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Ranking Spielberg - Early Years · All The Right Movies

• 0:04
  All right, movies, they're going to bring the audience back into
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  the theater by making popular entertainment movies the way
• 0:11
  they used to be made every week and not be embarrassed that the
• 0:14
  movies make money getting people in the theaters and hearing them
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  laugh and scream and clap and all that good stuff.
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  I mean, it's really all I know how to do.
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  The from the mid 1970s to the end of the 1980s, Steven
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  Spielberg rules from being an inexperienced TV director to
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  become a big screen wunderkind, then big name filmmaker who
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  changed Hollywood forever. My name is John and I'm here
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  with Westie. I'm going to need a bigger
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  board. Luke.
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  If you are Scottish Lord, then I am Mickey Mouse.
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  And Matt? Tells me that goose stepping
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  morons like yourself should try reading books instead of burning
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  them. The Holy Grail of podcasters
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  here, as all the right movies gabble about great whites,
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  arrayed about archaeologists and eulogize about UFOs as we talk
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  the biggest director in Hollywood.
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  If you stay to listen, you have chosen wisely.
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  Hello and welcome to All the Right Magical Movies, a visually
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  Matt is back with us again today.
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  Hello Matt. Hello Steven Spielberg guru.
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  OK. Then back to business.
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  Yeah. Steven Spielberg.
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  Yeah, the master. So after I Stand the Cubic
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  ranking episode, check that out if you haven't as well.
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  We thought we'd look at another big director's top 10 movies and
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  decided to start at the top and work our way down.
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  So we're with the Granddaddy, the legend that is Steven
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  Spielberg. As ever, we're going to have
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  stories, opinions, maybe some tears.
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  I would imagine so, definitely. 1. 100%.
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  And the laugh or two as well. Yeah, guaranteed, guaranteed.
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  Last more than 1941 got. That's happened already.
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  Another learning we've taken from our Kubrick episode is that
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  when we're talking about the great filmmaker, trying to put
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  everything down into one digestible episode just isn't
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  possible, at least not without losing some dynamite content,
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  which is too good. I think it's true now.
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  The directors. Are too good.
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  So what we decided to do with Spielberg is split the show into
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  two parts and we'll talk about 5 Spielberg movies in each part.
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  One, this part is Spielberg. The early years when we talk
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  about Spielberg himself, his background in how he became a
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  filmmaker, and then the 1st 5 movies in our 10
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  chronologically. The second part released in two
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  weeks will be Spielberg. The later years we'll talk about
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  the last five films of our 10 and that's then where we rank
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  the movies and give our definitive Spielberg top ten in
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  total. That's about as clear as mud
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  isn't. It yeah, makes sense.
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  Lots to look forward to. OK, then on with part one.
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  So, as if it needs asked, why are we talking about Steven
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  Spielberg, Westie? Because it's impossible to like
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  films without liking Steven Spielberg.
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  I don't. I don't care who you are, no
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  matter where you come from, no matter what your outlook is, no
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  matter what you your upbringing is, if you don't love a Steven
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  Spielberg film. Any of them.
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  Then you're dead inside. You've.
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  Got that everyone? It's as simple as that.
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  He's in everyone's top five. You told anyone about a film
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  director and say who's your favorite film director and
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  they'll shy, usually go probably Spielberg because they don't
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  know anyone else. But everyone knows who he is.
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  He's an absolute guiding light for modern day cinema.
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  It's just so important in this whole medium.
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  It's impossible not to get excited about his work, it's
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  impossible to ignore him. So that's why he needs to be
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  celebrated. That kind of way to get into it.
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  Sorry, are you a fan then, Westie or not?
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  A little bit, yeah. Yeah, He's got some good films.
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  Mark, what about you? Well, if there was some kind of
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  like National Monument where you could carve directors faces in,
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  you know, importance. You go for Rushmore again.
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  He's like you, Jackman, isn't he?
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  He's the greatest showman I. Didn't know where you were going
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  there. But that's what I think about
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  when the thing about Spielberg, I think about somebody who puts
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  on a show because his ability to have spectacle with story, with
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  characters, with a great visual sense, and then he just plugs
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  into whatever emotion he wants you to feel as an audience,
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  whether it's awe, joy, wonder, fear, it's unparalleled.
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  He just does it better than anyone.
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  And what always strikes me is he's just so natural.
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  He's just a natural born film maker.
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  You can like, draw a line in cinema before Spielberg and
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  after Spielberg, you know, he's that influential and there's
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  just not many directors you can say that about.
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  Look, what about you? I'm not waxing as lyrical as
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  Westie about Spielberg, but I do love a lot of his stuff.
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  He's the name that stood out for me above all others when I was a
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  child, and if it had Spielberg's name attached to any film in any
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  way then it gave it a kind of standard of quality.
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  He knew what you were going to get.
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  Always got me really excited. He is hit and miss for me so I'm
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  interested to talk about his films in depth and might change
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  my mind here and there. For me, calling somebody the
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  greatest director of all time is big, Too big for me to pull off.
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  So I'm not going to say that about Steven Spielberg or
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  anybody else. What I would call Spielberg,
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  though, is the most natural director I've seen.
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  When you're watching him, it feels like he was almost born
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  with a camera in his hand. Nobody moves the camera quite
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  like him. Nobody blocks a scene quite like
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  him. His understanding of story and
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  character and hitting emotional beats when he needs to is second
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  to none. Yeah.
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  And when it comes to the big show, the blockbusters even
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  paralleled. Absolutely for me.
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  Yeah, definitely one of the greats and I'm a big fan.
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  No Spielberg, no blockbuster. Absolutely.
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  Yeah, so we've got our ten films, but before we get into
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  them, should we set the scene a bit and talk about Spielberg
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  himself later? Yeah, sure.
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  Do lovely stuff. Let's do that.
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  Then the. Director.
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  Steven Alan Spielberg was born with a camera in his hand on
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  December the 18th, 1946 in Cincinnati, OH, into an Orthodox
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  Jewish family. His mother was a concert pianist
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  and his father an electrical engineer.
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  So the perfect blend of art and science for young Stephen.
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  Absolutely. At school he was actually
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  bullied and not all that happy. I've got a quote from him where
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  he said I never wonder if I belonged.
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  I knew I didn't. I'd like to tell you it didn't
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  matter, but it's all that mattered.
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  It's deep. Powerful words, yeah.
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  Yeah. Do you think that's something
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  that comes through in his movies later on, the underdog or David
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  versus Goliath type stories? I think it does definitely.
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  If you look at stuff that he's actually written, I mean The
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  Goonies as a prime example, which he said was based on his
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  childhood and the gang that he was with were called the Goon
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  Squad and he was always seen as an underdog figure.
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  He had a lot of issues with his parents splitting up and he was
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  dealing with all that. There's a lot of them issues in
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  as well. I think he is a very, very
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  personal, very emotional director and I think a lot of
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  his past is spilled in with a lot of these dads influence
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  serving in World War Two comes along in many of his films.
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  So I think it's impossible to say that it's not a direct
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  influence, because I think it definitely is.
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  Yeah, I think you can see it in even Indiana Jones, his biggest
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  action star. He's got this vulnerability and
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  he has to overcome the impossible up against these huge
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  forces of evil. He doesn't really do cynical
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  protagonists, does he? He doesn't really do anti
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  heroes. He you can't always paint his
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  films very broad, black and white, good and bad.
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  You mentioned Indy there, but even if you look at Temple of
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  Doom, which is obviously the prequel, Indy starts a film
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  quite a cynical character. He's a bit of a Dick, to be
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  honest, at the beginning, but that basically gets beaten out
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  of him throughout the film and he comes out at the other end a
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  much more heroic figure. So I think that's what Spielberg
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  is interested in. He was.
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  And just fuck how many times he makes films about the oppressed.
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  He tries to make films that speak for them.
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  Absolutely. If you're about a Templar Doom
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  as well, it's always innocence that saves.
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  That's always represented through children.
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  And I think Short Round is the one who brings in the away from
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  that cynical view, the act of children and innocence that does
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  improve his characters. That's throughout everything, I
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  think. At the age of 12, Spielberg was
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  a Boy Scout and had to earn a merit badge for photography.
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  His family's camera was broken, so he used his dad's movie
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  camera instead and made a Western.
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  Spielberg says. I was hooked.
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  That's how it all started. And a few years after he left
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  school, he moved to Los Angeles, of course.
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  And after being rejected by the University of Southern
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  California Film School three times, madness, he was accepted
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  at California State University. He dropped out of there when he
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  got a job as an intern at Universal Television.
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  And Sid Sheinberg, the head of Universal, loved him.
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  Bloody loved him. Yeah.
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  Only 21 at the time. And this gave him invaluable
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  experience. He worked with Joan Crawford,
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  who famously could be quite difficult, just as Betty Davis.
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  He worked with her in a show called Night Gallery.
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  Have you heard much about that? I heard that he gave her a rose
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  as a gift. Old Romantic.
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  She was getting interviewed at the time and he came over with
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  this rose and little vase and she said that the journalist who
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  was interviewing at the time, you want to interview him, he's
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  going to be the biggest director in the world.
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  Amazing. Nice.
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  While she was furious at first about being directed by a kid,
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  but then later said once I began to work with Stephen, I
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  understood. It was immediately obvious to me
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  that here was a young genius. Yeah.
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  He directed episodes of other shows as well.
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  The name of the game? Marcus?
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  Well, BMD, among others. However, there is one show
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  Spielberg worked on which sticks out in his TV work like a sore
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  thumb. The big one or Glass Eye.
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  You know what I'm talking about. Certainly.
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  So amazingly, Steven Spielberg directed the pilot episode to
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  Colombo, The Colombo with Peter Falk.
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  It was 1971. The episode was called Murder by
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  the Book and he was just 23 at the time.
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  Have you seen the Columbo episode Spielberg directed I?
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  Have yeah, but massive fan of Columbo anyway.
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  But this pilot episode, it's fantastic.
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  It is really cinematic, the way the camera moves, you know, the
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  lens choices, it's got a lot of pace to it, which you would
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  never really expect because it came off the back of two TV
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  movies. And then they started to do the
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  series. So then they approached me a bit
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  to give it a more cinematic edge, which he really does.
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  And I think he shapes the carrot of Columbo really well and the
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  bad guy, and it's really cocky, gets taken down perfectly by
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  Columbo. It's a great episode, check it
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  out. Yeah, I've seen it as well.
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  It is fantastic. It is really, really cinematic
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  because the later Columbo episodes are shot very
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  specifically. But then when I was watching
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  this for the first time, I was actually laughing at points
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  because the camera was like snaking through scenes and
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  there's all these crazy angled shots, all these mental
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  transitions, and it's like, Falk mustn't have known what was
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  going on here. I.
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  Didn't have a clue, they said. Spielberg's just got this whole
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  tool kit and he's just thrown absolutely everything at it.
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  Yeah, but it's great. The writer of Murder by the Book
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  was a fella called Steven Bochco, and he said about
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  Spielberg, there's a part of his brain that automatically
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  translates words into pictures. He never had to think about it.
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  Can you see that in his films? Do you think this gift people
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  say he has to convert scripts and visuals without having to
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  try too hard? I think so because I think one
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  of the hardest things for me to come up with was a meaningful
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  quote from his films. I don't think his dialogue is
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  necessarily really impactful. I think you can watch any
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  Spielberg film and you put a John Williams score over the top
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  of it and he doesn't need dialogue.
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  That's how good he is. I think you can certainly see
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  that in something like close Encounters.
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  It's not really a dialogue film by any stretch and I was
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  watching it to focus on the visuals and scenes.
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  Like when Roy's thrown plants into the kitchen like the
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  spaceship rival at the end with the reactions of all the people
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  around. They all tell the story without
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  sound required at all. What's the start of the Raiders?
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  There's no dialogue whatsoever. The best introduction to
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  encounter ever on parallel. There's so many examples
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  throughout this entire query where you can take a sequence
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  stripped of all the dialogue and you can still follow the story.
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  Absolutely. You mentioned the beginning
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  Raiders there, but how much Raiders do you think you could
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  watch without the dialogue before you start?
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  Get lost. I would say you'd be a good 2025
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  minutes inward. End credits for me.
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  More TV work fold Columbo. And then in 1974, Spielberg's
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  career really took off. He directed ATV movie called
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  Dual, which received enormous praise, and that was quickly
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  followed by his first feature, which is the Sugarland Express
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  starring Goldie Hawn. Yeah.
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  What do you think of those two? I'm a big fan of Jewel.
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  I really like its faceless menace of the antagonist, the
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  similar theme that was revisited with Jaws, and the story's just
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  super lean, just stripped back, really pure.
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  I like that about it. I love his use of mirrors and
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  reflection. This is where it all kind of
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  started, and it just goes all the way through his career where
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  he just uses them to absolute aplomb.
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  Jewel I would like that being in the top ten, to be honest,
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  because I absolutely adore it. Thing that strikes me back, Deal
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  is how much confidence he's got to do on location.
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  He's not bothered about being at the safety of the studio and
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  Shogarland Express. It's just really interesting
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  that he can go from something like Deal, which is like this
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  visual, visceral thriller, to Shogman Express, which is much
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  more about the characters and about the drama and their
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  journey. He's just in depth at that as
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  well. To go from Dual to Vas, he's
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  just demonstrating so much skill at an early age, it's
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  incredible. Nice.
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  Predict lavished praise on the Sugarland Express.
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  Even Pauline Kale. Like this?
