
• 1:15:48
  When editor Billy Webber came to cut this fight scene, he'll give
• 1:15:52
  him a few instructions. He said, don't you know, don't
• 1:15:54
  worry that they're trying to kill each other.
• 1:15:56
  Just make it as fun as possible. And if possible, make it like a
• 1:15:59
  Kurosawa film. Really fun now.
• 1:16:05
  Lords of Rain in black and white.
• 1:16:06
  Yeah, Webber said. He thinks he made it look like
• 1:16:08
  your Jimbo. Did he?
• 1:16:13
  It looks more like game night, yeah.
• 1:16:18
  And during the Furies battle, Michael Beck got a little bit
• 1:16:21
  too into it with his baseball bat.
• 1:16:24
  You have to bear in mind these weren't props either.
• 1:16:26
  They are genuine baseball bats at the wheel.
• 1:16:28
  And he slammed it into the midway for one of the Furies
• 1:16:31
  ended up breaking three of the guy's ribs.
• 1:16:33
  And Beck didn't find this out until a reunion in 2015.
• 1:16:37
  Wow. Yeah, it's amazing.
• 1:16:39
  I mean, if you if you look at it, it's quite a lot of it's the
• 1:16:41
  guy with the red face, right? Yes.
• 1:16:43
  He really, really clatters and goes down straight out of the
• 1:16:47
  frame. Yeah.
• 1:16:49
  Looks fun though it. Is fun, yeah, obviously.
• 1:16:55
  But I think it's a standard sequence in the film.
• 1:16:57
  Personal theatre for me. You love it.
• 1:16:58
  Yeah. So after this, we get the moment
• 1:17:01
  where it is just the most outrageous part where Ajax just
• 1:17:04
  sees this woman on the bench and says, you know, you can go ahead
• 1:17:07
  if you want, but I'm going to get a little exercise after
• 1:17:10
  everything that he's been through.
• 1:17:12
  And I think this is just reaffirming the fact that he's
• 1:17:14
  just trying to prove to the rest of the warriors that he's not
• 1:17:16
  gay, he's not attracted to like the rest of them.
• 1:17:19
  And he's trying to push them away.
• 1:17:21
  And it's just so evident because then when he goes away, he
• 1:17:24
  doesn't understand how to talk. He talks about like a child.
• 1:17:27
  It's almost like, it's like, like a mother figure.
• 1:17:29
  And then when he's there with her and she's like a battle of
• 1:17:32
  the chicks, like all those muscles, she's like she's, you
• 1:17:34
  know, the automated bots that people get when they pay a £5 to
• 1:17:37
  go to some kind of dating site and they've just got that answer
• 1:17:40
  that they want. I bet the chicks lack those
• 1:17:42
  muscles are. Yeah, I'm getting involved in
• 1:17:44
  this one. This is an automated but
• 1:17:46
  obviously, but it's just perfect.
• 1:17:47
  But it just, it just plays them like player for player just so
• 1:17:51
  generically. And then when he gets involved,
• 1:17:53
  he's just so in there. It's disgusting.
• 1:17:56
  It's horrible. It's really it's if he's never,
• 1:17:59
  ever been with a woman before, there's if he doesn't understand
• 1:18:02
  what he needs to do, how he needs to do it.
• 1:18:05
  And it's just really, really forceful.
• 1:18:07
  I'd love it when he gets handcuffed to that bench because
• 1:18:09
  I'm like, thank fuck for that. He's got what he deserves.
• 1:18:12
  But I just do. I do think he's a very confused
• 1:18:14
  character, but the amount of times that he says the word that
• 1:18:17
  is just abhorrent. And the amount of times the the
• 1:18:19
  amount of times that he tries to disprove he's masculinity by
• 1:18:23
  being in charge, it doesn't really work.
• 1:18:25
  No it doesn't. He is trapped, and I think he's
• 1:18:28
  trapped in his own sexuality, and that's as deep as I'm going
• 1:18:30
  to get with the Warriors. And I think that's just a real
• 1:18:33
  testament to me watching the film and getting something out
• 1:18:35
  of it. But it's there if you look for
• 1:18:37
  it. It really is.
• 1:18:38
  Yeah, I I completely agree with you, Westie, and I think it's
• 1:18:42
  quite poetic that he gets found out and gets arrested trying to
• 1:18:46
  cover up his sexuality. Yeah, exactly.
• 1:18:49
  Yeah. And Hill has said that he would
• 1:18:50
  have loved to bring Ajax back into the picture after his
• 1:18:53
  fragrance with the police, but couldn't come up with a way to
• 1:18:55
  do it, which is totally understandable.
• 1:18:58
  Yeah, I I just think this is the right way to go for age actually
• 1:19:01
  gets what he deserves. Yeah, I mean, if Cleon goes out
• 1:19:03
  that way, and Cleon's a really strong character, this guy can
• 1:19:06
  go out this way dead easy. Not a problem.
• 1:19:08
  And to get into character, James Raemar hung around Coney Island
• 1:19:12
  to get a feel for the various reprobates that filled the
• 1:19:15
  streets. And you approach someone working
• 1:19:16
  on one of the games on the boardwalk and asked him what
• 1:19:19
  kind of cats hung out in corny, and he was told the worst kind.
• 1:19:24
  There's your inspiration in this scene.
• 1:19:26
  Sonny Landon plays the cop who takes Ajax out first.
• 1:19:29
  It's blinking. You'll miss him, but he must
• 1:19:31
  have done 3, right? Because he'll brought him back
• 1:19:32
  for 48 hours a few years later. Oh yeah, yeah.
• 1:19:36
  Irwin Keys plays the copper who clocks Ajax.
• 1:19:38
  He was actually in line to play the character of Ajax, but he'll
• 1:19:42
  thought he was maybe a little bit too old.
• 1:19:45
  Which? Considering he looks about 45,
• 1:19:47
  then yes, he's far too old to play an 18 year old.
• 1:19:52
  That's Mercedes real as well, isn't it?
• 1:19:54
  Playing the police woman. It is.
• 1:19:55
  It is, yeah. Yeah, it's, it's, it's quite a
• 1:19:57
  shock to see. I think it was only a second or
• 1:20:00
  third rule really. But I mean, it's always a joy.
• 1:20:03
  Yeah, yeah, absolutely. She's fantastic in the film.
• 1:20:05
  Yeah, she is. She's great so Ajax's nights in
• 1:20:08
  the park all over for a while and the Warriors numbers are
• 1:20:11
  dramatically diminishing and Corny is still miles away.
• 1:20:14
  The. Crew.
• 1:20:22
  Two credited writers on the Warriors.
• 1:20:23
  A first time write. An effort from David Shaver with
• 1:20:26
  rewrites coming from the big man Walter Hill.
• 1:20:29
  Yeah. Matt, what do you think of the
• 1:20:31
  writing on the Warriors? I just don't have any idea how
• 1:20:34
  this would work as a book to begin with because it's all
• 1:20:37
  visual. It's one long pursuit.
• 1:20:39
  It's a lot of getting off trains, getting on trains,
• 1:20:41
  waiting for trains, and the things that people remember from
• 1:20:44
  this film, all visual. The look of the gangs, the feel
• 1:20:47
  of the city, the graffiti, how one down Coney Island is.
• 1:20:51
  None of that to me feels like it comes from the page, apart from
• 1:20:54
  the barest of descriptions. And if I didn't know it came
• 1:20:56
  from a book and you said where do you think it was adapted
• 1:20:58
  from? I just said something like it
• 1:21:00
  feels like something from 2000 AD or something like that.
• 1:21:04
  Nice. Yeah.
• 1:21:05
  I mean, it was a really popular novel as well, wasn't it?
• 1:21:07
  It's really. It was.
• 1:21:08
  Yeah, it was. Which is bizarre to me because I
• 1:21:11
  think it's such a visual experience.
• 1:21:13
  It's not something where you dig in the right now.
• 1:21:15
  And that's why I think it feels confused, Why I was confused.
• 1:21:18
  Why isn't this a dystopian sci-fi film?
• 1:21:20
  Because it feels like it should be, you know, because you have
• 1:21:23
  all these ganks scavenged in the streets and living in these
• 1:21:25
  gloomy subterranean bases and they're driving around and burnt
• 1:21:28
  up cars. It's got a real Mad Max feel to
• 1:21:30
  it at times. It has, yes.
• 1:21:32
  Which makes feel really strange when things happen like the cops
• 1:21:36
  arrive or the go to in you stand because that's real world stuff
• 1:21:40
  and it doesn't feel like it's a. Functioning city.
• 1:21:42
  It's a. Functioning.
• 1:21:43
  City and the telephones work. Phones work, yeah.
• 1:21:46
  Yeah, it. Doesn't feel like it belongs in
• 1:21:48
  the world of the warriors. So I'm just kind of left with
• 1:21:51
  more question than answers really.
• 1:21:53
  You know, again, the place there's there's simply been an
• 1:21:55
  assassination and a ride a few blocks where, but they're all
• 1:21:58
  just pissing about in the park open to like catch someone try
• 1:22:02
  to assault Mercedes rule. So I don't know if it's the
• 1:22:04
  material itself or just something is being lost in
• 1:22:06
  translation. It just feels very muddled to
• 1:22:09
  me. Yeah, right.
• 1:22:10
  OK, yeah, I I, you know, I get that and and I may be in love
• 1:22:14
  with the film, but I certainly can see where it's feelings are.
• 1:22:18
  And and I agree with you on that one, Matt.
• 1:22:20
  Yeah, well, I'm in love with the the linear narrative.
• 1:22:23
  I mean, it's very, very simple. There are no concerns afforded
• 1:22:26
  to frivolous subplots. They've got no place in this
• 1:22:30
  world in this film. And they're writing.
• 1:22:32
  It's about our boys getting from A to BA straight line, which is
• 1:22:35
  mirrored in the film because that's what the warriors have to
• 1:22:37
  do. Just walk that straight line
• 1:22:38
  down to corny and you can tell what Hill is saying when he said
• 1:22:42
  he wanted to give a kind of like a fantasy element.
• 1:22:45
  Just one look at the costumes tells you that it's very tongue
• 1:22:47
  in cheek. Take the high hats, for example,
• 1:22:50
  and we've had a laugh about them.
• 1:22:52
  But start thinking about logistics of those guys going
• 1:22:54
  about their day-to-day life and the whole thing falls apart.
• 1:22:57
  How do they communicate with each other?
• 1:22:59
  How could they possibly be an effective gang if they have to
• 1:23:01
  mime everything? Yeah, but I think all of that
• 1:23:04
  tells you right away that you don't need to take any of this
• 1:23:06
  too seriously. Yeah, exactly.
