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141: Last of the Independents · Movie Meltdown

• 0:01
  Speaker 1: Falling Program is a proud member of the Palava family
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  Speaker 4: Picture Association of America.
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  Speaker 5: It is intended for mature audiences and parental discretion is advised.
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  Speaker 3: It's showtime, folks. Enjoy the show.
• 0:34
  Speaker 1: Our nuclear reactor pumping out one million kilowatts of power.
• 1:04
  Speaker 3: Five more cooling in the containment chamber.
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  Speaker 2: To your stations. Yeah.
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  Speaker 6: We'll be back.
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  Speaker 3: One for you, and one for you, and one for you. Yeah,
• 1:12
  Speaker 3: what about Charlie?
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  Speaker 2: And one for Charlie.
• 1:19
  Speaker 7: Way down among Brazilians Coffee beans grow by the billions
• 1:24
  Speaker 7: So they've got to find those extra cups to fill
• 1:29
  Speaker 7: They got an awful lot of coffee in Brazil.
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  Speaker 2: What's up, and welcome to Movie Meltdown. I'm Brian.
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  Speaker 3: I'm Fred. I'm Greg.
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  Speaker 2: And we are back for another edition of The Caffeinated
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  Speaker 2: Movie Geek.
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  Speaker 3: Cappuccino on my butt. I still drink coffee. The last
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  Speaker 3: fucking thing you need is another cup of coffee.
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  Speaker 8: It's time for The Caffeinated Movie Geek.
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  Speaker 2: We're coming to you live via digital recording from here
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  Speaker 2: at Nancy's Bagel Grounds, where we... get together and occasionally
• 1:58
  Speaker 2: talk about movies and usually drink a hell of a
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  Speaker 2: lot of coffee. So, Greg, I ask you, what blend
• 2:04
  Speaker 2: of coffee are we drinking this week?
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  Speaker 3: Once again, we are drinking Fishers and Fallers.
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  Speaker 2: Still good.
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  Speaker 9: A favorite.
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  Speaker 3: I'm going to have a sip now. Me too. It's delicious.
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  Speaker 2: It's good.
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  Speaker 3: You've got to go.
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  Speaker 2: So with that, we will get hammering on a little
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  Speaker 2: more coffee and roll into this week's Geek Activities. I'm
• 2:28
  Speaker 2: trying to keep mine under control. I only watched two
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  Speaker 2: things in their entirety. I went to sleep on several others,
• 2:34
  Speaker 2: but one I'm not going to get into much because
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  Speaker 2: I almost would like.
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  Speaker 9: I even throw it out there.
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  Speaker 2: I watched Super recently, and if we could have pieced
• 2:45
  Speaker 2: it together, I would kind of like to, and still
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  Speaker 2: would like to end up talking about it because there's
• 2:50
  Speaker 2: a lot going on in that movie, and yet it's...
• 2:54
  Speaker 2: It is what you think it's going to be, and
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  Speaker 2: then sometimes it's not. And, yeah, so I'd kind of
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  Speaker 2: like to have a whole discussion on James Gunn's super.
• 3:03
  Speaker 2: It's pretty interesting one way or the other. I can
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  Speaker 2: see some people going both ways on it. I can
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  Speaker 2: see it being really popular with certain crowds.
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  Speaker 9: And other people wanting nothing to do with it.
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  Speaker 2: So I won't go too much more into that because
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  Speaker 2: somewhere down the line I'd like.
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  Speaker 3: To revisit it.
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  Speaker 1: Yeah.
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  Speaker 2: The other one I watched, I finally, and this is
• 3:23
  Speaker 2: one that for some reason, I mean, it's been huge
• 3:26
  Speaker 2: in our little geek circle, but I finally got around
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  Speaker 2: to watching Hatchet.
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  Speaker 1: Oh, yeah.
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  Speaker 9: Have you seen Hatchet?
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  Speaker 3: I have not seen it.
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  Speaker 2: See, that was mine. In the horror geek world and
• 3:38
  Speaker 2: the convention circuit that we certainly seem to run in,
• 3:42
  Speaker 2: it was huge, and it had such a following.
• 3:44
  Speaker 9: It had this big push.
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  Speaker 2: Behind it when it first came out, and... Everybody got
• 3:49
  Speaker 2: behind Adam Green as this new force as a director.
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  Speaker 2: I don't know. Maybe it's another one of those that
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  Speaker 2: I went in with too much talk beforehand. Because I
• 4:00
  Speaker 2: went in and I like it. It's good, but I
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  Speaker 2: think I went in expecting something different. I expected it
• 4:09
  Speaker 2: to sort of take... And everybody always said, oh, it's
• 4:10
  Speaker 2: the return to old school slashers. And it's the return
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  Speaker 2: to old 80s horror movies. And that's exactly what it is.
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  Speaker 2: I mean, it is straight up an 80s horror movie again.
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  Speaker 2: And I think I was expecting it to be that,
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  Speaker 2: but then sort of take it up to another level
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  Speaker 2: and do something else. And it never really seems like
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  Speaker 2: it does that. It never transcends that into this new, wonderful,
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  Speaker 2: amazing movie. It's still just kind of an 80s slasher movie,
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  Speaker 2: exactly the same. And the only thing I think it
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  Speaker 2: does and what I ended up liking best about it
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  Speaker 2: is it's pretty funny. Like it's actually got some well-written
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  Speaker 2: stuff and some fun characters. And you sort of like
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  Speaker 2: the dynamic between some of them and the actors they
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  Speaker 2: bring in were good.
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  Speaker 9: And I ended up liking that way more than the
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  Speaker 9: horror end of it.
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  Speaker 2: Like the, the horror end is like, yeah, they really
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  Speaker 2: go out of their way to throw in that.
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  Speaker 9: That was their thing.
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  Speaker 2: Buckets and buckets of blood. And they really go out
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  Speaker 2: of their way to make it super gory when they can.
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  Speaker 2: And you get the money shots of people's heads being
• 5:10
  Speaker 2: ripped apart or whatever. And, I'm just like, eh, once again,
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  Speaker 2: I've seen that kind of stuff. It doesn't, you know,
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  Speaker 2: it's not shocking anymore. Once again, in the 80s when
• 5:17
  Speaker 2: you'd never seen that before, I guess it might have
• 5:20
  Speaker 2: been able to push those buttons. But now I'm just like, yeah,
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  Speaker 2: like 4,000 other movies that came out in the last
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  Speaker 2: few years, you know, that do those same gory kind
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  Speaker 2: of scenes.
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  Speaker 3: So, I don't know.
• 5:30
  Speaker 2: From that angle, I wasn't that thrilled, and I'm not
• 5:33
  Speaker 2: really big on the big villain. The Crowley guy, I
• 5:39
  Speaker 2: don't know, he's just like, to me, he seems like
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  Speaker 2: a Jason ripoff. And again, I know they're tapping into
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  Speaker 2: that 80s, but I mean, he, most of the scenes,
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  Speaker 2: I'm like, it feels like it could just be another
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  Speaker 2: Jason movie, or it could be it's ripping off The Burning,
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  Speaker 2: or I mean, it just feels like that exact same.
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  Speaker 9: Story, only told again.
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  Speaker 2: And I'm just like, I've already seen that, and I've
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  Speaker 2: seen it done a million times in the other movies, too.
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  Speaker 9: So it's not even like you're ripping off one movie,
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  Speaker 9: you're ripping off an entire.
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  Speaker 2: Series of movies that did the same thing over and over,
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  Speaker 2: and The horror end of it became way more tiresome
• 6:14
  Speaker 2: to me. I liked the characters and I liked the
• 6:16
  Speaker 2: setup and the jokes in the beginning and the dialogue
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  Speaker 2: a little more than I ended up liking the horror.
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  Speaker 3: Aspect of it. Was it too cliche? Is that what
• 6:24
  Speaker 3: it was?
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  Speaker 2: It was just predictable. I really felt like it was
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  Speaker 2: exactly like every 80s horror slasher movie. It was almost
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  Speaker 2: in that way of we want to get back to
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  Speaker 2: the old school American horror, which is how they build it,
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  Speaker 2: But I don't know. It's like you've got to do
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  Speaker 2: something else. It's like you've got to find some other
• 6:44
  Speaker 2: way to also put a spin on it or be
• 6:46
  Speaker 2: original or add something to it that wasn't there.
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  Speaker 9: Because if it's just those 80.
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  Speaker 2: Horror movies, we've seen those before. It's like there needs
• 6:55
  Speaker 2: to be a way to sort of one-up it and
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  Speaker 2: do something else.
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  Speaker 9: And I don't know. To me, Victor Crowley doesn't do that.
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  Speaker 10: I don't know.
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  Speaker 2: But again, I mean, there's potential. And you can see
• 7:05
  Speaker 2: Adam Green... is and has now turned into kind of
• 7:09
  Speaker 2: a real director, and people are actually giving him bigger
• 7:13
  Speaker 2: projects and bigger names are getting involved with him. So,
• 7:15
  Speaker 2: I mean, he didn't put together a bad movie as
• 7:18
  Speaker 2: far as, you know, basic setup and shots and all that.
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  Speaker 2: It's just the story itself, to me, was a little... which, again,
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  Speaker 2: he was responsible for. But, you know, that was pretty
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  Speaker 2: early on for him. So I'm hoping he can sort
• 7:30
  Speaker 2: of progress, and even did. I think... as much as
• 7:33
  Speaker 2: people had issues with Frozen, I think Frozen had a
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  Speaker 2: lot better setup to it. And I still haven't seen
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  Speaker 2: Hatchet 2 either, so now that I've seen this one,
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  Speaker 2: I'm going to move on and work in Hatchet 2.
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  Speaker 2: But I know even by the time we got to Frozen,
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  Speaker 2: as much as it had plot holes and things you
• 7:47
  Speaker 2: wanted to scream at the TV about, because people made
• 7:51
  Speaker 2: stupid decisions, I think it was still more interesting what
• 7:54
  Speaker 2: was going on in that scenario that wasn't near. I mean,
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  Speaker 2: there was.
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  Speaker 9: Nothing near that interesting in Hatchet.
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  Speaker 2: It was just Kind of run-of-the-mill, but.
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  Speaker 1: Well, I mean, Frozen certainly was at least original. You
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  Speaker 1: can get upset at the characters. You can get upset
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  Speaker 1: with how the plot progresses.
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  Speaker 2: And interesting. I mean, it is one of those kind
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  Speaker 2: of movies that makes you, from the first second it starts...
• 8:18
  Speaker 2: the scenario of, well, what would you do in this situation?
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  Speaker 2: It's one of those kind of movies that's like, oh, well,
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  Speaker 2: here's what I'd do. And that's why you start yelling
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  Speaker 2: at the characters. Like, you're an idiot.
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  Speaker 9: You should get on that and you should go over there.
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  Speaker 2: And the fact that it makes you do that means
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  Speaker 2: it's kind of well put together. And it's interesting the
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  Speaker 2: way that it's written because it incites that in you.
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  Speaker 2: Whereas Hatchet, I'm just like, I guess I'd run.
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  Speaker 9: I don't know.
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  Speaker 2: I mean, there's no scenario that's ever that clever or
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  Speaker 2: ever offers that to you. It's always just like, You
• 8:48
  Speaker 2: just kind of zone out and sit there and watch
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  Speaker 2: people get killed. And it's fun, but I think I
• 8:52
  Speaker 2: was expecting more going in because it had.
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  Speaker 9: Had so much talk and build up beforehand.
• 8:58
  Speaker 1: I gave him a lot of credit in Frozen for
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  Speaker 1: the little segment, little thought, like epiphany that she has
• 9:08
  Speaker 1: about Her dog.
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  Speaker 3: And her dog's at home.
• 9:10
  Speaker 2: That's the best scene in the movie. Really, that's the
• 9:13
  Speaker 2: best written portion of the movie.
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  Speaker 3: Because it's real. It's the thing you'd think when you
• 9:18
  Speaker 3: have that much time. It's the thing you'd think of.
• 9:20
  Speaker 3: And that's the thing I would think of. And it
• 9:22
  Speaker 3: kind of makes you sick.
• 9:23
  Speaker 2: That's the heartbreaking part of the movie. All the gross-out
• 9:26
  Speaker 2: stuff that happens. is nothing compared to that moment with
• 9:30
  Speaker 2: the dog story. And I'm just like, shit, that's the
• 9:33
  Speaker 2: part that shows that somebody actually put a little more
• 9:37
  Speaker 2: time into that one, whereas you don't really get anything
• 9:40
  Speaker 2: like that in Hatchet. At least I didn't see it there.
• 9:43
  Speaker 2: But again, it showed promise, so I'm just hoping we
• 9:46
  Speaker 2: get better stuff as he goes on. That was pretty
• 9:49
  Speaker 2: much it for mine. That's about all I made it through.
• 9:53
  Speaker 3: Well, I think one of my favorite....
• 9:56
  Speaker 10: This goes back a ways, but one of my favorite
• 10:00
  Speaker 10: uh italian movies is uh bicycle thieves or sometimes they
• 10:03
  Speaker 10: call it the bicycle thief but i got into an
• 10:06
  Speaker 10: argument with my sister about you know what makes a
• 10:09
  Speaker 10: really great movie um and she was rooting for this
• 10:14
  Speaker 10: movie called il posto And I was saying how a
• 10:18
  Speaker 10: lot of my favorite movies kind of involved kids, I've noticed,
• 10:24
  Speaker 10: and just the way, like, kids are thrown into the
• 10:28
  Speaker 10: world and it's messed up and they just make themselves
• 10:32
  Speaker 10: at home in it. She said, no, but she felt
• 10:35
  Speaker 10: like kids are, like, resilient. Well, whichever way you smack them,
• 10:39
  Speaker 10: they're going to be okay. So it takes some of
• 10:41
  Speaker 10: the drama. It's like older people. But then, you know,
• 10:45
  Speaker 10: she was arguing for this movie I hadn't seen, Il Posto, and.
• 10:50
  Speaker 2: It's a kid.
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  Speaker 3: So I don't know what she was talking about.
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  Speaker 2: She was drunk.
• 10:54
  Speaker 3: I mean, he's an adolescent. He's like a teenager. And
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  Speaker 3: he's like, instead of.
• 11:03
  Speaker 10: Staying in school, he has a younger brother who he's
• 11:06
  Speaker 10: always kind of pissed off at. But it turns out
• 11:09
  Speaker 10: he's going to work now, so his younger brother can
• 11:13
  Speaker 10: keep going to school. And he goes and gets this job.
• 11:20
  Speaker 10: He's applying for the job. He's taking these tests. It's
• 11:23
  Speaker 10: hard to tell. I'm not confident that he got the
• 11:27
  Speaker 10: math right. But he seemed to think it was easy.
• 11:32
  Speaker 10: Then there are all these tests, and there's crowds of
• 11:34
  Speaker 10: people there. He sort of gets on, but then there
• 11:38
  Speaker 10: are no positions open. So they get him a messenger
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  Speaker 10: job until something happens. opens up, and he meets this girl,
• 11:46
  Speaker 10: and he's definitely interested in this girl. And then they're
• 11:50
  Speaker 10: having a dance, and he's hoping she can come, and
• 11:53
  Speaker 10: she doesn't show up, and it's like all these people
• 11:56
  Speaker 10: sitting around. He winds up having kind of a good time,
• 12:00
  Speaker 10: but he doesn't see the girl again. I don't want
• 12:03
  Speaker 10: to spoil it, but it's just skull-crushingly depressing is where
• 12:07
  Speaker 10: this is going.
• 12:09
  Speaker 2: You're known for those movies.
• 12:10
  Speaker 10: Yes. Yeah, and so I respect it for that. And
• 12:13
  Speaker 10: the kid in it is just, like, great to watch.
• 12:16
  Speaker 10: There are certain scenes, like, just, like, straightening himself in
• 12:23
  Speaker 10: front of a bathroom mirror. It's just, like, that's what
• 12:27
  Speaker 10: Stanislavski must have been thinking about when he said that,
• 12:32
  Speaker 10: you know, if you could watch a person and they
• 12:33
  Speaker 10: didn't know they were being observed, that it would be.
• 12:36
  Speaker 3: Poetic and true.
• 12:38
  Speaker 10: And then he tried it by going out and spying
• 12:40
  Speaker 10: on people. And he's like, no, it doesn't work. But
• 12:45
  Speaker 10: he was looking at the wrong people because I grew
• 12:48
  Speaker 10: up in a suburb, which is kind of odd. And
• 12:53
  Speaker 10: it reminds me of this movie because, like, my parents' generation, like,
• 12:57
  Speaker 10: the suburbs were.
• 12:58
  Speaker 3: Like, idyllic. They were like heaven.
• 13:01
  Speaker 10: You could go live in this pastoral place. And then, like,
• 13:06
  Speaker 10: in one generation... we all hated it and had to
• 13:09
  Speaker 10: get out of there. It's like the shift in our
• 13:13
  Speaker 10: perception of the same thing. But in this neighborhood, there
• 13:18
  Speaker 10: was a neighborhood pool, which is gone now, because it
• 13:23
  Speaker 10: was a neighborhood full of families and young kids, and
• 13:27
  Speaker 10: we knew all these kids. Everywhere we went, we knew
• 13:30
  Speaker 10: kids about our age. And there was a neighborhood pool,
• 13:33
  Speaker 10: but After our generation grew up and moved off, it
• 13:36
  Speaker 10: was mostly like our parents. And nobody wanted to deal
• 13:40
  Speaker 10: with the pool or keep up with it. So now
• 13:42
  Speaker 10: it's an empty field. But when I look at that
• 13:45
  Speaker 10: empty field, I remember a naked woman standing. And I
• 13:51
  Speaker 10: know about where she was standing. This was like the
• 13:53
  Speaker 10: first full-grown naked woman.
• 13:56
  Speaker 3: I ever saw.
• 13:58
  Speaker 10: And I'm not proud of this. But if you went
• 14:03
  Speaker 10: into the guy's bathroom, you could climb up and stand
• 14:06
  Speaker 10: on a sink and look over the top of the
• 14:08
  Speaker 10: cinder blocks and see into the girl's bathroom. And there
• 14:11
  Speaker 10: was a shower in there, and it was nerve-wracking because,
• 14:16
  Speaker 10: you know, the guy's bathroom door could open.
• 14:19
  Speaker 3: Anybody could walk in.
• 14:20
  Speaker 10: You know, the lifeguards see that you could be in
• 14:22
  Speaker 10: a shitload of trouble. But I had the nerve to
• 14:25
  Speaker 10: do that. I was one of those kids who, like,
• 14:28
  Speaker 10: stay up till midnight and say in the mirror, I
• 14:31
  Speaker 10: don't believe in the Bell Witch.
• 14:33
  Speaker 3: I did that. I did that, you know.
• 14:37
  Speaker 10: So I got up on the sink, held on with
• 14:40
  Speaker 10: my fingers, and this woman came in and took off
• 14:43
  Speaker 10: her bathing suit and showered, and it was the most
• 14:46
  Speaker 10: beautiful thing I've ever seen. And it was a bad
• 14:50
  Speaker 10: thing to do, but I can't regret it.
• 14:53
  Speaker 3: I don't know how. And if Stanislavski had been there and.
• 14:57
  Speaker 10: Seen that, He would have stuck to his guns on
• 15:00
  Speaker 10: his theory of acting because it was poetic.
• 15:05
  Speaker 3: Anyway, I digress.
• 15:09
  Speaker 10: But I watched this movie, Il Posto, which is about
• 15:12
  Speaker 10: a kid getting a job, and it's skull-crushingly depressing. It's
• 15:17
  Speaker 10: very nice how they set it up. It's a big
• 15:20
  Speaker 10: build-up to just a complete letdown.
• 15:24
  Speaker 2: Nice. And it is.
• 15:27
  Speaker 3: It was a great movie. My sister was right.
• 15:28
  Speaker 10: I mean, she was wrong in theory, but in practice, yeah,
• 15:32
  Speaker 10: it's a really great movie, and I'm glad I saw it.
• 15:35
  Speaker 10: And I didn't see a lot else because, I don't know,
• 15:40
  Speaker 10: I've been trying to actually get things done in.
• 15:45
  Speaker 3: My geeky way.
• 15:46
  Speaker 10: And I'm trying to put together like a short little film,
• 15:49
  Speaker 10: which is a fake foreign film, I'm not sure I'm
• 15:52
  Speaker 10: up to the challenge because I'm going to have to
• 15:54
  Speaker 10: mumble in some fake foreign language so I can use subtitles.
• 15:58
  Speaker 3: It's the only way I can tell the story. So
• 16:00
  Speaker 3: I'm going to have to do something like this.
• 16:05
  Speaker 10: And then put subtitles in.
• 16:07
  Speaker 2: Sounds like all foreign movies I've watched.
• 16:12
  Speaker 1: Just change the accent several times.
• 16:16
  Speaker 10: Well, I used to speak very good Three Stooges German. But,
• 16:21
  Speaker 10: you know, if you don't use it, if you don't
• 16:23
  Speaker 10: have anyone to speak with.
• 16:25
  Speaker 2: You need a refresher course in Three Stooges German.
• 16:28
  Speaker 3: Yeah, and it's basically.
• 16:30
  Speaker 10: Yeah, I do remember most of it is conjugating to have.
• 16:35
  Speaker 10: It's like haben, sie habt haben, mach schnell, I think
• 16:39
  Speaker 10: is most of Three Stooges German.
• 16:43
  Speaker 2: That works in most World War II movies right there.
• 16:45
  Speaker 2: You can just keep saying that over and over, and
• 16:47
  Speaker 2: they'll be like, damn, Nazis. And then you'll get killed.
• 16:49
  Speaker 3: Mach schnell.
• 16:53
  Speaker 10: So, yeah, I think that's most of it. There was
• 16:57
  Speaker 10: another story I was going to tell, but I probably shouldn't.
• 17:00
  Speaker 10: I was like, this is what I'm going to do,
• 17:02
  Speaker 10: this is what I'm going to tell. I'm going to
• 17:03
  Speaker 10: tell this story of a movie my wife had to
• 17:06
  Speaker 10: watch for an education class. She had to watch an
• 17:10
  Speaker 10: inspiring education movie.
• 17:13
  Speaker 2: I don't think they make any of those.
• 17:15
  Speaker 10: Yeah, well, you know, it's fun. The whole genre of
• 17:18
  Speaker 10: inspirational movies... is I think the movies I love are depressing.
• 17:24
  Speaker 10: But I'm not up to watching inspirational movies, because that's
• 17:29
  Speaker 10: just too much.
• 17:29
  Speaker 2: It's a new layer of depressing that you haven't even touched.
• 17:32
  Speaker 1: You'd rather have this skull-crushing depressing movie.
• 17:38
  Speaker 3: But that doesn't encourage you to be better. Yeah. Okay,
• 17:42
  Speaker 3: I'm too far into it now.
• 17:44
  Speaker 10: I can't be one of those people who starts to
• 17:48
  Speaker 10: tell a story and says, oh no, I can't tell it, because.
• 17:50
  Speaker 3: But.
• 17:52
  Speaker 10: Because one Halloween, my daughter and I were out trick-or-treating,
• 17:57
  Speaker 10: and there was a midget who lives down the street,
• 18:00
  Speaker 10: and he was giving out candy. And as he's giving
• 18:04
  Speaker 10: candy to my daughter, she says, I like your costume.
• 18:08
  Speaker 3: And I look at her.
• 18:10
  Speaker 10: And as soon as my eyes lock with hers, she
• 18:13
  Speaker 10: gets it. Because this is just a midget in jeans
• 18:17
  Speaker 10: and a flannel shirt.
• 18:22
  Speaker 3: And we just go on.
• 18:23
  Speaker 10: But like every couple of houses, my daughter goes, Dad,
• 18:28
  Speaker 10: I just feel so bad about what I said to
• 18:30
  Speaker 10: that man.
• 18:30
  Speaker 3: And I'm like, honey, it's okay. It's all right. It's okay.
• 18:35
  Speaker 3: Everybody says the wrong thing.
• 18:36
  Speaker 10: I don't even think he heard. And she'll sort of
• 18:38
  Speaker 10: settle down, get some candy, go a few houses. And
• 18:42
  Speaker 10: I just still feel really bad. Honey, it's okay. I Everybody,
• 18:46
  Speaker 10: you know, sooner or later you're going to say something,
• 18:49
  Speaker 10: you've got to just walk it off. I've said the
• 18:52
  Speaker 10: wrong thing and done the wrong, many, and she's like,
• 18:54
  Speaker 10: what did you say? And I'm like, the only thing
• 18:58
  Speaker 10: I can think of is like the worst thing you
• 19:02
  Speaker 10: can say to a woman in bed. I am the
• 19:04
  Speaker 10: author of that masterpiece. And I'm not telling her that
• 19:09
  Speaker 10: ever in her life.
• 19:10
  Speaker 6: Right.
• 19:11
  Speaker 3: So I start telling her stuff her mom has said.
• 19:16
  Speaker 10: I'm like, well, once your mother, when she was in school,
• 19:20
  Speaker 10: there was a girl who sat in front of her,
• 19:22
  Speaker 10: and she said, your hair is always so perfect. And
• 19:26
  Speaker 10: later found out the girl was bald.
• 19:28
  Speaker 3: And wore a wig. That's a good wig.