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  Really. She called it one of the most
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  phenomenal debuts in the history of movies, Right?
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  And from here on in, Spielberg was the Golden Boy, one of the
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  hottest young directors in Hollywood.
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  And the rest that we're going to talk about is part of movie
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  history. So we're talking of that history
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  that was to come. What do you think Spielberg's
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  legacy is? What was he influenced?
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  How has he changed Hollywood in cinema?
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  Go. How is he not?
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  Yeah, I mean, we wouldn't have box office blockbusters without
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  him. The way that the landscape looks
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  today, it would be unrecognizable if it weren't for
• 17:16
  Spielberg. Even you can see his influence
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  on the recent 80s nostalgia push that's been in things like
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  Stranger Things and the new incarnation of it.
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  That's all, Spielberg. Totally it.
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  Is and that comes off the back of him being a very dominant
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  force from a producer point of view.
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  It's that tone and that confidence.
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  But I think if you look at all the different film makers who
• 17:37
  he's influenced and you get the likes of Steven Soderbergh
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  waxing lyrical about Money's blog and just saying that nobody
• 17:42
  blocks a scene as good as he does because he puts so much
• 17:45
  into his films. There's a lot of different film
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  makers can take a lot of different elements from
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  Spielberg. Where the likes of Zemeckis, Joe
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  Dante, Peter Jackson, James Cameron, JJ Abrams, that have a
• 17:56
  career I'm sure, but to achieve the heights that they've
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  achieved, he just helps so many. Just incalculable.
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  Really. Yeah, absolutely.
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  I mean, Marvel, the biggest movie out there in a minute.
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  Yeah, Spielberg films are there. Obviously, yeah.
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  Next up, it's the 10 movies. So to end here, I've got a quote
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  from the man himself, Spielberg, on making many magical movies.
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  He says I don't dream at night, I dream at day.
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  I'm dreaming for a living and I've been dreaming for 40 years.
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  Amazing. Lovely 40 more hopefully.
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  Probably not. Probably.
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  Not probably. Not 115.
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  The Movie. Here it is then, Spielberg's 10
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  movies. He's directed to over 30 films.
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  So to decide what should make up the top ten, we use a number of
• 18:48
  factors. Our own opinions, scores on
• 18:52
  Rotten Tomatoes and IMDb, and the opinions of our Twitter
• 18:57
  followers as well. Collating all that together, it
• 19:00
  means the 10 films we're going to talk about are Jaws, close
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  Encounters of the Third Kind, Raiders of the Lost Ark, ET The
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  Extraterrestrial, Indiana Jones and the Last Crusade, Jurassic
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  Park, Schindler's List, Saving Private Ryan, Minority Report,
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  and Catch Me If You Can. Ridiculous.
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  That's quite some 10. Amazing.
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  Outrageous. Imagine. 8 stone cold classics
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  in there. Don't give it away.
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  So with this being part one today, we're going to talk about
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  those first five, which are Jaws, close Encounters, Raiders,
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  ET. And The Last Crusade, Then Part
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  2, we'll pick back up where we left off.
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  That said, there's still a whole host of movies that people love
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  that we're not going to talk about.
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  Duel, the Sugar Land Express, Indiana Jones and the Temple of
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  Doom, The Colour Purple, AI, War of the Worlds, Munich, Lincoln,
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  Bridges, Spies, The Post and others.
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  Are we disappointed in any of the ones that haven't made the
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  list? Yeah, I mean, I wasn't expecting
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  to be in the 10, but I really, really love the post.
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  One of the best films that I'd seen for a long while when it
• 20:07
  came out a few years back. It's an absolutely fantastic
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  film. Great character piece,
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  historically important as well, and it's perfect companion piece
• 20:15
  to All the President's Men. Nice.
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  Bang Bang. Yeah, bang, bang.
• 20:19
  If you're looking for a Bang Bang, that's the one.
• 20:25
  So I'm a massive fan of democracy.
• 20:27
  Everyone happened to vote, but I'm still really annoyed that
• 20:30
  he's all forwarded me down on Temple of Doom.
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  Yeah, Temple the Doom wasn't in there just because we didn't
• 20:36
  want it to become Indiana Jones nor the white movies.
• 20:41
  I'm disappointed that Munich didn't get in there.
• 20:43
  I absolutely adore Munich. I think it was him just giving
• 20:46
  the finger to everyone at the time.
• 20:48
  It is going to, yeah. I'm going to make a really long
• 20:49
  film that you're going to have to sit and endure more than
• 20:52
  anything else. So you just wanted to do it at
• 20:54
  that time. I think it's a challenge to
• 20:55
  watch. I think it's a really important
• 20:56
  film. I think it's really well acted.
• 20:58
  I haven't seen Eric Bannon better in anything.
• 21:00
  He's fantastic. His use of camera shots and that
• 21:03
  is just dizzy. And if you watch it from a
• 21:05
  technical point of view, it's incredible.
• 21:07
  Color Purple as well is fucking brilliant.
• 21:10
  So what we're going to do is talk about each film in
• 21:12
  chronological order based on their release date, and we'll
• 21:15
  all have one thing we like about the movie, and that should start
• 21:18
  a right old chat. You think?
• 21:20
  I think also will. So up first, it was only
• 21:25
  Spielberg's second feature, but it changed everything.
• 21:29
  Movies would never be the same again.
• 21:31
  Some people would never go in the sea again.
• 21:33
  We wouldn't be here now without us.
• 21:36
  It was as if God created the devil and gave him jaws.
• 21:45
  Summer girl goes swimming, swims out a little far.
• 21:48
  She tires, fishing boat comes along.
• 21:51
  It's happened before. I don't think you appreciate the
• 21:53
  gut reaction people have to these things.
• 21:55
  Harry, I appreciate. It I'm just reacting to what I
• 21:58
  was told. Martin, it's all psychological.
• 22:02
  You yell Barracuda, the roses. What?
• 22:08
  You yell shark. We've got a.
• 22:11
  Panic on our hands on the 4th of July.
• 22:14
  Jaws was released in summer 1975 and was pretty big.
• 22:19
  Yeah, pretty big. Telling the tale of a 25 foot
• 22:23
  great white shark terrorizing a beach community, it stars Roy
• 22:26
  Shider, Richard Dreyfuss and Robert Shaw in the leads.
• 22:30
  It was the highest grossing film of all time, changed Hollywood
• 22:33
  forever, and made Spielberg a superstar director overnight.
• 22:37
  We're starting massive. What do we think of Jaws?
• 22:41
  It's unbelievable, isn't it? Let's be honest.
• 22:43
  Yeah. Move on.
• 22:47
  It resonated with me when I was younger, when I first saw it and
• 22:50
  I was terrified about I didn't even want to go in the bath.
• 22:52
  So. Much affected.
• 22:54
  You have a massive bath. Yeah, the fact that it was a
• 22:59
  tiny bath, I still didn't want to get it because I grew up in a
• 23:02
  beach community as well. I think we all kind of did to a
• 23:05
  certain degree. I think it's fantastic.
• 23:07
  I absolutely love it. Yeah, it's an incredible film,
• 23:09
  isn't it? What I really love are the
• 23:11
  characters in it and also the tension that's built all the way
• 23:15
  through. What's mind blown is that
• 23:17
  Spielberg was 27 at the time, making what turned out to be one
• 23:20
  of the most popular films ever made.
• 23:22
  Even now, that's unbelievable. Yeah, again, it's just about how
• 23:26
  confident he is at such an early age.
• 23:28
  He knows how to use widescreen, like properly.
• 23:30
  He knows how to fill that frame and it has no business being as
• 23:34
  good as it is. I'm about a shark.
• 23:37
  It shouldn't have that much character detail.
• 23:39
  It shouldn't have such lovely cinematography.
• 23:41
  It shouldn't have such brilliant race to sharp editing.
• 23:44
  A few years ago, me son was here and I sat him down and watched
• 23:47
  it for the first time and thought, I don't know if you
• 23:49
  like this. He's a big fan of Marvel and
• 23:51
  Star Wars. Don't know if you watch
• 23:52
  something where a lot of times it's three blocks trapping, but
• 23:55
  he was completely captivated by it.
• 23:57
  His attention didn't wander. He didn't stop playing games.
• 24:00
  He jumped out of the skin When Ben Gardner's head pops out of
• 24:02
  the board of. Course.
• 24:03
  Absolutely loved this. So I think for like a film
• 24:05
  that's 40 years old, to still have an effect on an 8 year old
• 24:08
  kid as he was at the time just tells you how good it is.
• 24:11
  Well, Jaws was the first movie we ever covered on our podcast,
• 24:14
  and for good reason. I think it's practically perfect
• 24:18
  in every way. There's load that's great.
• 24:20
  The writing, the performances, the score, of course, the
• 24:23
  editing is world class. And I think the direction from
• 24:27
  Spielberg is outstanding. He was only 27, like Luke
• 24:30
  mentioned when he made yours, but it's all there.
• 24:33
  He's already Spielberg. The way he works the camera from
• 24:37
  start to finish is next level. 27 years old.
• 24:40
  I mean, what are you playing as? Well, he formed, isn't he?
• 24:43
  27 year old like I'm just going to reinvent the Dolly zoom.
• 24:46
  Yeah, OK. What?
• 24:51
  I gave it A10 on our first episode and I give it A10 now.
• 24:54
  It's a truly great film in my eyes.
• 24:57
  In terms of what we like about yours then Matt, what you're
• 25:00
  going for? I'm going for the death of poor
• 25:03
  little Alex Kintner and then listening about Spielberg.
• 25:06
  I think he's got this sadistic side to him and this scene is
• 25:09
  one of the most sadistic he's ever done because the build up
• 25:12
  is incredible. The way there's no music in the
• 25:15
  scene, which in itself is a bit unsettling.
• 25:17
  I love the fact when you get those people walking us, Brody's
• 25:20
  point of view and they're acting as edits.
• 25:23
  Yeah, the wipes. Fantastic.
• 25:25
  The really ominous space when the fellow starts calling
• 25:27
  Alpha's dog. And the death itself, even
• 25:29
  though you don't see that much, you see just enough.
• 25:31
  It's an amazing scene. So it's a little mini master
• 25:33
  class in editing. I think it's up there with the
• 25:36
  greatest 10 minutes Spielberg's ever shot.
• 25:39
  It's. Phenomenal opening tracking shot
• 25:41
  that follows Alex up the beach and then like Matt said, he
• 25:44
  covered it. Spielberg raises the tension
• 25:46
  frame by frame. There's that incredible point of
• 25:48
  view shot of the shark as it comes up to Alex's legs and then
• 25:52
  the iconic Dolly zoom in the Brody.
• 25:54
  It's 10 minutes of non-stop brilliance from Spielberg.
• 25:57
  Dolly Zoom has been talked about a million times, but there's a
• 26:00
  reason why it's so, so exciting. Look, what about you?
• 26:04
  What's the thing you like about yours?
• 26:06
  I really love this character moment between Brody and Hooper
• 26:10
  at Brody's dinner table when Brody's a little bit drunk.
• 26:14
  Very nice. Yeah, lovely.
• 26:16
  It's after they catch the tiger shark and Brody's all thrilled
• 26:19
  with himself. He's given people like double
• 26:21
  handshakes and stuff and then Hooper ruins his moment and says
• 26:24
  the bite radius is too small and he's back at his house.
• 26:28
  Firstly, love it because Hooper is my favorite character, the
• 26:31
  one I can relate to the most. I absolutely love him.
• 26:34
  He's great. Got loads of classy shows up
• 26:36
  with two bottles of wine, red and white because he didn't know
• 26:38
  which one they liked. Yeah.
• 26:40
  And I also like that he gets tucked into the food straight
• 26:43
  away on the table. Yeah.
• 26:44
  Oh, he doesn't mess around. Love it.
• 26:47
  And then he's telling the story about how he got into sharks and
• 26:50
  Brody, completely oblivious and emotionless to it, just gets
• 26:53
  stuck into the wine and he pours himself a Tumblr of wine.
• 26:57
  Lovely. And Hoopa's a little bit flirty
• 26:59
  with Ellen Brody as well, isn't he?
• 27:01
  It's a little uncomfortable. Turns on the charm, yeah.
• 27:04
  I love it because it's Brody and Hooper coming together as a
• 27:07
  team, Brody says. Why don't we have one more drink
• 27:09
  and go down and cut that shark open?
• 27:11
  Fantastic. I like the scene just before
• 27:13
  this one as well where we see Brody with his son where they're
• 27:16
  pulling like monster faces. What a wonderful moment.
• 27:19
  That wasn't actually in the script and just happened on the
• 27:21
  set where Roy Schneider and the boy playing Sean started making
• 27:25
  these faces. Spielberg saw it and was like
• 27:28
  get the cameras back on love as a father and son moment as he
• 27:33
  loves it. I also like the little scene
• 27:36
  that follows this as well, and I think you're a big fan of it as
• 27:39
  well, John, where they cut the shark open and they find a
• 27:41
  little James Bond artifact in it.
• 27:43
  Yeah, because Spielberg wanted to be a James Bond director.
• 27:46
  Didn't he throw the license plate his double O 7?
• 27:48
  Yeah, it's like a Louisiana license plate, as if it was from
• 27:51
  Live and Let Die. Nice, nice.
• 27:54
  Leslie, what about you? What's the thing that you like
• 27:56
  about yours? I don't know if it's the thing
• 27:57
  that I like the most about it, but it's always the thing that I
• 28:00
  remember the most about it from when I first saw it.