• 1:23:08
  But within this almost too simple narrative is a film
• 1:23:12
  that's got so much detail in world building.
• 1:23:14
  The number of gangs conceived for the film is nobody's
• 1:23:17
  business. They all have a unique identity,
• 1:23:19
  something similar to what you were seeing at the Top Westie.
• 1:23:22
  They all hail from a different part of town and are influenced
• 1:23:25
  by their surroundings and their ethnic heritage.
• 1:23:27
  Yeah, definitely. The world is written so
• 1:23:28
  tantalizingly for me. I just need to see more of it
• 1:23:31
  from these different gangs perspective.
• 1:23:33
  I think it's it's an untapped gold mine of an idea and a
• 1:23:37
  world. This is the cinematic universe
• 1:23:40
  that I can get behind. This is five seasons, 20
• 1:23:43
  episodes season on HBO TV Bonanza.
• 1:23:46
  Let's get it made. Absolutely amazing.
• 1:23:48
  Yeah, I could definitely, definitely tap into that, where
• 1:23:51
  the gangs just represent where they are, where they're from.
• 1:23:53
  Yeah, I'd love that. I've mentioned this word a lot,
• 1:23:55
  but it's got such a strong sense of identity.
• 1:23:58
  It comes from the location, the narrative, the costumes, the
• 1:24:00
  gang names. It's also evocative to me.
• 1:24:03
  It's not perfect writing, but it's so cinematic.
• 1:24:06
  I really love. It, yeah, I think the writing
• 1:24:08
  for me is, is the pace and the way that it is just quite
• 1:24:11
  breakneck and it does know where it's going, but sometimes it
• 1:24:15
  doesn't know how it's getting there or why it's really moving
• 1:24:19
  in that direction. And I think it's great that it's
• 1:24:22
  based over a single night. Like you said earlier on, I
• 1:24:24
  think films like that are great where you've got that real
• 1:24:27
  tension and how is this going to end?
• 1:24:29
  And I know that I'm going to see the end of it, that it's not
• 1:24:31
  going to play out ambiguously and this is going to, but I am
• 1:24:33
  going to have to get, the sun's going to have to come up at some
• 1:24:35
  point. And The thing is, with the
• 1:24:37
  writing, I'd honestly 100% think there's good dialogue in here.
• 1:24:41
  It's just badly delivered. Right, OK.
• 1:24:44
  I think if you look at Swan with the punks and Mercy comes up and
• 1:24:48
  says they're after you and he says another one he asks and
• 1:24:51
  then looks at them and says, and now they know that I know.
• 1:24:54
  Yeah, it's that's a really good bit of dialogue.
• 1:24:56
  If that was delivered just with a little bit more subtlety, a
• 1:24:59
  little bit more confidence. And imagine if we had the likes
• 1:25:02
  of the dialogue now and it's even all of Cyrus's dialogue.
• 1:25:06
  Keep it exactly the same, but give it a Denzel and training
• 1:25:09
  day. Yeah, now.
• 1:25:11
  You don't him, just him saying how can you dig it?
• 1:25:14
  But I think there's some really, really good writing in here.
• 1:25:18
  And it's just a little bit confused.
• 1:25:20
  I think it's just been, it's, it's been like a comic book
• 1:25:22
  that's been torn up and the pages are just kind of in the
• 1:25:24
  wrong order. Yeah, loads of great little
• 1:25:27
  bits, but nothing substantial as a whole.
• 1:25:29
  And I think that's a real shame. But that's not a reflection on
• 1:25:32
  the writing. I think it's just a reflection
• 1:25:33
  on how the writing was construed.
• 1:25:35
  Yeah, as mentioned, The Warriors is based on the 1965 book of the
• 1:25:39
  same name by Saul Urich. The book and the film drew
• 1:25:42
  inspiration from Xenophon's and Abassus, a story from Greek
• 1:25:45
  mythology about the Battle of Canacsa between Athens and
• 1:25:48
  Sparta and the subsequent 1000 mile March to the sea undertaken
• 1:25:52
  by a mercenary army who was surrounded by rivals.
• 1:25:56
  Yeah, like 300 isn't. It exactly.
• 1:25:58
  Yes. Yes.
• 1:25:59
  This inspiration for the film made it into the prologue for
• 1:26:02
  the directors cut in 2005 that we talked about.
• 1:26:05
  Yeah. Urich's research for the book
• 1:26:07
  included interviewing gang members of varying size and
• 1:26:10
  ethnicity in New York. He thought the gang members were
• 1:26:13
  telling them things that he wanted to hear, so to get a more
• 1:26:16
  accurate description of their activities, body language, you
• 1:26:18
  know, speech patterns, he hired a busted up truck, punched holes
• 1:26:22
  in the sides and spied on the gangs outrageous lengths
• 1:26:27
  dismissively. Uric said.
• 1:26:29
  It's not my best book. I wrote it as a kind of joke.
• 1:26:32
  It took me 3 weeks to write. What a Dick.
• 1:26:36
  Still loved the book immediately and wanted to make it even less
• 1:26:39
  realistic for the big screen by setting it in the near future
• 1:26:43
  with the certain West Side Story feel, albeit without the songs.
• 1:26:46
  And he said he was drawn to the extreme narrative simplicity and
• 1:26:49
  stripped down quality. Yeah, in the book there were
• 1:26:52
  almost no white characters. Hill wanted to carry this on
• 1:26:55
  into the film, but Paramount beat audit for commercial
• 1:26:57
  reasons. They didn't want an all black
• 1:26:59
  cast. I do think it is probably
• 1:27:01
  representative of New York and the different ethnicities and
• 1:27:05
  different cultures that the city is famous for.
• 1:27:07
  I still think it is representative of the city.
• 1:27:10
  That's what I love about it, how multicultural the gangs are.
• 1:27:13
  I mean, I love all the gangs, and there are 21 identifiable
• 1:27:16
  gangs in the film. We've talked about quite a few
• 1:27:19
  of them. There are dozens more listed in
• 1:27:21
  the official screenplay who are either not identifiable or just
• 1:27:24
  not on screen at all. Just a long list of gang names.
• 1:27:27
  There's about 50 of them. Favourites of mine include the
• 1:27:30
  Glen Hill Dancers, just like the Solid Gold Dancers from
• 1:27:33
  Scrooged. Nice you want to see some?
• 1:27:36
  Got some booty for you? The.
• 1:27:41
  Boogie for you, the hot pants. Yeah, the hot pants.
• 1:27:47
  See. It fits in, doesn't it?
• 1:27:50
  I regret me decision. It does.
• 1:27:53
  And there was another prominent gang in the original screenplay
• 1:27:56
  who were cut at the last minute. The Dingoes and the Dingles were
• 1:27:59
  a gay gang who wore blonde wigs, leather fetish gear complete
• 1:28:03
  with Chrome spikes and out Dobermans.
• 1:28:05
  And they had an important part in the narrative as they were
• 1:28:08
  responsible for kidnapping Swan before he breaks free at the end
• 1:28:11
  for the corny showdown. Wow, so at the end of Armed and
• 1:28:14
  Dangerous these guys sound like. Whoa, that is a deep cut,
• 1:28:18
  Westie. Is that Eugene Levy?
• 1:28:21
  Eugene Levy and Joan, wow, it's a difficult watch that film if
• 1:28:25
  you haven't seen it because you laugh at the end, you laugh all
• 1:28:28
  the way through, to be honest. But Hill has since expressed his
• 1:28:30
  disappointment and not filming the Dingoes.
• 1:28:32
  This was down to budgetary cuts from Paramount.
• 1:28:35
  Hill said the Dingoes weren't villainous.
• 1:28:37
  It was not a scene that was negative about the gay gang.
• 1:28:40
  I thought it was just another way of staying ahead of the
• 1:28:42
  times. Swan was their prisoner and he
• 1:28:44
  got away. But they have their dignity.
• 1:28:46
  Yeah, I think he he argued that like all the gangs were after
• 1:28:50
  the Warriors, and the Dingoes finally captured one of them
• 1:28:53
  because of the misinformation there wasn't that they were just
• 1:28:56
  a heinous gang. Originally cast in The Dingoes
• 1:28:59
  were John Snyder, who ended up playing the gas station
• 1:29:02
  attendant in the film, and another actor who would have
• 1:29:05
  played one of the Dingoes remarkably, Kevin Bacon.
• 1:29:09
  Amazing. Oh wow, really?
• 1:29:11
  Yeah, I would have paid to have seen that.
• 1:29:12
  Snyder and Bacon love it. Other changes were made to the
• 1:29:16
  fate of some of the warriors in the film.
• 1:29:19
  Three of them don't make it back home.
• 1:29:21
  Cleon, Fox and Ajax. But originally, Vermin and Core
• 1:29:24
  Cheese got bumped off as they bopped their way to Corney as
• 1:29:26
  well. Coaches was supposed to get
• 1:29:28
  cornered in the park by the Furies and wind up dumped in the
• 1:29:31
  Hudson River. David Harris, who plays coaches,
• 1:29:33
  said. It came down to the studio.
• 1:29:35
  The coaches doesn't die. Wow, came from up above.
• 1:29:38
  Well, I actually I think David Harris is great.
• 1:29:41
  As coaches, he's great. Yeah, yes, really good.
• 1:29:43
  And Terry, my cost, as we've said, plays Vermin.
• 1:29:46
  And he said that to set himself apart from the strong roles that
• 1:29:49
  the likes of Michael Beck had. He played his part more comedic.
• 1:29:52
  He said. I sort of play in Vermin based
• 1:29:54
  on an old Hercules cartoon character, this half man, half
• 1:29:57
  animal. I was able to end up half my
• 1:29:59
  role extended. I think Vermin was supposed to
• 1:30:02
  be killed off but he became funny.
• 1:30:04
  Well, that's one way of putting. This a lot of high opinions of
• 1:30:08
  themselves in this film, isn't it?
• 1:30:10
  Yeah, the Lizzies was supposed to bump vermin off in that
• 1:30:13
  scene. Right, right.
• 1:30:14
  So Urich wasn't a huge fan of the film.
• 1:30:16
  He liked the speed of the opening, but once Cyrus started
• 1:30:19
  talking, it fell apart for him, he said.
• 1:30:22
  For me, the best moment of the movie was my name flashing up
• 1:30:24
  and covering the whole screen. Ego much?
• 1:30:28
  Yeah, the best bit of the film. Maybe not the most sophisticated
• 1:30:35
  piece of writing, but the world of the Warriors stuff full of
• 1:30:38
  colourful characters is incredibly memorable.
• 1:30:41
  Yeah, it sticks with you, absolutely.
• 1:30:45
  Now we have a banger of a score from Barry Devoson and a good
• 1:30:49
  soundtrack with, in my opinion, a few unusual numbers, but we'll
• 1:30:52
  get to that. Actually, let's get to it now.