• 19:31
  Speaker 10: Yeah, it was a really good wig. So she felt
• 19:34
  Speaker 10: bad about that later. And then there was a friend
• 19:37
  Speaker 10: of ours... Rafael, who was from Venezuela, and he had
• 19:41
  Speaker 10: a terrarium he was very proud of. And he said,
• 19:44
  Speaker 10: it's good now, but for a while I had a
• 19:46
  Speaker 10: kilo frog. And my wife said, what's a kilo frog?
• 19:50
  Speaker 10: I'm like, Len, that would be a frog that kills
• 19:53
  Speaker 10: the other animals that live in the terrarium.
• 19:57
  Speaker 3: It's a kilo. It kills things.
• 20:01
  Speaker 10: So there was that. And there may have been a
• 20:04
  Speaker 10: few others. But anyway, so one night I'm at this party.
• 20:07
  Speaker 10: This girl says.
• 20:10
  Speaker 10: Oh, she's going to tell this terrible, embarrassing story.
• 20:13
  Speaker 3: She can't do it. No, there's no way. She can't
• 20:15
  Speaker 3: do it.
• 20:16
  Speaker 10: So I say, well, if you tell an embarrassing story,
• 20:20
  Speaker 10: I can top it. And so she tells the story
• 20:23
  Speaker 10: how she worked at a foundry here in town, bronze casting,
• 20:27
  Speaker 10: and it's her first day on the job.
• 20:29
  Speaker 3: She gets up.
• 20:30
  Speaker 10: She's running late. She throws on some jeans from the dryer.
• 20:33
  Speaker 3: She gets there. They pour bronze.
• 20:36
  Speaker 10: And then somebody says, somebody lost their underwear.
• 20:40
  Speaker 3: She's the only woman that works here. And there's a
• 20:43
  Speaker 3: thong on the floor. And she said, because I wear
• 20:45
  Speaker 3: thong underwear, I say, hold that thought. I want to
• 20:48
  Speaker 3: talk to you in a minute, but go on.
• 20:50
  Speaker 10: Um, and so she has to go over in front
• 20:54
  Speaker 10: of everybody and pick up the thong and say, yeah,
• 20:56
  Speaker 10: that's mine.
• 20:56
  Speaker 3: It was probably in the leg of her jeans or something.
• 20:59
  Speaker 10: So this happened. Um, and, uh, And that was her
• 21:04
  Speaker 10: embarrassing story. But by now, a crowd has gathered around us,
• 21:08
  Speaker 10: and I'm not telling my story. And to my everlasting shame,
• 21:12
  Speaker 10: I just couldn't. If it was just her and me
• 21:15
  Speaker 10: and like a couple other people. So I interviewed her
• 21:18
  Speaker 10: about the thong because a friend of mine wanted to know,
• 21:20
  Speaker 10: what's the deal with thongs?
• 21:21
  Speaker 3: Are they uncomfortable? Why do women wear them?
• 21:24
  Speaker 10: Because his girlfriend said, yeah, they're horrible. Women just wear
• 21:29
  Speaker 10: them for guys. And then he found one in their laundry.
• 21:33
  Speaker 10: and she never wears it for him. So he's like,
• 21:36
  Speaker 10: what's the deal with the thong? She's like, oh, yeah,
• 21:39
  Speaker 10: that's mine. He's like, yeah, but you told me you only,
• 21:43
  Speaker 10: what's going on here? And their relationship was doomed. But anyway, yeah,
• 21:50
  Speaker 10: so I asked them about it, and they had a
• 21:51
  Speaker 10: whole different, her and her friend, a whole different thong theory.
• 21:55
  Speaker 10: It's like, well, all underwear is going to work itself
• 21:58
  Speaker 10: up in there. said, you're fighting it all day, so
• 22:01
  Speaker 10: you just take it, you put it there, and you're done.
• 22:04
  Speaker 10: And I'm like, yeah, but you're conceding. You're conceding defeat,
• 22:09
  Speaker 10: aren't you?
• 22:09
  Speaker 3: I don't know.
• 22:10
  Speaker 10: I don't understand this. But anyway, my wife had to
• 22:13
  Speaker 10: watch this movie, Music of the Heart.
• 22:16
  Speaker 3: Oh, wow.
• 22:18
  Speaker 10: And look for educational strategies in it.
• 22:23
  Speaker 3: And there was one.
• 22:24
  Speaker 10: I don't want to spoil the movie. If you're going
• 22:26
  Speaker 10: to go watch it for educational reasons, strategies. At one point,
• 22:31
  Speaker 10: she says, you're playing the wrong notes.
• 22:34
  Speaker 3: Stop it. And that was it. But to watch this,
• 22:39
  Speaker 3: I had to go on a quest.
• 22:40
  Speaker 10: This was back when all the video stores were converting
• 22:44
  Speaker 10: from VHS to DVD and getting rid of all their VHS.
• 22:50
  Speaker 10: And so my wife comes home and says, yeah, I
• 22:51
  Speaker 10: have to watch this movie. It's like, what a music
• 22:53
  Speaker 10: of the heart. And it's like, And do they have it?
• 22:57
  Speaker 10: Are you watching it in class? No, she says it's
• 22:59
  Speaker 10: in video stores. I'm like, give me the phone. Give
• 23:03
  Speaker 10: me the phone right now. She says it's in video stores. Yeah,
• 23:06
  Speaker 10: they're going to be sure.
• 23:07
  Speaker 3: To have that.
• 23:08
  Speaker 10: It sounds like fucking Star Wars. They're going to have that.
• 23:12
  Speaker 10: And so the first couple of blockbusters I call. And
• 23:15
  Speaker 10: I'm like a.
• 23:16
  Speaker 3: Dude in the stock market, man. I'm on the phone.
• 23:19
  Speaker 3: I'm like, okay, all right. Music of the Heart. Do
• 23:22
  Speaker 3: you have it?
• 23:23
  Speaker 9: Okay, forget you.
• 23:24
  Speaker 10: Music of the Heart is, why does everybody keep calling
• 23:27
  Speaker 10: about that movie?
• 23:29
  Speaker 3: It's like nobody has that movie. We find it somewhere
• 23:31
  Speaker 3: over in the West End. I'm like, give me the keys.
• 23:33
  Speaker 3: I'm going. Because she has to, you know, she has
• 23:36
  Speaker 3: to do this. And we watch it, and you're playing
• 23:39
  Speaker 3: the wrong note. Stop it. So that's my story. Because.
• 23:44
  Speaker 10: This was like an actual education program that you have
• 23:48
  Speaker 10: to do this kind of stupid stuff to get through.
• 23:52
  Speaker 10: It's like swallowing a horse pill. You have to do
• 23:54
  Speaker 10: that so that you can teach the youth of this country.
• 23:58
  Speaker 3: And it's movie-related, I suppose, in some way, but that's
• 24:02
  Speaker 3: my rant.
• 24:03
  Speaker 1: Do you think movie meltdown is more about therapy than
• 24:07
  Speaker 1: it is about movies?
• 24:08
  Speaker 2: Oh, sometimes I believe that it is. You watched this movie, right?
• 24:16
  Speaker 10: Yeah.
• 24:16
  Speaker 9: This is the one with Meryl Streep?
• 24:17
  Speaker 3: Yes.
• 24:18
  Speaker 2: Yes. Do you know who directed that?
• 24:20
  Speaker 1: No.
• 24:21
  Speaker 2: For the really frightening finality of this, directed by Wes Craven.
• 24:27
  Speaker 2: holy not making that up i i was pretty sure
• 24:31
  Speaker 2: as you said that was like isn't that the one
• 24:32
  Speaker 2: west craven like the one off weird thing that west
• 24:35
  Speaker 2: craven did that like makes no sense in his career now.
• 24:38
  Speaker 3: You need to rewatch you're going back to.
• 24:40
  Speaker 2: The west directed by west craven.
• 24:44
  Speaker 3: You're going back to the west.
• 24:47
  Speaker 2: Figure that out.
• 24:49
  Speaker 10: Yeah somehow that just like It's like when you hear
• 24:53
  Speaker 10: church bells ring in the distance.
• 24:55
  Speaker 2: Ding, ding, ding, ding.
• 24:56
  Speaker 3: And they're done. And then there's that one last little bell. Ding.
• 25:01
  Speaker 2: And you're like, who is that?
• 25:04
  Speaker 3: You know what the last bell is? What is it?
• 25:07
  Speaker 3: It's the guy letting go of the rope.
• 25:08
  Speaker 2: Ah, really?
• 25:09
  Speaker 10: Yeah.
• 25:10
  Speaker 3: Because it sounds sort of like unnecessary. It's not like
• 25:13
  Speaker 3: the other bells that have purpose. It's a bell that's like,
• 25:16
  Speaker 3: I'm just here to... It's letting go of the rope.
• 25:20
  Speaker 10: Wow.
• 25:21
  Speaker 11: Yep.
• 25:22
  Speaker 10: Oh, wow.
• 25:23
  Speaker 3: I'm making that shit up.
• 25:24
  Speaker 10: I don't know his name, but his face rings a bell.
• 25:30
  Speaker 3: Yeah, well, I didn't have a lot.
• 25:32
  Speaker 10: I didn't watch a lot of stuff, so that's how
• 25:35
  Speaker 10: I filled my.
• 25:36
  Speaker 3: You filled it in.
• 25:38
  Speaker 9: You certainly did.
• 25:40
  Speaker 1: Embarrassing stories and looking over into showering, these showering women,
• 25:46
  Speaker 1: all to get to Music of the Heart.
• 25:48
  Speaker 10: Music of the Heart. You're playing the wrong notes. Now,
• 25:52
  Speaker 10: write an essay on that. Right.
• 25:55
  Speaker 3: I don't want to.
• 25:56
  Speaker 2: You know what?
• 25:56
  Speaker 3: In my entire life, that's my problem. I'm always playing
• 26:00
  Speaker 3: the wrong notes.
• 26:01
  Speaker 1: Yeah.
• 26:01
  Speaker 10: You know.
• 26:02
  Speaker 3: Maybe most of the song is on, but there's a
• 26:05
  Speaker 3: few notes that are wrong.
• 26:06
  Speaker 2: Now this has suddenly become about your therapy.
• 26:08
  Speaker 4: Right.
• 26:08
  Speaker 1: Oh, I need it.
• 26:09
  Speaker 2: I'm not talking about music.
• 26:11
  Speaker 3: I need it.
• 26:12
  Speaker 2: Everything in my life, I'm playing the wrong note.
• 26:15
  Speaker 11: Anyway.
• 26:15
  Speaker 1: Okay.
• 26:15
  Speaker 2: Do you want to move into yours, Greg?
• 26:16
  Speaker 3: Yes, I watched two movies.
• 26:18
  Speaker 11: All right.
• 26:19
  Speaker 1: And they're movies that I've seen before, but I'm watching
• 26:23
  Speaker 1: movies that I watched much younger, and I'm learning a
• 26:28
  Speaker 1: lot from that. I'm learning a lot about movies and
• 26:31
  Speaker 1: about what I liked and what.
• 26:33
  Speaker 3: I didn't like.
• 26:34
  Speaker 9: Yeah, I've played that game.
• 26:36
  Speaker 1: The first one I've seen many times, many, many, many times,
• 26:41
  Speaker 1: had it on VHS, got it off of Cinemax or something.
• 26:45
  Speaker 3: Conan the Destroyer.
• 26:47
  Speaker 4: Nice.
• 26:48
  Speaker 1: Which I've always believed that it was the best of
• 26:51
  Speaker 1: the two, in my mind, and everybody.
• 26:53
  Speaker 9: Disagrees with it.
• 26:54
  Speaker 2: Yeah, I remember being thoroughly entertained by that movie. I
• 26:58
  Speaker 2: barely remember the first one, but I remember everything about
• 27:01
  Speaker 2: the second one.
• 27:02
  Speaker 3: It's the perfect quest movie.
• 27:05
  Speaker 1: It's the perfect band of people that don't fit together.
• 27:08
  Speaker 2: Motley crew of weirdos. If ever there was a movie
• 27:11
  Speaker 2: that maybe launched that... thing of, we've got to have
• 27:15
  Speaker 2: one of these, and we've got to have one of these,
• 27:16
  Speaker 2: and a weirdo like this, and this guy. Yeah, it
• 27:18
  Speaker 2: was that group of people that were just like, wait,
• 27:21
  Speaker 2: why would any of these people ever be in the
• 27:22
  Speaker 2: same place together, let alone go on a quest together?
• 27:26
  Speaker 3: It's the final fantasy of movies.
• 27:30
  Speaker 2: It is, actually.
• 27:30
  Speaker 3: You've got the strongman, you've got the magician, you've got the...
• 27:33
  Speaker 3: All of that rolled into one. It's very simple, it's very.
• 27:36
  Speaker 9: You've got the guy that scores with 100 chicks.
• 27:38
  Speaker 2: Oh, wait, that's it.
• 27:39
  Speaker 3: 100, it's like 3,000 or 10,000.
• 27:44
  Speaker 9: Well, this was a long time ago.
• 27:45
  Speaker 3: You know, Wilt Chamberlain.
• 27:46
  Speaker 2: Wilt Chamberlain.
• 27:47
  Speaker 3: Boombata, if you will. It's very simple. It's campy where
• 27:53
  Speaker 3: it needs to be campy.
• 27:57
  Speaker 1: Yeah, I had a blast with it, and I challenge
• 28:01
  Speaker 1: anyone to say that Conan the Barbarian is better than
• 28:06
  Speaker 1: Conan the Destroyer.
• 28:06
  Speaker 9: And most people will. I still hear that.
• 28:08
  Speaker 3: I know.
• 28:09
  Speaker 2: That that one is a great action epic and then
• 28:12
  Speaker 2: the other one is just stupid.
• 28:13
  Speaker 3: And normally I'm not into blondes, but damn, Olivia Dabble.
• 28:17
  Speaker 2: Olivia Dabble was very hot.
• 28:19
  Speaker 11: God, God.
• 28:20
  Speaker 2: I'm sure she still is now. I haven't seen her
• 28:22
  Speaker 2: in a long time. But back in the day, in
• 28:24
  Speaker 2: pretty much the run of her movies, she was always
• 28:26
  Speaker 2: pretty damn attractive.
• 28:27
  Speaker 3: And she could lose her accent. She did in The
• 28:30
  Speaker 3: Wonder Years.
• 28:30
  Speaker 2: Yep.
• 28:31
  Speaker 3: But the accent just... Normally I'm not one for accents.
• 28:34
  Speaker 3: That one, for some reason, I really like.
• 28:37
  Speaker 10: So.
• 28:38
  Speaker 3: I have no problems with that movie.
• 28:40
  Speaker 1: And I think it was the first time I really
• 28:43
  Speaker 1: started thinking about, because I was young, very young when
• 28:46
  Speaker 1: I saw it, I started thinking about sex because the
• 28:50
  Speaker 1: thief in the movie starts talking about joining with a woman.
• 28:54
  Speaker 1: And he's like, you know, practically doing the finger in
• 28:57
  Speaker 1: the whole thing, you know, when they're riding on the horses.
• 29:00
  Speaker 3: And I was like, When I saw that this time,
• 29:02
  Speaker 3: I was like, yeah, that's that moment.
• 29:04
  Speaker 9: That was it for you.
• 29:06
  Speaker 3: And, you know, it brought back some butterfly moments in
• 29:09
  Speaker 3: my belly.
• 29:09
  Speaker 2: Yeah, I've stumbled across those memories on movies before. Oddly enough,
• 29:15
  Speaker 2: in many of the Sandal and Sword kind of movies,
• 29:17
  Speaker 2: that's where I think we start to find all these
• 29:20
  Speaker 2: weird ideas about girls.
• 29:22
  Speaker 3: And the weird thing is, you know who wrote the
• 29:25
  Speaker 3: original draft of that screenplay was John Updike. Directed by
• 29:32
  Speaker 3: Nora Ephron.
• 29:32
  Speaker 9: Didn't know that, did you?
• 29:33
  Speaker 3: Conan the Destroyer directed it.
• 29:40
  Speaker 9: By Nora Ephron.
• 29:41
  Speaker 10: So, yeah.
• 29:43
  Speaker 1: And let's go back to another 80s movie, and I
• 29:45
  Speaker 1: know you all know this well, but I've probably not
• 29:48
  Speaker 1: seen it since I was nine, I'm thinking.
• 29:51
  Speaker 3: And I even reference.
• 29:53
  Speaker 1: This movie all the time, but didn't re-educate myself until
• 29:57
  Speaker 1: just this week, is Escape from New York.
• 30:00
  Speaker 11: Hmm.
• 30:01
  Speaker 9: It's one of those, it always seems to get foggy
• 30:05
  Speaker 9: for me.
• 30:06
  Speaker 2: I've watched it two or three times overall, but every
• 30:09
  Speaker 2: time I'm like, I kind of forgot about this part.
• 30:12
  Speaker 9: For some reason, it's.
• 30:13
  Speaker 2: Like, oh yeah, this part. I don't know, it always
• 30:16
  Speaker 2: seems like it does that. Whereas Escape from L.A., I
• 30:19
  Speaker 2: can't get those images out of my mind.
• 30:22
  Speaker 1: For some reason, I've got it confused a lot with
• 30:26
  Speaker 1: Big Trouble in Little China.
• 30:28
  Speaker 3: I got a lot of different.
• 30:30
  Speaker 2: No, that one I know so well that, yeah, there's
• 30:34
  Speaker 2: nothing I don't know in A Big Trouble with Jack.
• 30:37
  Speaker 1: Yeah, he definitely had that... I just brought it up
• 30:41
  Speaker 1: last time, the assault on precinct... What is it?
• 30:44
  Speaker 3: I always get the number wrong.
• 30:45
  Speaker 2: 13.
• 30:46
  Speaker 1: That criminal that's lost its mind and works almost as
• 30:51
  Speaker 1: a zombie.
• 30:52
  Speaker 11: Yeah.
• 30:52
  Speaker 1: They had that in this one. They're such criminals that
• 30:55
  Speaker 1: they don't even... I think they may have referred to
• 30:57
  Speaker 1: them as the crazies in it. They come out and
• 31:01
  Speaker 1: they just tear apart everything and everyone. Yeah, I kind
• 31:07
  Speaker 1: of had forgotten about that.
• 31:09
  Speaker 3: It definitely is, I mean, most of the movie is
• 31:11
  Speaker 3: social commentary.
• 31:12
  Speaker 9: It plays pretty heavy in his whole run of things.
• 31:15
  Speaker 2: I mean, you look at, well, I was thinking obviously
• 31:18
  Speaker 2: like they live, but then I just, in the past year,
• 31:21
  Speaker 2: finally got around to watching Ghost of Mars. That's completely
• 31:24
  Speaker 2: what Ghost of Mars is about. So, yeah, it's odd
• 31:28
  Speaker 2: how much he ends up returning to that Prince of Darkness.
• 31:32
  Speaker 9: Yeah.
• 31:33
  Speaker 2: Something weird going on in his brain. Not that we
• 31:36
  Speaker 2: didn't know that already, but that's funny.
• 31:39
  Speaker 3: I didn't appreciate, as a kid, Ernest Borgnine.
• 31:45
  Speaker 2: Nobody does.
• 31:46
  Speaker 3: Or Harry Dean Stanton.
• 31:49
  Speaker 2: Oh, man, I love Harry Dean Stanton.
• 31:52
  Speaker 3: Ernest Borgnine and Marty. Yeah, no kidding. Oh, my God.
• 31:56
  Speaker 1: And they're so good, and he's not even in it
• 32:00
  Speaker 1: that much.
• 32:01
  Speaker 10: No.
• 32:01
  Speaker 1: But he's so good when he's in it. And I
• 32:04
  Speaker 1: think there's the one scene where they're all in the cab.
• 32:08
  Speaker 1: I'm like, look at these people, the collection of people,
• 32:11
  Speaker 1: and the.
• 32:13
  Speaker 3: Just the greatness that's in this cab in this one scene.
• 32:16
  Speaker 2: Yeah.
• 32:18
  Speaker 3: If you've not seen it in.
• 32:19
  Speaker 1: A long time, it's definitely worth going back and watching. It's,
• 32:23
  Speaker 1: you know, silly things you kind of laugh at and question.
• 32:29
  Speaker 3: But, yeah, I'd forgotten about the whole glider and the
• 32:33
  Speaker 3: World Trade Center thing, too. Yeah.
• 32:34
  Speaker 1: Yeah.
• 32:35
  Speaker 2: See, it's been so long. It might have been that long.
• 32:40
  Speaker 2: It may have been 10 years ago since I've seen
• 32:42
  Speaker 2: it last. It's been a long time.
• 32:43
  Speaker 3: That's funny. Landed a plane on the World Trade Center.
• 32:46
  Speaker 9: That's funny.
• 32:47
  Speaker 1: And the president's plane crashes into New York City right
• 32:52
  Speaker 1: next to the World Trade Center.
• 32:54
  Speaker 3: You know, it's just so.
• 32:57
  Speaker 3: I don't know.
• 32:58
  Speaker 9: Self-fulfilling?
• 32:59
  Speaker 3: It's perspective. We'll put it that way.
• 33:01
  Speaker 2: Wow.
• 33:02
  Speaker 3: Yeah, it's been a long time since I've seen it.
• 33:04
  Speaker 3: It's almost kind of like rediscovering it.
• 33:06
  Speaker 2: Now that you mention that, yeah. Once again, what is
• 33:10
  Speaker 2: it about that movie? But yeah, I lose so much
• 33:12
  Speaker 2: of it between times, but I think it has been
• 33:15
  Speaker 2: that long.
• 33:15
  Speaker 9: I think I forgot the Royal Trade Center was in it, really.
• 33:18
  Speaker 3: It's a major part. And another thing that his way
• 33:23
  Speaker 3: of establishing... that you're never safe.
• 33:29
  Speaker 1: He lands on the World Trade Center, and then he
• 33:32
  Speaker 1: gets down to where the elevator gets him to, and
• 33:35
  Speaker 1: he communicates back to the base, and you see someone.
• 33:39
  Speaker 1: There's not supposed to be anybody in there. You see
• 33:41
  Speaker 1: someone run across behind him in the distance. it's never addressed.
• 33:47
  Speaker 1: You know, you think, oh no, it's going to jump
• 33:49
  Speaker 1: out and they're going to try.
• 33:49
  Speaker 3: To get him. It never does.
• 33:51
  Speaker 1: But it establishes that they're everywhere and they're going to
• 33:54
  Speaker 1: get you at some point.
• 33:56
  Speaker 3: And I.
• 33:58
  Speaker 1: Don't, yeah, I don't think, obviously I didn't catch that
• 34:01
  Speaker 1: stuff the first time through or it would have been
• 34:03
  Speaker 1: burned in, but it does a really good job of,
• 34:07
  Speaker 1: you know, like they come out of the floor to
• 34:09
  Speaker 1: get people. It definitely is that you know, zombie, people-have-lost-their-minds thing.
• 34:16
  Speaker 1: And it's in so many, it's not a cliche, it's
• 34:19
  Speaker 1: in so many movies now that it's going to, you know,
• 34:22
  Speaker 1: you think, oh, people devolve. When you take away certain things,
• 34:26
  Speaker 1: people devolve and they just, they're.
• 34:29
  Speaker 3: Coming to get you.
• 34:29
  Speaker 9: They kind of do.
• 34:30
  Speaker 2: I mean, you go, if you take it to that extreme,
• 34:33
  Speaker 2: I mean, we were looking at, did, have you watched
• 34:35
  Speaker 2: State Clan since then?
• 34:37
  Speaker 9: We were talking about, well, it's just one, or, or
• 34:39
  Speaker 9: I mentioned the road during that.
• 34:41
  Speaker 2: And it's like one of those, you look into these
• 34:43
  Speaker 2: futuristic and it's like, if you take a pretty realistic
• 34:46
  Speaker 2: look at what happens to people, when you take everything away,
• 34:50
  Speaker 2: they're one step from animals and they really are almost
• 34:53
  Speaker 2: mindless in the way that if not the way that
• 34:55
  Speaker 2: they follow just their basic instincts, but also the way
• 34:59
  Speaker 2: that they'll follow some other evil bastard that decides to
• 35:02
  Speaker 2: be in control in that situation. So, I mean, it, it,
• 35:06
  Speaker 2: It very easily could go down that road if everything
• 35:09
  Speaker 2: falls to hell.
• 35:10
  Speaker 3: I watched one.
• 35:11
  Speaker 1: Of those end-of-the-world, you know, what could happen if, you know,
• 35:16
  Speaker 1: the virus came or something like that documentaries where they
• 35:19
  Speaker 1: interview real sociologists.
• 35:21
  Speaker 3: And scientists on how people would react.
• 35:25
  Speaker 1: And the scenario was, okay, people get sick and water
• 35:30
  Speaker 1: or just trash delivery happens. shuts down and how quickly everything,
• 35:36
  Speaker 1: the dominoes start to fall and people, and I think
• 35:39
  Speaker 1: one of the guys said, don't stockpile food or don't
• 35:41
  Speaker 1: stockpile water or anything like that.
• 35:44
  Speaker 3: You need to.
• 35:45
  Speaker 1: Have shotgun shells and gasoline. That's, that's the difference maker.