• 28:02
  It's that head coming out. Everybody's worst nightmare.
• 28:06
  It is, isn't it? And it's probably the ultimate
• 28:09
  jump scare. It is the ultimate jump scare,
• 28:11
  definitely. I just jumped there when you
• 28:12
  mentioned it. Knock your mic off.
• 28:17
  But yeah, it's just a fantastic moment.
• 28:18
  It builds perfectly. It's claustrophobic, and then
• 28:22
  you just get the perfect Spielberg moment and that
• 28:25
  musical sting. Shriek.
• 28:28
  Yeah, that kind of shriek that comes with it is perfect.
• 28:31
  You can't prepare yourself enough for this moment, no
• 28:34
  matter how many times you've seen it, no matter how many
• 28:36
  times you know it's coming. I know it's coming, but it still
• 28:39
  works. You still don't know exactly
• 28:40
  when. Yeah, yeah, it's impossible to
• 28:43
  judge it. It's actually quite interesting
• 28:45
  how this was shot because it wasn't in the script and they
• 28:49
  didn't shoot it first time round.
• 28:50
  But when Spielberg watched the movie with test audiences, he
• 28:53
  thought, one more, I can get one more jump in there.
• 28:57
  So we went back to Universal and said, can I have some more money
• 29:00
  to shoot an extra scene? I've got a really good idea.
• 29:03
  The film was already five months over schedule and more than
• 29:05
  doubled its budget. So they were like, you are
• 29:08
  having a lot. Obviously not.
• 29:10
  You're little shit. He might not have called him a
• 29:13
  little. Shit probably did so Spielberg.
• 29:15
  Paid for it himself, $3000 and they shot it at the editor,
• 29:19
  Verna Fields house in her pool, Poured milk into the pool to
• 29:22
  give her that Milky look. The wonders.
• 29:24
  I mean, it feels like you're in the middle of the ocean.
• 29:28
  It's incredible. You just wouldn't know.
• 29:30
  Yeah, amazing. In terms of what I like, there's
• 29:33
  lots of things I love. Like I said, the performances,
• 29:35
  the score. I love Robert Shaw's monologue
• 29:38
  as Quint. We talk about all of that in
• 29:40
  depth on our Jaws episodes. You want to hear us waffle on
• 29:42
  about that stuff, check that out.
• 29:45
  It's what I'm going to go for now as I was Spielberg.
• 29:48
  Not only was he very young when he made the movie, but he had to
• 29:51
  face Nova Comb problem after problem after problem when they
• 29:55
  were shooting. And so to list the main ones,
• 29:58
  shooting out at sea caused massive problems because of the
• 30:01
  remote location. I was insane, Spielberg said
• 30:04
  later. The script wasn't finished and
• 30:07
  Spielberg and the writer called Gottlieb were rewriting it
• 30:09
  throughout the shoot. The Yoga at Quinn's board sank
• 30:13
  at one point during production and had to be replaced, which
• 30:16
  obviously held everything up. And most famously, they were
• 30:20
  major problems with Bruce, a mechanical shock.
• 30:25
  It hadn't been tested properly. When they tried to use it out at
• 30:27
  sea. Bruce sank over and over again.
• 30:32
  How do you think Spielberg handled all those issues that he
• 30:34
  was dealt? 27 years old, like a fucking
• 30:37
  boss. Absolutely ridiculous.
• 30:41
  And one of the other big things as well was that the crew boats
• 30:44
  were tiny. So that have two or three trips
• 30:46
  to get all of the equipment over the way they needed to shoot,
• 30:49
  which is where the line comes from.
• 30:50
  You're going to need a bigger boat.
• 30:52
  That's what they said to each other.
• 30:53
  That was crew joke. Lovely.
• 30:55
  We're going to need a bigger boat for this.
• 30:57
  Obviously tonight. I got it later on and then just
• 30:59
  repeated it. And that's what I'm trying to
• 31:01
  say is that even the massive problem he benefits from and use
• 31:04
  it in the film and it makes it better.
• 31:07
  Fantastic. I'm always amazed that this
• 31:10
  massive, massive issue that the whole film was angered upon
• 31:13
  wasn't working. And I think the film's so
• 31:16
  successful because you don't see the shark.
• 31:18
  I think that's agreed universally that you don't see
• 31:20
  the shark for what is it 2/3 into the film or something like
• 31:23
  that. Yeah, yeah.
• 31:24
  The sole reason for that is because there was massive
• 31:26
  production issues, but he flexed around us and completely changed
• 31:30
  the tone of the film. And if it had been working from
• 31:33
  the get go, there's no way it would have been successful.
• 31:35
  There's no way we would have been talking about it now if we
• 31:37
  had a shark in our faces in the 1st 5 minutes.
• 31:40
  No way. Just show us how creative he was
• 31:42
  and how much fire he had and how many ideas he had and just,
• 31:45
  well, we're going to use yellow barrels and that's going to
• 31:47
  signify where the shark is. God, what an amazing set piece
• 31:50
  that is. If I'd got out there and went,
• 31:53
  oh, Wesley, the shark doesn't work, I'd be like, fuck this,
• 31:55
  I'm going home. I can't do this.
• 31:59
  That's a shark film. Spielberg just went.
• 32:01
  I'll just make a Hitchcock film then.
• 32:03
  Yeah. What?
• 32:04
  What a bitch. I mean, he's really naive in
• 32:08
  some ways, wasn't he, Making this, the amount of ludicrous
• 32:11
  decisions he made, I thought, Nah, I can do that.
• 32:13
  And he did. It's just that natural talent
• 32:16
  that he's gotten, it's just pouring out of him and probably
• 32:18
  an element of good luck in that It could have easily just has
• 32:21
  gone wrong. But yeah, it's amazing how he
• 32:23
  pulled this off because should have sunk his creed, really.
• 32:26
  Shouldn't it send him back to Columbo full time?
• 32:31
  Peter Faulk didn't work. I was broken off for fuck's
• 32:37
  sake. I mean the fact that 27 year
• 32:39
  old, Does everyone know that Spielberg was 27 when he made
• 32:42
  yours? The father?
• 32:45
  The 27 year old managed to make a coherent film.
• 32:48
  I would have. Everything that happened is
• 32:49
  astonishing. To make an all time classic
• 32:52
  shouldn't even be possible. Not magnificent.
• 32:55
  Not just a classic, but yours was the highest grossing film of
• 32:58
  all time and it's regarded as the first ever summer
• 33:00
  blockbuster. So what is Joe's legacy do you
• 33:03
  think? How do they change cinema or its
• 33:05
  effects still felt today? It's the birth of the
• 33:08
  blockbuster, isn't it? Absolutely.
• 33:10
  If you don't have Jaws, then you don't have these big movie
• 33:13
  events to look forward to. It was the birth of that.
• 33:16
  Yeah, these tentpole summer releases that each company has,
• 33:20
  I mean, it's because of this film and changed how the films
• 33:23
  were released as well, released on mass as opposed to drip fed
• 33:27
  state by state by state and how they were marketed as well.
• 33:30
  Completely changed the game. It's the blueprint for both a
• 33:33
  creative standpoint and also a business model.
• 33:36
  Yeah. Thing as well shows that just
• 33:38
  because the material for a film is essentially like AB movie,
• 33:41
  you don't have to report it like AB movie, you don't have to be
• 33:43
  lazy. You can make something genuinely
• 33:46
  brilliant out of it. You can still get that today
• 33:48
  when you get something like Graffiti when Alfonso Cron made
• 33:51
  that, but could have just been a really cheap and cheesy space
• 33:54
  disaster movie. But it's a real work of art,
• 33:58
  that film, as well as being a thriller, and I think that draws
• 34:01
  short that. Yeah, Jaws was an absolute
• 34:04
  monster of a hit on its release. On a budget of $9 million, it
• 34:08
  grossed $470 million, the highest grossing film of all
• 34:12
  time. The Godfather had the record
• 34:15
  before Jaws, and that was $130 million.
• 34:18
  So Jaws made over treble what the record was.
• 34:20
  Yeah, amazing. Still thought of very highly.
• 34:22
  Now it has eight out of 10 on IMDb and a whopping 98% on
• 34:27
  Rotten Tomatoes or Twitter. Followers love it too.
• 34:31
  Concrete soldiers at Leon Doggy Dog said dispense.
• 34:39
  Wonderful cast of characters. Big ass shark.
• 34:43
  It has that really cool camera zoom effect that everybody
• 34:46
  loves. The soundtrack is all drunk
• 34:49
  shandies and 'cause people to be shit scared of sharks for the
• 34:55
  past 40 years. 10 out of 10. Was this a three piece tweet
• 35:01
  that he's made there? You fit it all in there.
• 35:03
  Crammed it all in film 75 with Leon Doggy Dog there.
• 35:08
  Next up on our list is Spielberg's very next film after
• 35:11
  Jaws. He moved from big ass sharks to
• 35:14
  big ass spaceships. It's the start of Spielberg's
• 35:18
  love affair with the third act flying saucer combo.
• 35:21
  It's close Encounters of the Third kind.
• 35:27
  Who are you people look at this. Yeah, I got one.
• 35:30
  Just like in my living room. Who are you people?
• 35:38
  Visionary, please one more question have.
• 35:42
  You recently had a close encounter. close encounter with
• 35:47
  something very unusual. Who?
• 35:52
  Are you people? After the massive success of
• 35:55
  Jaws, Spielberg was given creative control to make pretty
• 35:59
  much whatever movie he wanted. He always wanted to make a
• 36:02
  science fiction film, specifically one about UFOs, so
• 36:06
  that's what he did. Close Encounters of the Third
• 36:08
  Kind was released in 1977 and is a story of obsession and family
• 36:13
  wrapped in a tale of government conspiracies, alien abductions,
• 36:17
  and Spielberg's first, but certainly not last, huge flying
• 36:21
  saucer. Yeah.
• 36:24
  Richard Reavis is back in the lead and is joined by Terry
• 36:27
  Garr, Melinda Dillon, Bob Balaban and Francois Truffaut,
• 36:31
  bizarrely enough. And just to be clear, we are
• 36:36
  talking about the special edition of Force Encounters,
• 36:38
  which was released in 1980 with a few extra scenes added.
• 36:42
  So, a passion project for young Spielberg?
• 36:45
  Yes. What do we think of CE3 Ki?
• 36:49
  Am not a fan of the film. Right.
• 36:51
  This is down to my tastes. There's nothing wrong with it
• 36:54
  technically and visually it's really good, but the story
• 36:57
  doesn't interest me in the slightest.
• 37:00
  On top of this, I'm not bought into the characters at all.
• 37:03
  I love Dreyfus usually, but he just can't save the character.
• 37:06
  I know he's supposed to be like this kind of obsessive madman
• 37:10
  who's driven to the brink, but I couldn't connect with him in any
• 37:14
  way possible. It's infuriating for me to see
• 37:16
  him breakdown and not be open to any reason whatsoever by his
• 37:21
  family that's inferior and watching.
• 37:23
  Oh, he loses the plot completely.
• 37:25
  He loses the blood. Also he leaves his wife and
• 37:27
  children at the end and pisses off with the aliens.
• 37:30
  What a bastard. They leave him earlier on
• 37:33
  though. Daniel.
• 37:34
  For good reason, surely. What I find most impressive is
• 37:37
  the incredibly talented crew on display in the film, which if
• 37:41
  you watch the credits, they just unfold and unfold and unfold.
• 37:44
  Obviously Williams is in there with the music, but you've also
• 37:47
  got Douglas, Slocum, Laszlo, Kovacs behind the camera and
• 37:50
  they aren't even credited as cinematographer.
• 37:52
  That's Filmos Sigmond. Amazing.
• 37:55
  And then you've got legendary FX man Douglas Trumbull and Paul
• 37:59
  Schrader and David Guila helped out with the.
• 38:01
  Script. Unreal.
• 38:02
  Yeah, it's an amazing technical achievement.
• 38:04
  I'll mirror what you said there. This is the one where I come
• 38:07
  away from it feeling a little bit more confused and a little
• 38:09
  bit more cold. I don't get as rewarded from
• 38:11
  this film as I really think that I should.
• 38:13
  It's a Spielberg that really wants to make a film, but he
• 38:16
  doesn't quite know what he wants to make a film about, wants to
• 38:18
  try all these effects and have all these big set pieces, but
• 38:21
  he's just kind of written the simplest story in which to put
• 38:25
  those into play. It does work.
• 38:27
  It does elevate. I mean, the visual effects
• 38:28
  haven't stood up amazingly over the years.
• 38:30
  I still think they look good. I still think they look very
• 38:33
  good. There's some amazing scenes in
• 38:34
  it, There's some pretty good performances.
• 38:37
  Like you've said, the crew on. It's just incredible and that's
• 38:39
  what saved it, really. Well, I guess I'm just going to
• 38:42
  beat the voice of Descent on this one because I'm a massive,
• 38:45
  massive, massive fan of this one.
• 38:47
  I think it's Spielberg one and ensure what he can do when he's
• 38:51
  in complete control for film. He wants to saw that Jaws wasn't
• 38:55
  a fluke and he didn't get away with it.
• 38:56
  And so I love how he takes all these random elements.
• 39:00
  You've got what's happening with Roy, you've got the scene in
• 39:03
  Traffic Control, you've got the villages and India making that
• 39:05
  weird noise, and you just hear the answers straight away.