• 1:30:55
  I think Devoson score is great. Synthesize heaven with some
• 1:30:59
  awesome guitar licks. It sounds like rock music full
• 1:31:02
  of East Coast muscle and it gives the images a raised pulse
• 1:31:05
  and a sense of frenzied urgency for me.
• 1:31:08
  We've talked about the opening scene with the Talking Heads,
• 1:31:10
  the Furies chase, where the score is at its strongest.
• 1:31:13
  Love is Couldn't Love It Anymore.
• 1:31:15
  The pop songs in the film a little off for me.
• 1:31:18
  I really like the two numbers during the Lizzy scene.
• 1:31:21
  Love is a Fire and Moving too slow in the city at the end is
• 1:31:24
  great. But I've really got a question.
• 1:31:27
  The inclusion of. I do take your point, Matt, that
• 1:31:30
  it does take on additional meaning, but consider Martha
• 1:31:33
  Reeves and the Vandellas and then we get this one, a paper
• 1:31:36
  thin cover of Nowhere to Run despite Luther Vandross doing
• 1:31:38
  the back. And I just think it sounds a bit
• 1:31:40
  too much like Muzak. Yeah.
• 1:31:42
  It's not budgetary though. Probably, but I think they could
• 1:31:46
  have done differently. I think there's a few of the
• 1:31:48
  songs in there. Echoes in My Mind is Too Soft
• 1:31:51
  and Last of the Agent Breed wouldn't be out of place playing
• 1:31:54
  at the end of a Rambo film. It's horrific that one the last
• 1:31:59
  track on the on the soundtrack album.
• 1:32:01
  I just don't think that these reflect the time this film was
• 1:32:04
  shot. In 1978, New York City was the
• 1:32:06
  epicentre of disco and punk rock, and hip hop was just about
• 1:32:09
  to sneak through all at the same time.
• 1:32:12
  I don't think the hip cuts of The City will be listening to
• 1:32:14
  anything else but one of these, and the fact that the film could
• 1:32:17
  be seen as a near future could excuse this.
• 1:32:20
  But some of the songs that are included are from the future,
• 1:32:22
  from the past. For me, I don't hear this.
• 1:32:25
  I just think it's a massive missed opportunity.
• 1:32:28
  The guy who curated the soundtrack was Kenny Vance.
• 1:32:30
  He'd been on the music scene since the 50s.
• 1:32:33
  So he's, you know, he's got an unbelievable pedigree.
• 1:32:35
  He sings on the track in Havana that plays the candy stand.
• 1:32:39
  And I think fans should have just he's curating the music.
• 1:32:43
  Go to CBGB's, These are all in New York.
• 1:32:45
  Go to Max's Kansas City, Pseudo 54 Uptown to the block parties
• 1:32:49
  in the streets of the Bronx. Get a feel of what music is
• 1:32:51
  actually going on. Get tracks from unsigned artists
• 1:32:55
  and we'll be having a totally different conversation.
• 1:32:57
  Yeah. Take nothing away from divorce
• 1:32:59
  on score, though. I love that.
• 1:33:01
  It's amazing. Oh yeah.
• 1:33:02
  Yeah, I mean, I'm the same. I'm a big, big fan of the score.
• 1:33:06
  I think the score's got a really good energy to it.
• 1:33:08
  It's got a real pace to it. I love when them high hearts
• 1:33:10
  come in. I love the bill to it's guitars
• 1:33:12
  because they just sit in the center there and there's some
• 1:33:14
  little bits of organ in there and then there's a wonderful
• 1:33:17
  drum fills, which seemed to me like the same white pan
• 1:33:20
  transitions that he uses Visually.
• 1:33:22
  You just kind of sweep over a great dialogue, especially in
• 1:33:28
  the opening sequence that cuts into the music and the music
• 1:33:30
  kind of sits side by side with it.
• 1:33:32
  But again, with you, I mean, I don't know if In the City works
• 1:33:35
  for me. Is that the ultimate song when
• 1:33:37
  you've escaped all of this and you're one of the best gangs and
• 1:33:40
  you've got Joe Walsh do any solo number and then it's on an
• 1:33:43
  Eagles album later. Because that happened to like it
• 1:33:45
  because it was on a film. Yeah.
• 1:33:46
  It just, it doesn't really sit with me.
• 1:33:48
  But you've got, like you said, there, songs that should be in
• 1:33:50
  it. Rocket to Russia came out in in
• 1:33:53
  77. Right, so you've.
• 1:33:55
  Got the Ramones in there, and as soon as if the baseball fuse
• 1:33:58
  turned up with the Ramones track, yeah, you fucking forget
• 1:34:01
  about it. Yeah, I want to be sedated.
• 1:34:03
  Judy is a punk. Anything like that?
• 1:34:05
  Anything like that you would have just would have really
• 1:34:08
  worked. So I mean this the disco
• 1:34:09
  movement could have come into the hip hop stuff.
• 1:34:10
  But again, I think this is very budgetary.
• 1:34:12
  I think there's what can we get and who can we get to display
• 1:34:15
  this? He's hit home with nowhere to
• 1:34:17
  run because them lyrics do take on it.
• 1:34:20
  But again, I mean, the thing that really shines for me in
• 1:34:22
  this is the soundtrack is the actual soundtrack by Barrett Von
• 1:34:26
  and it's it is it's an exceptional work and it would
• 1:34:29
  still be popular now. It still stands up.
• 1:34:31
  So I think the soundtrack itself wasn't really of its time, or
• 1:34:35
  maybe it was of its time but wasn't ahead of its time.
• 1:34:37
  But the score definitely, definitely is ahead of its time.
• 1:34:40
  Yeah, yeah, I agree. Matt, what do you think,
• 1:34:43
  Hatrick? Yeah.
• 1:34:44
  Pretty much the score is one of the elements that resonates the
• 1:34:47
  most strongly and I don't really have any issues with it.
• 1:34:50
  It's a bit John Carpenter with the EV since, but then it
• 1:34:53
  becomes a lot more funkier than anything he ever did, obviously.
• 1:34:57
  But then again, like Condor ripped, did you not think
• 1:34:58
  Compton ripped it off in the opening, the big trip in Little
• 1:35:00
  China? It's like, yeah, it's like I
• 1:35:07
  missed that trick. Yeah, yeah, yeah, possibly.
• 1:35:09
  Yeah. And it's got some, you know,
• 1:35:10
  nice crunchy Catholics in there. Yeah.
• 1:35:13
  I do like that version of Nowhere to Run, but I think of
• 1:35:15
  the original songs, Love is a Fire, that was the real stand
• 1:35:18
  out for me. It's brilliant.
• 1:35:19
  Yeah. I think that's a great one.
• 1:35:20
  Yeah, it is. It's great.
• 1:35:21
  Sounds a bit like Pat Benatar or like early heart or something
• 1:35:24
  like. That yeah.
• 1:35:25
  Early heart. Yeah, definitely, definitely.
• 1:35:27
  I mentioned in Havana it's credited to Kenny Vanson is my
• 1:35:30
  old Miranda. Unbelievably, some of the bacons
• 1:35:33
  on that song are provided by a very unusual source.
• 1:35:37
  Do you know this? I do not, no.
• 1:35:41
  It's Chevy Chase. Chevy Chase?
• 1:35:43
  Wow. Well, I haven't mentioned Chevy
• 1:35:45
  Chase in a long time, no. No, you didn't think it would
• 1:35:48
  copier, did you? I.
• 1:35:50
  Didn't think it would copier at all.
• 1:35:52
  Yeah, I, I mean, I had to do a lot of digging because I I
• 1:35:56
  really don't believe this, but it it appears that this is the
• 1:35:58
  real Chevy Chase. He's Chevy chasing.
• 1:36:00
  You're not. But there's still something
• 1:36:02
  niggling in my mind that this can't possibly be true because
• 1:36:05
  Chevy chasing and back ends on this Latin inflected salsa
• 1:36:09
  number. The whitest man in the world
• 1:36:10
  when he was at the height of his fame.
• 1:36:13
  Makes perfect sense to me. That's definitely something
• 1:36:16
  Chevy Chase would do. You can call me out, but he's on
• 1:36:19
  the video. Yeah, yeah.
• 1:36:20
  It's something he would do just to kind of piss people off, I
• 1:36:23
  think. This song so low key.
• 1:36:25
  Nobody knows this song outside of the confines of this film.
• 1:36:28
  They've got the budget for the budget for Chevy Chase, the
• 1:36:32
  greatest comedian at that time. Yeah, because he probably said
• 1:36:34
  he'd do it for free for the lot. Yeah, and I do know that Chevy
• 1:36:39
  Chase does have the voice of an Angel.
• 1:36:41
  He's got perfect pitch, apparently, so it may well be
• 1:36:44
  true. And he is credited on, you know,
• 1:36:46
  like Discogs and the Wikipedia site.
• 1:36:48
  He's also listed on the record. Have checked and double checked.
• 1:36:51
  It says Chevy Chase. Amazing.
• 1:36:53
  Great National Lampoon's as well.
• 1:36:55
  Great. National Lampoon's.
• 1:36:56
  Gripper. So I think on the whole, great
• 1:37:01
  music accompanying the Warriors, adding to its unique sense of
• 1:37:03
  identity. Absolutely.
• 1:37:08
  Rounding off our crew list, we have cinematography by Andrew
• 1:37:11
  Laszlo. Matt, do you want to take the
• 1:37:15
  lead on this one? The unsung hero of the film, I
• 1:37:18
  think because whatever other problems I have with this film,
• 1:37:22
  how it looks isn't one of them. Every frame is memorable.
• 1:37:25
  Every shot is so balanced in terms of depth, in terms of
• 1:37:28
  shadow. It's dark, but it's never dimly
• 1:37:31
  lit. You can always make out what's
• 1:37:32
  going on. And obviously part of this is
• 1:37:34
  that incredible location shooting and he just really,
• 1:37:37
  really seems like soak up the rain that's on the streets, in
• 1:37:40
  the humidity, in the air and. Especially that cemetery scene,
• 1:37:43
  how dark that is and how moist it is because you know exactly
• 1:37:46
  what's going on exactly. I mean, if I had to pick a
• 1:37:49
  favorite shot, I think I would go for when the warriors get to
• 1:37:51
  Coney Island and roll in silhouette because he's shooting
• 1:37:54
  it directly into the sun, right, Brilliant, nice, But again, it's
• 1:37:57
  it's just so well dressed because it's not over bride.
• 1:37:59
  That just saying looks absolutely incredible.
• 1:38:01
  And it's a cliche thing of every famous picture in this film.