• 35:50
  Speaker 1: And because everyone will converge on you for everything else and,
• 35:54
  Speaker 1: You're going to need gasoline to get out of there
• 35:56
  Speaker 1: and shotgun shells to keep them on.
• 35:57
  Speaker 9: And if you have shotgun shells, you can get anything.
• 35:59
  Speaker 2: Else you want. Exactly. You can go get food because
• 36:02
  Speaker 2: you're the one with the gun at that point. So, yeah,
• 36:05
  Speaker 2: that's what it comes down to.
• 36:06
  Speaker 3: That's why the show, I mentioned it here before, Survivors,
• 36:10
  Speaker 3: the British. Yeah. Two seasons.
• 36:13
  Speaker 1: It's a nice little, you know, philosophic exploration into what
• 36:21
  Speaker 1: kind of person are you going to become and how.
• 36:24
  Speaker 1: How is society going to... And it's more than just
• 36:27
  Speaker 1: a movie that you handle in two hours. It's 16
• 36:30
  Speaker 1: episodes or whatever each season. And you really get to
• 36:32
  Speaker 1: think about, oh, those types of people will go down
• 36:37
  Speaker 1: that path.
• 36:39
  Speaker 3: It's a nice watch.
• 36:40
  Speaker 2: That's the potential of what The Walking Dead can be.
• 36:43
  Speaker 2: And we've only gotten six episodes in, but I'm kind of... Again,
• 36:46
  Speaker 2: some people have issues with where it's already gone, but
• 36:48
  Speaker 2: I'm just kind of like, looking forward to the potential
• 36:51
  Speaker 2: that if they follow through you really could have this
• 36:54
  Speaker 2: you know society's falling apart we've got this band of
• 36:57
  Speaker 2: survivors and what happens to them and what when there's
• 37:01
  Speaker 2: nothing left what do you do and what if you
• 37:03
  Speaker 2: have no reason to live and you're still alive what
• 37:06
  Speaker 2: the hell do you do with yourself you know it's
• 37:07
  Speaker 2: like it's kind of cool to have that much time
• 37:10
  Speaker 2: to address that kind of no whether or not they
• 37:12
  Speaker 2: do it right is arguable but we'll have to see
• 37:15
  Speaker 2: but yeah i think that's kind.
• 37:16
  Speaker 10: Of the potential of something like that as well so Yeah,
• 37:20
  Speaker 10: those are the two movies I watched this week.
• 37:23
  Speaker 12: All right.
• 37:25
  Speaker 2: Well, if that rounds it out, we will take a
• 37:27
  Speaker 2: break here and be back with this week's movie.
• 37:31
  Speaker 13: And it might be time.
• 37:40
  Speaker 3: To escape.
• 37:49
  Speaker 13: New York But it's making you insane And it's like
• 37:55
  Speaker 13: everyone's to blame So let's go Down.
• 38:00
  Speaker 9: To Mexico, no one has to know.
• 38:05
  Speaker 14: Just grab the cab and drive, maybe we'll make it
• 38:10
  Speaker 14: out alive.
• 38:11
  Speaker 13: Cause every train ride is a fight, and every bar
• 38:15
  Speaker 13: is packed all night. And I'm tired of being angry,
• 38:19
  Speaker 13: being angry all the time.
• 38:26
  Speaker 4: In the mood for hot coffee? When you are, nothing
• 38:29
  Speaker 4: else will satisfy. Coffee has a flavor, an aroma, a
• 38:33
  Speaker 4: deep-down satisfying goodness all its own. And our coffee has
• 38:36
  Speaker 4: something extra, the care with which we brew and serve it.
• 38:40
  Speaker 4: You'll enjoy the show more while you're enjoying steaming hot coffee.
• 38:43
  Speaker 4: Come and get yours now.
• 38:46
  Speaker 6: Somebody sold out the black man and the red man.
• 38:49
  Speaker 4: Somebody is going to pay.
• 38:50
  Speaker 2: Paramount Pictures presents Charlie One-Eye, rated R. If you're enjoying
• 38:55
  Speaker 2: this podcast, perhaps you'd be interested in GleeCast.
• 38:57
  Speaker 3: You watch your tone, young lady.
• 39:00
  Speaker 1: Hey, we're not forcing you to download the internet's best,
• 39:03
  Speaker 1: or at least most booze-filled podcast about Glee.
• 39:05
  Speaker 2: You want to be me. Who doesn't, Sue?
• 39:08
  Speaker 3: But we know we can't be.
• 39:09
  Speaker 15: Instead, Erica and Emily.
• 39:10
  Speaker 11: Uh, Emily and Erica.
• 39:11
  Speaker 1: Who am I? I just don't know anymore.
• 39:13
  Speaker 2: I'd love to stay in chat, but I got a
• 39:14
  Speaker 2: satellite interview.
• 39:16
  Speaker 11: Sorry, we get off topic a lot.
• 39:17
  Speaker 1: The point is, listen to Glee Cast following every new
• 39:19
  Speaker 1: episode of Glee.
• 39:20
  Speaker 2: Plus, our sporadic bonus content on some of the greatest
• 39:23
  Speaker 2: bad cinema that incorporates musical theater or.
• 39:25
  Speaker 9: Sweet dance moves.
• 39:26
  Speaker 12: I'm going to ask you to smell your armpits.
• 39:28
  Speaker 10: The right or the left?
• 39:29
  Speaker 3: I don't know.
• 39:30
  Speaker 2: That's the smell of failure.
• 39:32
  Speaker 1: Failure smells like dove mine has a pleasant lady speed
• 39:34
  Speaker 1: stick scent kind of makes me think of.
• 39:35
  Speaker 11: Candy canes your resentment is delicious.
• 39:39
  Speaker 2: Visit gleecast.podomatic.com or search for us in the itunes store
• 39:42
  Speaker 2: that's gleecast with a k part of the palaver.com family
• 39:45
  Speaker 2: that's p-a-l-a-v-r.com.
• 39:47
  Speaker 12: Boy the only thing missing from this place is a
• 39:49
  Speaker 12: couple dozen bodies limed and rotting in shallow graves under
• 39:52
  Speaker 12: the floorboards we're working.
• 39:53
  Speaker 6: On that tweaked audio your source for high performance noise
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  Speaker 6: reducing earbuds available in three styles and seven colors Durable
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  Speaker 6: Then you'll get 33% off and free shipping. Tweaked Audio.
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  Speaker 6: Sounds better.
• 40:28
  Speaker 2: Hi, this is Louis Gossett Jr. This is Movie Meltdown.
• 40:40
  Speaker 16: One man, one goal, one mission, one heart, one soul,
• 40:51
  Speaker 16: just one solution, one flash of light.
• 41:00
  Speaker 6: It's time for Sofa Theater.
• 41:05
  Speaker 15: Varick?
• 41:05
  Speaker 1: Have you seen Charlie Varick?
• 41:10
  Speaker 3: You're an interesting man, Mr.
• 41:12
  Speaker 15: Varick.
• 41:12
  Speaker 3: The last of the independents.
• 41:17
  Speaker 12: You want to die for somebody else's money? Half a million?
• 41:22
  Speaker 2: Half a million?
• 41:25
  Speaker 5: The bank manager has estimated that the bandits escaped with
• 41:27
  Speaker 5: less than $ 2, 000.
• 41:28
  Speaker 12: Who are they kidding, us?
• 41:30
  Speaker 5: It's ten to one. This stuff belongs to the mafia.
• 41:32
  Speaker 5: This is gambling money skimmed off the top. The mafia
• 41:36
  Speaker 5: kills you. No trial, no judge. They never stop looking
• 41:38
  Speaker 5: for you, not till you're dead. I'd rather have ten
• 41:41
  Speaker 5: FBIs after me. One man against the mafia.
• 41:44
  Speaker 15: Bang!
• 41:45
  Speaker 12: This little bank a million miles from nowhere gets hit
• 41:47
  Speaker 12: by four professionals.
• 41:47
  Speaker 11: Now they're gonna think that's strange.
• 41:49
  Speaker 5: Why couldn't it be just a coincidence?
• 41:51
  Speaker 12: Because they don't believe in coincidence. Crop dusters don't wave guns.
• 41:57
  Speaker 2: Put that thing away fast.
• 41:59
  Speaker 12: But we're going to get him.
• 42:01
  Speaker 2: I'll never get out of New Mexico. I feel that
• 42:04
  Speaker 2: in my gut.
• 42:05
  Speaker 12: Might want to fence off some money.
• 42:08
  Speaker 11: Hot?
• 42:09
  Speaker 12: Burning up.
• 42:11
  Speaker 3: What do you want?
• 42:12
  Speaker 12: Oh, I'm sorry.
• 42:13
  Speaker 3: I didn't mean to scare you.
• 42:15
  Speaker 5: Which doesn't mean I won't throw you right out that
• 42:17
  Speaker 5: window if I have to.
• 42:18
  Speaker 2: Come on.
• 42:21
  Speaker 1: Sooner or later, you're going to tell me everything you know.
• 42:24
  Speaker 12: So why not save yourself a great deal of pain?
• 42:27
  Speaker 3: Where's Charles Varick?
• 42:35
  Speaker 5: When Charlie Varick runs out of dumb luck, he always
• 42:43
  Speaker 5: has genius.
• 42:44
  Speaker 3: To fall back on. So strange.
• 43:07
  Speaker 14: You hide a funny face behind a head of hair
• 43:10
  Speaker 14: You never care what they say Everyone will love you
• 43:16
  Speaker 14: the way that I love you But they don't, oh
• 43:18
  Speaker 14: no They don't know you like I do Charlie, oh
• 43:22
  Speaker 14: how stars shine in your eyes.
• 43:52
  Speaker 3: There's some good shit in that movie, wasn't there?
• 43:54
  Speaker 2: Yes, there was. All right, we are back. From Movie
• 43:58
  Speaker 2: Meltdown Sofa Theater, this week's Sofa Theater feature is Charlie Varick.
• 44:02
  Speaker 2: The year is 1973, director Don Siegel. The plot, according
• 44:07
  Speaker 2: to IMDb, Charlie Varick and his friends rob a small
• 44:10
  Speaker 2: town bank, expecting a small sum to divide amongst themselves.
• 44:14
  Speaker 2: They are surprised to discover a very large amount of money.
• 44:17
  Speaker 2: Quickly figuring out that the money belongs to the mob,
• 44:20
  Speaker 2: they must now come up with a plan to throw
• 44:22
  Speaker 2: the mob off their trail. And I was going to
• 44:24
  Speaker 2: throw the spoiler out before that, but truthfully, all that's
• 44:27
  Speaker 2: in the trailer, and I've posted the trailer a bunch
• 44:30
  Speaker 2: of times. So, anyway, spoiler alert from here on out,
• 44:33
  Speaker 2: because we'll go further into it than that, and I'm
• 44:35
  Speaker 2: sure ruin whatever the hell it is.
• 44:36
  Speaker 9: You haven't seen.
• 44:37
  Speaker 3: Yeah, definitely go watch it before you listen to it.
• 44:40
  Speaker 9: And again, if you've got Netflix, it's on Instant Watch
• 44:42
  Speaker 9: right now.
• 44:43
  Speaker 3: You need a cut.
• 44:44
  Speaker 9: Catch it while you can, and yes, Netflix.
• 44:46
  Speaker 2: Please send us money.
• 44:48
  Speaker 9: Don't think that's going to happen, by the way.
• 44:50
  Speaker 2: All right, so, Charlie Varick, where would you like to begin?
• 44:54
  Speaker 1: I think an overall impression that I have to get
• 44:58
  Speaker 1: off my chest about this is the realization, it's one
• 45:03
  Speaker 1: of those movies, the realization of what have I been
• 45:06
  Speaker 1: missing and how much do I not know about what
• 45:11
  Speaker 1: I've not seen. I know there are endlessly more movies
• 45:20
  Speaker 1: out there than I will ever see. And it almost,
• 45:23
  Speaker 1: you have to just throw your arms up and say, well,
• 45:25
  Speaker 1: I'll watch Conan the Destroyer again.
• 45:27
  Speaker 3: Yeah. I've heard of it before.
• 45:30
  Speaker 1: I've even heard reference of it before, but it never registered.
• 45:34
  Speaker 1: And until you said this is what we're watching... I
• 45:36
  Speaker 1: never would have watched it.
• 45:37
  Speaker 9: That's kind of why I wanted to start doing this,
• 45:39
  Speaker 9: and that's kind of why I.
• 45:40
  Speaker 2: Wanted to do the, and speaking of which, we need
• 45:43
  Speaker 2: to do the one from the vaults moment, because that's
• 45:46
  Speaker 2: what turned me on to this. It's like I didn't
• 45:49
  Speaker 2: know anything about this movie, didn't even know. In times
• 45:53
  Speaker 2: since I've talked to Andrew, I've heard people reference it.
• 45:56
  Speaker 2: Before that, if I had, it never stuck. I never
• 45:59
  Speaker 2: made a connection to this movie.
• 46:01
  Speaker 11: It shouldn't.
• 46:01
  Speaker 2: Until I went to go talk to Andrew and started
• 46:03
  Speaker 2: looking at some other stuff, and I was like, well,
• 46:05
  Speaker 2: look at this. Don Siegel directed, and it's got a
• 46:08
  Speaker 2: pretty big cast. Walter Mappauer at that time is a
• 46:12
  Speaker 2: huge star, so it's like, what is this movie? So
• 46:15
  Speaker 2: going into it, I'm like, okay, let's see what he
• 46:17
  Speaker 2: thinks about it. And then I was like, okay, now
• 46:20
  Speaker 2: I need to watch this, because it seems like a
• 46:23
  Speaker 2: very different movie than I would have expected from anybody
• 46:26
  Speaker 2: that's involved at that point. So with that, yeah, let's
• 46:29
  Speaker 2: see what Andrew has to say about this movie. One
• 46:32
  Speaker 2: from the folks. We're here with Andrew Robinson. I was
• 46:36
  Speaker 2: going to ask about Charlie Barrett. Oh, yeah. Again, the
• 46:41
  Speaker 2: same director as... Dirty Harry. Don Siegel. Best director I've
• 46:45
  Speaker 2: ever worked with. How was he to work with as
• 46:47
  Speaker 2: a director?
• 46:48
  Speaker 17: Well, I mean, he's a man who's... When I worked
• 46:52
  Speaker 17: with him, this is a guy who had been doing
• 46:54
  Speaker 17: film forever. I mean, you know, he won Academy Awards
• 46:57
  Speaker 17: for his montage work and things like The Roaring Twenties, Casablanca.
• 47:01
  Speaker 17: He's a guy who had the film inside his head,
• 47:05
  Speaker 17: the entire film inside his head from beginning to end.
• 47:08
  Speaker 17: So he always knew from moment to moment what he wanted.
• 47:12
  Speaker 17: So when you're working with someone like that, I mean,
• 47:15
  Speaker 17: it just makes it easy.
• 47:18
  Speaker 2: And you did a lot of action. I mean, how
• 47:19
  Speaker 2: was it working with the action scenes, especially that movie?
• 47:22
  Speaker 2: That was exciting.
• 47:23
  Speaker 17: I mean, I was a young guy then, and I
• 47:24
  Speaker 17: was very fit. So I did all my own stunts
• 47:28
  Speaker 17: except for one stunt, but I did every stunt.
• 47:30
  Speaker 9: And then unlikely action hero, Walter Matthau.
• 47:33
  Speaker 2: How was he to work with as a co-star?
• 47:34
  Speaker 17: Well, Walter was a brilliant, he was one of the
• 47:36
  Speaker 17: great American actors. So it was a privilege to work
• 47:40
  Speaker 17: with Walter.
• 47:41
  Speaker 3: Definitely.
• 47:42
  Speaker 17: And Charlie Barak is probably, you know, my favorite film
• 47:45
  Speaker 17: that I've been in.
• 47:46
  Speaker 10: Really? Yeah.
• 47:47
  Speaker 2: It's underrated, yeah. Very underrated. Hardly anybody's seen it.
• 47:50
  Speaker 7: Very underrated.
• 47:51
  Speaker 6: Definitely.
• 47:54
  Speaker 2: So, once again, thank you to Andrew Robinson for telling
• 47:56
  Speaker 2: us his story. thoughts on the movie, but yeah, we'll
• 47:58
  Speaker 2: have to get back into ours because I, yeah, I'm
• 48:01
  Speaker 2: kind of right there with you. I didn't know what
• 48:03
  Speaker 2: to expect going in and it ended up being a
• 48:06
  Speaker 2: very different movie than I expected. I think right off
• 48:09
  Speaker 2: the bat, it's like we, we get into this movie and,
• 48:12
  Speaker 2: and again, you're, you're You get that like most of
• 48:16
  Speaker 2: these cop and robber kind of movies and you're on
• 48:18
  Speaker 2: the side of the quote unquote bad guy in the scenario.
• 48:21
  Speaker 2: But pretty quickly, usually they're really good people and you
• 48:25
  Speaker 2: get on board with them. And in this movie, right
• 48:28
  Speaker 2: off the bat, they shoot a cop in the face.
• 48:30
  Speaker 3: Yeah. Yep.
• 48:31
  Speaker 2: And I'm just like, oh. okay, I guess we know
• 48:34
  Speaker 2: what kind of movie we're getting into here. It's like
• 48:37
  Speaker 2: this is not a sugar-coated movie. It's like there are criminals,
• 48:42
  Speaker 2: and they're telling this story from a pretty realistic point
• 48:46
  Speaker 2: of view that, you know, they're playing hardball.
• 48:50
  Speaker 10: You know?
• 48:50
  Speaker 3: Yeah, it starts out with the little suburban.
• 48:53
  Speaker 10: Shots, and it gives you a really different feel.
• 48:58
  Speaker 3: Yeah, definitely. So.
• 48:59
  Speaker 10: And here comes, you know, Walter Matthau, and you're thinking,
• 49:03
  Speaker 10: this is going to be the clever, likable crook who's
• 49:08
  Speaker 10: going to, like, talk his way.
• 49:10
  Speaker 3: Oh, fuck.
• 49:13
  Speaker 2: What just happened now?
• 49:15
  Speaker 10: Yeah, yeah, it's it's pretty um surprising how the tone shifts.
• 49:21
  Speaker 2: Yeah very quickly yeah and stays down that road and
• 49:25
  Speaker 2: goes a little deeper as it goes on so yeah
• 49:29
  Speaker 2: i again just did not expect where we ended up
• 49:33
  Speaker 2: right off the bat.
• 49:33
  Speaker 10: Yeah and then there were other things later in the
• 49:35
  Speaker 10: movie that are like that like i think oh, they're
• 49:37
  Speaker 10: making this guy sort of, like, sympathetic.
• 49:40
  Speaker 3: They're doing things to make you think, oh.
• 49:43
  Speaker 2: Nope, wait a minute. No, no, not so much. So,
• 49:48
  Speaker 2: I mean, again, we can go right from there. I mean,
• 49:51
  Speaker 2: we shoot a cop in the face, and then he
• 49:55
  Speaker 2: just kind of leaves his wife to die.
• 49:57
  Speaker 9: And, in fact, takes her out.
• 50:00
  Speaker 2: Finishes the job.
• 50:01
  Speaker 3: Well, but, you know, that's true, but he's so lovingly
• 50:08
  Speaker 3: let her go again.
• 50:09
  Speaker 2: I'm not, I'm not even faulting him for that because
• 50:11
  Speaker 2: that's a really good scene. And it really does show
• 50:15
  Speaker 2: you that, you know, they, they did love each other.
• 50:17
  Speaker 2: Like in the beginning, I was like, maybe she's just
• 50:19
  Speaker 2: some girl and you know, maybe they weren't really, maybe
• 50:21
  Speaker 2: that was part of the game was they were pretending,
• 50:23
  Speaker 2: but no, that scene there, it's like, this is his
• 50:26
  Speaker 2: wife and he loves her. And it also is again,
• 50:30
  Speaker 2: being in that realistic criminals world of, here's what I
• 50:34
  Speaker 2: have to do.
• 50:35
  Speaker 9: He probably didn't want to.
• 50:36
  Speaker 2: Have to burn her alive and leave her body there,
• 50:40
  Speaker 2: but this is what he had to do. He's a
• 50:42
  Speaker 2: realistic person.
• 50:43
  Speaker 3: I think she was pretty much dead.
• 50:45
  Speaker 9: When he got out of the car.
• 50:46
  Speaker 2: She was still breathing. Maybe that was just the acting,
• 50:49
  Speaker 2: but I kept going, well, maybe she's dead. No, she
• 50:51
  Speaker 2: just moved a little. Oh, shit. It was like.
• 50:55
  Speaker 3: It was a blooded movie.
• 50:56
  Speaker 2: Yeah, it is.
• 50:58
  Speaker 10: It really.
• 50:58
  Speaker 3: The tone, it was.
• 51:03
  Speaker 1: Almost Reservoir Dogs meets No Country for Old Men.
• 51:08
  Speaker 2: Kind of, yeah.
• 51:09
  Speaker 3: Really just, it gets into that dark and it just
• 51:12
  Speaker 3: stays there. And you just.
• 51:15
  Speaker 2: But there are times when it doesn't. Like Fred was saying,
• 51:17
  Speaker 2: there are moments when you're like, okay, this is just
• 51:19
  Speaker 2: sort of a fun 70s kind of, you know, heist
• 51:23
  Speaker 2: movie romp. Ha ha, oh, no, no. What just happened?
• 51:27
  Speaker 10: Yeah, it seems like they do that just enough to, like,
• 51:30
  Speaker 10: keep you grounded in... the pedestrian world of daily life
• 51:36
  Speaker 10: so that you don't just get numb to it.
• 51:40
  Speaker 3: It still kind of like.
• 51:41
  Speaker 9: Freaks you out.
• 51:42
  Speaker 2: It makes it more disturbing, yeah.
• 51:44
  Speaker 3: Yeah, how cold it is in places.
• 51:46
  Speaker 8: The humor of the old lady in the trailer, air
• 51:50
  Speaker 8: park area that looks in on everything and every man
• 51:53
  Speaker 8: is after her and every, you know, that's some good
• 51:55
  Speaker 8: humor that kind of, okay, all right.
• 51:57
  Speaker 3: It's okay, but.
• 51:59
  Speaker 2: That is what I was going to say. It is probably,
• 52:02
  Speaker 2: as I watched it, one of the most impressive things
• 52:05
  Speaker 2: that they do. Almost every side character becomes really memorable
• 52:11
  Speaker 2: really fast.
• 52:12
  Speaker 3: As a sidestick.
• 52:13
  Speaker 2: And they really seem like pretty fleshed out characters and
• 52:17
  Speaker 2: none of them have more than a couple of scenes.
• 52:19
  Speaker 2: Like even the sheriff at the beginning that you assume
• 52:22
  Speaker 2: is going to be like the main guy and he's
• 52:24
  Speaker 2: going to be chasing the whole time. You really don't
• 52:26
  Speaker 2: see much of him.
• 52:27
  Speaker 9: But in those few scenes.
• 52:29
  Speaker 2: they're.
• 52:30
  Speaker 9: Really well done.
• 52:31
  Speaker 2: And there's like that exchange of him and the little
• 52:33
  Speaker 2: kid and like, you've got blood on your face. Are
• 52:35
  Speaker 2: you going to die?
• 52:36
  Speaker 9: Like that exchange, like it wouldn't occur to me to
• 52:40
  Speaker 9: write that.
• 52:41
  Speaker 2: And they do. And it makes it like a richer story.
• 52:45
  Speaker 2: I mean, there's all of these little, like the, the
• 52:47
  Speaker 2: pushing the girl on the swing later that we can get,
• 52:50
  Speaker 2: we can get to that guy, but yeah.
• 52:53
  Speaker 9: And it's like, I didn't expect that.
• 52:56
  Speaker 2: Yeah.
• 52:57
  Speaker 10: They're making this guy sympathetic. You know, he's like taking
• 53:02
  Speaker 10: an interest in it. And then later he's talking about cows.
• 53:09
  Speaker 10: And so it led me to expect something different. Because
• 53:13
  Speaker 10: then it's like no country for old men. We're like, oh,
• 53:17
  Speaker 10: there went that guy. It's just like so....
• 53:22
  Speaker 3: Well, you talk about introducing people.
• 53:25
  Speaker 1: The guy that they re-pulled a car from.
• 53:27
  Speaker 2: Yeah.
• 53:28
  Speaker 3: The kid's crying. He said, don't you think? I told
• 53:31
  Speaker 3: you I'd get you a new puppy. So, oh, obviously
• 53:33
  Speaker 3: this kid's dog died.
• 53:36
  Speaker 9: You didn't need to.
• 53:37
  Speaker 1: make that character three dimensional, but he did in like
• 53:41
  Speaker 1: 30 seconds.
• 53:42
  Speaker 2: I mean, you walk into this scenario and like already
• 53:46
  Speaker 2: you've got, and again, it's not like it's a heartwarming moment.
• 53:49
  Speaker 2: It ends badly. It's like a horrible wrap up to
• 53:53
  Speaker 2: this little scene.
• 53:54
  Speaker 9: And then we're gone. It's not like we come back
• 53:56
  Speaker 9: to him.