• 39:09
  He holds them back because he knows he's going to deliver a
• 39:11
  hell of a climax. And I love how he juggles the
• 39:13
  taunts of the film as well. It goes from being full of like
• 39:16
  wonder in Mystery to like on Spicy Thriller.
• 39:19
  It's got elements of horror in there, like when little Barry
• 39:22
  gets kidnapped. Definitely, yeah.
• 39:24
  I know you said you weren't fan of this scene, but I do like how
• 39:27
  he isn't afraid of show this really kind of brutal family
• 39:31
  breaking down, which is really, really tough to watch when he's
• 39:33
  having like a breakdown in the shower.
• 39:35
  I am a massive fan of course, for saying it's probably my
• 39:39
  favorite science fiction film. The 70s.
• 39:41
  Holy shit, everything that you love about it is probably
• 39:43
  everything I dislike. For a few years when I was
• 39:48
  younger, this was my favorite film.
• 39:50
  Really. Yeah, yeah.
• 39:51
  When I was about nine or ten, I was obsessed with like alien
• 39:54
  abductions and life on other planets and stuff.
• 39:56
  No way. Well, still, I'm really I read
• 40:01
  books about UFOs and always thought they should make a film
• 40:04
  about this. I think it was me brother who
• 40:06
  told me about close Encounters and said I would like it.
• 40:09
  And then when I watched it, it was like all me dreams that came
• 40:12
  true. It was basically what I'd been
• 40:14
  reading and it took it seriously as well, which I loved.
• 40:17
  I found it totally fascinating. I can't remember seeing.
• 40:21
  Star Wars or Raiders for the first time.
• 40:23
  But I remember seeing close Encounters for the first time.
• 40:26
  It blew my tiny little mind. Wow, I'm still a fan now.
• 40:30
  So what do we like about close Encounters then?
• 40:33
  Luke, you want to start us off? I absolutely love that opening
• 40:36
  scene. First off, I love that old
• 40:39
  Columbia logo that zooms into the torch.
• 40:41
  Fantastic. That makes me really happy.
• 40:44
  And then it opens in there. All downhill from there is it.
• 40:50
  This opening scene promises so much for me.
• 40:53
  And I know that John and Matt, you love it, but when I re
• 40:56
  watched it maybe about five years ago, I was thinking,
• 40:59
  Christ, this is going to be absolutely amazing.
• 41:01
  It opens in the Sonora Desert in Mexico, an amazing location.
• 41:05
  And I love it because there's so much intrigue and mystery to the
• 41:08
  whole thing. Don't know what it's all about,
• 41:10
  but it feels really important and really dramatic and I love
• 41:13
  the sound design of the wind and you can almost feel that sand
• 41:17
  blown into your eyes and then the color of the blind and blue
• 41:19
  sky just visually looks amazing. I also like Francois Truffaut in
• 41:24
  there with his hair blown back in the wind.
• 41:27
  Suave man truthful. Don't you think he looks a
• 41:29
  little bit like Mark Ruffalo? A little bit.
• 41:31
  A little bit, Yeah, Yeah. Francois Ruffalo.
• 41:36
  But then downhill from there. When I did watch this as a kid,
• 41:40
  I was hooked from that very first scene.
• 41:43
  Wild horses couldn't have dragged me away.
• 41:45
  I think it's really well put together.
• 41:46
  I love how we're in the middle of a sandstorm, like you say.
• 41:49
  Injects a real sense of urgency from the very first seconds.
• 41:52
  I love all the mystery about it. No one's got any idea what's
• 41:55
  going on. By Spielberg standards, it's
• 41:57
  quite understated and I love it. It's not in the scene.
• 42:00
  I think it's great. Love the music and it's really
• 42:02
  ominous, yeah. Love music's fantastic.
• 42:04
  Did you know that the squad of planes are fined?
• 42:06
  Flight 19 is a real US Air Force squadron.
• 42:09
  They went missing. Oh really?
• 42:11
  No, I did not. Went missing in 1945 in the
• 42:13
  Bermuda Triangle. Look at it from my angle.
• 42:15
  Spielberg did his research. Mark, what about you?
• 42:17
  What's the thing you're going for?
• 42:19
  It's a really small scene, but I think it just sums up the genius
• 42:22
  of Spielberg. And it's the scene where we
• 42:24
  first met Roy and he's got lost and he's pulled over and he's
• 42:27
  reading the map and he sees a car coming behind like the
• 42:29
  headlights. He waves them on, drives on a
• 42:31
  bit further again, pulls over, has to check them up again, sees
• 42:35
  another car come up behind him, goes to wave it on.
• 42:38
  But this is when we realized, actually, it's US.
• 42:40
  Focus. Instead of the lights going
• 42:42
  around him, it simply just lifts up and goes over his car.
• 42:45
  It's such a simple little moment where he just makes gold out of
• 42:49
  it. It's just what Spielberg's about
• 42:51
  to make. No one else would have thought
• 42:52
  of that. And that's where Roy gets his
• 42:54
  half sun tan, isn't it? Yeah.
• 42:56
  It looks as though he's got tomato sauce meat on his face.
• 43:02
  I'm not sure why, but this is a scene I always think of when I
• 43:05
  think of CE3K. I love that shot where you see
• 43:08
  the shadow of the UFO fly over Roy's truck he's driving.
• 43:13
  And this is one of the key story points as well, isn't it?
• 43:15
  This is where Roy's obsession really starts when he has this
• 43:19
  crazy experience. Next stop, Mashed potato.
• 43:24
  Wesley, what about you? What's your favorite bit?
• 43:27
  It's not just because it's the end of the film, but it's the
• 43:29
  end of the film when the mothership turns up and then
• 43:33
  they're communicating with it. And you've got that great
• 43:36
  collaboration with John Williams.
• 43:37
  You've got them five notes that played on that synthesizer, that
• 43:41
  universal language. I really enjoy that, Yeah.
• 43:43
  Nice. But the thing that gets me about
• 43:45
  it as well is, I don't know whether this was subconscious or
• 43:47
  not, but Spielberg's mom was a musician and Spielberg's dad was
• 43:50
  a computer engineer. So I think that's a perfect
• 43:53
  balance between his upbringing. The only thing that would have
• 43:55
  made this scene better is if the camera moved back and it was
• 43:58
  craft work. That would have been amazing.
• 44:02
  Just. Played the five notes.
• 44:05
  I love that scene as well. The whole film is basically
• 44:07
  built up to this point and I love how long it is.
• 44:11
  Spielberg's in no rush to reveal that spaceship.
• 44:14
  I think it's all the better for us when we do see the spaceship.
• 44:18
  It doesn't disappoint. It's in massive.
• 44:20
  The spaceship's amazing. I'd shot everywhere.
• 44:23
  It turns over and it's got like a whole cityscape on the bottom.
• 44:26
  Fantastic. And it just keeps getting.
• 44:28
  Bigger, doesn't it? What do you stick to?
• 44:29
  The actual aliens themselves? What's that?
• 44:31
  That thing that comes out, that's getting long.
• 44:33
  No idea. It's like the thing when it's
• 44:35
  halfway through changing. Most of the aliens were played
• 44:39
  by children dressed in rubber suits, and the first time they
• 44:43
  shot that moment where the doors open and the aliens come walking
• 44:46
  down the ramp, the children were all standing in the wrong place
• 44:49
  and when the doors opened they all fell out.
• 44:52
  Amazing comedy music should have.
• 44:55
  Left that in definitely. What I like is how we see a
• 45:00
  classic Spielberg trademark here for the first time, which is the
• 45:04
  family dynamic, the family unit. I think it's one of his key
• 45:07
  hallmarks from his whole career, these huge, extraordinary
• 45:11
  stories. And at the core of everything is
• 45:13
  ordinary characters, often a family relationship.
• 45:16
  You do a touch on it in Jaws, but this is the first time he
• 45:19
  really goes all in. And then from here, every film,
• 45:23
  every. Single.
• 45:24
  Film. What do you think of that as a
• 45:26
  Spielberg trademark? Is it a key part?
• 45:29
  Do you think of his films? I think it's kind of a
• 45:31
  reflection of how he views family life, and I imagine that
• 45:35
  comes from being the child of a broken home.
• 45:38
  Imagine that's made a huge impact on him in this film in
• 45:41
  particular. I can't stomach that family
• 45:44
  dynamic. It's so loud when they're all
• 45:48
  bawling and screaming at each other.
• 45:50
  It's just too down loud. I love the mother and son
• 45:53
  relationship. There is a family dynamic.
• 45:55
  I think that's excellent and I think the whole sequence where
• 45:57
  they come down and try and abduct the kid is fantastic.
• 46:00
  They're coming down the chimney. Petrifying.
• 46:02
  The lights coming in through the door when he opens the door,
• 46:04
  it's incredibly iconic. Like I said, there's some
• 46:06
  fantastic bits in it, I just needed a few more.
• 46:09
  I think it's a bit like what Luke said, Carl Roy busy boogers
• 46:12
  off at the end, and I think it always reflects where Spielberg
• 46:16
  is out in his personal life. Because imagine back then that's
• 46:19
  what Spielberg would have done because of his own issues.
• 46:21
  He would have absolutely gone into that spaceship at the end
• 46:24
  if that was. Gone off.
• 46:26
  But then I think later as he grows up and he gets his own
• 46:28
  family, you see it started to change, like ET and Last
• 46:31
  Crusade. Yeah.
• 46:33
  Years later, Spielberg did say that if you made Closer
• 46:35
  Encounters now, Roy would never, ever have left the family.
• 46:38
  Yeah, yeah, exactly. That moment where Roy's in the
• 46:40
  shower with his clothes on, his son comes in, starts yelling
• 46:43
  crybaby at him. That's from a real event that
• 46:45
  happened to Spielberg. So when he was a kid and his
• 46:48
  parents separated, he saw his dad crying and started yelling
• 46:51
  crybaby at him over and over again and he had to be taken out
• 46:53
  of the room. Really.
• 46:55
  So this scene probably traumatizes poor dad when he's
• 47:00
  still mocking on you. Later.
• 47:03
  Also, this is one of only two Spielberg movies where he's
• 47:07
  credited as director and writer. Yeah.
• 47:10
  Do you know what the other one is?
• 47:13
  AI isn't. It it's AI, Yeah.
• 47:14
  Nice. How do you think he does here on
• 47:16
  close Encounters as a writer, director?
• 47:19
  For me, it's a very confused tone.
• 47:21
  He's thrown a lot into it, but I don't think it makes as much
• 47:23
  sense as he thinks it does. This was an amalgamation of
• 47:26
  about three or four different ideas.
• 47:27
  One of them spun off to become Poltergeist.
• 47:30
  But he had an idea for like, you know, that dysfunctional family
• 47:32
  element and that whole horror element which he brings into it.
• 47:34
  And then there was the idea of the aliens being left behind
• 47:38
  after the mothership goes, and that translates under ET.
• 47:40
  She had all of these different ideas, and I think he is an
• 47:43
  ideas machine, but I think that's what this film is.
• 47:45
  It's just a lot of emotions and ideas.
• 47:48
  Like you said, Johnny, it is a passion project for Spielberg,
• 47:51
  who's been working on it since about 72, I believe.
• 47:54
  And I think it's clear that there's a huge amount of love
• 47:56
  for the subject matter. As you mentioned, he loves
• 47:59
  aliens. That's clear for everyone to
• 48:00
  see. Oh, he loves them.
• 48:01
  He. Loves them, but like I said
• 48:03
  before, the script doesn't blow me away at all.
• 48:06
  I think it's all about the visuals in this film.
• 48:08
  I guess I'd agree that it's probably not the most
• 48:10
  disciplined of scripts, but I suppose he just thought no one
• 48:14
  is ever going to write the kind of script that he wanted to
• 48:16
  make, so he just had to go and do it himself.
• 48:19
  Yeah, it's probably not a strength, to be fair.
• 48:22
  I do like the theme of obsession that runs throughout.
• 48:24
  Yeah, that's really what the story is about for me.
• 48:26
  The fantastical spaceship at the end is the narrative boy, the
• 48:29
  Corvidor. That's about how Roy becomes
• 48:32
  totally obsessed with a spaceship.
• 48:34
  But it could have been anything. Yeah.
• 48:35
  Spielberg is credited as writer but didn't write the first draft
• 48:39
  that was written by Paul Schrader, who wrote Taxi Driver.
• 48:43
  Spielberg called Schraders draft one of the most embarrassing
• 48:47
  screenplays ever turned into a major studio.
• 48:49
  Wow. Wow, that's really offensive.
• 48:52
  Luxuriator I know stories and I know character, and this is
• 48:56
  embarrassing. Imagine Spielberg calling your
• 49:01
  screenplay embarrassing. There's just no comeback.
• 49:04
  And this would have been a year after Taxi Driver, one of the
• 49:08
  greatest screenplay has ever written.
• 49:09
  He. Mustn't have had a gun in his
• 49:10
  desk. Bro.
• 49:11
  Want to be playing this? Those Encounters was a huge hit.
• 49:14
  It was Colombia's highest ever grossing movie at the time and
• 49:17
  was nominated for eight Oscars. Spielberg was nominated for Best
• 49:21
  Director and Vilma Sigmund won for Best Cinematography.
• 49:25
  Today, the film has 95% on Rotten Tomatoes and 7.6 out of
• 49:30
  10 on IMDb. Also, to this very day at
• 49:34
  Devil's Tower, the Mashed potato mountain that Roy reconstructs
• 49:38
  in his living room, they hold a daily screening of CE3K.