• 1:38:04
  And I think if you didn't have the score and if you didn't have
• 1:38:07
  Lazlo, I don't know what kind of film you would have here.
• 1:38:10
  I think this is just a massive influence on everyone who tried
• 1:38:14
  to shoot in New York afterwards, especially at night time New
• 1:38:16
  York. I think it's a massive influence
• 1:38:18
  on Taxi Driver. I think it's a massive influence
• 1:38:20
  on Calendar. I think it's the massive
• 1:38:22
  influence on Michael Mann. Especially if you look at The
• 1:38:24
  Thief like it's just a one of them films where it's just, it's
• 1:38:27
  very confident in its delivery of the visuals and nothing looks
• 1:38:30
  lit. Everything looks like it was
• 1:38:31
  just shot the way it was shot. Everything looks like natural
• 1:38:34
  light in the location, which gives the locations, as I said
• 1:38:36
  earlier on, their their real place to shine.
• 1:38:39
  And it seems that the warriors are just in the light where the
• 1:38:41
  location allows them to be in the light and which gives it
• 1:38:44
  very naturalistic look. But at the same time, it's lit
• 1:38:47
  enough, like Matt said, where you're not bogged down with it
• 1:38:50
  and it doesn't look like it was overly done.
• 1:38:52
  I think it's just absolutely brilliant.
• 1:38:54
  And he's a brilliant, brilliant cinematographer.
• 1:38:56
  And he was an influence on himself because I mean, after
• 1:38:58
  this he shot Sudden Comfort and then he shot First Blood.
• 1:39:02
  And he's just done so much in this film where like you're
• 1:39:05
  going to shoot a night exterior, you're going to look at last
• 1:39:08
  those work on the Warriors and you're going to say, I'm going
• 1:39:10
  to do it like that. And it's got that neon look.
• 1:39:13
  It's got that bite with neon since it all works.
• 1:39:16
  And like Matt said, I think the only thing that lets this whole
• 1:39:19
  film down is actually the dialogue.
• 1:39:20
  If this was a silent film with a soundtrack with songs that we
• 1:39:24
  could suggest, the Ramones, the soundtrack, they're reflected
• 1:39:27
  the time if you get Vozan score in there and if you get the
• 1:39:31
  visuals by Laszlo and the direction from Hill without the
• 1:39:34
  clunky dialogue would have an absolute masterpiece on my
• 1:39:36
  hands. Yeah, I agree.
• 1:39:37
  Yeah, you've said it a few times, but missed opportunity, I
• 1:39:40
  think, Westie. Yeah.
• 1:39:42
  But this certainly isn't that opening shot of the Wonder
• 1:39:45
  Wheel, the purple piercing through the nighttime sky and
• 1:39:48
  the rumble of the train as opposed to Silver Ave.
• 1:39:50
  OH. Just dissolve into the light as
• 1:39:52
  well from pure darkness. And just the wonder wheel lights
• 1:39:55
  up. Fantastic stuff.
• 1:39:56
  Yeah, wonderful. You just want to go there.
• 1:39:58
  Yeah, it looks like the most Big Island and attractive places.
• 1:40:02
  Yeah. And what I think Laszlo does
• 1:40:03
  magnificently is contrast the daytime and nighttime in Corny.
• 1:40:06
  You've got those alluring images at the start and at the end the
• 1:40:10
  place looks like a complete crap house.
• 1:40:12
  It looks really cold. Whereas the night time looks
• 1:40:16
  hot. Yeah, it's just really cool.
• 1:40:18
  So he's using all of the Reds and the oranges to kind of make
• 1:40:21
  this warmth in this fire, like the hell of the city.
• 1:40:25
  And then there's like this cold, almost purgatory of when they
• 1:40:28
  get back home. Is this what we're fought for?
• 1:40:29
  It's not heaven. We're not.
• 1:40:30
  You haven't made it out, really. It's just this cold place.
• 1:40:33
  He hasn't got a lot of time. Andy shooting 35 mil, Andy
• 1:40:36
  shooting available light. And there's gangs threatening to
• 1:40:38
  kill people. So he's done an incredible job.
• 1:40:44
  And filming at night did prove to be tricky for more than one
• 1:40:46
  reason. Laszlo had a torrid time with
• 1:40:49
  light and in particular light sensitive St. lights were
• 1:40:51
  switched off by the light and rigs used for shots.
• 1:40:54
  They've got over this little problem I tape and over the
• 1:40:56
  sensors on the street lights. So they just kept on shooting.
• 1:40:58
  Yeah, because it was all on location as well.
• 1:41:00
  You're at the mercy of the city itself.
• 1:41:02
  The majority of shots are underexposed because it was
• 1:41:05
  nowhere near enough money in the budget for sufficient light, and
• 1:41:07
  Laszlo was able to make internal shots of the subway.
• 1:41:10
  Like you said earlier on Westie, it's bright because he was
• 1:41:14
  working in a smaller space and he stole spare bulbs from the
• 1:41:17
  subway system to light those carts.
• 1:41:20
  Which he knows that for the contrast, though, and I think
• 1:41:22
  you've underexposed the outside shots.
• 1:41:24
  So it just looks a little bit more grimy.
• 1:41:26
  And I think that's that's on purpose.
• 1:41:27
  Again, it's just, you know, necessity.
• 1:41:29
  He also wet the streets that they were filming on for a
• 1:41:32
  couple of reasons. The first one was to reflect the
• 1:41:34
  lighting set up. Making it seem brighter, yeah.
• 1:41:38
  And the second one was continuity because they were
• 1:41:39
  dealing with thunderstorms during the night on certain
• 1:41:41
  days. Brilliant.
• 1:41:43
  Right and during the baseball few he's chasing the park last
• 1:41:46
  law install lighting into the branches of the trees above the
• 1:41:49
  actors and if you know they're there, they're very easy to see.
• 1:41:52
  And he also got creative and concealing additional lights
• 1:41:55
  elsewhere. Others were hidden behind fake
• 1:41:57
  signs like bar, restaurant to make the scene more dynamic.
• 1:42:00
  Nice. Yeah, yeah, they're just hidden
• 1:42:02
  in places where they look like they should be naturally, but
• 1:42:05
  they will put there to make the sets pop.
• 1:42:08
  The images pop looks great, so great all around.
• 1:42:11
  Work on the Warriors with the crew doing a bang up job to make
• 1:42:14
  the film stand out among the crowd.
• 1:42:16
  Special mention should also go to Bobby Mannix and her
• 1:42:18
  outstanding costume design. Oh, absolutely, 100% of me.
• 1:42:25
  The end. Into the third act, the boys get
• 1:42:30
  separated. They have an almighty fight with
• 1:42:32
  the punks in the bathroom, but we'll get to that in a moment.
• 1:42:35
  Yeah, First up, Vermin, Core Cheese and Rembrandt kick back
• 1:42:38
  with the Lizzies, but the chicks are packed.
• 1:42:41
  I mean, this is just outrageous for a number of reasons.
• 1:42:45
  The gang have been split up and they're running for their lives.
• 1:42:48
  Every gang they meet wants to kill them.
• 1:42:50
  So what's the best thing to do? Be completely exposed in the
• 1:42:53
  middle of the city with a group of strangers offering easy sex
• 1:42:56
  no questions asked? Get it straight in there.
• 1:42:59
  Why not? At least Rembrandt is a little
• 1:43:04
  suspicious. Kochi's asks where the dudes
• 1:43:07
  are, but Vermin is an absolute shambles with dialogue.
• 1:43:11
  Like when I got off that subway, I saw you and I thought, oh
• 1:43:15
  baby, throw it my way. What on earth are you talking
• 1:43:18
  about, Vermo? This is ridiculous.
• 1:43:22
  And then when he gets in there, it looks like you're the winner.
• 1:43:30
  But like I've said, there are two bangers on the jukebox.
• 1:43:32
  The girls have got plenty of drink, plenty of smokes to go
• 1:43:35
  round a pool table. A very alluring dance, sexy
• 1:43:39
  enough to entice any stoic warrior.
• 1:43:42
  So, you know, fantastic. And the Lizzies tap right into
• 1:43:45
  that Greek mythology that Hill was inspired by for the film.
• 1:43:48
  For me they are the Sirens from Greek mythology.
• 1:43:52
  Yeah, very much. Luring the warriors in with
• 1:43:55
  their sexuality before they pounce.
• 1:43:57
  I saw him first. I see him first.
• 1:44:01
  Turn him into a horny. Toad.
• 1:44:03
  A horny toad. Pete, that's all brother, where
• 1:44:10
  are thou? For people who don't know what
• 1:44:12
  would just call him. Randomly.
• 1:44:16
  And when the Lizzie's family revealed themselves.
• 1:44:18
  I'd love that line when Rembrandt screams shit the
• 1:44:21
  chicks are packed. It's so good.
• 1:44:23
  And then it's absolute pandemonium.
• 1:44:26
  Gunshots being fired with scant regard for anyone's safety,
• 1:44:29
  knives being slashed through the air.
• 1:44:31
  Renban takes one in the arm, Vermin smacks one of the girls
• 1:44:34
  right in the mush, and coach he slams a chair into another one
• 1:44:38
  of them. Madness.
• 1:44:39
  And then they bust through that door, making their escape.
• 1:44:42
  It is a funny scene. It's obviously not to be taken
• 1:44:44
  too seriously, but I absolutely love it.
• 1:44:48
  Of course you do. That's great, and I think the
• 1:44:51
  Lizzies are great. The actress is.
• 1:44:53
  Playing the girls are great. Yeah, really good.
• 1:44:56
  I mean, it's all kicking off now because you go from this fight
• 1:44:58
  to the fight in the bathroom, which I want to talk about
• 1:45:01
  because this action sequence, I mean, it really crunches and
• 1:45:05
  it's the same way. Even the weed aspect of it works
• 1:45:08
  because the thought of gangs on roller skates, again, not
• 1:45:11
  particularly intimidating, but that lone guy following them
• 1:45:14
  down through the station actually works really well.
• 1:45:17
  Yeah, creepy. I think if you call yourselves
• 1:45:19
  the punks, maybe try to look like punks, Yeah instead of the
• 1:45:22
  roller skates and dungarees combo.
• 1:45:24
  Rugby tops. Rugby tops.
• 1:45:26
  The Bay City Rolling Skates. Thing is, up by this point, I
• 1:45:33
  think I've given up trying to reconcile the idea that these
• 1:45:36
  are tough St. gangs. Yeah, with.
• 1:45:37
  What they actually look like, Yeah.
• 1:45:39
  And honestly, I do mean this is a compliment.