• 53:57
  Speaker 2: It's not like it was important to the story, but
• 53:59
  Speaker 2: I think all those little moments in the end make
• 54:02
  Speaker 2: this a much more impressive movie than with all of
• 54:05
  Speaker 2: those little side characters, none of which are really all
• 54:08
  Speaker 2: that important, or could have been very two-dimensional and the
• 54:12
  Speaker 2: story would have still progressed just fine.
• 54:13
  Speaker 10: Well, without those things, I think the story has some issues,
• 54:18
  Speaker 10: and it would wear thin, but it's just, they keep
• 54:22
  Speaker 10: you feeling like.
• 54:23
  Speaker 3: You're in a complete world.
• 54:25
  Speaker 10: Yep. Not just in something somebody has put up there
• 54:29
  Speaker 10: just for you to see what's there to be seen.
• 54:33
  Speaker 3: The world is happening around this story.
• 54:36
  Speaker 1: The secretary, when you first see John Vernon, the banker,
• 54:42
  Speaker 1: the head of the bank, when he's in his office
• 54:45
  Speaker 1: the first time, he walks past her and says, I
• 54:47
  Speaker 1: need you to send this right away.
• 54:49
  Speaker 3: And she goes, you're a bastard. And they kind of
• 54:52
  Speaker 3: smile at each other and share a moment.
• 54:53
  Speaker 10: That's it.
• 54:54
  Speaker 3: They set that up and you're like, oh, okay. But
• 54:58
  Speaker 3: that was unnecessary. Man, it was good just to have
• 55:01
  Speaker 3: that moment there.
• 55:04
  Speaker 2: Yeah, there are several moments of what just happened in
• 55:08
  Speaker 2: this movie that, yeah, I don't know what to do
• 55:11
  Speaker 2: with sometimes. One of which I guess we'll get to
• 55:13
  Speaker 2: later down the road. But I don't know. I was
• 55:16
  Speaker 2: just trying to think of other stuff going into it. Yeah. Because, yeah,
• 55:20
  Speaker 2: I mean, it's a pretty simplified plot. I think I
• 55:23
  Speaker 2: expected more of a heist plot to it. I mean,
• 55:27
  Speaker 2: usually with those, there's several, and it goes from different cities,
• 55:31
  Speaker 2: and it becomes more of a, this is how they
• 55:33
  Speaker 2: go from city to city robbing people, and it becomes
• 55:35
  Speaker 2: that scenario. Where this one is a pretty simple, we
• 55:39
  Speaker 2: hit it first thing right off the bat, and then
• 55:41
  Speaker 2: it's dealing with this situation, everything after that. And it doesn't,
• 55:45
  Speaker 2: it's a pretty simple setup. Other than that, it doesn't
• 55:48
  Speaker 2: ever really stray from it.
• 55:50
  Speaker 11: Will you sign for the dynamite, please?
• 55:51
  Speaker 6: Sign for the dynamite, right?
• 55:54
  Speaker 3: Right.
• 55:54
  Speaker 6: Got to sign for everything these days.
• 55:56
  Speaker 3: I guess so.
• 55:57
  Speaker 12: Dynamite, time delay cap, mercury switch and emergency compartment light.
• 56:04
  Speaker 3: One, two, three, and four. Anything else?
• 56:07
  Speaker 10: That's right.
• 56:08
  Speaker 3: That's $ 9 even.
• 56:13
  Speaker 11: There you go.
• 56:14
  Speaker 3: Out of 10. Don't happen to have the crime there. Well,
• 56:21
  Speaker 3: it's a little slow. It's 847. 847, right.
• 56:25
  Speaker 10: I'll put that in the bag.
• 56:25
  Speaker 6: Okay, I don't need a bag.
• 56:27
  Speaker 2: Thank you. May I ask what that's for? Certainly may.
• 56:32
  Speaker 2: What were you going to say?
• 56:38
  Speaker 1: Oh, I was just thinking more about character development of
• 56:43
  Speaker 1: side character.
• 56:43
  Speaker 3: Because that was the one thing that I kept getting
• 56:46
  Speaker 3: over and over in this film. The.
• 56:49
  Speaker 3: Going into the Chinese restaurant, and the.
• 56:53
  Speaker 1: Hostess speaks Chinese, or speaks that broken English.
• 56:58
  Speaker 3: And then once she identifies him as someone important.
• 57:01
  Speaker 2: It's... Oh, he's right over here.
• 57:03
  Speaker 3: He's right over here, and speaks perfect English.
• 57:06
  Speaker 1: And I can't tell you how many times I've thought that,
• 57:09
  Speaker 1: that they're speaking a heavily accented language, language to me,
• 57:16
  Speaker 1: just so that it's that barrier and, oh, we'll give
• 57:19
  Speaker 1: him the benefit of the doubt because he's having trouble
• 57:22
  Speaker 1: taking my.
• 57:23
  Speaker 3: Order or something.
• 57:24
  Speaker 10: That reminds me of a great moment in the movie
• 57:27
  Speaker 10: Boys in the Hood. It starts out when they're kids
• 57:31
  Speaker 10: and there's.
• 57:32
  Speaker 3: A mom in it.
• 57:34
  Speaker 10: I think it was Ice Cube's mom. And she's sort
• 57:40
  Speaker 10: of yelling at the kids and then she's on the
• 57:42
  Speaker 10: phone with the principal of the school. And she has
• 57:45
  Speaker 10: this whole other voice.
• 57:48
  Speaker 3: And it was just, and it's.
• 57:50
  Speaker 10: Not even like a main thing in the scene, but
• 57:52
  Speaker 10: you just notice it and it's like, Oh God, that
• 57:55
  Speaker 10: is so right.
• 57:56
  Speaker 3: And they don't draw attention to it. They just, yeah,
• 57:59
  Speaker 3: that's good.
• 58:00
  Speaker 2: But yeah, I mean, there's so many, like just about everybody.
• 58:03
  Speaker 2: Like I kept going through going, looking almost by the
• 58:06
  Speaker 2: end of it for like badly done side characters that
• 58:09
  Speaker 2: didn't really add.
• 58:11
  Speaker 9: Anything to the plot. And I was like, There weren't any,
• 58:13
  Speaker 9: like the gun shop owner and the madam.
• 58:15
  Speaker 2: And like every one of them is like, they've only
• 58:18
  Speaker 2: got a couple of minutes on screen, but they're really
• 58:21
  Speaker 2: lived in characters. It's like, you really kind of, you know,
• 58:25
  Speaker 2: you feel like you've got a really good sense of
• 58:27
  Speaker 2: who they are and what they're dealing with every day
• 58:30
  Speaker 2: in this minimal amount of time.
• 58:32
  Speaker 3: Yeah.
• 58:32
  Speaker 10: And that scene too is also interesting because, um, the
• 58:36
  Speaker 10: way to make the movie makes you watch it to
• 58:39
  Speaker 10: like know what's going on. And you're thinking, Why is
• 58:44
  Speaker 10: he telling him, oh, he wants this to get out?
• 58:49
  Speaker 10: He knows that if he, oh, maybe I won't talk
• 58:53
  Speaker 10: about this, but he knows it'll get out.
• 58:57
  Speaker 3: It keeps you kind of riveted on how it's going
• 59:00
  Speaker 3: to develop.
• 59:01
  Speaker 2: And there's a lot of stuff that, like, if you
• 59:04
  Speaker 2: watch it, like, overall, you start seeing how much is
• 59:09
  Speaker 2: planned out.
• 59:10
  Speaker 9: And some of it's big, obvious stuff.
• 59:11
  Speaker 2: And then there's other stuff that's really subtle that if
• 59:14
  Speaker 2: you're not paying attention, you won't even realize how much
• 59:16
  Speaker 2: they're sort of setting up to come into play later.
• 59:19
  Speaker 2: So that's... Yeah, it is one of those you kind
• 59:22
  Speaker 2: of have to watch it more than you would expect
• 59:24
  Speaker 2: in a movie like this.
• 59:25
  Speaker 3: Right.
• 59:26
  Speaker 1: After you've seen the full story and then you go
• 59:28
  Speaker 1: back to... the trailer where the two of them have
• 59:32
  Speaker 1: just come in after getting away, and you can see
• 59:37
  Speaker 1: in his face his wheels are already turning.
• 59:40
  Speaker 3: I'm going to plant this. I'm going to do this.
• 59:42
  Speaker 1: I'm going to go to the dentist's office. Every single thing,
• 59:45
  Speaker 1: I'm going to set this up. Walter Matthau's character, Charlie,
• 59:53
  Speaker 1: was a badass.
• 59:55
  Speaker 2: And you don't see that.
• 59:57
  Speaker 9: Like, again, that was what I thought was such weird casting.
• 1:00:00
  Speaker 2: It's like Don Siegel makes these like action kind of
• 1:00:03
  Speaker 2: movies and he's done a lot of movies with Clint Eastwood.
• 1:00:06
  Speaker 9: So, I mean, that's your kind of.
• 1:00:08
  Speaker 2: Badass and makes the Clint Eastwood reference, which he just
• 1:00:12
  Speaker 2: like the one before this has been like him.
• 1:00:15
  Speaker 9: Doing Dirty Harry with Clint Eastwood.
• 1:00:16
  Speaker 2: So it's like it is funny that he works in
• 1:00:19
  Speaker 2: his own little in joke there. But, yeah, you don't
• 1:00:22
  Speaker 2: see that.
• 1:00:22
  Speaker 3: He was a badass, actually.
• 1:00:24
  Speaker 1: Because you're like, oh, is he going to be too
• 1:00:27
  Speaker 1: aw shucks? Is he going to break down? But when
• 1:00:30
  Speaker 1: a man keeps whiskey in his bedside table, but after
• 1:00:38
  Speaker 1: his wife dies, he drinks a glass of milk, you
• 1:00:42
  Speaker 1: know he's a bad guy.
• 1:00:43
  Speaker 3: He has the whiskey there. He knows where it is.
• 1:00:46
  Speaker 3: He can get it. But he prefers and chooses to
• 1:00:49
  Speaker 3: drink a glass of milk You know he's a badass.
• 1:00:51
  Speaker 9: It's just, yeah, it's something.
• 1:00:53
  Speaker 2: And I know he's done other stuff that's more along
• 1:00:56
  Speaker 2: this line. I mean, he's in the original taking the
• 1:00:58
  Speaker 2: poem one, two, three. I mean, he's done stuff that's...
• 1:01:02
  Speaker 2: He just got so well known for the comedies and
• 1:01:05
  Speaker 2: the odd couple kind of stuff, and then the grumpy
• 1:01:08
  Speaker 2: old men stuff.
• 1:01:09
  Speaker 11: Mr.
• 1:01:10
  Speaker 3: Wilson.
• 1:01:10
  Speaker 2: Yeah, he got sort of shoved into that, especially the
• 1:01:14
  Speaker 2: older he got. So it's really interesting to go back
• 1:01:16
  Speaker 2: and look at him. And this was probably about the
• 1:01:19
  Speaker 2: end of when he could... Because by the time he
• 1:01:21
  Speaker 2: hits the 80s... he starts getting into the old man
• 1:01:24
  Speaker 2: funny roles. And even when you're putting him in other stuff,
• 1:01:27
  Speaker 2: like the survivors, he's just there to be the old guy.
• 1:01:30
  Speaker 2: And the younger guy makes fun of him because he's
• 1:01:32
  Speaker 2: the old guy. So this was about the last era
• 1:01:35
  Speaker 2: that he could be the tough guy. And he could
• 1:01:37
  Speaker 2: be the main character and still kind of pull off this.
• 1:01:39
  Speaker 3: Oh, I think he could have done No Country for
• 1:01:41
  Speaker 3: Grumpy Old Men. Nice. Sort of like, okay. We have
• 1:01:47
  Speaker 3: to give you a little checkmark for that one. Thank you.
• 1:01:50
  Speaker 2: It is one of those I wonder if, if someone
• 1:01:53
  Speaker 2: would have offered him something a little more hardcore in
• 1:01:56
  Speaker 2: those last few years, how much he could have pulled
• 1:01:58
  Speaker 2: it off. Because based on this, he could have.
• 1:02:01
  Speaker 3: Oh, yeah.
• 1:02:02
  Speaker 2: If a Tarantino would have come and went, I want
• 1:02:03
  Speaker 2: you to be the mobster boss in my movie, he
• 1:02:07
  Speaker 2: would have been amazing. But you wouldn't have expected that.
• 1:02:11
  Speaker 2: Everybody else of this next generation would have been like,
• 1:02:14
  Speaker 2: Walter Matthau.
• 1:02:14
  Speaker 9: What the hell are you doing?
• 1:02:16
  Speaker 2: Yeah, but.
• 1:02:18
  Speaker 3: It seems so Tarantino.
• 1:02:19
  Speaker 9: Yeah, at this point it does.
• 1:02:20
  Speaker 2: It's stunt casting.
• 1:02:23
  Speaker 3: Especially now, yeah.
• 1:02:24
  Speaker 9: But, I mean, again, pulls it off here.
• 1:02:26
  Speaker 3: Harmon, where's the money? You're busting my ribs.
• 1:02:35
  Speaker 6: Let's try it this way. Where's Charles Varick?
• 1:02:38
  Speaker 12: I don't know.
• 1:02:40
  Speaker 6: He left you to take the heat? Is that it?
• 1:02:44
  Speaker 3: That's what he did. Exactly what he did. Dirty bastard.
• 1:02:50
  Speaker 3: One thing that puzzles me.
• 1:02:52
  Speaker 12: He's going to leave you behind while I have a
• 1:02:55
  Speaker 12: passport made for you.
• 1:02:56
  Speaker 10: Huh?
• 1:02:59
  Speaker 3: Well, you didn't give Varick your driver's license. My wallet's
• 1:03:02
  Speaker 3: right there in my shirt. Can I show you? Sure.
• 1:03:16
  Speaker 2: He's gone. surprise surprise.
• 1:03:24
  Speaker 5: Don't insult my intelligence boy that could be a grave
• 1:03:26
  Speaker 5: error i swear to god i don't know what you're
• 1:03:30
  Speaker 5: talking about i'm asking you nicely where's the money and.
• 1:03:37
  Speaker 2: If we want to go from one main character to
• 1:03:40
  Speaker 2: the next let's get into it joe don baker.
• 1:03:43
  Speaker 3: Good lord I mean, I always knew I liked him.
• 1:03:47
  Speaker 2: I guess. As much as you can like Jodan Baker.
• 1:03:49
  Speaker 3: Right, yeah.
• 1:03:50
  Speaker 9: Like him and hate him all.
• 1:03:52
  Speaker 2: At the same time.
• 1:03:53
  Speaker 3: Good Lord, he was a bad motherfucker in this movie.
• 1:03:57
  Speaker 2: Just a bastard. Just like, as much as Walter Matthau
• 1:04:00
  Speaker 2: is kind of a bastard, you really have to hate
• 1:04:03
  Speaker 2: Jodan Baker.
• 1:04:04
  Speaker 3: I wrote down two of his quotes.
• 1:04:06
  Speaker 1: I didn't drive 600 miles for the amusement of fools.
• 1:04:09
  Speaker 3: I thought that when he missed the whores.
• 1:04:11
  Speaker 2: That is pretty nice.
• 1:04:12
  Speaker 3: I don't sleep with whores. At least not knowing.
• 1:04:15
  Speaker 2: Knowing.
• 1:04:18
  Speaker 3: I had to stop watching and go write that down.
• 1:04:21
  Speaker 2: That's how good of a line that was. And so
• 1:04:23
  Speaker 2: much of his stuff is just such jackass delivery. But realistic.
• 1:04:30
  Speaker 2: I've known guys that say things like he says and
• 1:04:33
  Speaker 2: mean it just as horribly. And yes, I mean, it's
• 1:04:37
  Speaker 2: funny how real that character is. I mean, he's made
• 1:04:41
  Speaker 2: to be a little more evil because he's, you know,
• 1:04:43
  Speaker 2: the villain more or less in this. But yeah, I mean,
• 1:04:47
  Speaker 2: it comes off as so natural that again, I'm pretty much,
• 1:04:51
  Speaker 2: especially having seen him in all these other roles.
• 1:04:53
  Speaker 9: That he's one shade away from this.
• 1:04:56
  Speaker 2: You get the feeling he's just kind of like that.
• 1:04:58
  Speaker 3: Yeah.
• 1:04:58
  Speaker 2: He could very easily be this guy.
• 1:05:01
  Speaker 1: He's a lot like that Anton Chigurh in No Country
• 1:05:05
  Speaker 1: for Old Men.
• 1:05:05
  Speaker 3: It's almost the same role.
• 1:05:07
  Speaker 9: It's funny. I thought about that when I was watching.
• 1:05:10
  Speaker 2: I was like, he does sort of have this unstoppable force.
• 1:05:14
  Speaker 2: Always is just one step behind him. And whatever, he
• 1:05:18
  Speaker 2: comes in and does whatever he wants. And people give
• 1:05:20
  Speaker 2: him whatever he wants. He's not quite as badass, but again,
• 1:05:25
  Speaker 2: for a watered-down 70s version, he's pretty close to the
• 1:05:28
  Speaker 2: same type of character.
• 1:05:30
  Speaker 10: There were a few things in the movie I didn't
• 1:05:33
  Speaker 10: think really worked, though.
• 1:05:35
  Speaker 2: Okay.
• 1:05:36
  Speaker 10: The James Bond-like sex scene.
• 1:05:40
  Speaker 3: I'm sorry.
• 1:05:40
  Speaker 2: Okay, good, because I had issues with the Walter Matthau one.
• 1:05:44
  Speaker 2: I really had.
• 1:05:45
  Speaker 10: Issues with it. I mean, there was plenty of weird
• 1:05:51
  Speaker 10: misogyny in it. But that scene in particular, it's just like, oh,
• 1:05:56
  Speaker 10: come on.
• 1:05:59
  Speaker 2: That is almost the only scene that really felt forced
• 1:06:02
  Speaker 2: into this movie. It did not fit anything else.
• 1:06:06
  Speaker 9: It didn't fit the character.
• 1:06:07
  Speaker 2: It didn't fit the story.
• 1:06:08
  Speaker 9: It didn't fit the mood of the entire movie.
• 1:06:13
  Speaker 1: She's just like, she may as well lay there with
• 1:06:15
  Speaker 1: her legs spread open in every scene.
• 1:06:20
  Speaker 3: Direction of the compass. Cardinal direction.
• 1:06:24
  Speaker 2: But that was my first reaction. And that's why I
• 1:06:26
  Speaker 2: have such problems with it. Because, yeah, the misogyny of
• 1:06:28
  Speaker 2: Joe Don Baker's character doesn't bother me. But, I mean,
• 1:06:32
  Speaker 2: Walter Matthau, the only other interaction we've seen with him
• 1:06:35
  Speaker 2: with women is his wife and how much he loved her.
• 1:06:39
  Speaker 2: And then he's relatively... Polite to every other woman he meets,
• 1:06:43
  Speaker 2: even ones that he kind of is using or they're
• 1:06:46
  Speaker 2: using him or vice versa or both. Yeah, it's one
• 1:06:50
  Speaker 2: of those.
• 1:06:50
  Speaker 3: That he still bombs.
• 1:06:52
  Speaker 11: Yeah.
• 1:06:52
  Speaker 9: And it's so forced in there. And especially it seems really.
• 1:06:57
  Speaker 2: Cold considering it's been a couple days yeah since his
• 1:07:00
  Speaker 2: wife died he still got the ring on his finger
• 1:07:04
  Speaker 2: well and i noticed that when he looked for his
• 1:07:05
  Speaker 2: watch i noticed he's not wearing his ring anymore but
• 1:07:08
  Speaker 2: he's still wearing hers so you do feel like okay
• 1:07:11
  Speaker 2: once again he did love her he still has feelings
• 1:07:14
  Speaker 2: for this woman it's been a couple days since he
• 1:07:17
  Speaker 2: disposed of her body and now he's Not just having
• 1:07:21
  Speaker 2: sex with someone. Having sex with someone he just met,
• 1:07:23
  Speaker 2: has nothing in common with, could give a rat's ass about,
• 1:07:26
  Speaker 2: and will be gone and totally leave behind tomorrow. None
• 1:07:29
  Speaker 2: of that fits his character.
• 1:07:31
  Speaker 3: And was prepared to throw out the window.
• 1:07:33
  Speaker 10: Yeah.
• 1:07:34
  Speaker 3: Although he did send her flowers.
• 1:07:37
  Speaker 2: That's true.
• 1:07:37
  Speaker 1: Did you notice that she had her boss's picture on
• 1:07:41
  Speaker 1: her nightstand?
• 1:07:42
  Speaker 3: Yeah, I did.
• 1:07:43
  Speaker 10: Yeah.
• 1:07:43
  Speaker 3: And it ain't... An eight and a half by ten
• 1:07:45
  Speaker 3: or whatever, or eight and a half by eleven.
• 1:07:49
  Speaker 2: That's special. So, yeah, immediately I was just like, well,
• 1:07:55
  Speaker 2: I guess he's over his wife.
• 1:07:57
  Speaker 3: Right, yeah.
• 1:07:58
  Speaker 2: That kicked in real quick.
• 1:07:59
  Speaker 3: Awkward, wasn't it?
• 1:08:00
  Speaker 2: Yeah, it was.
• 1:08:02
  Speaker 1: The woman, passport woman, that it's like assumed that she's
• 1:08:08
  Speaker 1: going to sleep with him.
• 1:08:09
  Speaker 3: She doesn't even.
• 1:08:10
  Speaker 1: And they don't establish a history with each other. He
• 1:08:14
  Speaker 1: just comes in and is like, I'm going to get
• 1:08:16
  Speaker 1: some of that. Just like he goes in and gets
• 1:08:18
  Speaker 1: something out of her refrigerator, he's going to go get.
• 1:08:20
  Speaker 3: A piece of that too. But you expect that out
• 1:08:23
  Speaker 3: of that character.
• 1:08:24
  Speaker 2: Yeah, now we switch to Jodan Baker. Which, again, that's
• 1:08:28
  Speaker 2: a really weird scene.
• 1:08:30
  Speaker 3: Just.
• 1:08:31
  Speaker 2: It's weird anyway that he comes in and does very
• 1:08:34
  Speaker 2: much just like, well, that's what I'm doing.
• 1:08:37
  Speaker 1: Why is she working so hard at making the passport
• 1:08:40
  Speaker 1: if she knows he's going to die?
• 1:08:41
  Speaker 2: That's what I didn't understand. I was like, why is
• 1:08:44
  Speaker 2: it that she's like, I told her it won't be
• 1:08:46
  Speaker 2: done until midnight, but she's sold him out. She knows
• 1:08:49
  Speaker 2: how it's going to go down in theory. So what's
• 1:08:52
  Speaker 2: the point of even following through with this?
• 1:08:54
  Speaker 1: I'm not gonna sit there and put in extra work
• 1:08:56
  Speaker 1: yeah you're gonna die i mean i don't i didn't
• 1:08:59
  Speaker 1: follow that that never made sense to me but no
• 1:09:02
  Speaker 1: back to the i mean back to the.
• 1:09:04
  Speaker 2: Secretary since we started it so okay do i mean
• 1:09:10
  Speaker 2: there's so many questions here because that's the thing like
• 1:09:13
  Speaker 2: the The photographer at least seems like she's sort of sketchy.
• 1:09:18
  Speaker 2: She's sort of involved in the underworld, more or less.
• 1:09:20
  Speaker 2: So if she wants to be a little, you know,
• 1:09:22
  Speaker 2: if she wants to make some questionable choices in her
• 1:09:25
  Speaker 2: who she sleeps with, that part didn't surprise me. But
• 1:09:27
  Speaker 2: this woman, like, she seems a little more upscale. She
• 1:09:30
  Speaker 2: seems like she's probably, you know, again, she's got a
• 1:09:33
  Speaker 2: real job. She seems otherwise well-adjusted. She's got a nice place.
• 1:09:38
  Speaker 2: So do these kind of women just randomly sleep with, A, anyone,
• 1:09:42
  Speaker 2: let alone a man who breaks into your apartment, threatens
• 1:09:46
  Speaker 2: physical violence, and then you quickly realize is involved with
• 1:09:49
  Speaker 2: the mob in some way. This is who you're going
• 1:09:52
  Speaker 2: to sleep with at the drop.
• 1:09:53
  Speaker 9: Of a hat?
• 1:09:54
  Speaker 1: But her boyfriend boss is a bastard that she calls
• 1:09:58
  Speaker 1: to his face.
• 1:09:59
  Speaker 2: Yeah.
• 1:10:00
  Speaker 3: He probably treats her like shit.
• 1:10:02
  Speaker 1: She keeps a picture of him next to her bed,
• 1:10:04
  Speaker 1: probably something he put there so.
• 1:10:06
  Speaker 3: That guys would run away from her. She's kind of
• 1:10:09
  Speaker 3: loose if she's got a round bed.
• 1:10:11
  Speaker 2: I think.
• 1:10:13
  Speaker 3: That was the... You got a round bed, you're a
• 1:10:15
  Speaker 3: little loose.
• 1:10:16
  Speaker 9: Oh, she's a swinger.
• 1:10:17
  Speaker 1: I see.
• 1:10:17
  Speaker 3: I think that was the implication.
• 1:10:20
  Speaker 1: And again, I wasn't even alive when this movie was made.