• 49:43
  Really, a Devil's Tower sounds amazing.
• 49:46
  Yeah, I'd watch it again if I was a Devil's Tower.
• 49:49
  I'm not going to travel there just to watch it.
• 49:53
  I'd have to be there and be like, oh, is it on in 10
• 49:55
  minutes? That's absolutely.
• 49:56
  Fine, Ray Bradley knows all about science fiction, and he
• 49:59
  called close Encounters the greatest science fiction film
• 50:03
  ever made, and Dom from Twitter agreed with them.
• 50:06
  OK, really. At Dom Holder, he says
• 50:09
  thematically it is the quintessential Spielberg film.
• 50:13
  Suburbia. Wonder absent parents.
• 50:16
  The last half hour is my favorite piece of cinema.
• 50:19
  Right. Lovely use of the word suburbia
• 50:21
  there. From Done.
• 50:22
  Very nice, very nice. Spielberg's next film was 1941
• 50:26
  in 1979, but I think the less said about that one the better.
• 50:30
  Yeah, we'll leave that. A World War Two comedy in
• 50:32
  Spielberg's first box office flop.
• 50:35
  So we're jumping right over that one and going straight to his
• 50:37
  next classic. And what a classic it was.
• 50:40
  The return of the great adventure, the beginning of
• 50:43
  Indiana Jones. It belongs in a museum.
• 50:48
  What else but Raiders of the Lost Dog?
• 50:54
  Hello, Marianne. Indiana Jones always knew
• 51:07
  someday you'd come walking back through my door.
• 51:10
  I never doubted that. Something made it inevitable.
• 51:14
  So what are you doing here in Nepal?
• 51:17
  I need one of the pieces your father collected.
• 51:20
  Four years after close Encounters and two years after
• 51:24
  1941, the film. I mean, that's confusing.
• 51:28
  Spielberg was back with a bang. Based on an idea he and his pal
• 51:33
  George Lucas brewed up on holiday together about an
• 51:35
  archaeologist version of James Bond, Raiders brings us Indiana
• 51:39
  Jones, one of Hollywood's most iconic characters, and his quest
• 51:44
  to find the mythical art of the covenant.
• 51:46
  Yes, Harrison Ford plays Indy and is joined by Karen Allen,
• 51:51
  John Reese Davies, Paul Freeman, Denim Elliot, and Ronald Lacy.
• 51:55
  Regarded as the pinnacle when it comes to action adventure
• 51:58
  movies, What do we think of Raiders of the Lost Ark?
• 52:01
  It's the pinnacle when it comes to action and adventure movie.
• 52:05
  That's absolutely correct. There's nothing better from that
• 52:08
  genre at that time. Spielberg again, but at his most
• 52:11
  focused, at his most fun, I think up to now and he's most
• 52:15
  adult, but with like a real tongue in cheek 5 to it.
• 52:18
  I can't get enough of this film. I've said on the podcast that we
• 52:21
  did that it's me favorite film of all time.
• 52:23
  It stands up there still. It's flawless.
• 52:26
  Yeah, I mean, at the beginning when I said Spielberg a showman,
• 52:29
  this is just the best example of that because he's just showing
• 52:33
  off in this film, you know, he's he wants to show you everything
• 52:37
  he can do, you know? Either write you off.
• 52:39
  Isn't he Spielberg? He's going to introduce this
• 52:44
  character in this open sequence, but with hardly any dialogue,
• 52:47
  but he's still going to know exactly who the character is by
• 52:50
  the end. He's going to give you this you
• 52:52
  wrote you in the film is power free to the like Cary Grant and
• 52:55
  Katharine Hepburn in their prime.
• 52:57
  Lovely going to give you a guy and a horseback against the
• 53:00
  truck full of Nazis and give you an action sequence like you've
• 53:03
  never seen before. It's just ridiculous how like
• 53:06
  entertaining it is. And kind of like Jaws, it has no
• 53:10
  business being as good as it is because it could just be silly.
• 53:12
  It could be really calm, but it's not his like control of the
• 53:15
  tone of it. It's just outstanding.
• 53:18
  Anything you want, Characters, action, dialogue, laughs,
• 53:21
  horror, it's just all in there. It's just incredible.
• 53:25
  I want to watch it now, see you later.
• 53:30
  I've got it on in the background.
• 53:33
  Luke, what do you think of it? This is pure cinema for me.
• 53:36
  One of my earliest memories as a kid is watching Indiana Jones
• 53:40
  films. The character of Indie God.
• 53:43
  I mean, he's just everything that I want to be in a man.
• 53:50
  He's confident and macho, but he's flawed and clumsy and that
• 53:53
  makes him so, so relatable. I love him so much that I'm
• 53:56
  willing to give Indies want and disregard for human life a pass.
• 54:01
  Like in the market in Kairo, he just wastes people left right
• 54:04
  and centre without any repercussions whatsoever.
• 54:08
  We do have a podcast episode delegated to this, like Westy
• 54:10
  said, so give that a listen. But I mean, it's outstanding,
• 54:14
  isn't it? That's amazing.
• 54:15
  The podcast episode, I mean. Oh yeah, yeah, yeah.
• 54:18
  That's right, I'm talking about too.
• 54:19
  The movie though, Well done, Spielberg.
• 54:20
  Very good. Westy, you love it.
• 54:23
  What's the thing you love about Raiders?
• 54:25
  For me, it's one of the greatest introductions to any character
• 54:29
  in cinema history. It's that shot from behind him.
• 54:33
  We've got all the way there. There's just cocks his head when
• 54:35
  he hears the gun, turns around. There's a whip.
• 54:37
  There's this music sting. He just walks out of the shadows
• 54:40
  and it's like, that's Indiana Jones.
• 54:43
  You are in. I was just like, who's this?
• 54:49
  Yes, it's still to this day excite us.
• 54:54
  It's superb to the point where I've tried to wear a fedora so
• 54:57
  many times throughout my life. I've tried to wear the leather
• 55:01
  jacket so many times as an introduction to a character,
• 55:05
  somebody who you're going to be with for the next two hours.
• 55:07
  You are just absolutely sold. It's perfect.
• 55:10
  Yeah, that step out of the shadows is fantastic.
• 55:13
  Yeah, I. Love as well the shot where you
• 55:15
  see Indy holding the map and you can see Alfred Molina, his
• 55:18
  companion, in the background. Spielberg gives us about 6
• 55:21
  masterful shots in about one minute.
• 55:24
  Absolutely crazy. In terms of the narrative, just
• 55:27
  the info to the character. The first time we see the
• 55:29
  character shouldn't be that important, but Spielberg does it
• 55:32
  so well that we're still talking about it 4 decades later.
• 55:35
  Yeah, incredible. For my like to follow on from
• 55:39
  what Wesley said, I'm going for the opening sequence as a whole,
• 55:42
  which is incredible. As well as setting up indie, it
• 55:45
  also sets up Belloc is the villain.
• 55:47
  It sets up the world of treachery, the supernatural,
• 55:50
  booby traps, the tongue in cheek tone, basically everything we
• 55:54
  need to understand the film, and it does it all in the most
• 55:57
  entertaining way you could ever imagine.
• 56:00
  Yeah, yeah. Total movie magic.
• 56:03
  Yeah, incredible stuff. The amount of set pieces that
• 56:06
  happen in this, what is it, 13 minutes, 13 minutes, and the
• 56:09
  amount of iconic things that like an indelible part of movie
• 56:13
  history in this first 30 minutes.
• 56:16
  I still can't get enough of the shifting of the sand and the
• 56:19
  idol and the boulder. I can't believe how many times
• 56:22
  I've seen that and still love it.
• 56:24
  Yeah, incredible. There's more ideas in this 13
• 56:27
  minutes and there isn't more to our films.
• 56:30
  Oh, without a doubt, yeah. I think in this Jaws and Saving
• 56:34
  Private Ryan, Spielberg's got three of the most iconic
• 56:37
  blockbuster openers has ever been.
• 56:39
  What do you think of that? Is a Spielberg trademark the big
• 56:42
  action opener? Has it been influential?
• 56:45
  Me and Matt studied together at uni and I argued the toss in one
• 56:48
  of the lectures that every Spielberg film has six acts.
• 56:52
  So every normal film has an introduction, the confrontation,
• 56:55
  a resolution, a start middle and an end.
• 56:57
  For me, every single Spielberg film has that.
• 56:59
  In the opening sequence, you've got an introduction to a
• 57:01
  character, you've got confrontation and then you've
• 57:03
  got resolution. And that happens in every single
• 57:05
  Spielberg opening sequence to every film.
• 57:07
  Look at yours. There's Program on the Beach,
• 57:09
  The Attack, and then there's Just That Boy, which finishes
• 57:12
  every single film that he does has a short film at the start of
• 57:15
  it, and this is probably his best.
• 57:16
  I mean, Jaws and Saving Private Ryan are both outstanding, but
• 57:19
  this is up there. Look, What about you?
• 57:21
  What's the thing you like about Raiders of the Lost Ark?
• 57:24
  I'm gonna go for the sequence in the Well of the Souls with
• 57:27
  Marion and Indy. Nice.
• 57:29
  As iconic as the opening scene in my opinion.
• 57:31
  They're thrown in there with loads of ASPs, Very dangerous.
• 57:36
  It's terrifying, but it's also hilarious in places.
• 57:39
  But she's clambering all over him and he's just like,
• 57:42
  screaming and then burns the whip and thinks it's a snake.
• 57:45
  It's just there's so many amazing bits in it.
• 57:47
  There's the moment when it is face to face with that mammoth
• 57:50
  snake. You can't tell that there was
• 57:52
  like perspex glass between the two of them.
• 57:54
  I love this kind of interplay between Indian and Marian.
• 57:58
  He's all pissed off with her because she's dressed up for
• 58:00
  Belloc in what looks like a wedding dress.
• 58:03
  I love that. And he's when did you get this
• 58:05
  from him pissed off? This isn't the place.
• 58:08
  I love how that's pissed him off more than anything.
• 58:12
  And then the terrifying moment where marrying surrounded by
• 58:15
  loads of skeletons and it's like a haunted house movie only done
• 58:19
  much better than any haunted house movie I've ever seen.
• 58:22
  I like the bit as well where we see in the dressed like Lawrence
• 58:25
  of Arabia in the white robe and headscarf, which is obviously
• 58:28
  intentional. I think Spielberg took a lot of
• 58:30
  influence from David Lean in that for how Raiders looks.
• 58:35
  And I like as well how it followed through on what was set
• 58:37
  up in the scene between Indian, the government agents, where in
• 58:40
  the explains the well of souls and how the stuff of raw works
• 58:43
  and then we see it all in action.
• 58:45
  Yeah, it's really good set up and pay off.
• 58:47
  Wonderful. Spielberg was quoted saying that
• 58:49
  Lawrence of River is his favorite film of all time
• 58:52
  really, and he did a screening with David Lean, late 60s, and
• 58:54
  he said he David Lean just give him a live audio commentary on
• 58:57
  the film. He said he learned more from
• 58:59
  that than he did from anything else, so that's why he never
• 59:02
  does DVD commentaries. He said he'd give too much away,
• 59:04
  so he's never done one. Oh wow, really Now why?
• 59:07
  Yeah. Like a magician never reveals
• 59:09
  the secrets. Exactly.
• 59:10
  Matt, what about you? What's the thing you like about
• 59:12
  Raiders? Well, you can't talk about
• 59:15
  Spielberg without bringing up John Williams, can you, at some
• 59:17
  point? We certainly can't.
• 59:22
  This is their best collaboration.
• 59:24
  It's just a wonderful, wonderful soundtrack.
• 59:26
  Every bit of it, it adds to the torn, it adds to the feel of the
• 59:29
  film. Marion seems absolutely
• 59:31
  gorgeous, but you've got to go back to the Raiders March,
• 59:34
  haven't you? What a piece of music it is.
• 59:37
  It's so perfect. It honestly makes me cry.
• 59:40
  Good. It's used to its best in the
• 59:44
  Well of Souls when he's rotten, that statue, and then when it
• 59:46
  finally falls and then it just boom, right?
• 59:48
  You can celebrate now. They're out of it.
• 59:50
  You. Can compare to like some of the
• 59:51
  early Bond films where they've got the Bond theme, not quite
• 59:54
  sure how to use it so they're just stick it over the most
• 59:56
  random scenes of like Bond checking into a hotel.
• 1:00:02
  Didn't know how to use the Raiders March perfectly.
• 1:00:04
  I want to listen to it now. Another one, Spielberg brief
• 1:00:07
  Williams. He said he wanted to invoke the
• 1:00:09
  spirit of the adventure but also have it slightly tongue in
• 1:00:12
  cheek. I mean, how you convert that
• 1:00:15
  brief into music, I don't know. But Williams did it
• 1:00:18
  magnificently. The main theme is every bit as
• 1:00:21
  integral to the character. Is the happened with.
• 1:00:23
  Yeah, for me. So.
• 1:00:25
  Good that when Spielberg went back and actually got his
• 1:00:27
  degree, which I'm sure we'll talk about later on when we come
• 1:00:29
  to the Schindler's List, but the played the Indiana Jones theme
• 1:00:32
  tune when he got his degree. Lovely.
• 1:00:35
  Did they roll a big baller after him as he would want?
• 1:00:38
  It's just a massive scroll. Dealing with this.