• 1:45:41
  A lot of the film feels like very 1960s Batman TV series to
• 1:45:45
  me, the way they just kind of keep running these outlandish
• 1:45:48
  gangs. Yeah, it needs more Dutch
• 1:45:50
  angles, doesn't it it? Needs more Dutch angles until
• 1:45:53
  only kicks off in the bathroom. You really could have like Biff
• 1:45:56
  and pow and bow shooting out on screen.
• 1:45:58
  Crack crack. Yeah she be don't.
• 1:46:01
  But the music is great in the scene and thing this is seen
• 1:46:05
  finally you get that grit that I associated with Walter Hill.
• 1:46:07
  You know, fists are flying baseball bats and the good heads
• 1:46:10
  getting slammed in the wall, knives out, elbows in the face.
• 1:46:14
  Even Mercy getting in on the ACT with that cheeky little hair
• 1:46:17
  pull and shoulder bite and that one guy.
• 1:46:19
  I mean, I don't think your teeth of that song absolute by through
• 1:46:22
  denim give him a. Gore worth a try?
• 1:46:25
  But the best bit is that guy who gets looked in the face so hard
• 1:46:29
  it spins him round, sends his face cracking into the wall, and
• 1:46:32
  then when he turns back around, gets a baseball bat in the gut.
• 1:46:35
  Yeah, it's great. And that baseball bat is hit so
• 1:46:37
  hard it splinters into. I mean that is one.
• 1:46:40
  Unlucky guy. I mean, even Swan is useful here
• 1:46:43
  in this scene and looks the part.
• 1:46:44
  Yeah, it's a great team and absolute, definite influence on
• 1:46:48
  Ed Gride for The World's End. Yeah, I mean, it's a carbon
• 1:46:51
  copy, isn't it? Yeah, although the film was shot
• 1:46:55
  almost entirely on the street of New York City, the only set
• 1:46:58
  build was for this exact scene. This was shot in a story of
• 1:47:01
  studios up in Queens. Yeah, I think you can tell
• 1:47:05
  because I think the wooden doors look like Styrofoam when they
• 1:47:08
  get obliterated. They do, yeah, far too easily
• 1:47:11
  bust open. Yeah, yeah.
• 1:47:12
  And that kid that's on the roller skate, he was a stuntman
• 1:47:15
  that didn't know how to roller skate before the film, right?
• 1:47:17
  They just learn how to do it. And I think he's really
• 1:47:19
  convincing when he's just going backwards and forwards.
• 1:47:21
  I like. Yeah, yeah.
• 1:47:22
  Absolutely brilliant. Yeah, he looks absolutely great.
• 1:47:25
  Walter Hill asked him if he could roller skate and he said,
• 1:47:27
  Oh yeah, yeah, I can. Completely lied.
• 1:47:30
  And then just spends the time in between the audition and the
• 1:47:32
  shoot roller skating up and down upstate New York.
• 1:47:35
  Amazing. And when filming this scene,
• 1:47:37
  there was an unexpected visitor on set at Koch, who was mayor of
• 1:47:41
  New York at the time. He arrived alongside movie
• 1:47:44
  royalty Gloria Swanson of Sunset Blvd. fame.
• 1:47:48
  Swanson was two in the facility with Koch because she had filmed
• 1:47:51
  a number of her silent pictures back in the day there and he'll,
• 1:47:54
  obviously surprised by this visit, gave them the two around
• 1:47:57
  the set. Nice.
• 1:47:58
  Yeah, Hill said that Koch was a big supporter of the film when
• 1:48:01
  all the controversy sparked upon release, and credits some of
• 1:48:04
  that to his encounter with Koch and Swanson at the story of
• 1:48:08
  studios. It's very nice.
• 1:48:09
  He's Oval for him. Yeah, the I'll go into the a bit
• 1:48:13
  where it gets actually quite like emotionally real and bought
• 1:48:17
  this sequence, the train sequence with Mercy and Swan.
• 1:48:20
  And they get on there and you've got the, you know, the prom
• 1:48:22
  couples coming on. And it's just a real measure of
• 1:48:25
  class and the difference of class and the difference of
• 1:48:28
  what's happening in this city at this time.
• 1:48:30
  You know, there's two couples having the best nights of the
• 1:48:32
  lives, and then there's these guys having the worst night of
• 1:48:34
  the life. And I think it's so well done by
• 1:48:36
  Hill here and it's so well measured, especially the the
• 1:48:39
  just where they're looking Mercy up and down and they see how
• 1:48:42
  dirty our feet are. They see how dirty they both
• 1:48:45
  are. And it's just wordless.
• 1:48:46
  And this is what we've been heartened back to.
• 1:48:48
  I think the whole episode. If this was a silent film and
• 1:48:50
  this is all you need and this is how well he shows it, My Mercy
• 1:48:53
  just goes to move ahead and make ourselves more presentable.
• 1:48:56
  One just takes a hand down. You know, this is who you are.
• 1:48:59
  This is who we are. Don't try and be something that
• 1:49:01
  you're not. And then this little quartage
• 1:49:04
  has just dropped at the door and he just, if the flowers there
• 1:49:07
  and it just when he comes out and it comes, it just gives it
• 1:49:09
  to her. And it's, it's not an emotional
• 1:49:11
  moment where it's like this is for you.
• 1:49:13
  And there's like strings come in and you see there's a romance.
• 1:49:15
  He's I just don't want to see anything go to waste.
• 1:49:18
  It's just how it shows how little they have and how little
• 1:49:20
  he's got to give her and how little he's got to offer her as
• 1:49:23
  a couple and as a person. He's got nothing.
• 1:49:25
  They've got nothing. And these people have got
• 1:49:27
  everything and they don't attack these people for having
• 1:49:30
  everything. And I think it's Hilda saying,
• 1:49:32
  you know, there is a social boundary, but it doesn't have to
• 1:49:34
  be a violent one. Yes, so the Warriors are on the
• 1:49:37
  train and are homeward bound. They've been through a lot in
• 1:49:40
  one night. But there's one final hurdle to
• 1:49:43
  jump. Certainly is.
• 1:49:47
  So we finally made it. CI the big corny.
• 1:49:51
  It's early morning and the boys are coming out to play.
• 1:49:55
  Yeah, here it comes. But before that, they arrive at
• 1:49:59
  Corny early morning. And when filming the Corny,
• 1:50:02
  Andrew Laszlo looked out under this beautiful sunrise.
• 1:50:05
  He wasn't able to get his camera set up in time to capture it.
• 1:50:08
  He didn't need the shot for the film, but he thought he could
• 1:50:11
  sell it to Paramount for their library the next morning on the
• 1:50:14
  off chance he had his camera set up again and he captured the
• 1:50:17
  footage and he did end up using it for the film.
• 1:50:20
  It's the shot that is used to transition from night to day.
• 1:50:23
  There's like a a close up so. Yeah, across there's all
• 1:50:26
  there's. Yeah, that's right.
• 1:50:27
  Yeah. And when we first arrive back,
• 1:50:29
  we see the harsh reality kick in.
• 1:50:31
  Swan even says, is this what we fought all night to get back to?
• 1:50:34
  Yeah, it's absolutely what you've been saying about Mercy,
• 1:50:37
  what I said earlier as well, coming to realize that there's
• 1:50:40
  more to life than having a mattress trapped on your back on
• 1:50:43
  a Friday and Saturday. Yeah.
• 1:50:46
  Whether I buy this big romance or not, that they're going to go
• 1:50:49
  running away and becoming this well travelled couple is another
• 1:50:52
  matter. To be honest, I don't think
• 1:50:54
  Swan's really the romance king of Kony.
• 1:50:56
  You said he picked all those flowers.
• 1:50:58
  He hates seeing things go to waste.
• 1:51:00
  There's no romance for it, he just, he has very little.
• 1:51:04
  But this small scene does give you a shred of redemption for
• 1:51:07
  these characters and this is where you realise that they have
• 1:51:10
  nothing and they are just kids and this is their life.
• 1:51:13
  It's pretty grotty, really. Yeah, and there is a warrior's
• 1:51:16
  graffiti sign over an abandoned bathhouse building in Coney
• 1:51:20
  Island. It's prominent in promo shots
• 1:51:22
  for the film, but unbeknownst to the film makers, the tag was
• 1:51:26
  painted over the top of a real gang tag, who, Needless to say,
• 1:51:29
  we're not happy about it. And they had to be paid off to
• 1:51:31
  keep them sweet. Paying the people off left,
• 1:51:35
  right and center. That's why there's no money in
• 1:51:38
  the budget for the songs. Or retakes.
• 1:51:40
  Or decent actors. Oh God, he's lost it now.
• 1:51:46
  You've said your peace. He's.
• 1:51:48
  Lost it. He's lost it.
• 1:51:49
  Sorry. So just want to think it's all
• 1:51:51
  over. You get this wonderful clanking
• 1:51:53
  of bottles and we get this wonderful, oh, there he is
• 1:51:57
  again. And I wanted this to be more
• 1:52:00
  weird. I wanted it really just more
• 1:52:03
  intense when it starts and he just gets more and more intense
• 1:52:07
  with his delivery and it's just this, it's horrific.
• 1:52:15
  It's it's like a horror film. It is.
• 1:52:16
  Warriors come out to play. Warriors come up to play, you
• 1:52:31
  know, it's like tempted to serial killers like tempting the
• 1:52:33
  kids out and they're not coming out then just the know where
• 1:52:36
  they are. They're on their ground now and
• 1:52:38
  it's like, you know, it plugs into that song that was said
• 1:52:41
  nowhere to run, nowhere to hide to take some to the sand.
• 1:52:43
  They've got nowhere to hide anymore.
• 1:52:44
  They've got they've got nothing to do.
• 1:52:46
  Everyone's out in the open and it's outright.
• 1:52:47
  It's US against you. Let's see what you have.
• 1:52:49
  You really are and how tough you really are.
• 1:52:51
  But that whole sequence is such a great ending when they're on
• 1:52:54
  their own turf and they stay hidden in their own turf because
• 1:52:57
  the nor where they can benefit and where they can be pulled in
• 1:53:01
  and they're still not pulled in. Everyone's tempted to pull them
• 1:53:03
  in. And I think that taps into the
• 1:53:05
  end and of why they're the best is because they have a resolve
• 1:53:08
  and the don't be triggered by other people.
• 1:53:11
  And I think that's the PowerPoint of Luther here is he
• 1:53:13
  is in a scene that he thinks he's the strongest.
• 1:53:15
  He thinks the strongest anyway. And it's just this performance
• 1:53:18
  by Kelly. I think it's just so, so good.
• 1:53:21
  And that clinging the bottles, once you hear it, you will
• 1:53:24
  never, ever forget that. You know, it's just, it's always
• 1:53:28
  there. And I've just seen the meme
• 1:53:30
  because I've obviously been looking at this.