• 1:10:24
  Speaker 3: And I heard, oh, that was the 70s. Maybe that's
• 1:10:26
  Speaker 3: how shit went down then.
• 1:10:28
  Speaker 2: I don't know. I don't know, but it just seemed weird. Again,
• 1:10:31
  Speaker 2: it's not like she's an amazing character. I'm not putting
• 1:10:34
  Speaker 2: her any higher than that. Again, especially because of what's
• 1:10:37
  Speaker 2: going on with her boss. She definitely has her little
• 1:10:39
  Speaker 2: skeletons in the closet, too. But then the other half
• 1:10:42
  Speaker 2: of it that comes into play is Walter Matthau. I'm like, really?
• 1:10:47
  Speaker 3: He's not really credible.
• 1:10:49
  Speaker 10: Nobody really is. Nobody really is, but definitely not him.
• 1:10:55
  Speaker 3: He was in shape then.
• 1:10:57
  Speaker 9: He was still.
• 1:10:59
  Speaker 3: I mean, but for somebody... Meeting in that way.
• 1:11:03
  Speaker 6: Yeah.
• 1:11:04
  Speaker 3: And that amount of time. And she seems so totally
• 1:11:07
  Speaker 3: swayed to him. Why? Now, I got a different feeling.
• 1:11:12
  Speaker 10: I thought, you know, her calling her boss a bastard
• 1:11:15
  Speaker 10: was just like sort of.
• 1:11:16
  Speaker 3: Playing around. And like they were a thing. They had
• 1:11:19
  Speaker 3: a thing going.
• 1:11:20
  Speaker 2: I believe they were, but I still.
• 1:11:22
  Speaker 9: Thought he was probably.
• 1:11:23
  Speaker 10: I thought he was probably a fairly nice guy to her, really.
• 1:11:27
  Speaker 3: Because, you know, he was.
• 1:11:29
  Speaker 10: he had moments where he seemed like he was sort
• 1:11:31
  Speaker 10: of a decent guy. And I had this expectation that
• 1:11:35
  Speaker 10: he and Matthau were going to like, it was going
• 1:11:37
  Speaker 10: to become one of those buddy, they were going to
• 1:11:39
  Speaker 10: work it out somehow.
• 1:11:40
  Speaker 3: They were going to come to some understanding.
• 1:11:43
  Speaker 10: No.
• 1:11:44
  Speaker 16: No.
• 1:11:44
  Speaker 2: Not at all. I don't know.
• 1:11:47
  Speaker 10: But I think what that was was not really the
• 1:11:50
  Speaker 10: way things were in the 70s, but it was like,
• 1:11:54
  Speaker 10: The playboy man's man's fantasy.
• 1:11:58
  Speaker 2: And that's the part that feels like we have to
• 1:12:00
  Speaker 2: shove that into this because.
• 1:12:02
  Speaker 9: We've got everything else.
• 1:12:03
  Speaker 2: You know, we've got explosions, and we've got a bank robbery,
• 1:12:06
  Speaker 2: and we've got all this other stuff. We need a
• 1:12:08
  Speaker 2: sex scene. Now, how do we get that in? We
• 1:12:11
  Speaker 2: just killed his wife. We ruined that one.
• 1:12:13
  Speaker 9: You know, it feels very shoved in the middle of this.
• 1:12:15
  Speaker 3: Yeah.
• 1:12:16
  Speaker 2: And it's the only time it feels like a Hollywood
• 1:12:19
  Speaker 2: moment where they shove something in that feels like it
• 1:12:22
  Speaker 2: kind of needs to be here because it's a movie. Right.
• 1:12:24
  Speaker 2: Everything else really doesn't fit that mold.
• 1:12:26
  Speaker 3: Yeah. It was odd. It was.
• 1:12:29
  Speaker 11: Yeah.
• 1:12:30
  Speaker 3: And strange. It was like Jesus inventing the table.
• 1:12:37
  Speaker 2: Oh, boxing the compass. All right.
• 1:12:41
  Speaker 3: Uh, no Jesus. There were a few.
• 1:12:42
  Speaker 10: Other things that, uh, like I didn't really quite find
• 1:12:46
  Speaker 10: it convincing the way he buddied up when he, he
• 1:12:51
  Speaker 10: lands the plane and goes out and meets and he's
• 1:12:53
  Speaker 10: glad handing and slapping him. And, and for some reason
• 1:12:56
  Speaker 10: saying aloud, we did it. Um, Somehow, I didn't quite
• 1:13:04
  Speaker 10: feel that that would play out convincingly to Joe Don
• 1:13:09
  Speaker 10: in his car.
• 1:13:10
  Speaker 2: I don't know. That's the one time... They did.
• 1:13:12
  Speaker 10: Set up that he had a great motive, if he
• 1:13:16
  Speaker 10: could find.
• 1:13:16
  Speaker 3: Yeah.
• 1:13:17
  Speaker 2: I don't know.
• 1:13:18
  Speaker 3: It was a little... I don't know. I thought that
• 1:13:20
  Speaker 3: was fine.
• 1:13:23
  Speaker 1: And I thought, oh, that's pretty smart. It was the
• 1:13:26
  Speaker 1: airplane chase scene that kind of was the part. And
• 1:13:30
  Speaker 1: as soon as they were talking about, oh, I flew
• 1:13:33
  Speaker 1: a biplane and we did tricks, and I'm like, oh, shit,
• 1:13:37
  Speaker 1: here it goes. We're going to have a scene at
• 1:13:39
  Speaker 1: the end, it's going to be the climax, and it's
• 1:13:41
  Speaker 1: going to be a plane scene.
• 1:13:42
  Speaker 2: No, that's the part that I think is kind of, like,
• 1:13:45
  Speaker 2: ridiculously understatedly genius, is did you notice, like, a few
• 1:13:51
  Speaker 2: scenes earlier, like, 15 minutes earlier in the plot, do
• 1:13:56
  Speaker 2: you see when he's on the phone talking and he's
• 1:13:58
  Speaker 2: in his little area there? Well, in the big banner
• 1:14:02
  Speaker 2: behind him that shows the move that he ends up
• 1:14:05
  Speaker 2: doing by the end of the movie. And that obviously
• 1:14:08
  Speaker 2: it was his thing. He'd done it as part of his,
• 1:14:10
  Speaker 2: you know, that was like his signature move. So the
• 1:14:13
  Speaker 2: fact that they never really spell that out, it's just
• 1:14:16
  Speaker 2: there in the background if you want to pay attention
• 1:14:19
  Speaker 2: to it.
• 1:14:20
  Speaker 3: Oh, no, I think, see, I clearly saw it. I mean,
• 1:14:22
  Speaker 3: I was like, oh, they're going to do that. I
• 1:14:25
  Speaker 3: don't know.
• 1:14:26
  Speaker 2: I could see a lot of stuff like that going
• 1:14:29
  Speaker 2: on and then just going on with the plot and
• 1:14:31
  Speaker 2: doing a more conventional wrap-up.
• 1:14:33
  Speaker 9: And then not.
• 1:14:34
  Speaker 2: So I thought it was kind of cool that they
• 1:14:36
  Speaker 2: didn't show him do that beforehand. They didn't do anything
• 1:14:39
  Speaker 2: else to really set it up. I mean, he didn't
• 1:14:42
  Speaker 2: even fly a plane before that. So it's like they
• 1:14:44
  Speaker 2: didn't really set that up other than the few mentions
• 1:14:46
  Speaker 2: of it and that. So you don't really know that
• 1:14:49
  Speaker 2: there's this fake-out that sort of comes into play that
• 1:14:52
  Speaker 2: Joe Don's too dim-witted to realize. Which, again, is kind
• 1:14:57
  Speaker 2: of why I buy him congratulating him. Because Joe Don
• 1:15:02
  Speaker 2: Baker really, as much as he's a tough guy, he
• 1:15:05
  Speaker 2: doesn't seem all that smart. He seems like he knows
• 1:15:08
  Speaker 2: to not trust people, and he knows... when people are
• 1:15:11
  Speaker 2: pulling something, but in the grand scheme of things, he
• 1:15:14
  Speaker 2: still seems kind of just like a thug. So I
• 1:15:17
  Speaker 2: could almost see him going along with that, that bastard,
• 1:15:19
  Speaker 2: he's in on it, and I can kind of see that.
• 1:15:21
  Speaker 10: There was that, but the wrong touch was having him
• 1:15:26
  Speaker 10: throw the money after the car blows up, because he
• 1:15:30
  Speaker 10: had planned everything. Why didn't he put the money in
• 1:15:34
  Speaker 10: there so it would blow up?
• 1:15:35
  Speaker 3: It was so we could see it.
• 1:15:37
  Speaker 10: Yeah.
• 1:15:37
  Speaker 3: Yeah. It was just so we could see and go, oh.
• 1:15:40
  Speaker 2: Well, there's, again, they do that several times with him
• 1:15:45
  Speaker 2: not having his watch, looking for his watch, them focusing
• 1:15:49
  Speaker 2: on the.
• 1:15:49
  Speaker 9: Watch by the end. Like, they really, they want to
• 1:15:52
  Speaker 9: make sure you tie everything up here.
• 1:15:53
  Speaker 1: Yeah.
• 1:15:54
  Speaker 2: A little bit subtle, but at the same time, it's like,
• 1:15:56
  Speaker 2: don't forget to catch this.
• 1:15:59
  Speaker 9: They want to make sure you.
• 1:16:01
  Speaker 3: Piece it all together.
• 1:16:04
  Speaker 2: But they at least give you that shot so that
• 1:16:08
  Speaker 2: you go, oh, and that's, you know, what I guess
• 1:16:10
  Speaker 2: you're supposed to do in most of these movies.
• 1:16:13
  Speaker 3: Well, put it this way.
• 1:16:15
  Speaker 1: I think we're kind of not picking apart, but my
• 1:16:20
  Speaker 1: expectation level was very low.
• 1:16:25
  Speaker 3: You know, for the movie.
• 1:16:26
  Speaker 1: I think when I saw that Walter Matthau was going
• 1:16:28
  Speaker 1: to be the leading man in a heist movie, I thought, oh,
• 1:16:32
  Speaker 1: here we go.
• 1:16:33
  Speaker 3: It's going to be kind of funny, and we're going to,
• 1:16:35
  Speaker 3: you know... Blah, blah.
• 1:16:36
  Speaker 12: Yeah.
• 1:16:37
  Speaker 3: And, oh, it's hijinks, you know.
• 1:16:40
  Speaker 2: And it.
• 1:16:41
  Speaker 3: No, it was the opposite of that. It was very dark.
• 1:16:44
  Speaker 3: Low jinx. Low jinx.
• 1:16:47
  Speaker 1: Okay.
• 1:16:48
  Speaker 3: But that's why I... The whole flipping the air... I
• 1:16:51
  Speaker 3: don't know. It didn't work for me.
• 1:16:53
  Speaker 2: I mean, it's silly, but at the same time, it's
• 1:16:56
  Speaker 2: sort of like we need a wrap-up. We need a
• 1:16:59
  Speaker 2: grand finale. Again, if there's anything that's sort of movie-like,
• 1:17:03
  Speaker 2: we need some sort of finale. And we need a
• 1:17:05
  Speaker 2: way for him to pull something and trick the main
• 1:17:08
  Speaker 2: bad guy, which is what it becomes. So he can
• 1:17:11
  Speaker 2: finish this plan. that we've been working on since damn
• 1:17:14
  Speaker 2: near the opening scene.
• 1:17:15
  Speaker 10: It was a plot, but I think the thing that
• 1:17:17
  Speaker 10: made it all, put it over the top, was, like
• 1:17:20
  Speaker 10: you said, it was the little side characters and the
• 1:17:23
  Speaker 10: attention to details.
• 1:17:25
  Speaker 3: That didn't advance the plot.
• 1:17:28
  Speaker 10: That was the thing that strengthened what you might otherwise go, eh,
• 1:17:34
  Speaker 10: I don't know.
• 1:17:35
  Speaker 3: It was more real.
• 1:17:38
  Speaker 2: Well, and again, just setting stuff up, And then paying
• 1:17:43
  Speaker 2: off and knowing how to plot it and like slowly
• 1:17:46
  Speaker 2: sort of work in even stuff that was almost like
• 1:17:49
  Speaker 2: a joke. To me, the flipping the plane thing was
• 1:17:51
  Speaker 2: more of a functional one. But the one that was
• 1:17:54
  Speaker 2: more of just like a joke for the sake of
• 1:17:55
  Speaker 2: making a joke is when 15 minutes later after they
• 1:17:59
  Speaker 2: mentioned this, we get this big close up of the
• 1:18:01
  Speaker 2: yogurt sitting on the stoop. And I was like, okay,
• 1:18:04
  Speaker 2: that's just funny. And you set that up a long
• 1:18:07
  Speaker 2: time ago, and somebody not paying attention doesn't get that.
• 1:18:12
  Speaker 2: The fact that you put that shot in there isn't
• 1:18:13
  Speaker 2: going to register if you're not paying attention. And that
• 1:18:16
  Speaker 2: little detail kind of stuff is, to me, what makes
• 1:18:19
  Speaker 2: this movie.
• 1:18:20
  Speaker 3: She was great.
• 1:18:23
  Speaker 1: There were two bits of camera work that I thought
• 1:18:27
  Speaker 1: really caught my attention.
• 1:18:28
  Speaker 3: The one is when they're throwing the guns into the creek.
• 1:18:32
  Speaker 1: And they're very low, almost at water level, looking up
• 1:18:35
  Speaker 1: at them dropping it in. And then they get in
• 1:18:38
  Speaker 1: the car and drive off. And the camera pulls up, turns,
• 1:18:45
  Speaker 1: and follows them down the road. And it's a high,
• 1:18:47
  Speaker 1: high crane shot.
• 1:18:48
  Speaker 3: It had to have been.
• 1:18:50
  Speaker 1: And you don't know that it's a crane shot until
• 1:18:53
  Speaker 1: that moment, but it's so fluid, and it just, it's
• 1:18:59
  Speaker 1: not necessarily telling anything more, but to get those two
• 1:19:02
  Speaker 1: angles in one smooth transition was really amazing.
• 1:19:05
  Speaker 3: The other one is another transition.
• 1:19:07
  Speaker 1: The police, when they're surrounding the trailer, they start on
• 1:19:13
  Speaker 1: the far left and they start to pan. They pan
• 1:19:16
  Speaker 1: past 20 guys and they keep going and they pan
• 1:19:19
  Speaker 1: past the house and keep going to the right and
• 1:19:21
  Speaker 1: going and going.
• 1:19:22
  Speaker 3: It feels like they've had to have gone a full
• 1:19:25
  Speaker 3: circle around this thing. It gives you this... They could
• 1:19:29
  Speaker 3: show all the.
• 1:19:30
  Speaker 1: Cops lined up and everyone around in a circle or
• 1:19:35
  Speaker 1: Even from over top of that one, it was like,
• 1:19:38
  Speaker 1: I don't know, it just felt like, no, they really.
• 1:19:40
  Speaker 3: Do have this place surrounded. And they didn't need it,
• 1:19:43
  Speaker 3: and they didn't need the shot. And it probably was
• 1:19:45
  Speaker 3: just set up on a tripod, but it looked really
• 1:19:48
  Speaker 3: good to me.
• 1:19:50
  Speaker 2: It was a fun one for me. Was that Norman
• 1:19:52
  Speaker 2: Fell that was in the top? Yeah.
• 1:19:55
  Speaker 3: He was in that scene for.
• 1:19:56
  Speaker 2: That's the thing. They showed him in the credits, and
• 1:19:58
  Speaker 2: I was just like, oh, this is kind of interesting,
• 1:20:00
  Speaker 2: because I don't think I've seen him in anything else. Like,
• 1:20:02
  Speaker 2: I only know him as one character. So I'm like, okay,
• 1:20:06
  Speaker 2: I kind of want to see him, and especially do
• 1:20:07
  Speaker 2: some serious acting.
• 1:20:08
  Speaker 9: And he comes out and has, like, four lines, tops,
• 1:20:11
  Speaker 9: and disappears.
• 1:20:12
  Speaker 6: Yeah.
• 1:20:12
  Speaker 2: You never see him again.
• 1:20:14
  Speaker 3: He trips over some rocks.
• 1:20:15
  Speaker 9: It's like you never really get much out of him. That's,
• 1:20:18
  Speaker 9: I guess, one of the.
• 1:20:19
  Speaker 2: Few side characters that doesn't fully deliver.
• 1:20:23
  Speaker 10: He was kind of like the Three's Company landlord also
• 1:20:28
  Speaker 10: in The Graduate.
• 1:20:29
  Speaker 3: He was the landlord that hated.
• 1:20:30
  Speaker 2: It's been so long since I've seen that, yeah.
• 1:20:33
  Speaker 3: He was like, I want you out of here, Dick Shinnerick.
• 1:20:38
  Speaker 3: He was great.
• 1:20:40
  Speaker 10: And it's so funny to see him in The Graduate
• 1:20:44
  Speaker 10: after seeing him being.
• 1:20:46
  Speaker 3: Mr. Roper.
• 1:20:46
  Speaker 2: Yeah.
• 1:20:49
  Speaker 3: Yeah, I couldn't.
• 1:20:50
  Speaker 10: Really remember if he was like the original and was
• 1:20:53
  Speaker 10: replaced by Don Knotts.
• 1:20:55
  Speaker 2: Nobody can ever get that straight. Which is funny, because
• 1:20:57
  Speaker 2: I've said several people have tried to make it the
• 1:21:00
  Speaker 2: other way, and I, being the dork that I am,
• 1:21:02
  Speaker 2: constantly correct them and go, no, the Ropers were first.
• 1:21:06
  Speaker 2: The Ropers left when they got their own spinoff show,
• 1:21:08
  Speaker 2: which failed after one season, if that much. And then
• 1:21:11
  Speaker 2: they brought in Mr. Furley, who was equally as entertaining,
• 1:21:14
  Speaker 2: if not a little more so, really.
• 1:21:16
  Speaker 1: Yeah, which one do you put down as the one
• 1:21:19
  Speaker 1: that was the better of the two? Mr.
• 1:21:22
  Speaker 9: Furley's more entertaining, I'm sorry.
• 1:21:23
  Speaker 1: I mean, Mr.
• 1:21:24
  Speaker 2: Roper had his moments, he's funny, but Helen's kind of annoying,
• 1:21:27
  Speaker 2: I hate to say it.
• 1:21:29
  Speaker 1: Mr.
• 1:21:30
  Speaker 2: Furley's just, he's over the top, but at this point,
• 1:21:33
  Speaker 2: you're watching through his company. You're not looking for subtlety
• 1:21:36
  Speaker 2: in the plot here, so you can go along with Mr. Furley,
• 1:21:39
  Speaker 2: but No offense to Norman Feld. So, but yeah, on
• 1:21:43
  Speaker 2: the camera work stuff, I mean, yeah, Don Siegel's done
• 1:21:46
  Speaker 2: some amazing stuff. And I kind of, there's a couple
• 1:21:49
  Speaker 2: others of his I kind of want to look at.
• 1:21:52
  Speaker 2: One in particular and one amazing camera shot. So it's
• 1:21:55
  Speaker 2: like he's got stuff in him that he can just
• 1:21:57
  Speaker 2: shoot competent scenes and do stuff that's like a really
• 1:22:01
  Speaker 2: well put together action scene. And then he's also got
• 1:22:04
  Speaker 2: it in him to turn around and do something really
• 1:22:06
  Speaker 2: arty and like really like amazing that you can tell
• 1:22:09
  Speaker 2: he worked out way ahead of time in his head
• 1:22:12
  Speaker 2: that this is what I want. Now, how the hell
• 1:22:15
  Speaker 2: can I even physically put this shot together?
• 1:22:18
  Speaker 9: And yeah, he's, he's got those moments.
• 1:22:20
  Speaker 1: And the crane shot of the Creek, I don't know
• 1:22:22
  Speaker 1: how they, where they positioned that because it comes up
• 1:22:27
  Speaker 1: and it turns back on itself on a high shot.
• 1:22:29
  Speaker 1: And I don't, It must have been to the left
• 1:22:32
  Speaker 1: of the camera, and they must have been hanging over,
• 1:22:35
  Speaker 1: but it was.
• 1:22:38
  Speaker 3: Really well done. And for me to take notice, it
• 1:22:42
  Speaker 3: had to have been really well done.
• 1:22:44
  Speaker 18: At the beginning of the movie, what it reminded me
• 1:22:47
  Speaker 18: of and what I expected with Alter Matthau and the
• 1:22:52
  Speaker 18: opening sequence, I remember a movie maybe around that time called.
• 1:22:58
  Speaker 3: The Doberman Gang. I know the title, yeah.
• 1:23:02
  Speaker 10: And about the same time there was another movie I
• 1:23:04
  Speaker 10: remember liking a lot called Day of the Dolphin.
• 1:23:07
  Speaker 3: That's George C. Scott?
• 1:23:09
  Speaker 10: Those were like 70s movies. And so I was telling
• 1:23:11
  Speaker 10: my wife about like the Doberman gang. I remember it vividly.
• 1:23:16
  Speaker 10: These guys go out and they train these Doberman dogs
• 1:23:20
  Speaker 10: to like rob a bank.
• 1:23:22
  Speaker 3: So they're nowhere near the bank when the dogs go
• 1:23:25
  Speaker 3: in there going through the amazing duct work that always
• 1:23:29
  Speaker 3: exists at and stuff like that, and you're really rooting
• 1:23:32
  Speaker 3: for the dogs.
• 1:23:34
  Speaker 10: You know, you really get caught up, and one of
• 1:23:35
  Speaker 10: them gets stuck, and it's like, get the money and
• 1:23:39
  Speaker 10: get out of there. And, you know, it has that
• 1:23:41
  Speaker 10: old school 70s, you're rooting for the bad guys. And
• 1:23:46
  Speaker 10: she said, and what was Day of the Dolphin about?
• 1:23:48
  Speaker 10: And I said, well, that's where they train dolphins to
• 1:23:51
  Speaker 10: rob a bank. She said, how did they get them
• 1:23:53
  Speaker 10: out of the state?
• 1:23:56
  Speaker 9: Never mind.
• 1:23:58
  Speaker 10: I don't really remember what it was about. It was
• 1:24:00
  Speaker 10: like Flipper or something. Dolphins could talk or something.
• 1:24:05
  Speaker 3: I don't know.
• 1:24:06
  Speaker 2: I think you're confusing this with a different movie.
• 1:24:09
  Speaker 3: Yeah.
• 1:24:09
  Speaker 2: It's where George C. Scott builds a brand new tail
• 1:24:12
  Speaker 2: for a dolphin that falls.
• 1:24:13
  Speaker 9: It's a heartwarming tale.
• 1:24:15
  Speaker 3: It teaches it how to jump, right?
• 1:24:19
  Speaker 2: Once again and saves its life.
• 1:24:21
  Speaker 10: It's the adventures of young Moby Dick.
• 1:24:26
  Speaker 1: You know, every fucking movie is based on a true story. Yeah,
• 1:24:29
  Speaker 1: people fucking exist.
• 1:24:31
  Speaker 2: Loosely based on the existence of people.
• 1:24:34
  Speaker 3: I fucking hate based on a true story. Yeah, I
• 1:24:37
  Speaker 3: do too.
• 1:24:38
  Speaker 10: And I remember being like so conflicted when Fargo came out.
• 1:24:43
  Speaker 3: And it's like this is based on.
• 1:24:47
  Speaker 3: And I only felt better about it when I found
• 1:24:50
  Speaker 3: out it was just a total lie.
• 1:24:51
  Speaker 2: It's like, okay then, I can respect that.
• 1:24:56
  Speaker 9: That makes it better.
• 1:24:56
  Speaker 3: If you're just.
• 1:24:57
  Speaker 10: Saying that so that people will buy into it just.
• 1:25:01
  Speaker 3: A little bit more, they'll go, really, this really happened.
• 1:25:04
  Speaker 1: I'm going to write a complete fantasy sci-fi adventure, and
• 1:25:09
  Speaker 1: I'm going to say that it's based on a true story.
• 1:25:12
  Speaker 2: Yeah. Well, I mean, there have been those. What was
• 1:25:15
  Speaker 2: the fourth kind? Or what was the one that just
• 1:25:17
  Speaker 2: came out with Mila that's all about aliens coming down
• 1:25:21
  Speaker 2: and it's all based on.
• 1:25:22
  Speaker 3: A true story?
• 1:25:23
  Speaker 2: Nice.
• 1:25:23
  Speaker 3: I like that.
• 1:25:25
  Speaker 2: It's all like verite footage and like security camera footage
• 1:25:29
  Speaker 2: of what's in its recreations of what supposedly actually happened.
• 1:25:34
  Speaker 2: And I'm just like, we can turn anything into based
• 1:25:37
  Speaker 2: on a true story now.
• 1:25:38
  Speaker 3: People exist. There's your base. Now move on.
• 1:25:40
  Speaker 1: Yeah.
• 1:25:42
  Speaker 2: Hello?
• 1:25:44
  Speaker 3: Hello? Hello, this is Sybil.
• 1:25:47
  Speaker 6: How pleasant to hear your voice, Miss Fort. I assume
• 1:25:50
  Speaker 6: this call is important?