• 1:00:40
  Spielberg, surely one of the greatest collaborations in
• 1:00:44
  Hollywood. Spielberg and Williams 28 times
• 1:00:47
  they've worked together. Williams scored every film here
• 1:00:50
  in R10. He's won three Oscars working on
• 1:00:53
  Spielberg films and be nominated in that 14 times for Spielberg
• 1:00:57
  films. So they're quite a team, Stephen
• 1:01:00
  and John. Yeah, Master.
• 1:01:01
  Do we think of them as a collaboration more generally?
• 1:01:05
  Without one, you haven't got the other.
• 1:01:07
  Exactly. We've posted on Twitter recently
• 1:01:09
  that scene in AT without the music.
• 1:01:11
  Yeah, and it's nothing. It's what Michael Kahn said
• 1:01:14
  whenever he does a first code for film.
• 1:01:16
  Spielberg refuses to watch it without any temp music.
• 1:01:18
  He needs to have the temporary soundtrack on it.
• 1:01:21
  Right. You'll get from John Williams,
• 1:01:22
  which is just ideas, but he said he can't visualize it because
• 1:01:25
  it's so much of A package that you kind of have one without the
• 1:01:28
  other. John Williams sounds like
• 1:01:29
  Spielberg looks. When John Williams won the AFI
• 1:01:32
  Lifetime Achievement Award, it was Spielberg who presented the
• 1:01:36
  award to him. Lovely, and said, now this might
• 1:01:39
  be the best quote ever, Spielberg said.
• 1:01:42
  Without John Williams, bikes don't really fly.
• 1:01:47
  Nor do brooms in Quidditch matches, nor do men in red
• 1:01:50
  capes. There's no force.
• 1:01:53
  Dinosaurs do not walk the earth. We do not wonder.
• 1:01:56
  We do not weep. We do not believe.
• 1:02:01
  I'll just need a moment. And your delivery, John as well.
• 1:02:07
  Pitch perfect, Wonderful words. Yeah, amazing.
• 1:02:10
  Unbelievable now. But the studio had doubts about
• 1:02:12
  Spielberg before Raiders. But after Raiders, that never
• 1:02:16
  happened again. The highest grossing film of the
• 1:02:19
  year on an $18 million budget, it made $390,000,000 and was an
• 1:02:25
  instant classic. It has 95% on Rotten Tomatoes
• 1:02:29
  and 8.4 out of 10 on IMDb. Yep, just you on Twitter.
• 1:02:34
  Bloody loves it. Loves it at the Fenster, she
• 1:02:39
  says. Does Raiders of the Lost Ark
• 1:02:41
  deserve A10? Based on the opening alone, You
• 1:02:44
  bet you're sand weighing, idle nabbing, whip cracking, boulder
• 1:02:48
  dodging as it does. So just to clarify, that's a
• 1:02:52
  yes. That's a yes from Joe.
• 1:02:54
  Yeah, very nice, Joe, Very nice, very nice.
• 1:02:56
  And Steven Spielberg agrees with Joe.
• 1:03:00
  That's good of them. You follow on Twitter.
• 1:03:04
  On talking about his favorite film he's made himself,
• 1:03:07
  Spielberg says if it were me alone in the room, it would have
• 1:03:12
  to be Raiders. That great quote.
• 1:03:14
  Lovely. Spielberg was the biggest
• 1:03:16
  director in the world at this point.
• 1:03:17
  But that wasn't enough for the greedy swine.
• 1:03:21
  Just one year after Raiders and up next, another classic,
• 1:03:26
  another box office behemoth, another third act.
• 1:03:29
  Flying saucer hanger. Chiefs at the ready.
• 1:03:32
  Yeah, it's 80, The Extraterrestrial.
• 1:03:43
  He said phone. He said phone.
• 1:03:46
  Can't you understand English? He said phone, home.
• 1:03:55
  You're right, that's ETS. Home.
• 1:04:08
  ET home phone. ET phone home.
• 1:04:21
  ET phone home. ET phone.
• 1:04:25
  Home ET was released less than one year after Raiders of the
• 1:04:28
  Lost Ark, Not that it's yours. Regarded as the peak of family
• 1:04:33
  film making, it tells the tale of a nice little chap from
• 1:04:36
  another Galaxy who was stranded on Earth and forms a beautiful
• 1:04:40
  friendship with a nice little chap from California in a cast
• 1:04:44
  made-up mostly of children. It stars Henry Thomas in the
• 1:04:46
  lead as Elliot, Drew Barrymore and Robert McNaughton join him,
• 1:04:51
  and Dee Wallace plays their mother Mary.
• 1:04:54
  It's about as iconic as movies get.
• 1:04:57
  What do we think of ETI? Can't abbreviate this one.
• 1:05:02
  That's a shame. Yeah, I had only seen this once
• 1:05:05
  beforehand. I must have watched it in my
• 1:05:07
  late teens and I can't remember much of it other than crying
• 1:05:10
  like a baby near the end. It was embarrassing.
• 1:05:14
  Embarrassing. So I was really fearful that
• 1:05:18
  this was going to happen again, but it didn't, thankfully
• 1:05:20
  enough. I think that the reason for it
• 1:05:23
  is I wasn't that engaged with it.
• 1:05:25
  It has a load of plus points and it made me laugh out loud quite
• 1:05:28
  a few times and there were loads of moments that left us with
• 1:05:31
  that kind of warm fuzzy feeling. But it just left me questioning
• 1:05:34
  a few too many things. Although I do like it when ET
• 1:05:37
  falls over drunk in the kitchen. That's hilarious.
• 1:05:41
  Math What about you? I think it's a film that
• 1:05:43
  probably sums up Spielberg's personality the most to me.
• 1:05:47
  It's awful. It's optimistic, it's sincere,
• 1:05:49
  but it does acknowledge there's, you know, some darkness in life
• 1:05:53
  and you do have to go through pain and you have to learn to
• 1:05:56
  get over it. But I think this film has to be
• 1:05:59
  directed by someone who is completely sincere.
• 1:06:02
  There's any kind of bit of cynicism about this and he
• 1:06:05
  thought that this is just a kids film.
• 1:06:07
  We'll do really quickly. We'll knock it off and shoved in
• 1:06:10
  cinemas, make a bit of money and the kills of stone dead.
• 1:06:13
  So I think only Spielberg could have pulled this film off
• 1:06:15
  because he is completely sincere.
• 1:06:17
  He can put himself into that viewpoint of the child.
• 1:06:20
  I think it's absolutely wonderful, this film.
• 1:06:22
  I'm a huge fan. Lovely.
• 1:06:25
  Yeah. I think it's a perfect family
• 1:06:26
  movie. First thought as a kid of
• 1:06:28
  course, and loved it. I watched it again to do this
• 1:06:31
  episode, maybe for the first time in 20 years.
• 1:06:34
  I was surprised how much I didn't remember, and I loved it
• 1:06:38
  when I already watched it. Obviously I was expecting the
• 1:06:40
  big emotional moments and for it to look great, but I think it's
• 1:06:44
  much more than just sentimental schlock.
• 1:06:47
  Oh, definitely. Yeah, now something I couldn't
• 1:06:50
  believe is that up until one week ago, Rusty.
• 1:06:55
  Mr. Movies. Mr. Movies, Westie.
• 1:06:59
  Had never seen AT so free from all the nostalgia of having seen
• 1:07:03
  him many times as a kid. Yeah, what your thoughts were?
• 1:07:07
  I avoided it because of the crushing tearjerker end and I
• 1:07:11
  didn't think I'd be able to handle.
• 1:07:14
  I saw Mac and me before I saw ET.
• 1:07:16
  What so? When you saw this, were you
• 1:07:19
  thinking Spielberg just ripped off Mac and me?
• 1:07:24
  Yeah, definitely. What I really loved about this
• 1:07:26
  is you see the influence, everything that this has
• 1:07:30
  influenced. No ET, no Stranger Things, no
• 1:07:33
  ET, no Goonies. This is a blueprint.
• 1:07:35
  I can see why it's adored by people, but I did.
• 1:07:37
  I thoroughly enjoyed it. But what it's done ultimately,
• 1:07:40
  thankfully, it's trying to make me be a little bit more of an
• 1:07:44
  understanding and a better parent.
• 1:07:46
  Wonderful. I'm so pleased I've seen it as a
• 1:07:48
  dad as opposed to being a son. Lovely, wonderful review from
• 1:07:52
  Westie. So on the back of that Westie,
• 1:07:55
  what's the thing that you like about the film?
• 1:07:57
  Nothing. I love the scene where he's
• 1:08:03
  found the booze in the fridge and he's mincing around the
• 1:08:06
  house and then Mary comes home and she's putting the shopping
• 1:08:09
  away and just misses him at every turn.
• 1:08:11
  I think it's cinematic genius, just where he puts the camera
• 1:08:14
  and it's just a comic foil of eight.
• 1:08:15
  It's just a really light hearted bit right in the middle.
• 1:08:18
  It's pure Spielberg just knows exactly where to put the
• 1:08:20
  audience, exactly where to put the camera.
• 1:08:22
  I loved that moment. I thought it was hilarious.
• 1:08:24
  When I said I was a bit surprised by the film when I
• 1:08:26
  already watched it, one of the things I wasn't expecting was
• 1:08:29
  just how funny it is. Yeah, like this scene, the bit
• 1:08:32
  where Mary opens the fridge door and it's smack CT hilarious.
• 1:08:36
  We're in the face and he's like. Absolutely hilarious, isn't Drew
• 1:08:42
  Barrymore Say, here he is, but I think you've killed him already.
• 1:08:45
  And. On Halloween night when maybe
• 1:08:47
  takes a photo of all the kids and when the flash goes off ET
• 1:08:50
  he's gone, you know he's back again.
• 1:08:53
  Absolute klutz. Takes the child, isn't he?
• 1:08:55
  So he's got an innocence. It all works and that real magic
• 1:08:59
  exists if you look for it. Look, what about you?
• 1:09:02
  What's the thing you like about AC?
• 1:09:04
  I absolutely love Drew Barrymore has the unfortunately named
• 1:09:07
  Gert. Yeah.
• 1:09:10
  She is brilliant. She's fantastic in it.
• 1:09:13
  Barrymore's best performance of our entire career.
• 1:09:16
  Better than Charlie's Angels full throttle.
• 1:09:19
  There are a few child actor performances that don't feel as
• 1:09:22
  though they're acting, and I think this is one of them.
• 1:09:24
  She's the funniest character by a mile.
• 1:09:26
  I absolutely love it when she tells her mother that she's
• 1:09:28
  going to play in Elliot's room and she's clearly up to
• 1:09:31
  something. She's clearly lying, and I like
• 1:09:33
  it when she teaches ET to speak and does them up like a dog's
• 1:09:37
  dinner with the hat and the wig combination.
• 1:09:39
  Yeah, she's just an absolute delight.
• 1:09:41
  And her tears at the end seem real.
• 1:09:43
  I'm totally bored into her pain. Oh yeah, the worker, Spielberg
• 1:09:46
  said. Imagine that you're saying
• 1:09:48
  goodbye to Henry Thomas and the other kids rather than ET, and
• 1:09:51
  that's why she was crying. What a bastard.
• 1:09:53
  What? Do you think of that, Drew?
• 1:10:01
  She is brilliant. I like the dinner scene as well,
• 1:10:03
  where she's repeating everything everybody else says.
• 1:10:05
  Yeah, lovely. But my favorite bit is where
• 1:10:08
  Gerdie sees ET for the first time.
• 1:10:10
  The scream and then he screams. Never fails to make me smile.
• 1:10:14
  Yeah, it's lovely. Lovely moment.
• 1:10:17
  One day on set when they were shooting as well, who Barrymore
• 1:10:19
  couldn't remember her lines and Spielberg shouted at her and
• 1:10:23
  made her cry. You later found out that she had
• 1:10:29
  a fever and it still came into work even though she was poorly.
• 1:10:32
  And there's footage you can see online of where Spielberg is
• 1:10:34
  apologizing to her, and he gives her a big, big hug, which is
• 1:10:38
  nice. He's a godfather, isn't he?
• 1:10:39
  He is her godfather. Yeah, yeah, yeah.
• 1:10:42
  Wow. I'm Gwyneth Paltrow.
• 1:10:44
  Really. Yeah, I'm a man of the people.
• 1:10:47
  For my like, I'm going for ET himself, as in the character
• 1:10:52
  rather the creation of the character.
• 1:10:54
  I know that at the time it was released, it was a huge secret
• 1:10:57
  what ET actually looked like. Everyone knew Spielberg was
• 1:11:01
  making this big movie about an alien and it was a big marketing
• 1:11:04
  ploy to not reveal his appearance until the film was
• 1:11:07
  released. So that's why he's not on the
• 1:11:08
  posters from the time. Right.
• 1:11:11
  We don't actually find out all that much about ET, but I've got
• 1:11:15
  some facts, OK? Lovely.
• 1:11:16
  Shoot so Spielberg and Melissa Matheson, who wrote AT, came up
• 1:11:20
  with the idea for a sequel in that we find out Et's name is
• 1:11:25
  Zrek. OK Zrek.
• 1:11:28
  Think it's Tutsen. I prefer ET.
• 1:11:30
  Spielberg also said in an interview that ET hasn't evolved
• 1:11:33
  from apes like us. He's evolved from plants and has
• 1:11:36
  no gender. So on binary, he was a modern
• 1:11:40
  term. Yeah.
• 1:11:40
  Lovely. Yeah.