• 1:53:32
  And then it comes up on your social media things that you've
• 1:53:33
  been looking at because of the algorithm.
• 1:53:35
  And there's a class meme that just came up and just says you
• 1:53:38
  can't hear a picture. And it's just Kelly holding them
• 1:53:40
  bottles through the window. Is that Yeah, I can hear that
• 1:53:43
  picture exactly. What's going on here?
• 1:53:45
  This come out to play a scene, it's gone down as the stuff of
• 1:53:48
  legend. Hill thought that the scene was
• 1:53:49
  a bit dull as it was written. He needed Kelly to do something
• 1:53:53
  to coax the warriors out and has to be improvised.
• 1:53:56
  Kelly disappeared under the boardwalk, came out with three
• 1:53:58
  bottles, doing the come out to play a bit.
• 1:54:00
  David Patrick Kelly said. I wanted to make Luther evil, so
• 1:54:03
  he was influenced by this really bad guy who I knew in downtown
• 1:54:06
  New York who'd make fun of me and say Dave, Dave.
• 1:54:11
  And it was the creepiest thing I ever heard.
• 1:54:13
  Yeah. Hello Dev.
• 1:54:17
  And I can, in addition to that story, is that Kelly came on set
• 1:54:21
  with a bag of dead pigeons. This is what I'm talking about.
• 1:54:24
  How one of them to be weird. This would have worked for me.
• 1:54:26
  A bag of dead pigeons that was going to mess with the warriors.
• 1:54:29
  But Hill thought it was just far too weird.
• 1:54:31
  Not for me. I would have, yeah.
• 1:54:35
  A few sources have confirmed that part of the story,
• 1:54:37
  including Joe Weiss, who played Cropsy.
• 1:54:40
  And Weiss actually had a line in the scene, but it ended up being
• 1:54:42
  cut, he said. We're going to get you Warriors
• 1:54:45
  tonight, but it was cut because it was daytime.
• 1:54:48
  Fucking hell, genius. Classic improvisation.
• 1:54:51
  Get it right tonight sheet, it's today.
• 1:55:01
  And then you get to the ending, the confrontation with Luther,
• 1:55:04
  and you know he's defeated in a fairly underwhelming manner.
• 1:55:08
  I would say he's been given it. All the big bollocks, clanging
• 1:55:12
  the bottles together and then just the knife in the arm.
• 1:55:15
  The most ridiculous scream ever. In slow and.
• 1:55:19
  Slow and just swimping wasn't me.
• 1:55:27
  It was. Hilarious.
• 1:55:29
  Just I don't understand, like anyone thought that was going to
• 1:55:32
  be a really fulfilling end to this character.
• 1:55:35
  But then you get the riffs turning up.
• 1:55:40
  You warriors are good, real good.
• 1:55:43
  The best? Yeah, like 150 reps just turning
• 1:55:45
  up out of fucking nowhere. I love that.
• 1:55:48
  Exactly finally get to see like an army of them.
• 1:55:50
  I love it. I do think though you know the
• 1:55:52
  best well give you had a bit of a shake.
• 1:55:54
  Not really the best, are you? Yeah, You know, Cyrus is
• 1:55:58
  thinking. Well, I'll give you a pass on
• 1:56:01
  that. Yeah, yeah, exactly.
• 1:56:03
  You know, yeah, you sort out the punks.
• 1:56:05
  Fair enough. But you know, you lead to a
• 1:56:06
  so-called swan. But the end credits, I always
• 1:56:11
  love end credits that roll over the action as it's all going on.
• 1:56:14
  I do like the song, but I think they're just missing an absolute
• 1:56:17
  trick with like, right at the very end.
• 1:56:20
  I think Ajax should have still been chained to that park bench
• 1:56:23
  and then the cook back to him, like the end of Airplane.
• 1:56:25
  You know, the guy who's still in the taxi right after the end
• 1:56:28
  credits. Give him another 20 minutes and
• 1:56:30
  that's it. Yeah, yeah, it is a little
• 1:56:34
  underwhelming. I think the resolution is a
• 1:56:36
  little bit messy. I don't think the editing's up
• 1:56:38
  to too much, and the dialogue's not great either.
• 1:56:41
  But apart from, that's great, yeah.
• 1:56:44
  It is a great way to end the film, like when the when the
• 1:56:47
  rogue show up. But it's like after that, it's
• 1:56:49
  fairly underwhelming this whole sequence.
• 1:56:51
  Yeah. Expected to be a big fight,
• 1:56:53
  yeah. Hill said that he didn't want
• 1:56:55
  the film to end with a big bloodbath.
• 1:56:57
  He said he wanted to see the bad guys punished, but he didn't
• 1:56:59
  want to melee. What he was looking for was a
• 1:57:01
  quiet resolution that didn't overly agitate the audience as
• 1:57:04
  they left theaters. Yeah, right.
• 1:57:06
  More on that later. In the credits, we see the
• 1:57:08
  Warriors and Mercy walk the beach and get smaller and
• 1:57:11
  smaller in the frame. They were told just to stay in
• 1:57:13
  character and keep walking. They turned around when they got
• 1:57:16
  the end of the beach and they made their way back to the crew
• 1:57:18
  who had prepared a bunch of red roses as a thank you to Deborah
• 1:57:21
  Vankelberg. That's lovely.
• 1:57:23
  Wonderful. Just red roses for you, Yeah.
• 1:57:25
  Nice, Very nice. Sorry for breaking your wrist.
• 1:57:27
  Yeah, yeah. And the scar on you that'll
• 1:57:29
  heal. Yeah.
• 1:57:30
  Smiling. In the face, yeah.
• 1:57:32
  These are for you, no? Use your land.
• 1:57:37
  So the Warriors have the comfort of Coney Island to protect them.
• 1:57:40
  They're good. Real good.
• 1:57:42
  The best? Well, I think that's a bit of a
• 1:57:44
  stretch. Reception under wards.
• 1:57:53
  There were a number of gang movies in production at the
• 1:57:55
  time, and Paramount insisted that The Warriors was out first.
• 1:57:59
  In order to do that, they brought on three editors to cut
• 1:58:02
  the film. When it was released on Friday
• 1:58:04
  9th of February, the New York Times ran an article headlined 6
• 1:58:08
  Films Open with a Galaxy of Stars and those six films were
• 1:58:12
  made by Decree Hardcore in praise of all the Women, Agatha
• 1:58:16
  Quintet and When You Coming Back, Red Ryder.
• 1:58:20
  Yes, the Warriors, nowhere to be seen on that list, but it beat
• 1:58:23
  out every single one to make it to the top of the box office
• 1:58:26
  that weekend. Because of the push and pull
• 1:58:28
  between Hill and the studio, there was a certain amount of
• 1:58:31
  friction between the two, Hill said after the movie came out.
• 1:58:34
  And it did well. Everyone was sort of friends.
• 1:58:36
  But up until then, there was a lot of misunderstanding.
• 1:58:38
  They thought it was going to be like Saturday Night Fever or
• 1:58:41
  something. Yeah, that's.
• 1:58:42
  Right. Yeah.
• 1:58:44
  So it started off well, but then tragedy struck when a gang
• 1:58:47
  member was killed by another gang in Palm Springs on the 12th
• 1:58:50
  of February. That same night, 170 miles away
• 1:58:52
  in Oxnard, another gang member was stabbed and killed.
• 1:58:56
  There was another fatality a few days later outside a movie
• 1:58:58
  theatre and Paramount decided to pull the trailer and loud movie
• 1:59:01
  theatre chains to not show the film if they didn't want to.
• 1:59:04
  They also offered to pay for extra security to those cinemas
• 1:59:07
  that decided to show the film. What also didn't help the film
• 1:59:10
  was the commentary on the trailer and the poster which
• 1:59:13
  read these. The armies of the night.
• 1:59:15
  They're 100,000 strongly outnumber the cops 5 to one.
• 1:59:18
  They could run New York City. I think these facts and figures
• 1:59:21
  just put the willies up. People considering the real
• 1:59:23
  world parallels. Yeah, definitely.
• 1:59:25
  Walter Hill has a theory on why there was an unusual amount of
• 1:59:29
  violence that showns of the film.
• 1:59:30
  He said the movie was very popular with St. gangs,
• 1:59:33
  especially young men, a lot of whom had very strong feelings
• 1:59:36
  about each other. And suddenly they were all in
• 1:59:39
  the movies together. They looked across the aisle and
• 1:59:41
  they were the guys that they didn't like.
• 1:59:43
  So there were a lot of incidents.
• 1:59:45
  Kind of checks out. Yeah, exactly.
• 1:59:47
  So not an ideal release for The Warriors, which also met with
• 1:59:50
  derision in most critical reviews.
• 1:59:52
  Desmond Ryan, writing in the Philadelphia Enquirer, was
• 1:59:55
  disgusted by the film. He said it was a sickening film
• 1:59:59
  that glorifies gang warfare and brutal violence.
• 2:00:01
  It has left a bloody trail of real life mayhem and death in
• 2:00:04
  its wake. Yeah, Gene Siskel gave it one
• 2:00:07
  out of four, saying you would think after watching The
• 2:00:09
  Warriors that gang membership was a victimless crime, save for
• 2:00:12
  the occasional sadist who pops up as Comic Relief.
• 2:00:16
  This entire film is a romantic lie.
• 2:00:19
  Okay. Wow, put it.
• 2:00:21
  Is a film. It's not a documentary, Gene.
• 2:00:23
  Exactly, Yeah. Come on.
• 2:00:26
  And Roger Ebert, what do you think Big Roger gave it out for?
• 2:00:30
  I must say 2. I'll say two as well 2.
• 2:00:33
  Slap bang in the middle and you're both right, he said.
• 2:00:35
  No matter what impression the ads give, this isn't even
• 2:00:38
  remotely intended as an action film.
• 2:00:40
  It's a set piece. It's a ballet of stylized male
• 2:00:43
  violence. Only three or four of the movie
• 2:00:45
  characters look and sound like plausible St. gang members.
• 2:00:48
  The rest look and sound like male models.
• 2:00:52
  However, Pauline Kiel did absolutely love the film.
• 2:00:55
  She said with Walter Hills, the Warriors movies are back to
• 2:00:57
  their socially conscious role of expressing the anger of the
• 2:01:00
  dispossessed. The Warriors is a real movie
• 2:01:02
  makers movie. OK.
• 2:01:04
  And further praise came from the unlikely source of Ronald
• 2:01:08
  Reagan, the actor and president of the United States at the
• 2:01:12
  time. He'd screamed it at Camp David
• 2:01:15
  and called Michael Beck to tell him that he enjoyed it
• 2:01:17
  immensely. Amazing.