• 1:25:51
  Speaker 11: If you consider three quarters of a million dollars important.
• 1:25:56
  Speaker 6: What about it?
• 1:25:58
  Speaker 3: I have a gentleman here who wants to give it
• 1:26:00
  Speaker 3: back to you.
• 1:26:03
  Speaker 6: Is he alone?
• 1:26:04
  Speaker 3: Yes, he's alone. Put him on.
• 1:26:06
  Speaker 6: Thank you.
• 1:26:12
  Speaker 2: Hello, Boyle. Who is this?
• 1:26:14
  Speaker 3: Charlie Berry.
• 1:26:15
  Speaker 12: I got something I want to get back to you.
• 1:26:19
  Speaker 3: How is it packaged?
• 1:26:20
  Speaker 12: In two canvas and leather bags with the name stenciled
• 1:26:22
  Speaker 12: on the front.
• 1:26:24
  Speaker 6: So give them back.
• 1:26:25
  Speaker 3: What's the problem?
• 1:26:25
  Speaker 12: The problem is the big gorilla in the maroon car
• 1:26:28
  Speaker 12: is trying to kill me.
• 1:26:30
  Speaker 6: I'm listening.
• 1:26:31
  Speaker 12: Well, I want your word that once these bags are
• 1:26:34
  Speaker 12: delivered to your hand, that's the end of it.
• 1:26:35
  Speaker 3: No reprisals.
• 1:26:38
  Speaker 6: Alone, no hitman.
• 1:26:39
  Speaker 2: So before we get too far, we've gone through most
• 1:26:42
  Speaker 2: of the cast, but I don't want to leave John
• 1:26:44
  Speaker 2: Vernon out. You mentioned him, but again, watching, it's sort
• 1:26:48
  Speaker 2: of that same, like, Walter Matthau, Norman Fell, it's like
• 1:26:52
  Speaker 2: all these guys. Later, at least most of us ended
• 1:26:56
  Speaker 2: up knowing them for their comedic persona.
• 1:26:59
  Speaker 3: Right.
• 1:26:59
  Speaker 2: So getting to watch him do serious... was kind of awesome.
• 1:27:04
  Speaker 2: Like it's one of those, I think there's a reason.
• 1:27:06
  Speaker 2: And you look at him, it's in, you know, animal
• 1:27:08
  Speaker 2: house is what most people are always going to know
• 1:27:10
  Speaker 2: him for. And he's awesome in that. And I think
• 1:27:13
  Speaker 2: the reason he works so well is kind of because
• 1:27:16
  Speaker 2: he can do serious. I was, I was thinking about his,
• 1:27:20
  Speaker 2: him is almost like that comparison of Leslie Nielsen. It's
• 1:27:23
  Speaker 2: like the reason Leslie Nielsen was so funny. The first
• 1:27:26
  Speaker 2: time we saw him in airplane was It's because he'd
• 1:27:28
  Speaker 2: done years of this serious work, where he really.
• 1:27:32
  Speaker 3: He was only part of his plan.
• 1:27:33
  Speaker 2: He really was.
• 1:27:34
  Speaker 10: He spent the last 10 years developing an immunity to.
• 1:27:38
  Speaker 3: What was it?
• 1:27:38
  Speaker 2: Iocane powder.
• 1:27:39
  Speaker 3: Iocane powder, yeah.
• 1:27:42
  Speaker 2: So yeah, it's like, I think that's why he works
• 1:27:44
  Speaker 2: so well, because you buy him as this really, you know,
• 1:27:48
  Speaker 2: somber character in all these other movies, and then you
• 1:27:51
  Speaker 2: get to something silly, and you're like, he's going to
• 1:27:53
  Speaker 2: be the butt of these jokes so well because he
• 1:27:57
  Speaker 2: can play it that straight.
• 1:27:58
  Speaker 3: It was all built up to Dracula getting loving. Oh,
• 1:28:02
  Speaker 3: never mind then.
• 1:28:03
  Speaker 2: I take it all back.
• 1:28:04
  Speaker 3: He had that in him 40 years ago.
• 1:28:06
  Speaker 10: Yeah.
• 1:28:09
  Speaker 2: Never mind. I'll replace him in Forbidden Planet. But no,
• 1:28:15
  Speaker 2: John Vernon in this is, like, he plays it really well.
• 1:28:19
  Speaker 2: He can play that jackass in a suit role pretty well,
• 1:28:23
  Speaker 2: but then you get the scene where he's talking about cows,
• 1:28:26
  Speaker 2: and it's a weird scene, I'll give you, but at
• 1:28:28
  Speaker 2: the same time, I kind of buy him as this guy.
• 1:28:31
  Speaker 2: He sort of unfolds this other layer to this character,
• 1:28:36
  Speaker 2: and you're like, okay, like maybe he's you know he's
• 1:28:39
  Speaker 2: he's in a bad situation but he's not really the
• 1:28:42
  Speaker 2: villain in this you know it's like and there aren't
• 1:28:44
  Speaker 2: any other i mean joe don baker ends up being
• 1:28:46
  Speaker 2: the villain all the other guys kind of feel like
• 1:28:48
  Speaker 2: they're just stuck in a real bad place the bank
• 1:28:51
  Speaker 2: manager and the they're in the john vernon's character and
• 1:28:54
  Speaker 2: it's like all these guys in the middle.
• 1:28:56
  Speaker 9: Just kind of feel like What have we gotten ourselves into?
• 1:29:00
  Speaker 2: Like, this was a good deal when nothing was going wrong,
• 1:29:03
  Speaker 2: and now everything's falling through and we're all screwed.
• 1:29:07
  Speaker 1: You know, John Vernon's character, that scene, the way he
• 1:29:10
  Speaker 1: climbs up on the fence, the way he's helping the
• 1:29:16
  Speaker 1: bank manager, like, you really got to get out of this,
• 1:29:20
  Speaker 1: and I've got to help you do this. He really
• 1:29:22
  Speaker 1: is the most....
• 1:29:25
  Speaker 3: The character that you want to know more about.
• 1:29:27
  Speaker 1: He's very layered. How did he get into it? Why
• 1:29:32
  Speaker 1: is his secretary calling him a bastard? He's even philosophical
• 1:29:37
  Speaker 1: in how he's... It's like, look at these cows. They
• 1:29:41
  Speaker 1: have a perfect life.
• 1:29:42
  Speaker 3: And.
• 1:29:44
  Speaker 3: He's the only one that really stops and reflects.
• 1:29:47
  Speaker 2: Yeah. I mean, everybody else is just a heartless bastard
• 1:29:50
  Speaker 2: and continues, even our quote-unquote hero of the movie.
• 1:29:53
  Speaker 10: Yeah, that's why it's so shocking the way he dies.
• 1:29:57
  Speaker 3: It's like, whoa.
• 1:29:59
  Speaker 10: It's like the guy in No Country for Old Men.
• 1:30:02
  Speaker 10: You're so invested in him at this point. And he
• 1:30:06
  Speaker 10: just dies like that?
• 1:30:07
  Speaker 11: Really?
• 1:30:08
  Speaker 3: Do you even see him die? No, you don't see
• 1:30:10
  Speaker 3: him die.
• 1:30:11
  Speaker 10: And a lot of people were like, really thought that
• 1:30:14
  Speaker 10: wasn't fair in a way, like he had earned a
• 1:30:16
  Speaker 10: death sentence so brutal that, no, he's just dead now.
• 1:30:21
  Speaker 2: And again, as you get into this plot, as it
• 1:30:25
  Speaker 2: unfolds with him, you do kind of wonder, well, what
• 1:30:27
  Speaker 2: the hell was going on? And they never really... Who
• 1:30:31
  Speaker 2: was in on it? Like, we never get to that point.
• 1:30:33
  Speaker 2: Why was it that these nobody bank thieves happened to
• 1:30:37
  Speaker 2: hit on the one day when all this mob money's
• 1:30:40
  Speaker 2: in there being laundered? And, like, again, you keep expecting
• 1:30:44
  Speaker 2: for that to sort of be, you know, revealed at
• 1:30:47
  Speaker 2: some point, and they're just, no. You kind of end
• 1:30:49
  Speaker 2: up like... the the main character it's like you're stuck
• 1:30:53
  Speaker 2: with this plot and you deal with it and you
• 1:30:55
  Speaker 2: don't really ever know how it got like that you
• 1:30:57
  Speaker 2: just follow through with it and that's kind of what
• 1:31:00
  Speaker 2: we're left with.
• 1:31:00
  Speaker 1: The highest ranking bad guy you get is honest john
• 1:31:03
  Speaker 1: and he's not even fully aware of anything they that
• 1:31:07
  Speaker 1: exists as the mob never surfaces at all.
• 1:31:11
  Speaker 2: Passing things down the line yeah that's You can call
• 1:31:14
  Speaker 2: me at this number.
• 1:31:16
  Speaker 9: Yeah, this is a safe place.
• 1:31:18
  Speaker 2: Like, everything is so coded.
• 1:31:21
  Speaker 3: Some central office to report where he is.
• 1:31:24
  Speaker 9: For a minute, yeah.
• 1:31:25
  Speaker 3: Who knows what that is?
• 1:31:27
  Speaker 2: Yeah.
• 1:31:28
  Speaker 3: I like that mystery. Because it's like Inspector Gadget. If
• 1:31:32
  Speaker 3: they actually showed Claw's face, it ruins everything. You don't
• 1:31:36
  Speaker 3: want to know who's in charge.
• 1:31:37
  Speaker 2: And that's another one of those, like, characters that we
• 1:31:40
  Speaker 2: just get a glimpse of.
• 1:31:41
  Speaker 3: But, like.
• 1:31:42
  Speaker 9: What's going on there?
• 1:31:43
  Speaker 2: Like, why don't we have a whole other movie about
• 1:31:45
  Speaker 2: this guy and his crazy underground ping pong ring?
• 1:31:51
  Speaker 9: We go through all this, like.
• 1:31:52
  Speaker 19: secret door and underground society and they're playing ping pong
• 1:31:57
  Speaker 19: for money and he's good but i was just like
• 1:32:01
  Speaker 19: what an odd thing like i i get the gambling
• 1:32:03
  Speaker 19: tables like that feels very like underground gambling world but
• 1:32:08
  Speaker 19: we've got.
• 1:32:09
  Speaker 9: Ping pong going on in the middle of it.
• 1:32:10
  Speaker 2: I was just like this is a weird movie.
• 1:32:13
  Speaker 1: Yeah i thought they were going to when they when
• 1:32:18
  Speaker 1: he goes through From that ping pong table and into
• 1:32:22
  Speaker 1: his office behind the glass windows. For a second, they
• 1:32:28
  Speaker 1: linger with the two of them in the office. And
• 1:32:30
  Speaker 1: I think the door is even closing. And I was like, oh,
• 1:32:32
  Speaker 1: are they going to shoot this scene? Like you can
• 1:32:36
  Speaker 1: see them working it out, but we can't hear it.
• 1:32:39
  Speaker 1: We're out in the other room. I would love to
• 1:32:41
  Speaker 1: have seen something like that. And maybe I've even seen
• 1:32:44
  Speaker 1: it in another movie.
• 1:32:45
  Speaker 2: I've seen stuff do that, yeah.
• 1:32:47
  Speaker 1: Because it didn't matter what happened in that scene. It
• 1:32:51
  Speaker 1: didn't matter what they said. You knew that he was
• 1:32:53
  Speaker 1: going to get his orders. He was going to go out,
• 1:32:55
  Speaker 1: you know.
• 1:32:55
  Speaker 3: Whatever was going to happen.
• 1:32:56
  Speaker 1: They could have just closed that door, let it stay silent,
• 1:32:59
  Speaker 1: frustrate the viewer, maybe listen in on some ping pong
• 1:33:03
  Speaker 1: or something, and move on with the story.
• 1:33:06
  Speaker 3: I was hoping for that moment.
• 1:33:07
  Speaker 9: I was like, oh, here it comes here.
• 1:33:08
  Speaker 3: Oh, they're going to go inside. Yeah.
• 1:33:11
  Speaker 10: In a way, I mean, you can so see the
• 1:33:13
  Speaker 10: influence of this kind of style on Tarantino, but the
• 1:33:18
  Speaker 10: logic of the plot and the mystery in it reminds
• 1:33:22
  Speaker 10: me a lot of the Coen brothers' kind of standard plot.
• 1:33:26
  Speaker 2: Very basic.
• 1:33:27
  Speaker 10: Nobody in the movie knows what's going on.
• 1:33:31
  Speaker 3: Just the eye of the camera is holding it all together.
• 1:33:34
  Speaker 10: And sometimes it gets almost like they're too... I don't know,
• 1:33:40
  Speaker 10: two on top of that kind of structure, like in
• 1:33:43
  Speaker 10: Burn After Reading where you get to the end of
• 1:33:45
  Speaker 10: it and it's like, well, I guess we learned not
• 1:33:49
  Speaker 10: to do that again, although it's hard to say exactly
• 1:33:54
  Speaker 10: what it was because nobody.
• 1:33:56
  Speaker 3: Really knew what was going on.
• 1:33:58
  Speaker 10: Everybody's from their own angle and nobody communicates well enough
• 1:34:04
  Speaker 10: to have any sense of how it all fits together.
• 1:34:07
  Speaker 1: The only thing that ended up happening in that entire
• 1:34:10
  Speaker 1: movie is a pretty cool sex toy got made. That
• 1:34:13
  Speaker 1: was the only thing that actually manifested or progressed in
• 1:34:17
  Speaker 1: that movie.
• 1:34:18
  Speaker 9: Other than people dying.
• 1:34:19
  Speaker 2: That's the difference. The Coen brothers are usually a very
• 1:34:23
  Speaker 2: straightforward plot.
• 1:34:24
  Speaker 9: It doesn't change much.
• 1:34:26
  Speaker 2: You get a very simple plot and then crazy characters
• 1:34:29
  Speaker 2: and crazy situations that happen because of that. But the
• 1:34:33
  Speaker 2: plot's usually really where you get Tarantino is.
• 1:34:36
  Speaker 9: A very complicated plot. And you've got all.
• 1:34:38
  Speaker 2: This other stuff going on that gets tied into it.
• 1:34:42
  Speaker 2: And again, sometimes scenarios that come back and forth in
• 1:34:45
  Speaker 2: time and end up tying the same big complicated plot.
• 1:34:49
  Speaker 2: So it is a very different take on it. But
• 1:34:53
  Speaker 2: it's funny you said the influence... is definitely there. Did
• 1:34:57
  Speaker 2: you notice the line?
• 1:34:58
  Speaker 9: Yeah. I, yeah.
• 1:35:00
  Speaker 2: As soon as I, yeah, it was just like, he
• 1:35:02
  Speaker 2: just straight up stole that. I know.
• 1:35:04
  Speaker 3: That's what I said. I was like, what did I
• 1:35:07
  Speaker 3: not know about?
• 1:35:08
  Speaker 2: Yeah.
• 1:35:09
  Speaker 3: Yeah.
• 1:35:10
  Speaker 2: That's the, and that's, it's funny. Cause yeah, you can see,
• 1:35:13
  Speaker 2: you know, young Tarantino sitting in a video store with
• 1:35:16
  Speaker 2: this running in the background going, huh? And it just, yeah,
• 1:35:19
  Speaker 2: you can see him, lifting things from different places like
• 1:35:23
  Speaker 2: he does. And granted, he does it in a cool
• 1:35:25
  Speaker 2: and original way, but he will.
• 1:35:27
  Speaker 3: He doesn't overdo it.
• 1:35:28
  Speaker 2: He will straight up take stuff out and repurpose it
• 1:35:32
  Speaker 2: and shove it into his own plot. And yeah, that
• 1:35:35
  Speaker 2: is just a line that is almost word for word
• 1:35:38
  Speaker 2: taken out of a different movie.
• 1:35:40
  Speaker 3: He steals all the time.
• 1:35:41
  Speaker 1: He steals so much in all of his movies, but
• 1:35:44
  Speaker 1: he does it so well, and it's not.
• 1:35:47
  Speaker 3: It's an homage. It's not.
• 1:35:48
  Speaker 2: ripping yeah it's not yeah and that's why because like
• 1:35:51
  Speaker 2: i said it's not like he steals it and rips
• 1:35:53
  Speaker 2: it off he repurposes it everything like everything is from
• 1:35:57
  Speaker 2: something else but then taken and used here an entirely
• 1:36:00
  Speaker 2: different way in a different form and i mean he
• 1:36:03
  Speaker 2: he just finds a new way to do it yeah
• 1:36:06
  Speaker 2: but taking from these old basic stories that you know
• 1:36:09
  Speaker 2: he was sitting around watching in his video store back
• 1:36:12
  Speaker 2: in the day I.
• 1:36:13
  Speaker 1: Heard that line and I thought, I know nothing. It's
• 1:36:17
  Speaker 1: one of those things like, I'm learning stuff that occurred
• 1:36:22
  Speaker 1: in the past. That's a line that the average dumb
• 1:36:26
  Speaker 1: jock that saw that movie was still quoting five years.
• 1:36:30
  Speaker 2: Ago and probably still quotes this again.
• 1:36:32
  Speaker 3: Still today. Yeah. And have no clue where it came from.
• 1:36:37
  Speaker 2: I didn't know.
• 1:36:37
  Speaker 9: And as big a geeks as we are, we hadn't
• 1:36:39
  Speaker 9: watched this either. So we didn't even know where he
• 1:36:41
  Speaker 9: stole it from.
• 1:36:42
  Speaker 11: So.
• 1:36:43
  Speaker 2: Yeah, it does open up that door that's like, and
• 1:36:46
  Speaker 2: why I want to find these movies and track them
• 1:36:48
  Speaker 2: down and be like, what else haven't I seen?
• 1:36:51
  Speaker 1: I know.
• 1:36:51
  Speaker 3: And I need to see, and.
• 1:36:53
  Speaker 2: There's so much.
• 1:36:54
  Speaker 3: I love being put in my place.
• 1:36:56
  Speaker 2: Well, I don't even, I love learning new stuff and
• 1:36:59
  Speaker 2: finding new films.
• 1:37:01
  Speaker 9: Same thing.
• 1:37:02
  Speaker 3: Yeah. Oh, now I've got more things, more onion layers
• 1:37:06
  Speaker 3: to peel.
• 1:37:07
  Speaker 2: Yeah, I never think I'm that geek that has seen
• 1:37:09
  Speaker 2: everything and knows everything. Oh, yeah. I'm the opposite.
• 1:37:11
  Speaker 9: I'm always like, there's so much I still need to see.
• 1:37:14
  Speaker 2: And I always feel like there's so much more I
• 1:37:17
  Speaker 2: need to track down and get around to watch. And yeah, it's,
• 1:37:22
  Speaker 2: I love finding stuff like this. That's just, even if
• 1:37:25
  Speaker 2: it's not amazing, even if it's not the best movie ever,
• 1:37:28
  Speaker 2: it just adds a whole new layer. Like you were
• 1:37:31
  Speaker 2: saying to the whole movie realm. And it's like, it's,
• 1:37:34
  Speaker 2: it's a whole nother just entry into that, that yeah,
• 1:37:37
  Speaker 2: I really like having in there. Anything else? Other than
• 1:37:41
  Speaker 2: this is one of those that the opening shot is
• 1:37:44
  Speaker 2: the final shot.
• 1:37:46
  Speaker 3: Yeah.
• 1:37:46
  Speaker 2: And this was one I kind of liked it because
• 1:37:48
  Speaker 2: to me it left that in the beginning. I'm like,
• 1:37:51
  Speaker 2: what the hell is that? And why are we doing that?
• 1:37:55
  Speaker 2: I don't know.
• 1:37:57
  Speaker 3: Amounts of money.
• 1:38:01
  Speaker 2: Well, that changes so much as time goes on.
• 1:38:04
  Speaker 3: And what was that license plate? VOH20. VOH20. What was
• 1:38:10
  Speaker 3: that trying to say?
• 1:38:11
  Speaker 10: His license plate on the car was something like VOH20.
• 1:38:15
  Speaker 10: That's probably a quote of some other thing.
• 1:38:19
  Speaker 2: I'm sure that's a reference to something even older that
• 1:38:23
  Speaker 2: this director is making. It's funny how much it gets
• 1:38:26
  Speaker 2: passed down the line that this director's doing an homage
• 1:38:29
  Speaker 2: to this director and this director's doing it to this
• 1:38:31
  Speaker 2: guy and didn't know he was stealing from this guy.
• 1:38:34
  Speaker 3: I think that's in the Maccabees.
• 1:38:35
  Speaker 2: Yeah.
• 1:38:37
  Speaker 3: It will be.
• 1:38:41
  Speaker 2: Oh, the only other thing I was going to go
• 1:38:43
  Speaker 2: into is what the director originally wanted to be the title,
• 1:38:48
  Speaker 2: The Last of the Independents. So I thought that was,
• 1:38:52
  Speaker 2: that's very telling of the time. It really, and the
• 1:38:56
  Speaker 2: fact that they bothered to bring that little story in
• 1:38:58
  Speaker 2: of how, you know, the big companies came in and
• 1:39:01
  Speaker 2: took him over. And they sort of use it as
• 1:39:04
  Speaker 2: a way of telling the kind of character that Charlie is.
• 1:39:07
  Speaker 2: But it's also sort of this little commentary on the
• 1:39:10
  Speaker 2: way the world was going. And it's really interesting to
• 1:39:12
  Speaker 2: look at it now, considering this is 73, versus, you know,
• 1:39:16
  Speaker 2: where the world has gone to at this point.
• 1:39:18
  Speaker 10: Mm-hmm.
• 1:39:20
  Speaker 3: The name does no good. The name that it has
• 1:39:25
  Speaker 3: does nothing for them.
• 1:39:26
  Speaker 2: Yeah, it's funny that I think the studio probably wanted
• 1:39:29
  Speaker 2: to change it. They didn't like Last of the Independents,
• 1:39:31
  Speaker 2: which I think that's something I would have sought out
• 1:39:35
  Speaker 2: before Charlie. Yeah.
• 1:39:37
  Speaker 3: Probably, the studio probably thought, oh, that's a slap in
• 1:39:41
  Speaker 3: our face. Okay.
• 1:39:43
  Speaker 2: It could be. But, yeah, I mean, Charlie Varick does
• 1:39:46
  Speaker 2: not really make you want to run out and see
• 1:39:48
  Speaker 2: this movie.
• 1:39:48
  Speaker 11: No.
• 1:39:49
  Speaker 10: Let's see, what was going on in the 70s? The
• 1:39:51
  Speaker 10: name Charlie had certain popularity. I think it was the
• 1:39:57
  Speaker 10: perfume that all the 7th grade girls wore. Charlie! It's
• 1:40:02
  Speaker 10: still coming off of Vietnam.
• 1:40:04
  Speaker 9: Yeah, which they mention.
• 1:40:06
  Speaker 2: They do work in that nice little Vietnamese reference. Right
• 1:40:11
  Speaker 2: off the bat again, you get Andrew doing a nice little...
• 1:40:14
  Speaker 2: Which gives you a little window into his character for that, too.
• 1:40:17
  Speaker 2: He's just... dim-witted too. He's the other version. He's even
• 1:40:22
  Speaker 2: more dim-witted than Joe Don Baker, which is why he
• 1:40:25
  Speaker 2: ends up the way that he does.
• 1:40:27
  Speaker 9: Yeah, which I have to give the.
• 1:40:30
  Speaker 2: Director credit for seeing that in him because he so
• 1:40:33
  Speaker 2: doesn't play that in his first movie, but seeing it
• 1:40:36
  Speaker 2: in him to be able to play this guy who
• 1:40:38
  Speaker 2: is sort of underhanded, but at the same time kind
• 1:40:41
  Speaker 2: of simple and doesn't even realize how much You know,
• 1:40:45
  Speaker 2: he's robbing from people, but he's also getting one put
• 1:40:48
  Speaker 2: over on him pretty early on and completely unaware of it.
• 1:40:52
  Speaker 3: He gets the shit beat out of him, though, doesn't he? Yeah.
• 1:40:56
  Speaker 2: And doesn't even put up a fight. Like, doesn't even
• 1:40:58
  Speaker 2: get a shot in at all. Like, it really is just.
• 1:41:02
  Speaker 9: Horrible for him.
• 1:41:03
  Speaker 10: Yeah, Lin was ready for him to get this shit
• 1:41:06
  Speaker 10: beat out of him. He was, like, really getting on
• 1:41:08
  Speaker 10: her nerves.
• 1:41:09
  Speaker 3: He was a bit of a turd, wasn't he? Yeah.
• 1:41:11
  Speaker 2: He's not a likable character in this, which is.
• 1:41:14
  Speaker 3: And he just completely lacks cool. Yeah, definitely. I mean,
• 1:41:18
  Speaker 3: he was just so... It's like, just shut up.
• 1:41:20
  Speaker 10: Just be cool for, like, five seconds, and now he
• 1:41:25
  Speaker 10: couldn't do it.
• 1:41:26
  Speaker 3: He's whiny. Yeah.