• 1:11:41
  And in the novelization, we find out how old AT is, How old is
• 1:11:46
  he, do you think? How old does he look?
• 1:11:48
  I'm going to go 163. Specific guess, yeah. 9. 9. 85.
• 1:11:55
  South AT is 10 million years old.
• 1:12:02
  I think he looks fucking great for 10 million years.
• 1:12:04
  Old, he does. That's what I could look like
• 1:12:07
  when I'm 10 million years old. Shriveled prune.
• 1:12:11
  But what about you? What's the thing that you like
• 1:12:13
  about easy? I'm going.
• 1:12:13
  To go for the bike ride, out of all his iconic images Spielberg
• 1:12:19
  has given us, this is number one.
• 1:12:21
  It comes in the film at exactly the right time.
• 1:12:23
  Because one thing I'm always kind of surprised by when I go
• 1:12:26
  back to see it is how restrained a lot the film is.
• 1:12:29
  The build up is quite slow and it's just about building that
• 1:12:32
  relationship between 18 Elliot. He's also emphasizing how lonely
• 1:12:37
  Elliot is. So when this bike ride comes
• 1:12:39
  along and he obviously makes him fly, it's just the perfect
• 1:12:42
  moment because it's Elliot for the first time in his life,
• 1:12:45
  leaving all his troubles behind. So thematically it's as rich as
• 1:12:49
  he wants. Visually it looks amazing.
• 1:12:51
  John Williams score here is just perfection.
• 1:12:54
  By the end of it I'm just a puddle.
• 1:12:56
  Every time. Just wonderful.
• 1:12:58
  Is that the fly across the moon? Yeah, that was all done in
• 1:13:01
  camera apart from Elliot and ET. The photograph, the moonlight
• 1:13:05
  was done in camera, right? The plotted coordinates and
• 1:13:08
  check the weather and see where the moon's going to be big
• 1:13:10
  enough and where it's going to be full.
• 1:13:12
  And then they travel to the location and that's the actual
• 1:13:14
  shot they got in camera. Yeah, I mean, whenever I hear
• 1:13:16
  the phrase movie magic, I think of this scene that shot.
• 1:13:20
  If someone's writing a book about the history of movies,
• 1:13:23
  that shot could be the front cover.
• 1:13:24
  Certainly. Easy.
• 1:13:26
  I really love the action that comes before they take off with
• 1:13:29
  the camera work where Elliot splits off from the others and
• 1:13:31
  the zipping over hills and the jumping over things and the
• 1:13:34
  bike. That's incredible action
• 1:13:36
  sequence. A few years ago, Empire Magazine
• 1:13:39
  ran a reader's pool to decide the most magical moment in
• 1:13:42
  cinema history. This scene came out number one.
• 1:13:45
  Empire said. This bike ride encapsulates the
• 1:13:48
  kind of magic that only movies can deliver.
• 1:13:50
  Yeah, yeah. Agreed.
• 1:13:52
  Any guesses for what number two was?
• 1:13:53
  Raiders. No Raiders.
• 1:13:56
  Star Wars. Tom Hanks.
• 1:13:58
  Dancing on the piano the. Piano dancing Big yeah.
• 1:14:01
  Right, of course. When people do criticize
• 1:14:03
  Spielberg, it's often the same criticism that gets used over
• 1:14:07
  and over again, that being that his films are overly
• 1:14:10
  sentimental, and Spielberg's probably never more sentimental
• 1:14:13
  than he is in AT. I've got a quote from Terry
• 1:14:16
  Gilliam, the director, about that, where he said Spielberg's
• 1:14:19
  films are comforting. They always give you answers,
• 1:14:22
  and I don't think they're very clever answers.
• 1:14:25
  What do you think of that quote? And over sentimentality is a
• 1:14:28
  criticism of Spielberg and his movies.
• 1:14:31
  I think it's easy to say something's schmaltier over
• 1:14:34
  sentimental, and it's easy to target that as a negative.
• 1:14:36
  And I don't think you can have happiness is being complicated
• 1:14:40
  because I don't think it is. You know, he finds magic in the
• 1:14:42
  cinema and escapism. And if you don't like that,
• 1:14:45
  don't watch it. Don't criticize it for having
• 1:14:47
  that because you need that. If all films were just like
• 1:14:50
  Brazil. Ever want to be miserable as
• 1:14:52
  shit? If you're going to make a film
• 1:14:56
  where you're going for a lot of emotion, those big moments have
• 1:14:59
  to land, because if they don't, the whole film falls apart and
• 1:15:03
  land in ET. Spielberg nails under the wall.
• 1:15:07
  The big emotional beats here, like ET dying or the bike ride
• 1:15:12
  or I'll Be Right here, are all definitive emotional moments in
• 1:15:16
  movies. Spielberg's the best there's
• 1:15:18
  been at that. So if he's wrong for doing it,
• 1:15:21
  everyone's wrong for doing it. Kind of feels like you're saying
• 1:15:23
  it's wrong to make movies that way, which I don't think right
• 1:15:26
  at all. Yeah, you're absolutely right.
• 1:15:27
  I mean, if someone's got the gusto to do that and Spielberg
• 1:15:31
  does it better than most people can do it, thankfully.
• 1:15:34
  I think if I was always sentimental, ET would stay
• 1:15:37
  behind or Elliot would go with him.
• 1:15:39
  I don't even think it's that sentimental.
• 1:15:41
  It's quite a painful end. You know, Elliot still got all
• 1:15:45
  his pain to deal with. The fact that his father said
• 1:15:47
  that's still his issue. So ETA wouldn't argue is all the
• 1:15:50
  sentimental. And I think in general, yeah, I
• 1:15:53
  disagree with you guys. I don't think you can
• 1:15:55
  necessarily say it because something is sentimental that
• 1:15:57
  has to be a negative. I think if you see him something
• 1:15:59
  is sentimental means you've got an emotional connection with it.
• 1:16:03
  It's an easy thing to follow the criticism.
• 1:16:05
  I just don't think it holds up to scrutiny.
• 1:16:07
  I disagree with what Gilliam's saying there completely.
• 1:16:10
  It feels as though that's coming from a position of inferiority,
• 1:16:13
  because everybody's inferior to Spielberg more or less on the
• 1:16:17
  landscape. I do think it hangs on the
• 1:16:20
  emotion a little bit too much for me in those two big moments.
• 1:16:23
  When AT dies and the big goodbye, it feels just a little
• 1:16:27
  bit too long for my tastes. But I wouldn't change it.
• 1:16:30
  I wouldn't have it any other way.
• 1:16:31
  I still think it has that emotional pull and I don't feel
• 1:16:35
  as though that's done inappropriately or anything like
• 1:16:37
  that or manipulatively. Gilliam's films though, the one
• 1:16:40
  kids film he made, Time Bandits, you know, just look how he ends
• 1:16:44
  up. The kids house burns down and
• 1:16:45
  his parents get blown up at the end.
• 1:16:49
  That's what I want from this film.
• 1:16:50
  An instantly iconic classic, in 1982, ET gave Spielberg his
• 1:16:55
  third Best Director Oscar nomination and is now thought of
• 1:16:59
  as one of the definitive family films. 98% on Rotten Tomatoes
• 1:17:04
  and 7.8 out of 10 on IMDb. Spielberg says about it.
• 1:17:09
  ET was the first film I was exceptionally proud of.
• 1:17:12
  Imagine being so good that you're not that proud of Jaws
• 1:17:15
  and Raiders. I know, crazy.
• 1:17:18
  On Twitter, Roberto Ezio Abwadi at Movie Buff 1981 says 10 out
• 1:17:24
  of 10. A movie that has always had a
• 1:17:27
  special place in my heart since I was a kid and still to this
• 1:17:30
  day. Visual effects may advance
• 1:17:32
  through the ages, but that feeling of wonder and joy ET
• 1:17:35
  gives you will always remain. Wonderful words, wonderful man,
• 1:17:38
  wonderful film. Following ET, Spielberg returned
• 1:17:42
  to Indiana Jones for the Temple of Doom in 1984.
• 1:17:45
  And then his movies changed a lot and very quickly.
• 1:17:49
  More mature films like The Colour Purple, Empire of the Sun
• 1:17:52
  and Always Were released in 8587 and 89.
• 1:17:56
  But then it was back to Indy and that's where we're picking
• 1:18:00
  things back up. X marks the spot as we talk
• 1:18:04
  Indiana Jones and the Last Crusade.
• 1:18:10
  March. You didn't drag to a mark so
• 1:18:12
  long, did you? He's not up to the challenge.
• 1:18:15
  He sticks out like a sore thumb. We'll find him.
• 1:18:18
  The hell you will. He's got a 2 day head start on
• 1:18:21
  you, which is more than he needs.
• 1:18:23
  Bro. He's got friends in every town
• 1:18:25
  and village from here to the Sudan.
• 1:18:26
  He speaks a dozen languages, knows every local custom.
• 1:18:29
  He'll blend in, disappear, you'll never see him again.
• 1:18:33
  With any luck, he's got the grill already.
• 1:18:37
  Does anyone here speak English or even ancient Creek of water?
• 1:18:40
  Thank you, Sir. Indiana Jones and the Last
• 1:18:44
  Crusade was released in 1989, the third film in the series.
• 1:18:48
  It says Indy take on the Nazis again, this time in a quest for
• 1:18:52
  the biggest artifact of them all, the Holy Grail.
• 1:18:57
  Harrison Ford stars as Indy, of course, so it is River Phoenix,
• 1:19:01
  and they're joined by Sean Connery and Alison Duty and
• 1:19:04
  rejoined by Denim Elliott and John Reese Davies.
• 1:19:08
  Don't call him Junior. What do we think of Indiana
• 1:19:11
  Jones and the Last Crusade? Love it, absolutely love it.
• 1:19:17
  Now we're talking. Not as dark as Raiders but still
• 1:19:19
  just an amazing adventure. Loads of great action set
• 1:19:23
  pieces. I really love the sequence in
• 1:19:26
  Venice underground and on the water.
• 1:19:28
  Fantastic. The second best in the series.
• 1:19:31
  And with Connery in there is Indy's dab.
• 1:19:33
  Just perfect casting. An amazing addition.
• 1:19:37
  Yeah, that's. Unbelievable.
• 1:19:38
  Oh God. It's so much fun.
• 1:19:40
  It's the classic Sunday afternoon.
• 1:19:43
  It's hilarious, it's heartfelt. This is some moments in it where
• 1:19:48
  it's just really emotional for me.
• 1:19:50
  It's one of them films where it's just endlessly rewarding.
• 1:19:54
  I think it's just it's such a warm, confident, brilliant film.
• 1:19:59
  There's no real reason not to like it.
• 1:20:04
  It's just there's enough. There isn't.
• 1:20:06
  I don't think it's as good as Temple of doing person.
• 1:20:08
  Shut up. That's a hill I'm going to die
• 1:20:12
  on, but it is. It's Spielberg's funniest film
• 1:20:17
  by a considerable distance. It's probably hilarious of
• 1:20:20
  points, and yet how can you feel to be charmed by it?
• 1:20:24
  It's probably charming, and I think you can tell Spielberg's
• 1:20:27
  probably come off a few films that weren't the hits that he
• 1:20:30
  wanted them to be because it feels like he's kind of going
• 1:20:33
  back to safe territory. It's a bit of the greatest hits
• 1:20:35
  film. Yeah, it is.
• 1:20:38
  It's an absolute charmer. I mean, Spielberg is quoted as
• 1:20:40
  saying that he made Last Crusade as a direct apology for Temple
• 1:20:43
  of Doom. Really.
• 1:20:45
  Because Temple of Doom was. So dark he wanted to add the
• 1:20:48
  humor and add that element. So what you love about it?
• 1:20:50
  Matt is directly referenced by Temple of Doom.
• 1:20:56
  When I was a kid, this was my second favorite indie film, and
• 1:21:00
  it still is. But the difference being, and I
• 1:21:02
  think it's not as good as Raiders and better than Temple
• 1:21:04
  of Doom. Yeah, I love it.
• 1:21:07
  But I'm aware that a lot of that is based on nostalgia, to be
• 1:21:10
  honest. Not that it's not good, it's
• 1:21:13
  very good, but I think how much I like it slightly outweighs how
• 1:21:17
  good it actually is. It's great fun, though.
• 1:21:19
  And I do agree with Mark there. It's Spielberg's funniest film.
• 1:21:22
  Yeah. So the things we like then.
• 1:21:25
  Luke, with any luck, you've got the grill already.
• 1:21:29
  Well, I have in the form of River Phoenix.
• 1:21:32
  Go for it. River Phoenix is a young indie
• 1:21:35
  is perfect. Yeah, the perfect embodiment of
• 1:21:39
  indie. He's got this kind of like,
• 1:21:41
  reckless adventure spirit, and the sequence as a whole is just
• 1:21:45
  so much fun. It's an absolute blast.
• 1:21:48
  Yeah, River Phoenix does the impression of Harrison Ford,
• 1:21:51
  doesn't he? He does, yeah.
• 1:21:52
  You live with him for two weeks. Did he right?
• 1:21:54
  Yeah. He does a perfect job.
• 1:21:56
  It's amazing. It's the two character traits
• 1:21:59
  that are explained in the blink of an eye is fear of snakes when
• 1:22:02
  he falls into that box of them in the boxcar.
• 1:22:05
  Yeah. And then the scar on his chin
• 1:22:07
  when he's trying to attain the lion.