• 2:01:18
  So not entirely bad news from a critical point of view.
• 2:01:21
  And audiences did come back around.
• 2:01:23
  And on a $4 million budget, the Warriors returned a solid 22.4
• 2:01:27
  million at the box office. Not too sharp, and now it has an
• 2:01:31
  impressive, and, to some people, an unbelievable 88% on Rotten
• 2:01:34
  Tomatoes and a score of 7.5 out of 10 on IMDb.
• 2:01:38
  All right, OK. Get those numbers up for me.
• 2:01:41
  Rocky numbers. Rocky numbers.
• 2:01:46
  So no awards to speak of. Obviously.
• 2:01:47
  It was probably too much of A stretch to get a best support.
• 2:01:50
  Not for David Patrick Kelly. Not for me.
• 2:01:54
  The Razzies Or did they not exist back then?
• 2:01:56
  They. Didn't exist, unfortunately.
• 2:01:59
  Would have swept that, I imagine.
• 2:02:01
  But from a shaky start, the Warriors ended up doing very
• 2:02:04
  nicely at the box office with a few prominent supporters in its
• 2:02:06
  corner. Yeah.
• 2:02:11
  Sequels and influence. Despite many attempts, there
• 2:02:16
  hasn't been any sequels or remakes to the Warriors on the
• 2:02:19
  big screen or the little screen going back to 2005.
• 2:02:22
  Tony Scott was attached to direct and even spoke in detail
• 2:02:25
  about it in an interview with MTV.
• 2:02:28
  It was said in LA because it was more horizontal city than New
• 2:02:31
  York. That's what Scott said.
• 2:02:32
  He he said it suited the material better.
• 2:02:34
  His film making is in the same family as Walter Hill, so I
• 2:02:37
  think that would have been a bloody good match.
• 2:02:40
  Yeah, Scott even sat down with LA gang members who assured him
• 2:02:43
  that there would be this treaty between all the gangs.
• 2:02:46
  We could pull the film off gangs like the Savage Huns and the
• 2:02:49
  Electric Eliminators. Would it be dropped in favor of
• 2:02:51
  real gangs? Yeah, Scott said.
• 2:02:53
  It'll be the Bloods, the Crips, the Vietnamese, the Vietnamese,
• 2:02:57
  the Indian St. gang, all the boys.
• 2:02:59
  It'll be all the major gangs in Los Angeles and we're going to
• 2:03:02
  try to get them to stand on the Long Beach Bridge.
• 2:03:04
  All the boys, all the guys. All the fellas.
• 2:03:07
  Unfortunately, tragically, Scott took his own life in 2012 and we
• 2:03:11
  weren't given the Warriors remake that we were promised.
• 2:03:14
  In 2015, Crank director Mark Neville Dean said that he was
• 2:03:18
  looking to resurrect the Warriors with Co directing
• 2:03:20
  partner Brian Taylor. Thankfully there've been no
• 2:03:23
  further report and it looks like we've swerved that particular
• 2:03:25
  bullet, thankfully. Fair one.
• 2:03:28
  Since then, ATV adaptation was rumoured to be in the works,
• 2:03:31
  with Anthony and Joe Russo teaming up with Hulu and
• 2:03:33
  Paramount. That has also failed to
• 2:03:35
  materialize, but there is a curious entry in IMDb, a 5
• 2:03:38
  minute trailer from 2022 showcasing what looks like a
• 2:03:41
  pilot episode, a prequel to The Warriors, and it looks like it's
• 2:03:45
  already been shot. But if that's the case, it's
• 2:03:46
  fallen by the wayside because two years on, we've got nothing,
• 2:03:49
  right? Check it out.
• 2:03:50
  Check it out though despite no sequel, in September 2015,
• 2:03:54
  unannounced cast members from The Warriors dusted off their
• 2:03:57
  old colours and hit the subway to go down corny to recreate
• 2:04:00
  their last subway ride home. It was during this get together
• 2:04:03
  that Michael Beck first learned that he broke three ribs from
• 2:04:05
  the stuntman playing one with baseball for your reason.
• 2:04:09
  Outside of movies and TV, in 2005 there was a much celebrated
• 2:04:12
  video game by Rockstar Games. It charts the events leading up
• 2:04:15
  to the conclave, where you assume the position of many of
• 2:04:18
  the iconic characters in the gang.
• 2:04:19
  In 2009, a line of comic books were released, one which
• 2:04:23
  captures the events of the film and one which told the story of
• 2:04:25
  what happens afterwards. And complicated stuff.
• 2:04:29
  In August 2023, Lin Manuel Miranda allegedly started work
• 2:04:33
  on a stage musical adapted from the Urich novel So.
• 2:04:37
  A lot of. Things to get your teeth into.
• 2:04:39
  Nothing materialized as of yet. So what of the Warriors legacy
• 2:04:44
  and influence? Westie in the years since its
• 2:04:46
  release? Where do you see it splashed all
• 2:04:48
  over Tinseltown? I kind of see it's blushed all
• 2:04:51
  over even now. I think the main thing that I
• 2:04:54
  got from it was the Carpenter influence and how he went dark
• 2:04:58
  with, especially with Escape New York, which was what, three
• 2:05:01
  years later? And then more recently, you
• 2:05:04
  can't really finish this podcast without talking about John Wick
• 2:05:07
  4, which I think is just an ABS absolute rip off of the
• 2:05:11
  Warriors. It takes the whole thing and
• 2:05:13
  just makes the Warriors one person.
• 2:05:15
  And again, a massive influence was just a little bit more
• 2:05:17
  subtle when you've got the likes of Tarantino using that close up
• 2:05:21
  on Pulp Fiction, which is kind of, yeah, reflects the DJ.
• 2:05:24
  But it's Uma Thurman's, you know, it's framed exactly the
• 2:05:27
  same and it's got that kind of look to it.
• 2:05:29
  So I think it's the electricity that was brought into this that
• 2:05:32
  by Walter Hill that he basically put the plug into the socket and
• 2:05:35
  everyone else has carried that electricity a little bit
• 2:05:37
  further. Very nice.
• 2:05:38
  Yeah, I agree with you. What about you, Matt?
• 2:05:41
  Yeah, very similar. I don't think the film in itself
• 2:05:44
  has a legacy, but I think it's a film that has moments that have
• 2:05:48
  a legacy. Just repeat.
• 2:05:50
  Well, Wesley said the shot of the DJ speaking into the mic,
• 2:05:53
  Tarantino's taking that, Spike Lee's taking that, as mentioned,
• 2:05:56
  Edgar Wright's taking the toilet fight.
• 2:05:58
  So I don't think any director has gone.
• 2:06:00
  I'm going to make a film just like The Warriors.
• 2:06:02
  But I think if you have gone, I'm going to make a film which
• 2:06:05
  has a bit like that bit from The Warriors, yeah.
• 2:06:09
  I think for me, even though Hill wasn't allowed to make the film
• 2:06:12
  like a comic book on initial release, its influences can I
• 2:06:15
  think be seen in adapted from graphic novel movie adaptations.
• 2:06:19
  I think you can see it in the likes of Sin City, that darkly
• 2:06:22
  violent look at society but with its tongue firmly in cheek.
• 2:06:26
  Also spanning the wider popular culture playing.
• 2:06:29
  I think you can see its influences on the narrative
• 2:06:31
  structure of like side stroller and video games like Streets of
• 2:06:34
  Rage. Yeah, definitely the music of
• 2:06:37
  Twisted Sister, The Wu Tang Clang populated itself.
• 2:06:39
  Ice Cube have been influenced by the Warriors.
• 2:06:41
  There's so many samples. Yeah, there's Lords.
• 2:06:44
  There's a Spanish metal band called the Lizzies.
• 2:06:47
  Right. Big fan.
• 2:06:48
  Yeah. Big fan, obviously.
• 2:06:50
  Yeah, got them all on vinyl. And based on the unfortunate
• 2:06:53
  events that followed the film's release in 2009, Entertainment
• 2:06:57
  Weekly even ranked the warriors #14 of the 25 most controversial
• 2:07:01
  films in cinema history. Right.
• 2:07:04
  Ahead of the likes of Kids and Caligula.
• 2:07:06
  Yeah, it's one of them films that feels a lot more violent
• 2:07:09
  than it actually is. Yeah, it is.
• 2:07:11
  Yeah. So from humble beginnings and
• 2:07:13
  unexpected legacy encompassing popular culture at large that
• 2:07:17
  will no doubt continue to grow when we finally do get that
• 2:07:19
  inevitable sequel, prequel, or remake.
• 2:07:22
  Yeah, all the right movies ranking.
• 2:07:29
  We've made it back to Corney. A turn on the Wonder Wheel to
• 2:07:32
  celebrate our homecoming, no doubt.
• 2:07:34
  But first, the iconic ATRM ranking.
• 2:07:36
  Westie, turn the Band-Aid off summary and score for the
• 2:07:39
  Warriors. OK, I'll just come back to what
• 2:07:42
  I said at the start. It's a new one for me.
• 2:07:44
  And I wish I hadn't seen this younger because I think it would
• 2:07:46
  have resonated a lot more because the energy from the
• 2:07:48
  film, I've watched it a number of times over the last couple of
• 2:07:50
  weeks has stayed with us. And just that the visuals and
• 2:07:54
  just the feel of it, just the color of the vests, just the way
• 2:07:57
  the the just the energy and the pace of how it shot to me really
• 2:08:01
  makes sense. But it is ultimately that
• 2:08:03
  feeling I would get from a computer game that I played when
• 2:08:06
  I was younger and like, I wish this was like a film that I
• 2:08:08
  could get into and have themes and understand something from
• 2:08:11
  it. There's loads of cool bits in it
• 2:08:13
  and that's absolutely fine. Does that make it a great film?
• 2:08:16
  Not for me personally. Is it one that I'm going to come
• 2:08:19
  back to again and again? Not for me personally.
• 2:08:21
  Is it one that I'm going to suggest to people to watch?
• 2:08:24
  Absolutely. Because I think it is one of
• 2:08:25
  them films in the history of cinema that is very, very
• 2:08:28
  important. So it has to have that score
• 2:08:30
  because it resonates with a lot of people.
• 2:08:32
  And I'm not going to give it a bad score because I didn't hit
• 2:08:34
  it at the right time, because I hit it now with 43 years old and
• 2:08:37
  it still made sense. So I'm not going to smash it
• 2:08:40
  down because of the bad dialogue or the bad act.
• 2:08:42
  And I'm going to say this was an achievement and a really well
• 2:08:45
  made achievement. So I'm going to give it a very
• 2:08:47
  solid 8 out of 10. Very nice.
• 2:08:49
  Are you hearing this, Matt? You listening?