• 1:41:28
  Speaker 2: Which is, again, like, that we... work Andrew into this,
• 1:41:31
  Speaker 2: it's like it's funny how different he is and how
• 1:41:34
  Speaker 2: different his other roles as his career goes on. He's
• 1:41:37
  Speaker 2: actually usually like a very calm, collected kind of a
• 1:41:41
  Speaker 2: character and becomes that type of character as the years
• 1:41:45
  Speaker 2: go on. So it's funny to watch him do this,
• 1:41:47
  Speaker 2: especially as young as he is. It's like you see
• 1:41:49
  Speaker 2: him as this inexperienced kid and maybe that's why he
• 1:41:52
  Speaker 2: can pull it off so well, but at the same time,
• 1:41:55
  Speaker 2: It's just weird because it's very different than how he
• 1:41:58
  Speaker 2: probably got typecast years later as he started working. Yeah.
• 1:42:03
  Speaker 3: I know one thing.
• 1:42:04
  Speaker 1: I have to go back and I stumbled on a
• 1:42:07
  Speaker 1: quote looking at Siegel's list of movies and just a refresher.
• 1:42:12
  Speaker 1: I'm like, okay, I've got to educate myself more. And
• 1:42:14
  Speaker 1: he had a quote that said, I guess somebody was
• 1:42:18
  Speaker 1: asking him about inspiration or how he sees his work
• 1:42:22
  Speaker 1: or something like that.
• 1:42:23
  Speaker 3: He says.
• 1:42:25
  Speaker 3: I just did it for the money. I'm just a whore.
• 1:42:28
  Speaker 3: I was like, that opened a new door. I'm going
• 1:42:31
  Speaker 3: to have to check out.
• 1:42:33
  Speaker 2: Well, again, for the type of movies that he made
• 1:42:35
  Speaker 2: and for the amount of movies he was working, I
• 1:42:38
  Speaker 2: can see him having that aspect of himself. He's like,
• 1:42:41
  Speaker 2: I am part of the Hollywood system and this is
• 1:42:44
  Speaker 2: what I do. This is my job. But again, you
• 1:42:47
  Speaker 2: get those moments of no, there's an artist in there.
• 1:42:50
  Speaker 2: You can see when he wants to do something above
• 1:42:54
  Speaker 2: and beyond just a normal regular run-of-the-mill kind of movie.
• 1:42:58
  Speaker 1: I watched Dirty Harry as a kid because it's the
• 1:43:03
  Speaker 1: It's like some of the young kids.
• 1:43:05
  Speaker 3: Now, I've got to watch Scarface. That whole thing. I
• 1:43:11
  Speaker 3: assume I know what's going on in that movie.
• 1:43:15
  Speaker 2: That's the thing. I recently went back and that's why
• 1:43:17
  Speaker 2: I kind of have it on the list tentatively if
• 1:43:20
  Speaker 2: you guys are up for it. Some of it for
• 1:43:24
  Speaker 2: both of those because Don Siegel does some interesting stuff
• 1:43:27
  Speaker 2: in it and Andrew's in that one too and does
• 1:43:30
  Speaker 2: a really different version of Yeah. So going back, again,
• 1:43:34
  Speaker 2: I kind of watched it as a kid, I thought,
• 1:43:36
  Speaker 2: but I didn't remember a lot of it. And going
• 1:43:39
  Speaker 2: back and watching it, it's a different movie. So I'd
• 1:43:42
  Speaker 2: be interested to go back and watch that somewhere down
• 1:43:44
  Speaker 2: the line. So if you were up for it, yeah,
• 1:43:47
  Speaker 2: I think Don Siegel's got some interesting stuff to throw
• 1:43:50
  Speaker 2: out there.
• 1:43:51
  Speaker 3: Me? Watch a movie? Yeah.
• 1:43:53
  Speaker 2: Every once in a while we do.
• 1:43:54
  Speaker 9: You know.
• 1:43:56
  Speaker 2: So anything else for the last of the independents here?
• 1:44:00
  Speaker 3: No, I'm You're just going to give it the original
• 1:44:03
  Speaker 3: title now?
• 1:44:06
  Speaker 12: No.
• 1:44:07
  Speaker 3: It's definitely worth watching.
• 1:44:11
  Speaker 1: I mean, there's some really good chunks of stuff to get.
• 1:44:15
  Speaker 3: Out of it.
• 1:44:16
  Speaker 2: And like I said, I think not what I expected
• 1:44:20
  Speaker 2: going in, and the most impressive thing is just those
• 1:44:23
  Speaker 2: snippets of characters along the way that, how many times
• 1:44:28
  Speaker 2: have we said, we need more on that guy, we
• 1:44:31
  Speaker 2: need more, and that's the sign of a pretty good movie,
• 1:44:34
  Speaker 2: that you can have these characters that you want more from,
• 1:44:37
  Speaker 2: that aren't just two-dimensional, that you actually leave.
• 1:44:40
  Speaker 9: You wanting something else.
• 1:44:42
  Speaker 2: I don't know, I think that it probably could have
• 1:44:46
  Speaker 2: gone down a better road and gone more into different stuff,
• 1:44:50
  Speaker 2: and it goes a little conventional towards the end, but yeah,
• 1:44:53
  Speaker 2: I think there's some really impressive stuff along the way.
• 1:44:56
  Speaker 1: I think my biggest part is there's a little bit
• 1:44:58
  Speaker 1: too much of that misogyny in it.
• 1:45:02
  Speaker 10: There's a lot to be queasy about in that movie, really.
• 1:45:06
  Speaker 2: Did we address the slapping the photographer?
• 1:45:08
  Speaker 11: No.
• 1:45:10
  Speaker 2: What the hell? Yeah, I was thinking I couldn't remember
• 1:45:13
  Speaker 2: if we did. What the fuck? Like, what the hell happened? Like,
• 1:45:19
  Speaker 2: why was that there, and why was that okay? Yeah. I, yeah, again,
• 1:45:25
  Speaker 2: I mean, it definitely shows you another and more horrible
• 1:45:28
  Speaker 2: layer of Joe Don Baker's character, but what the hell
• 1:45:32
  Speaker 2: is up with the photographer? Why not only was she
• 1:45:34
  Speaker 2: willing to, okay, he's going to get a piece of
• 1:45:37
  Speaker 2: that and she goes along with it, but fucking slaps
• 1:45:40
  Speaker 2: her and she has no problem with it. What the hell?
• 1:45:46
  Speaker 3: Because that's what women want.
• 1:45:48
  Speaker 2: I guess. Is that what we're saying? But again, we
• 1:45:50
  Speaker 2: never really get that. It's never, it's just a window
• 1:45:54
  Speaker 2: into that. And then we never touch on it again.
• 1:45:57
  Speaker 2: Never come back to it.
• 1:45:59
  Speaker 1: Women in this movie are whores or servants or.
• 1:46:03
  Speaker 3: Things to be beat on or things to be fucked or,
• 1:46:06
  Speaker 3: you know.
• 1:46:06
  Speaker 10: But, you know, we're forgetting because, you know, we're not
• 1:46:10
  Speaker 10: that old. I think I'm old, but, uh. There's just
• 1:46:15
  Speaker 10: a lot of that around.
• 1:46:17
  Speaker 9: Oh, yeah.
• 1:46:18
  Speaker 10: And, like, when you watch Mad Men, like, and it
• 1:46:22
  Speaker 10: only goes so far as a period thing, but.
• 1:46:25
  Speaker 3: Ye gad. It's like, yeah, people lived through that. There's
• 1:46:30
  Speaker 3: still a lot of that hanging in the atmosphere.
• 1:46:32
  Speaker 2: There's still a lot of that. If you find the
• 1:46:35
  Speaker 2: right people, they have not changed a damn bit since
• 1:46:38
  Speaker 2: the 50s. Yeah, you're right. it's just earlier it's just
• 1:46:43
  Speaker 2: it's to me it's the same as the the racism
• 1:46:45
  Speaker 2: and everything else that goes on it's not that those
• 1:46:47
  Speaker 2: people have changed or learned anything they've just gotten better
• 1:46:50
  Speaker 2: at hiding it.
• 1:46:51
  Speaker 10: Yeah there are people know the right thing to say
• 1:46:53
  Speaker 10: now but people are many people are really not that
• 1:46:57
  Speaker 10: reflective about their attitudes and about about things they do
• 1:47:03
  Speaker 10: and and it's just strange, you know, that film captures.
• 1:47:08
  Speaker 10: And it's bigger than life because, you know, part of
• 1:47:11
  Speaker 10: it is an element of fantasy that's intended for, like, young...
• 1:47:16
  Speaker 10: What was it Clint Eastwood once said about his character,
• 1:47:20
  Speaker 10: his bigger-than-life character, was that, you know, the average guy
• 1:47:23
  Speaker 10: out there, he said, was insecure.
• 1:47:26
  Speaker 3: And so he has this kind.
• 1:47:28
  Speaker 10: Of superhero character who's, like, certain and confident and.
• 1:47:34
  Speaker 3: And guys latch on to that.
• 1:47:36
  Speaker 10: And so I think what that serves is for guys
• 1:47:39
  Speaker 10: who are intimidated.
• 1:47:41
  Speaker 3: By women.
• 1:47:43
  Speaker 10: And scared of them, really, it's like, oh, that's the
• 1:47:47
  Speaker 10: way to be.
• 1:47:48
  Speaker 3: Just smack them.
• 1:47:50
  Speaker 9: This is how it should be.
• 1:47:52
  Speaker 10: And so it's like a corollary to the fears and
• 1:47:58
  Speaker 10: insecurities of guys which, you.
• 1:48:01
  Speaker 3: Know, I don't know.
• 1:48:03
  Speaker 10: 70 i was 10 when that movie came out um
• 1:48:08
  Speaker 10: but it's gross i mean there's a lot in that
• 1:48:12
  Speaker 10: that movie that's just like kind of left over and
• 1:48:14
  Speaker 10: it's kind of like gross.
• 1:48:17
  Speaker 2: In a way, I'd... I don't have a problem with
• 1:48:19
  Speaker 2: that because I think it is interesting to see it
• 1:48:23
  Speaker 2: because it is such a window into the time period.
• 1:48:26
  Speaker 9: I love going back and being able to look at it.
• 1:48:29
  Speaker 2: Again, I don't approve of it, but I like being
• 1:48:31
  Speaker 2: able to have it captured even in a way that
• 1:48:34
  Speaker 2: they probably don't want sometimes when they look back on
• 1:48:37
  Speaker 2: these movies. I think the only problem I had was
• 1:48:40
  Speaker 2: the fact that our character, Charlie... gets on board with
• 1:48:44
  Speaker 2: it by the end. I think I liked that he
• 1:48:46
  Speaker 2: wasn't like that, that everybody else, that Joe Don Baker
• 1:48:49
  Speaker 2: is horrible and he's like that, and the rest of
• 1:48:52
  Speaker 2: this world around him is this seedy underworld that he
• 1:48:54
  Speaker 2: deals with, but he wasn't like that. He was still
• 1:48:57
  Speaker 2: in love with his wife, and he still kind of
• 1:48:59
  Speaker 2: conducted himself like a pretty decent person, aside from the
• 1:49:03
  Speaker 2: robbing and shooting cops. But other than that, he seems
• 1:49:06
  Speaker 2: like a somewhat decent guy, And then you get to
• 1:49:09
  Speaker 2: that scene towards the end there, and I'm just like, well,
• 1:49:11
  Speaker 2: we just threw a light out the window.
• 1:49:12
  Speaker 9: I think that I have more of a problem with.
• 1:49:14
  Speaker 1: See, I don't know, because you can't give the guy
• 1:49:18
  Speaker 1: ethics all of a sudden.
• 1:49:19
  Speaker 3: He's willing to shoot a cop, just point blank. He's
• 1:49:23
  Speaker 3: willing to rob banks.
• 1:49:24
  Speaker 1: He's willing to rat out his friends, so-called friends, and
• 1:49:29
  Speaker 1: hang them out to dry.
• 1:49:30
  Speaker 3: Hang another businessman out to dry. I mean, he does
• 1:49:33
  Speaker 3: nothing that's... No. That's good.
• 1:49:35
  Speaker 2: But he doesn't... Again, if they would have set it
• 1:49:38
  Speaker 2: up that he was just like that, if we wouldn't
• 1:49:39
  Speaker 2: have had that relationship with his wife at the beginning,
• 1:49:41
  Speaker 2: if we would have seen something along the way that
• 1:49:44
  Speaker 2: made him more of that kind of guy, it just
• 1:49:46
  Speaker 2: seems very out of place.
• 1:49:47
  Speaker 3: It seems very out of place.
• 1:49:48
  Speaker 10: It's like a playboy forum something.
• 1:49:54
  Speaker 2: So if they would have... Again, I don't have a
• 1:49:55
  Speaker 2: problem with him being a dark character. It's obviously... Everything
• 1:49:58
  Speaker 2: else about him is a very dark person, but.
• 1:50:01
  Speaker 9: The fact that, yeah, it just seems very out of place.
• 1:50:05
  Speaker 3: I'm not saying that I like that that scene's in there.
• 1:50:08
  Speaker 3: I didn't. It is, it doesn't fit. But the same
• 1:50:11
  Speaker 3: thing is, that character is not, he has.
• 1:50:16
  Speaker 1: No morality to him necessarily, or no goodness that you
• 1:50:20
  Speaker 1: can really see, other than he's kind of polite to
• 1:50:23
  Speaker 1: women sometimes.
• 1:50:23
  Speaker 11: Yeah.
• 1:50:24
  Speaker 3: But other than that, he's an asshole.
• 1:50:26
  Speaker 2: He is.
• 1:50:27
  Speaker 3: He's a criminal.
• 1:50:28
  Speaker 2: I think I like having those levels, though, that when
• 1:50:31
  Speaker 2: you do enter into a dark character, that there is
• 1:50:33
  Speaker 2: almost like they have sort of a moral code within
• 1:50:37
  Speaker 2: their own group. I like seeing that kind of stuff,
• 1:50:40
  Speaker 2: and I can almost see that if he's supposed to
• 1:50:43
  Speaker 2: be our hero, that at least we have some sort
• 1:50:45
  Speaker 2: of line that, okay, you know, he's a criminal, he's gonna,
• 1:50:48
  Speaker 2: you know, if you get in a bad situation, you
• 1:50:50
  Speaker 2: gotta shoot a cop. Like, there's some sort of reasoning
• 1:50:52
  Speaker 2: that comes into play in all the rest of this,
• 1:50:54
  Speaker 2: and then that just seems weird. So, again, I don't
• 1:50:57
  Speaker 2: think I'd have a problem with it if it was
• 1:50:59
  Speaker 2: played right.
• 1:51:00
  Speaker 3: It just.
• 1:51:01
  Speaker 9: And it might have been, if you could.
• 1:51:02
  Speaker 1: Have set up for some reason that she is trying
• 1:51:06
  Speaker 1: to escape, and she's going after a man because she's
• 1:51:08
  Speaker 1: in a bad scenario, and... If you want that, there's
• 1:51:12
  Speaker 1: a line I won't cross, almost like Joe Don Big
• 1:51:14
  Speaker 1: or Molly's characters, that says.
• 1:51:16
  Speaker 3: I don't sleep with whores. Yeah. You know, that he's
• 1:51:19
  Speaker 3: got his own level of, I won't cross that line.
• 1:51:21
  Speaker 10: He does.
• 1:51:22
  Speaker 3: And if he could have said, no, no.
• 1:51:26
  Speaker 1: Thank you, or fuck you, or whatever to the secretary,
• 1:51:29
  Speaker 1: then you're like, okay, that's more realistic. That might have been,
• 1:51:32
  Speaker 1: like I said, they could have established that she was
• 1:51:35
  Speaker 1: trying to get out of her.
• 1:51:36
  Speaker 3: Situation, or whatever. But no, it.
• 1:51:39
  Speaker 1: It was almost kind of jokingly, hey, we're going to
• 1:51:42
  Speaker 1: fuck around in all these positions.
• 1:51:45
  Speaker 3: It doesn't work.
• 1:51:46
  Speaker 2: Yeah, it really doesn't. And again, I don't have a
• 1:51:50
  Speaker 2: problem with his character being that dark. It just doesn't
• 1:51:53
  Speaker 2: seem to fit the way that they work it in there.
• 1:51:55
  Speaker 10: Yeah, I know what you're saying. It's not that he
• 1:51:57
  Speaker 10: has a respectable moral code.
• 1:52:01
  Speaker 3: It's just that.
• 1:52:03
  Speaker 10: that realistically, virtues and vices don't really come in matched sets,
• 1:52:08
  Speaker 10: so a person can have some qualities, and it's not
• 1:52:15
  Speaker 10: that he's a bad guy, and so he's bad in
• 1:52:18
  Speaker 10: all respects.
• 1:52:19
  Speaker 3: It was just.
• 1:52:20
  Speaker 10: Such a weird scene, and it wasn't believable. She wasn't
• 1:52:26
  Speaker 10: believable in it.
• 1:52:27
  Speaker 2: It makes me think of the professional kind of setup.
• 1:52:31
  Speaker 2: You get Leon, and it's like, He will kill people
• 1:52:34
  Speaker 2: all day long. No women, no children. It's like even
• 1:52:37
  Speaker 2: within his fucked up world where he's a hit man,
• 1:52:40
  Speaker 2: he has rules and he otherwise has this way that
• 1:52:43
  Speaker 2: he goes on about his day and he seems like
• 1:52:45
  Speaker 2: a nice guy, but you cross him and he's a
• 1:52:48
  Speaker 2: horrible killer.
• 1:52:49
  Speaker 3: He doesn't want his plant to die.
• 1:52:51
  Speaker 2: Yeah.
• 1:52:51
  Speaker 9: He's worried about his plant more than anything.
• 1:52:53
  Speaker 3: Drinks his milk.
• 1:52:54
  Speaker 2: So yeah.
• 1:52:55
  Speaker 10: Speaking of titles, the professional was so much better at
• 1:52:59
  Speaker 10: title than in Leon.
• 1:53:01
  Speaker 3: And what does that, Right.
• 1:53:03
  Speaker 2: It's well, it's the Charlie Barrett.
• 1:53:04
  Speaker 10: Yeah, it is.
• 1:53:06
  Speaker 2: It's just slapping a name on there.
• 1:53:08
  Speaker 10: Yeah. Leon does nothing but the professional resonates weirdly with
• 1:53:15
  Speaker 10: the little lady at.
• 1:53:16
  Speaker 3: The school in the end. Yeah.
• 1:53:18
  Speaker 10: Who has to hear this story and go, what is
• 1:53:23
  Speaker 10: my role here?
• 1:53:24
  Speaker 3: What do I do with this? And that's just such
• 1:53:28
  Speaker 3: a great ending.
• 1:53:29
  Speaker 2: Um, So, yeah, I think there's a way to have that,
• 1:53:32
  Speaker 2: you know, underworld kind of person, but yet still give
• 1:53:36
  Speaker 2: them some sort of sense of right and wrong or
• 1:53:39
  Speaker 2: sense of this is what I have to do because
• 1:53:41
  Speaker 2: it's my job, but as a.
• 1:53:43
  Speaker 9: Person I don't want to do this. I mean, there's
• 1:53:45
  Speaker 9: a way to do it.
• 1:53:46
  Speaker 2: This is just, it's weird the way that they do
• 1:53:48
  Speaker 2: it with Charlie.
• 1:53:49
  Speaker 10: That was just so 70s Playboy.
• 1:53:53
  Speaker 3: It was.
• 1:53:53
  Speaker 10: And I know a lot of people have this opinion
• 1:53:56
  Speaker 10: like Playboy magazine was like, kind of innocuous and fun.
• 1:54:01
  Speaker 10: But in a way, it was like the wickedest of
• 1:54:05
  Speaker 10: all of them because it was trying to act like
• 1:54:08
  Speaker 10: it was nice, but it was a kind of sick, sentimental, like.
• 1:54:16
  Speaker 10: Slavery catalog format.
• 1:54:19
  Speaker 3: Nice.
• 1:54:20
  Speaker 10: It was.
• 1:54:20
  Speaker 2: That's what it was.
• 1:54:21
  Speaker 10: It was like a slavery catalog. And you had, like,
• 1:54:25
  Speaker 10: these girls would fill out, and all of them had
• 1:54:27
  Speaker 10: the same handwriting for some reason. Like their turn-ons and
• 1:54:31
  Speaker 10: turn-offs and the specs. It was like advertising arms or something. Well,
• 1:54:37
  Speaker 10: you know, they published a lot of really great fiction.
• 1:54:41
  Speaker 2: That's the thing, and that's probably why they did more,
• 1:54:44
  Speaker 2: if you want to look at it from that angle
• 1:54:47
  Speaker 2: damaged than any of the rest of them because they
• 1:54:50
  Speaker 2: could present themselves as a real piece of literature they
• 1:54:54
  Speaker 2: could they could get real interviews that people would just
• 1:54:58
  Speaker 2: read it for the interviews and the articles they really
• 1:55:00
  Speaker 2: would bring in the highest end the highest caliber of
• 1:55:04
  Speaker 2: writers and get these big names behind them they would
• 1:55:07
  Speaker 2: get celebrities to do interviews and They had the power
• 1:55:10
  Speaker 2: and the sway as they went on to be a
• 1:55:11
  Speaker 2: real magazine, but at the same time, really all they
• 1:55:15
  Speaker 2: were doing was kind of wedging the door open for
• 1:55:17
  Speaker 2: the smut that then came pouring through from everybody else.
• 1:55:21
  Speaker 3: Yeah, they made it seem that it was classy to
• 1:55:23
  Speaker 3: be misogynist. They did.
• 1:55:27
  Speaker 20: Yeah, we're going to put next to good literature and
• 1:55:31
  Speaker 20: good music reviews and everything objectifying women, whereas if you
• 1:55:36
  Speaker 20: go to get a hustler, it's like, We're down in
• 1:55:39
  Speaker 20: the dumps.
• 1:55:40
  Speaker 3: We're nasty. We don't give a fuck.
• 1:55:42
  Speaker 2: At least we're honest.
• 1:55:43
  Speaker 3: It's healthier, I think.
• 1:55:45
  Speaker 10: But the presentation of it is just something normal. There
• 1:55:51
  Speaker 10: are the traces of this fantasy of slavery and of
• 1:55:58
  Speaker 10: buying women. And also the women in Playboy in the
• 1:56:03
  Speaker 10: old days were really beautiful because they were different.
• 1:56:06
  Speaker 3: I think now.
• 1:56:07
  Speaker 9: Everybody looks the same.
• 1:56:08
  Speaker 3: Now everybody looks the same.
• 1:56:10
  Speaker 2: To be a.
• 1:56:13
  Speaker 2: Yeah, a guy. It's like, it's hard to totally badmouth it,
• 1:56:16
  Speaker 2: because I see it from the other angle, which is,
• 1:56:19
  Speaker 2: they're beautiful women. Like, I don't want to call myself,
• 1:56:22
  Speaker 2: you know, I have to call myself out for going,
• 1:56:25
  Speaker 2: I remember looking at my dads, and I was just like,
• 1:56:27
  Speaker 2: these women are beautiful, and I will easily fall into
• 1:56:30
  Speaker 2: that category of... liking them, but at the same time
• 1:56:34
  Speaker 2: I can look at it and go, there's something going
• 1:56:37
  Speaker 2: on here that I don't.
• 1:56:38
  Speaker 9: That's uneasy.
• 1:56:40
  Speaker 3: I've done nothing against naked women. The only other place
• 1:56:43
  Speaker 3: you can see.
• 1:56:45
  Speaker 10: Pictures of normal naked women, I checked, was Books on Witchcraft.
• 1:56:52
  Speaker 3: The only other place.
• 1:56:53
  Speaker 2: National Geographic.
• 1:56:54
  Speaker 3: Of course, it's all different now. Now you can see
• 1:56:57
  Speaker 3: a woman doing anything you can think of right now.
• 1:57:00
  Speaker 2: Thank you, Internet.
• 1:57:01
  Speaker 3: Yeah.
• 1:57:02
  Speaker 1: You know, but I'm saying that it's so unrealistic what they,
• 1:57:10
  Speaker 1: and I know that's almost cliche to be saying that,
• 1:57:13
  Speaker 1: but that's the part that's, like I was saying, that
• 1:57:17
  Speaker 1: is so negative about it.
• 1:57:20
  Speaker 2: Yeah.
• 1:57:20
  Speaker 1: Is because it makes it okay. It makes everything, well,
• 1:57:26
  Speaker 1: you've got this nice piece of literature, this nice, really
• 1:57:29
  Speaker 1: good interview. Right here next to, well, if this is
• 1:57:33
  Speaker 1: what I need to, as a journalist, try to become,
• 1:57:37
  Speaker 1: this is what I need to become as a female
• 1:57:40
  Speaker 1: or looking for a woman.
• 1:57:43
  Speaker 9: I mean, that's definitely very valid.
• 1:57:44
  Speaker 2: I can almost see the other sales pitch that they're using,
• 1:57:47
  Speaker 2: which is this is the best work of fiction that
• 1:57:51
  Speaker 2: we have.
• 1:57:52
  Speaker 9: And I want to put it next to this beautiful artwork. And,
• 1:57:55
  Speaker 9: you know, photography as an art.
• 1:57:57
  Speaker 2: Form, you know? So, I mean, how wrong is it
• 1:58:00
  Speaker 2: to have a classy black and white photo in a
• 1:58:02
  Speaker 2: museum of a naked woman versus the stuff that ends
• 1:58:05
  Speaker 2: up in Playboy?
• 1:58:06
  Speaker 3: Yeah.
• 1:58:07
  Speaker 2: It's one shade away, but at the same time, there's
• 1:58:10
  Speaker 2: something a little sleazier going on here.
• 1:58:12
  Speaker 1: But that then goes back to people like different styles
• 1:58:16
  Speaker 1: of literature.
• 1:58:17
  Speaker 3: You might like literature that actually... tells you about what
• 1:58:20
  Speaker 3: life really is or romanticizes. Yep.
• 1:58:23
  Speaker 1: Now, and so I would rather see a woman where
• 1:58:27
  Speaker 1: a picture of a woman where the lighting's not that
• 1:58:29
  Speaker 1: good or the, you know.
• 1:58:31
  Speaker 9: You like hustlers, what you're saying.
• 1:58:32
  Speaker 3: I'm not saying that.
• 1:58:33
  Speaker 2: I'm just saying, I like gunshot wounds and stretch marks,
• 1:58:38
  Speaker 2: you know.
• 1:58:38
  Speaker 3: Let me see something a little bit more realistic and attainable,
• 1:58:41
  Speaker 3: you know?
• 1:58:42
  Speaker 2: No, I agree. I mean, well, again, and I don't mind, again,
• 1:58:46
  Speaker 2: I think that's why I think I liked the old one's,
• 1:58:49
  Speaker 2: better than by the time you got to the 80s,
• 1:58:51
  Speaker 2: where it was all, like, tan lines and bleach blonde hair.
• 1:58:55
  Speaker 11: Right.
• 1:58:56
  Speaker 2: And then now, it's nothing but airbrush. You might as
• 1:58:58
  Speaker 2: well be looking at anime. Like, it's not even real anymore. Whereas,
• 1:59:03
  Speaker 2: at least the ones in, like, the 60s and early
• 1:59:04
  Speaker 2: 70s were real women, and they hadn't totally doctored them
• 1:59:08
  Speaker 2: up yet completely.
• 1:59:10
  Speaker 9: They were probably getting pretty damn close.
• 1:59:12
  Speaker 2: But even then, they still feel like more of what...
• 1:59:16
  Speaker 2: a different cross-section of what women look like versus... You know,
• 1:59:20
  Speaker 2: the machine that makes the ones now.
• 1:59:23
  Speaker 3: They definitely were.
• 1:59:24
  Speaker 9: Yeah.
• 1:59:25
  Speaker 3: I brought up the misogyny thing.
• 1:59:27
  Speaker 1: One more thing about the movie, and were they trying
• 1:59:32
  Speaker 1: to say something, and we can go over it quickly,
• 1:59:34
  Speaker 1: but were they trying to say something about the bank manager, that.
• 1:59:38
  Speaker 3: He was homosexual, and that he... And that he was weak.
• 1:59:43
  Speaker 3: I thought that seemed like it was a little bit.
• 1:59:46
  Speaker 2: I can see somebody reading it that way. Because he
• 1:59:49
  Speaker 2: likes to restore things, and he found his place, and
• 1:59:52
  Speaker 2: he obviously wasn't married, and he.
• 1:59:55
  Speaker 3: It just seemed almost.
• 1:59:56
  Speaker 9: It definitely....
• 1:59:58
  Speaker 2: Even if it wasn't a homosexual angle, it was definitely
• 2:00:01
  Speaker 2: making him very effeminate.
• 2:00:02
  Speaker 10: Right.
• 2:00:03
  Speaker 2: And, of course, then what's he going to do? The
• 2:00:05
  Speaker 2: most weak thing you can, take yourself out.
• 2:00:07
  Speaker 3: Take yourself out. He was too afraid, and somebody tried...
• 2:00:10
  Speaker 3: A man.
• 2:00:11
  Speaker 1: tried to help him along, and he still couldn't handle it.
• 2:00:15
  Speaker 3: I thought that was, that kind of, when he killed himself,
• 2:00:18
  Speaker 3: I was like, oh, he's going to do it, isn't he?
• 2:00:20
  Speaker 1: And I was like, and I don't know. Again, that
• 2:00:24
  Speaker 1: was me on the other side of it. 1973, wouldn't
• 2:00:29
  Speaker 1: thought a thing of it. But now, I'm kind of,
• 2:00:32
  Speaker 1: maybe I'm a little bit more sensitive to that stuff,
• 2:00:33
  Speaker 1: and I think.
• 2:00:34
  Speaker 3: It just seems... Cliche.
• 2:00:37
  Speaker 1: That, oh, the weaker, more feminine guy that likes to restore,
• 2:00:42
  Speaker 1: you know, that's worried about historical significance of his bank
• 2:00:46
  Speaker 1: and those sorts of things is too weak to handle this.
• 2:00:49
  Speaker 3: And he's going to take himself out.
• 2:00:50
  Speaker 2: And yeah, the only other ones that handle all this
• 2:00:52
  Speaker 2: are the manly men. You've got the Jodan bakers. Right,
• 2:00:55
  Speaker 2: the guy that slaps the women. I agree. There's definitely
• 2:00:59
  Speaker 2: that angle there, and you can take offense. I mean,
• 2:01:03
  Speaker 2: the way that they present it.
• 2:01:04
  Speaker 3: I take offense to very little, but it just, yeah.
• 2:01:06
  Speaker 2: But you could.
• 2:01:07
  Speaker 9: I mean, the way that it's presented is.
• 2:01:08
  Speaker 2: There's just some queasy old stuff in there.
• 2:01:10
  Speaker 10: Yeah, yeah.
• 2:01:11
  Speaker 9: Which, again, is why I like finding these.
• 2:01:13
  Speaker 2: I don't have to agree with what I find in them,
• 2:01:15
  Speaker 2: but I like the fact that it preserves them, and
• 2:01:18
  Speaker 2: people want to gloss over that stuff.
• 2:01:20
  Speaker 9: And I'm like, no, that's kind of why.
• 2:01:21
  Speaker 3: We need this.
• 2:01:22
  Speaker 2: We need to preserve these old weird movies because I
• 2:01:26
  Speaker 2: think even more than a lot of other art forms,
• 2:01:29
  Speaker 2: I think it's the most immersive in the ways that
• 2:01:32
  Speaker 2: things went. I mean, even if it's fictional stories, I
• 2:01:35
  Speaker 2: think it tells you the way that the world kind
• 2:01:37
  Speaker 2: of worked at the time that these things were made.
• 2:01:39
  Speaker 2: And that, I think, is almost more interesting sometimes than
• 2:01:43
  Speaker 2: what's going on plot-wise on the screen.
• 2:01:45
  Speaker 3: Yeah.
• 2:01:46
  Speaker 1: Yeah. You know, we talk about influence, and when you
• 2:01:49
  Speaker 1: talk about misogyny and all that kind of stuff, what's
• 2:01:53
  Speaker 1: nice is we talk about Tarantino, and clearly he saw this,
• 2:01:56
  Speaker 1: and clearly he was influenced by it.
• 2:01:58
  Speaker 3: But his female characters, especially later in.
• 2:02:01
  Speaker 1: His career, you know, you've got Jackie Brown, you've got
• 2:02:03
  Speaker 1: the bride, you've got Shoshanna from.
• 2:02:06
  Speaker 3: Yeah. They're all super strong characters, and he's not mired
• 2:02:10
  Speaker 3: in that at all.
• 2:02:11
  Speaker 2: This is, again, him picking and choosing what he wants
• 2:02:14
  Speaker 2: to take from this stuff.
• 2:02:15
  Speaker 3: And does it.
• 2:02:16
  Speaker 9: Pretty damn smart, really.
• 2:02:18
  Speaker 1: Early on in his career, you know, Reservoir Dogs.
• 2:02:20
  Speaker 3: No females.
• 2:02:21
  Speaker 2: Yeah, it's nothing like that.
• 2:02:23
  Speaker 10: No females, but it talks about this world of men
• 2:02:28
  Speaker 10: in a very interesting way. And I think a lot
• 2:02:31
  Speaker 10: of critics have looked at it as a kind of
• 2:02:35
  Speaker 10: commentary on this world that he was serious about.
• 2:02:41
  Speaker 3: And in some ways, I think it may be his best,
• 2:02:44
  Speaker 3: most thoughtful movie. Yeah.
• 2:02:46
  Speaker 2: It's definitely impressive, especially to be right out of the
• 2:02:49
  Speaker 2: gate to deliver something like that. But you do see
• 2:02:52
  Speaker 2: how much he took from this stuff from the 70s and,
• 2:02:56
  Speaker 2: you know, the old movies that he liked. But he
• 2:02:59
  Speaker 2: wasn't brainwashed by them. He didn't fall into the trappings
• 2:03:03
  Speaker 2: of everything that was wrong with society at the point
• 2:03:05
  Speaker 2: when they were making this. He sort of found this new, like,
• 2:03:09
  Speaker 2: you know, 21st century way to piece them together, and
• 2:03:12
  Speaker 2: now he's making movies, you know, with kind of the
• 2:03:15
  Speaker 2: best of all the elements in there? Like, using the
• 2:03:18
  Speaker 2: exploitive stuff, but finding a new way to make.
• 2:03:21
  Speaker 9: It smarter and a little more balanced, maybe?
• 2:03:25
  Speaker 1: I almost said, I almost misspoke and said that Pulp
• 2:03:28
  Speaker 1: Fiction didn't have the strong female, and she doesn't really
• 2:03:32
  Speaker 1: have the role, but Bonnie... so clearly controls her husband
• 2:03:37
  Speaker 1: and at least three other men. They're fucking, these are
• 2:03:40
  Speaker 1: gangsters and they're afraid of Bonnie. So, you know, so, okay,
• 2:03:44
  Speaker 1: we can, we can, I can, I'll take that back.
• 2:03:47
  Speaker 3: So, um, but yeah. I don't know.
• 2:03:50
  Speaker 2: I think we ended up with a lot of interesting
• 2:03:52
  Speaker 2: stuff out of this movie, more so than I even
• 2:03:54
  Speaker 2: saw coming. Okay. So I think we, yeah, I think
• 2:03:58
  Speaker 2: once again, it, I just like digging up these old movies.
• 2:04:01
  Speaker 1: It's definitely one that I think everybody's good.
• 2:04:04
  Speaker 2: It just brings a lot more to the table than
• 2:04:06
  Speaker 2: you even know when you sit down to watch it.
• 2:04:09
  Speaker 9: All right.
• 2:04:10
  Speaker 2: That having been said, I guess we can wrap up
• 2:04:12
  Speaker 2: Charlie Varick.
• 2:04:14
  Speaker 3: Amen. All right.
• 2:04:17
  Speaker 9: Time to round things out.
• 2:04:19
  Speaker 2: Okay, kids, get out your decoder pins.
• 2:04:21
  Speaker 3: What is the sound of.
• 2:04:26
  Speaker 1: This?
• 2:04:26
  Speaker 9: That's a sorry fanfare, if ever I heard one.
• 2:04:29
  Speaker 3: We did fanfare last week.
• 2:04:31
  Speaker 2: We both did. It's a whole new episode.
• 2:04:33
  Speaker 3: I don't know, but that was.
• 2:04:35
  Speaker 11: I could tell that tonight's message was really important.
• 2:04:38
  Speaker 2: It is time for the Movie Meltdown Secret Circle reveal
• 2:04:40
  Speaker 2: of the next exciting episode. And next week will be
• 2:04:43
  Speaker 2: exciting once again. We're venturing outside the coffee shop. We're
• 2:04:47
  Speaker 2: heading out into the real world. Frightening as it sometimes is.
• 2:04:51
  Speaker 2: Misogyny and gunfire. God knows what else is going on
• 2:04:55
  Speaker 2: out there. This time we will be heading back to
• 2:04:59
  Speaker 2: Lexington for Scarefest. Which, if you remember, Greg, you were
• 2:05:02
  Speaker 2: there last year. It was quite the epic road trip,
• 2:05:05
  Speaker 2: was it not?
• 2:05:06
  Speaker 3: It was magical.
• 2:05:07
  Speaker 2: Wasn't it?
• 2:05:08
  Speaker 9: Do you want to put your hand out and do
• 2:05:09
  Speaker 9: the magic motion?
• 2:05:10
  Speaker 2: There we go.
• 2:05:11
  Speaker 9: Magical.
• 2:05:13
  Speaker 3: Making of magic motion. Greg is making a callback.
• 2:05:20
  Speaker 2: So, yeah, we had a good time last year, and
• 2:05:24
  Speaker 2: it was a fun trip. So I'm really looking forward
• 2:05:27
  Speaker 2: to this year's show.
• 2:05:28
  Speaker 3: I almost got killed by Danny Trejo.
• 2:05:30
  Speaker 9: Well, you were asking for it.
• 2:05:32
  Speaker 3: I was asking for it.
• 2:05:33
  Speaker 2: So in addition to our, you know, whatever random people
• 2:05:36
  Speaker 2: we can drag from our crew here, I am attempting
• 2:05:39
  Speaker 2: to work our friend and newly added co-host Lucy into
• 2:05:42
  Speaker 2: as much of the episodes as possible, since for once
• 2:05:45
  Speaker 2: we'll be sort of more in her area, so it
• 2:05:48
  Speaker 2: should be easier to drag her into some of this craziness, so.
• 2:05:51
  Speaker 3: Hopefully she can rip up a few more actresses.
• 2:05:55
  Speaker 9: And then they will be pissed off and call in.
• 2:05:59
  Speaker 3: She's a smart girl.
• 2:06:00
  Speaker 2: Oh, that she is. So we'll be planning that and
• 2:06:04
  Speaker 2: hopefully some special interviews and guests along the way. We'll see.
• 2:06:07
  Speaker 9: No telling what will actually happen or fall through.
• 2:06:10
  Speaker 2: But if nothing else, if I get to meet Leah
• 2:06:12
  Speaker 2: Thompson while I'm there, holy shit.
• 2:06:15
  Speaker 3: She's going to be there?
• 2:06:16
  Speaker 2: Yeah, they've added her in the last few weeks. So
• 2:06:18
  Speaker 2: rethink your whole life.
• 2:06:21
  Speaker 10: No, she deeply affected my whole life.
• 2:06:24
  Speaker 2: Yeah, me too.
• 2:06:24
  Speaker 1: I had some epiphanies during space camp.
• 2:06:31
  Speaker 2: Yeah, me too.
• 2:06:32
  Speaker 9: And Back to the Future. And sadly, Howard the Duck.
• 2:06:36
  Speaker 2: Yeah, I built a lot of my fictional world around her,
• 2:06:41
  Speaker 2: and I was probably a little delusional about it.
• 2:06:48
  Speaker 9: The the relationship that we had.
• 2:06:50
  Speaker 3: How about how she looked in dennis the menace.
• 2:06:54
  Speaker 2: You know she was still awesome i can't yeah when
• 2:06:56
  Speaker 2: i'm saying when i that's what i'm saying when i'm
• 2:06:58
  Speaker 2: watching the little rascals and i'm like why are you
• 2:07:01
  Speaker 2: in this but damn you're.
• 2:07:02
  Speaker 9: Still leah thompson you're still awesome so.
• 2:07:05
  Speaker 1: When when he was when he was laying on the
• 2:07:07
  Speaker 1: ground out in front of the house and you oh
• 2:07:10
  Speaker 1: never mind.
• 2:07:10
  Speaker 2: Yeah i'm telling you i i yeah i the If
• 2:07:14
  Speaker 2: I just get to go up and stand there for
• 2:07:15
  Speaker 2: a second and talk to her, I'll be pretty damn thrilled.
• 2:07:18
  Speaker 1: I know that I can't go because I would be
• 2:07:21
  Speaker 1: a bumbling idiot.
• 2:07:23
  Speaker 2: Well, that's bound to happen anyway, but if I can
• 2:07:27
  Speaker 2: do it in front of Leah, that's cool. So, yeah,
• 2:07:29
  Speaker 2: if nothing else, I'm going to go for that. But
• 2:07:32
  Speaker 2: hopefully there's some other cool stuff that will pan out
• 2:07:34
  Speaker 2: whilst we are in the city. So, we'll see what
• 2:07:36
  Speaker 2: we can piece together. As for, you know, you guys, hey,
• 2:07:40
  Speaker 2: go to thescarefest.com for all the info and head over
• 2:07:44
  Speaker 2: there and join us while you still can. So, it
• 2:07:47
  Speaker 2: should be interesting.
• 2:07:50
  Speaker 3: Yeah, now I know I can't go.
• 2:07:51
  Speaker 2: Yeah.
• 2:07:52
  Speaker 3: They're like, I'm staying here. Magic.
• 2:07:55
  Speaker 2: Magic.
• 2:07:55
  Speaker 3: Oh, Lord. that's like, other than that, and Daniel Harris
• 2:08:03
  Speaker 3: and Danny Trejo.
• 2:08:05
  Speaker 11: Yeah.
• 2:08:05
  Speaker 1: I mean, he looked at me like he was going
• 2:08:07
  Speaker 1: to kill me. I asked him to do a, you know,
• 2:08:10
  Speaker 1: a bumper or whatever they call that for the show.
• 2:08:12
  Speaker 2: Promo.
• 2:08:13
  Speaker 3: Promo, and yeah.
• 2:08:14
  Speaker 9: But he did it.
• 2:08:15
  Speaker 3: You don't do it. You ask him about that shit.
• 2:08:18
  Speaker 2: Yeah. And yet his is freaking hilarious.
• 2:08:23
  Speaker 3: The movie Babysitter's Beware.
• 2:08:27
  Speaker 9: I saw it on Netflix.
• 2:08:29
  Speaker 3: Kid watched it with the kids.
• 2:08:30
  Speaker 2: Oh God, I have not watched it.
• 2:08:32
  Speaker 3: Don't watch it. But he's in it for maybe 15 minutes.
• 2:08:36
  Speaker 9: It's funny that he's like the front of the cover,
• 2:08:38
  Speaker 9: is he not?
• 2:08:39
  Speaker 2: No, he wasn't. The original title was called The No
• 2:08:44
  Speaker 2: Sit List.
• 2:08:45
  Speaker 3: And they changed it to... To The Professional List.
• 2:08:49
  Speaker 9: To the professional last of the independents.
• 2:08:52
  Speaker 10: Right. Eric.
• 2:08:55
  Speaker 3: And, yeah, they bill him as, like, being.
• 2:08:58
  Speaker 9: Yeah, I thought he was the main.
• 2:09:00
  Speaker 3: I.
• 2:09:01
  Speaker 2: Thought it was sort of his pacifier, and he was
• 2:09:03
  Speaker 2: the main guy, and there's kids whacking distances. He's a
• 2:09:06
  Speaker 2: funny character, too.
• 2:09:08
  Speaker 3: It's the best part of the movie.
• 2:09:10
  Speaker 11: Obviously.
• 2:09:11
  Speaker 3: Yeah, except for the actress that does the... The nice
• 2:09:16
  Speaker 3: babysitter that the kid really likes. She's got some.
• 2:09:19
  Speaker 2: She's one of.
• 2:09:19
  Speaker 3: Those girls that... Young actresses that.
• 2:09:22
  Speaker 1: Oh, she's got some quirks to her. She's attractive and
• 2:09:26
  Speaker 1: got some quirks to her. Maybe she could do something
• 2:09:29
  Speaker 1: somewhere else.
• 2:09:29
  Speaker 2: She's not.
• 2:09:30
  Speaker 3: She's already out of business.
• 2:09:31
  Speaker 2: Oh, that's good.
• 2:09:34
  Speaker 3: Oh, Lord.
• 2:09:34
  Speaker 9: So, anything else before we wrap this up?
• 2:09:37
  Speaker 3: Oh, I'd like to sing. All right.
• 2:09:40
  Speaker 2: Can you do the song, The Last of the Independents?
• 2:09:43
  Speaker 10: No.
• 2:09:43
  Speaker 9: Because that's what we're going out on.
• 2:09:45
  Speaker 10: Is it?
• 2:09:46
  Speaker 9: There is.
• 2:09:47
  Speaker 2: Again, this is another one of the things I like
• 2:09:49
  Speaker 2: doing with the show is I like finding ways that, again,
• 2:09:54
  Speaker 2: it's not just me.
• 2:09:55
  Speaker 9: Playing, oh, here's a song.
• 2:09:56
  Speaker 2: I like finding the way that the songs and the
• 2:10:00
  Speaker 2: music and the movies sort of tie into it.
• 2:10:03
  Speaker 9: It's back and forth.
• 2:10:04
  Speaker 2: It's like sometimes there's movies that bring about a song,
• 2:10:07
  Speaker 2: and then sometimes you'll pick a movie and you'll find
• 2:10:10
  Speaker 2: 14 songs that you had no idea existed about this,
• 2:10:15
  Speaker 2: or a movie gets made because it's the name of
• 2:10:18
  Speaker 2: this song.
• 2:10:19
  Speaker 9: That was popular. There's all these weird back and forths.
• 2:10:22
  Speaker 2: And I like, you know, instead of just randomly playing
• 2:10:24
  Speaker 2: a song at the end, I like when we can
• 2:10:26
  Speaker 2: find something that ties into it. This is from Rory Gallagher.
• 2:10:31
  Speaker 2: And according to this is, yeah, I was like, okay,
• 2:10:36
  Speaker 2: it's odd that this just happens to be the name
• 2:10:38
  Speaker 2: of this, you know, what was the name of this
• 2:10:40
  Speaker 2: movie originally. In 1979, he does this interview and they
• 2:10:45
  Speaker 2: were asking him about that, you know, the title, The
• 2:10:47
  Speaker 2: Last of the Independents, the song. And if it's autobiographical
• 2:10:51
  Speaker 2: and if he, you know, what this means and how
• 2:10:54
  Speaker 2: it ties into the business or something. And he's like,
• 2:10:57
  Speaker 2: his quote is, the song actually came about when I
• 2:10:59
  Speaker 2: had the title and then I wrote the song. And
• 2:11:01
  Speaker 2: halfway through I realized I had read the review of
• 2:11:03
  Speaker 2: a movie called Charlie Baric. And he was piecing the
• 2:11:08
  Speaker 2: song together before, like not even knowing that that's where
• 2:11:11
  Speaker 2: it came from. Not even seeing the movie at that point.
• 2:11:14
  Speaker 3: So.
• 2:11:15
  Speaker 2: I think, once again, the movies sort of influence us,
• 2:11:19
  Speaker 2: even when we haven't seen them, even when they're just
• 2:11:21
  Speaker 2: jammed into your pop culture diet, you end up making
• 2:11:25
  Speaker 2: use of them in your job, in your everyday life,
• 2:11:28
  Speaker 2: and it's, I don't know, I thought that was kind
• 2:11:30
  Speaker 2: of cool, that this song got made without really tying
• 2:11:34
  Speaker 2: to this movie, but specifically tying to this movie.
• 2:11:38
  Speaker 10: I don't know.
• 2:11:38
  Speaker 3: His father's name was Molly. Sure it was.
• 2:11:42
  Speaker 9: So, if nothing else, yeah, this is.
• 2:11:45
  Speaker 2: A song recorded live in 1979 of his version of
• 2:11:48
  Speaker 2: Last of the Independents.
• 2:11:50
  Speaker 3: Oh, I think I know that song. Does it go.
• 2:11:53
  Speaker 10: He's the last of the independents.
• 2:11:57
  Speaker 3: Dun, dun, dun. Yeah.
• 2:12:01
  Speaker 2: Otherwise, that about does it. We will return next week.
• 2:12:03
  Speaker 2: Same geek time, same geek feed. Thanks for listening.
• 2:12:40
  Speaker 13: On a 747 She went highway The moon was laughing
• 2:12:45
  Speaker 13: at me Like I did not have a care I
• 2:12:48
  Speaker 13: just ran right back and said You ain't going anywhere
• 2:12:58
  Speaker 13: Thank you.
• 2:13:00
  Speaker 3: Thank you.
• 2:14:21
  Speaker 15: I was on my way, it was 7.47 So I held.
• 2:14:25
  Speaker 13: On, the moon was laughing at me Like I did
• 2:14:29
  Speaker 13: not have a care I just smiled right back and
• 2:14:31
  Speaker 13: said you ain't.
• 2:14:32
  Speaker 15: Going anywhere And I was out on the records And
• 2:14:42
  Speaker 15: the number's green.
• 2:14:44
  Speaker 2: Cause when you cross the minimums You only got yourself free.
• 2:14:47
  Speaker 13: I'm a sinner like that, you know I'm not named
• 2:14:51
  Speaker 13: for police.
• 2:14:51
  Speaker 3: Protection, but I'm bringing my own way.
• 2:14:53
  Speaker 13: I'm not a sucker for the pit.
• 2:14:57
  Speaker 15: I'm a sucker for the pit.
• 2:15:37
  Speaker 2: Got no time to lose.
• 2:15:38
  Speaker 13: Got no time Got no time to lose Got.
• 2:15:40
  Speaker 3: No time Got no time to lose.
• 2:16:54
  Speaker 11: I'll strip you naked and go to work on you
• 2:17:07
  Speaker 11: with a pair of pliers and a blowtorch.
• 2:17:08
  Speaker 6: Talk hard!