• 2:08:52
  OK, good, good. Taking it in.
• 2:08:53
  Take it in. Take it in and drink.
• 2:08:55
  It in OK lovely well. Here are my thoughts.
• 2:08:58
  Okay, well actually I've made my feelings clear throughout the
• 2:09:00
  show, I think. Yes, you have.
• 2:09:02
  Don't stop wasting people's time. 10 No, I do have an
• 2:09:07
  unbridled love for the world that Walter Hill has created,
• 2:09:10
  and I'd say that I'm marginally obsessed with the film and the
• 2:09:13
  world. I really am.
• 2:09:16
  But not completely blinked by it.
• 2:09:18
  The performance is a poor generally, the dialogue crude in
• 2:09:22
  parts and the narrative very simple all the time.
• 2:09:25
  So a lot of negatives, which I think is echoed by you 2 fellas.
• 2:09:29
  However, my score will certainly not reflect yours.
• 2:09:32
  Matt. I'm trying as hard as possible
• 2:09:34
  to be objective about the film, but it is a struggle.
• 2:09:36
  So I'm going to give the Warriors a nine out of 1010
• 2:09:40
  would have been my preferred, but I'm well aware that would
• 2:09:42
  have just been an outrage. Whatever you think personally is
• 2:09:45
  not an outrage, it's what you think personally.
• 2:09:48
  Don't worry about it. No, no, No 10 is an outrage for
• 2:09:51
  this film. I mean for you especially to
• 2:09:54
  give this A10, yeah, that's fair enough.
• 2:09:56
  It's such a difficult film to rate because it's undeniable how
• 2:10:00
  distinctive it is. It's weird, it's totally all
• 2:10:03
  over the place, but it's distinctive all the same.
• 2:10:05
  And the three elements that jump out the most, the soundtrack,
• 2:10:08
  the cinematography, the costume design are magnificent.
• 2:10:12
  But by any other metric that I would read any film by it is
• 2:10:16
  found wanting. The acting is so par to say the
• 2:10:19
  least. Characters are pretty
• 2:10:20
  forgettable. Dialogue isn't up to that much,
• 2:10:23
  which comes down to the right. And and Hill's work bounces
• 2:10:26
  between being really great at times and the times.
• 2:10:30
  I'm just thinking what's going on here?
• 2:10:31
  What, what, what's this thing about?
• 2:10:33
  What? What?
• 2:10:36
  And only for me, this film feels like if you bump into a mate and
• 2:10:40
  he says, I've got to tell you this great story, what happened
• 2:10:43
  to me last Friday night. And he tells the story, but
• 2:10:45
  along the way it just doesn't click.
• 2:10:47
  And he realizes you're not getting the story.
• 2:10:49
  And he gets to the end. He goes, well, I guess you had
• 2:10:52
  to be there. And I think you had to be there
• 2:10:54
  with the warriors. And I wasn't.
• 2:10:56
  I was on a different train all together going the complete
• 2:10:58
  opposite direction, so the start of this episode I was quite
• 2:11:02
  confused. By the end I think I'm probably
• 2:11:04
  even more confused. But it is distinctive, so it's a
• 2:11:07
  7 from me. Seven, OK, it's a sliding scale
• 2:11:10
  from us guys, which is I'm happy with that.
• 2:11:13
  Yeah, don't get that often. No, our 4th and final score for
• 2:11:17
  the Warriors comes from our huge army of supporters on ex
• 2:11:20
  formerly Twitter. A fan favorite for sure,
• 2:11:23
  something that was confirmed when the Warriors beat Chinatown
• 2:11:26
  on the X Paul for this particular episode and.
• 2:11:29
  Oprah all ensued. Yes, it did.
• 2:11:33
  So no doubt there'll be some lively comments and I've picked
• 2:11:36
  out some of the best and worst before we revealed the big
• 2:11:39
  score. So Andy at this is Andy Dev said
• 2:11:43
  one of my go to films. I know it's not a classic like
• 2:11:46
  Goodfellas, Godfather and Jaws but seen as a kid was boss.
• 2:11:51
  I believe Andy is from Liverpool.
• 2:11:52
  Very much. Man of War 666 at Man of War 666
• 2:11:58
  said crack and film but it's an 8.
• 2:12:00
  You lads throw around nines and 10s far too liberally to be
• 2:12:04
  honest. Well, I'll give it an 8, so
• 2:12:05
  yeah, I'll. Give it A7.
• 2:12:08
  So I think he's talking about me.
• 2:12:10
  Yeah. KP Black Taxi at KP Black Taxi
• 2:12:16
  said The Warriors is the ultimate dystopian film with so
• 2:12:19
  many memorable characters and references.
• 2:12:21
  There's a lot of social commentary hidden in the film
• 2:12:23
  and it's one of my favorite films of all time.
• 2:12:25
  Right up there. 10/10/10 there. You go.
• 2:12:28
  You. Should have had that guy on.
• 2:12:31
  Bumped the score open. Yeah.
• 2:12:33
  Sugar spun Mr. at Canantaba One O one said.
• 2:12:36
  It's one of those movies. It's so bad it's good.
• 2:12:39
  Unbelievable plot, 2 out of 10 acting, hilarious wardrobe, but
• 2:12:43
  somehow compelling. What we've been saying for the
• 2:12:46
  last 3-4 hours, I would say. Yeah, Matt, watch your X handle,
• 2:12:50
  is that it? Yeah, that was me.
• 2:12:55
  Andy Ronan at Andy Ronan 14 O one said three.
• 2:13:00
  Overrated as fuck. Should have got him on OK.
• 2:13:06
  So it's a mixed bag when it comes to the X comments.
• 2:13:09
  What do you think it averaged out of 10 fellas?
• 2:13:11
  I have no idea how this would go 7.5. 7.5 Westie.
• 2:13:17
  Eight. I'm gonna wait.
• 2:13:19
  Eight. You're absolutely right, Westie.
• 2:13:21
  Not really surprising. 8 out of 10.
• 2:13:23
  I think that's a fair score. OK.
• 2:13:25
  Yeah, there may be a lot of love for the film, but some realistic
• 2:13:28
  scores to go with it. Honesty, realistic glove.
• 2:13:31
  Yeah. So with all the scores combined,
• 2:13:32
  the Warriors came out with a score of 32 out of 40.
• 2:13:36
  OK, not too bad. We are taking a break from the
• 2:13:39
  classic podcast for around about a month.
• 2:13:41
  Don't get too upset. We've hit that magical 100
• 2:13:44
  episodes, and we thought it was time that we take a little
• 2:13:47
  breather so we don't burn out. Yeah, but don't think that we're
• 2:13:50
  laying low in that time. You can't get rid of us.
• 2:13:53
  Instead of a new classic show for the next two episodes, we'll
• 2:13:55
  be pulling shows out of our archive for a limited time, or
• 2:13:58
  we'll be doing a highlights rail or a combination of two.
• 2:14:00
  So keep your eyes open for those.
• 2:14:02
  Yes, absolutely. We'll still be active for our
• 2:14:04
  patrons. The next episode of Double
• 2:14:06
  Feature will be live next Friday.
• 2:14:08
  We've got the old Bacon sandwich, Tremors and Mystic
• 2:14:11
  River 2, the best from Kevin Bacon.
• 2:14:13
  Your picks, Westie. Excited.
• 2:14:14
  Yeah, I am excited. I should have put Footloose in
• 2:14:16
  there instead of Mystic River. I watched it last night and I'm
• 2:14:18
  still not over it. Grim as assholes.
• 2:14:20
  It is grim as assholes. I'm sorry about that.
• 2:14:24
  And a couple of weeks after that, we'll see the inaugural
• 2:14:26
  episode of the Watch List. As mentioned at the top, that's
• 2:14:29
  our brand new podcast. That's only for our supporters
• 2:14:32
  on Patreon, so go to patreon.com/all the Right
• 2:14:35
  movies. Some good films coming up on
• 2:14:37
  that as well. Absolutely.
• 2:14:39
  So we're not going away completely and we won't be away
• 2:14:41
  for long. We'll be back on October 4th.
• 2:14:43
  John, Matt and Westie will have no problems when they bring you
• 2:14:45
  the behind the scenes story of Apollo 13.
• 2:14:49
  None at all. Or stir the tanks.
• 2:14:53
  And if that wasn't enough, every two weeks alternative to this
• 2:14:55
  show, we've launched a new podcast called Showreel.
• 2:14:58
  It's a bite size episode. You might have seen the first
• 2:15:00
  episode last week where we released a conversation about
• 2:15:03
  the opening scene from An American Werewolf in London that
• 2:15:06
  we talked about the three of us here a few years ago.
• 2:15:09
  Yeah, I'm still a favorite. Yeah.
• 2:15:10
  Oh, it's amazing. And it's just a snippet of that
• 2:15:12
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• 2:15:15
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• 2:15:18
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• 2:15:33
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• 2:15:36
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  biggest films. All behind the scenes info that
• 2:16:12
  we use come from one of the cast and crew or is verified by at
• 2:16:15
  least three sources, just like our podcast.
• 2:16:17
  So go check them out if you don't already.
• 2:16:19
  Definitely. On Instagram and Threads, we're
• 2:16:22
  at all the under score right movies.
• 2:16:24
  On TikTok, search at All the Right Movies.
• 2:16:26
  Join our Facebook group which is full of great movie chat by
• 2:16:29
  great people. It certainly is.
• 2:16:31
  On Blue Sky we are at all the right movies.com.
• 2:16:34
  We're also on YouTube as well. Watch our videos if you love to
• 2:16:36
  see our faces. If you subscribe, like and
• 2:16:39
  comment on our videos that would be first class youtube.com/all
• 2:16:44
  the Right Movies. You can't get away from what,
• 2:16:46
  really, Once you're involved, we're everywhere and it's a
• 2:16:48
  beautiful thing. Yeah, just like the street gangs
• 2:16:50
  of New York can't get rid of us. That's it.
• 2:16:53
  That's your last fucking reference to this film?
• 2:16:55
  On any podcast. I don't think it is worse.
• 2:16:57
  Yeah, I've got a couple more comment.
• 2:16:58
  Just hold your passes, damn it. And our website is all the right
• 2:17:02
  movies.com, just like my sizes. We're good.
• 2:17:06
  Real good, real good. All right.
• 2:17:08
  And that is a wrap, everyone. We're going out on the streets
• 2:17:11
  to see if we can find ourselves some strange wolf.
• 2:17:13
  We'll be back in October after our little beer and there'll be
• 2:17:16
  loads to keep you occupied. In the meantime, stay loose
• 2:17:18
  everyone. Thank you for listening guys.
• 2:17:42
  Hey, what about the money you owe?
• 2:17:45
  What?