• 1:22:09
  Yeah. It gives me such a smile, such a
• 1:22:11
  warm feeling, that whole sequence, and it makes me really
• 1:22:15
  sad that Phoenix is no longer with us because he's
• 1:22:17
  effortlessly magnetic in this film.
• 1:22:20
  Oh yeah, movie star written all over him.
• 1:22:23
  Amazing. Even Horrison Ford, who was at
• 1:22:26
  one point the biggest movie star in the world, struggled to get
• 1:22:29
  into it, didn't he? Phoenix is, what, 20?
• 1:22:31
  And just seemed to waltz into Hollywood.
• 1:22:34
  Already working with Spielberg and doesn't look for one second
• 1:22:37
  like he's out of his depth. Not at all.
• 1:22:38
  He makes it seem better than what it would be without him.
• 1:22:40
  Yeah. Absolutely.
• 1:22:41
  It is fantastic and I love the way that the Indiana Jones
• 1:22:43
  character is actually based on someone that he idolizes that
• 1:22:46
  isn't his dad this grave Robert, and the way he puts the hat on
• 1:22:50
  and puts his head down. And the transition.
• 1:22:52
  Yeah, it's superb. Yeah, it takes your typical
• 1:22:55
  superhero movie 2 hours to tell us an origin story that isn't as
• 1:22:58
  entertaining as this is in 15 minutes.
• 1:23:00
  Yes, agreed. And the fact that he's not
• 1:23:02
  afraid of snakes as well, I really love that.
• 1:23:04
  Yeah, he's. Compadres in there and it's like
• 1:23:07
  it's just a. Snake.
• 1:23:08
  Yeah, but then he goes through the trauma of it.
• 1:23:10
  That little, tiny little note. Perfect.
• 1:23:12
  Hilarious when his compadre blows a Raspberry in his face
• 1:23:15
  when he's doing a trumpet. Sweeps it off his lips.
• 1:23:22
  For my like I'm going for Sean Connery as Indy's dad, Henry
• 1:23:26
  Jones senior. Wonderful.
• 1:23:28
  I think the film goes up about 3 notches.
• 1:23:30
  The 2nd Connery comes into it. He's fantastic and the comic
• 1:23:33
  dynamic between Connery and Ford, his father and son is
• 1:23:38
  absolutely brilliant and who would have ever thought that
• 1:23:40
  that would have worked between them two pitch perfect.
• 1:23:43
  What's your favorite Indian Henry senior moment in the film?
• 1:23:47
  I'm a huge fan of when Indy goes off a Cliff in the tank but then
• 1:23:51
  clambers back up the Cliff face, but nobody knows that apart from
• 1:23:54
  him. Yeah, for a couple of things.
• 1:23:56
  It's Indies reaction when he's looking down at the wreckage and
• 1:23:58
  he's kind of feeing and disbelief he's.
• 1:24:01
  That's really funny. And then Connery says, really
• 1:24:03
  emotionally, I thought I lost your boy.
• 1:24:06
  But then he snapped straight back into dad mode and he said
• 1:24:08
  well, well done. But it's also Marcus's reaction
• 1:24:12
  when he's trying to work out the whole thing.
• 1:24:14
  He's. Yeah, yeah.
• 1:24:17
  Fantastic. A little speech by Connery
• 1:24:18
  before that when he's like, I've lost him.
• 1:24:20
  Marcus and I didn't tell him anything. 5 minutes would have
• 1:24:23
  been enough. My favorite between the two of
• 1:24:25
  them. I love when you get that little
• 1:24:26
  back story after he throws the guy out of the Zeppelin and
• 1:24:29
  they're on the way. Tender moment between them when
• 1:24:31
  he's like the last time I had a quiet drink out of milkshake.
• 1:24:34
  When he starts talking about his obsession with the grill and he
• 1:24:37
  must have been obsessed with that grill.
• 1:24:39
  The bit I really love between them is when they've made the
• 1:24:41
  escape from the castle and on the the motorbike and get chased
• 1:24:44
  by Nazis. The difference in the reaction
• 1:24:46
  between the two of them, like in these dispatched Nazis, left,
• 1:24:49
  right and centre. The time of his life, and he's
• 1:24:52
  sitting there winding his watch, looking thoroughly unimpressed
• 1:24:55
  by it all. But that comes after one of the
• 1:24:57
  best set pieces, the flagpole in the spokes, a huge explosion,
• 1:25:01
  and he's like and that looks at coverage, winding his watch.
• 1:25:07
  The time Harrison Ford is basically the biggest star on
• 1:25:10
  the planet, but he genuinely looks so humbled to be in the
• 1:25:14
  presence of Connery. You just think no one else could
• 1:25:17
  have belittled Harrison Ford the way that Connery does, Yeah.
• 1:25:20
  Yeah, they are fantastic together.
• 1:25:23
  Spielberg always wanted Connery as Henry Senior, but did have
• 1:25:26
  two as our name is lined up just in case.
• 1:25:29
  Do you know who they were? No, no.
• 1:25:31
  So one of them was Gregory Peck. Yes.
• 1:25:34
  I think he would have been pretty great, actually.
• 1:25:36
  He does have some good comic sense abilities and has that
• 1:25:39
  classic Hollywood look that I think inspired Spielberg on the
• 1:25:42
  indie films. Yeah, I like Peck.
• 1:25:45
  The other, this is unbelievable. The other was John Pertwee.
• 1:25:51
  What was famous for 70s British TV, played Doctor Who and Worzel
• 1:25:57
  Gummidge. Worzel Gummidge?
• 1:25:58
  Yeah. Bit left field.
• 1:26:02
  Thankfully it turned out OK with Connor.
• 1:26:03
  Yeah, Westie, you should have mailed it to the Marks brothers.
• 1:26:08
  You were like about the film. The tank sequence, which mirrors
• 1:26:12
  the truck sequence from Raiders, it's got a very similar kind of
• 1:26:15
  feel, but it's just elevated, like what we're going to do.
• 1:26:17
  What's bigger than a truck? Tank?
• 1:26:21
  Perfect. There's just so many bits in
• 1:26:22
  that. The pen is mightier than the
• 1:26:23
  sword, the stone that goes in the gun and then it backfires.
• 1:26:27
  His dad falling on the tracks and then the whip around his
• 1:26:29
  ankle and then he's still trying to hold on to him and he's
• 1:26:31
  trying to save it. Then he rolls off and his bags
• 1:26:33
  hanging up on the gun and he's going to hit the rock.
• 1:26:34
  And then it's so good. There's so many bits in that and
• 1:26:37
  it's a really, really engaging story.
• 1:26:39
  Spielberg said that he knew it'd be difficult to make that scene
• 1:26:42
  stand up against the truck scene in Raiders because it trucks
• 1:26:45
  much faster than the tank. So that was why he made it much
• 1:26:48
  more story based. So we see a lot of Henry Senior
• 1:26:51
  and Denim Elliot as Marcus inside the tank.
• 1:26:54
  By the end, it's all really about Indy and Henry Senior, but
• 1:26:57
  I think it works really well. And that, Donovan says.
• 1:27:01
  Not that Jones. The other one, yeah.
• 1:27:05
  The other Jones and he's like laughing as he's right, not.
• 1:27:08
  For the no ticket, what's it all like on The Last Crusade?
• 1:27:13
  I really, really, really, really like how it's got the coach of
• 1:27:17
  his convictions. And so it has an ending where
• 1:27:19
  it's just about choosing the grail because it could be really
• 1:27:23
  easy to think I need to be kind of belt and whistles action
• 1:27:25
  climax, but it doesn't. It stays true to the story, it
• 1:27:28
  stays true to the character. So I love the three Tesla.
• 1:27:31
  It's got to navigate, but I just love how it just comes down to
• 1:27:35
  this simple drama of picking the right cup and it works because
• 1:27:38
  how many of us in that situation would not look for the cup of a
• 1:27:41
  Carpenter if not the cup of a king?
• 1:27:43
  Well, Harrison Ford. And I think it just leads
• 1:27:45
  beautifully into the end when the grill wasn't the prize.
• 1:27:49
  It's about the two of them repairing that father, son bond.
• 1:27:52
  It has been said as well my about that sequence that it
• 1:27:55
  doesn't matter which grill he chooses because the grill is his
• 1:27:59
  belief in his dad and the fact that he gets there.
• 1:28:01
  If Donna would have picked that couple, we still would have got
• 1:28:03
  it wrong. Very.
• 1:28:04
  Nice. He chose the wrong path in life.
• 1:28:07
  I love all three of the trials and how he's got these riddles
• 1:28:10
  in that diary that he has to decipher.
• 1:28:12
  He's going along. I love how Henry seniors outside
• 1:28:15
  after being shot and he's sort of advised in Indy depending on
• 1:28:18
  Manuel pass, depending on Manuel Pass, all that stuff.
• 1:28:20
  That's great. Like the real knight as well.
• 1:28:23
  He's really cool. He chose poorly.
• 1:28:26
  So he's just been sitting there for like 1000 years waiting for
• 1:28:30
  someone to come along. He's been in lockdown.
• 1:28:35
  You get locked down that. So as you mentioned there,
• 1:28:39
  working with Spielberg, River Phoenix and Sean Connery are
• 1:28:42
  both fantastic, as is Harrison Ford, obviously.
• 1:28:46
  How do you think Spielberg is generally working with actors?
• 1:28:50
  I think he's really underrated. I think in terms if you look at
• 1:28:53
  how many Oscar wins and Oscar nominations actors in his films
• 1:28:57
  have garnered, he always seems to be behind the likes of
• 1:28:59
  Scorsese and Woody Allen, who always kind of get seen more as
• 1:29:03
  actors, directors than Spielberg does.
• 1:29:05
  Probably because there's so much spectacle in Spielberg films.
• 1:29:07
  But you look at the performances and they're all really, really
• 1:29:12
  great. And we can go back to what we
• 1:29:13
  said about Jaws and how good short writers and Scheidler are
• 1:29:17
  in there, and he never lets the spectacle drown out the
• 1:29:20
  performances. Pretty much every Spielberg
• 1:29:22
  film, you know you're going to get great performances as well.
• 1:29:25
  Totally agree with you man. I think the generally with
• 1:29:28
  Spielberg you get massive, massive, high concept stories,
• 1:29:31
  but that never dwarfs the act and performances at all.
• 1:29:34
  There's some really good behind the scenes footage of Raiders in
• 1:29:38
  Marion's bar and Spielberg's all over them saying I want you to
• 1:29:43
  do this, I want you to do that. And it's clear how much passion
• 1:29:46
  he has for the roles and how much of A collaborative effort
• 1:29:49
  it is. I think it also fills on Last
• 1:29:52
  Crusade that they're all having just an amazing time, and I
• 1:29:55
  think that comes from the director.
• 1:29:58
  Yeah, he's not letting them out too much fun.
• 1:29:59
  He's keeping them sharp. As well, I think AT maybe
• 1:30:03
  deserves another mention, he has the cast of mostly children in
• 1:30:06
  the role. Brilliant.
• 1:30:07
  Agreed. Have you seen the behind the
• 1:30:08
  scenes footage on AT where Spielberg coaxing performances
• 1:30:11
  out of Henry Thomas and Drew Barrymore?
• 1:30:13
  Yeah, really impressive. Incredible.
• 1:30:16
  Take a look online. It's fantastic.
• 1:30:18
  Indiana Jones and the Last Crusade was a massive hit at the
• 1:30:21
  time. Of course, on a $48 million
• 1:30:24
  budget, it made $474 million and is now generally regarded as the
• 1:30:29
  second best film of the indie series.
• 1:30:31
  Yeah, agreed. Nowadays the film has 89% and
• 1:30:34
  Rotten Tomatoes and 8.2 out of 10 on IMDb.
• 1:30:38
  So not far off Raiders, to be fair.
• 1:30:40
  And Ben Bert win an Oscar for best sound effects, his fourth
• 1:30:45
  after Star Wars Raiders in ET. Wow, that's not a bad resume for
• 1:30:50
  Bert, is it? Yeah, yeah, he's doing well.
• 1:30:52
  Thanks to Spielberg though. Spielberg said about making The
• 1:30:57
  Last Crusade. Sean was in a great mood,
• 1:31:00
  Harrison was in a fantastic mood and I was ecstatic.
• 1:31:04
  It was the most fun we had making in these movies.
• 1:31:07
  And I think that's yours as well, doesn't it?
• 1:31:09
  Definitely. And on Twitter, Richard Bierds
• 1:31:12
  at Richard Bierds says I give it a nine out of 10.
• 1:31:16
  Great storytelling in chemistry with Sean Connery.
• 1:31:19
  I visited Pepper for the day on the back of this film.
• 1:31:22
  Didn't find the cup of Christ though.
• 1:31:25
  Well, it's not there anymore, is it?
• 1:31:27
  Yeah, yeah. And with that, we're at the end
• 1:31:33
  of ranking Spielberg, the early years and our first five films.
• 1:31:37
  Did we enjoy that? Yeah, yeah, rollercoaster ride.
• 1:31:41
  Ranking Spielberg the later years.
• 1:31:42
  It's coming in two weeks. Between now and then, though, we
• 1:31:45
  do have a little treat for you, our listeners.
• 1:31:49
  As part of our Patreon subscription, one of the things
• 1:31:51
  we give our patrons access to is the full and net of the versions
• 1:31:54
  of our episodes. Directors cuts, we call them.
• 1:31:57
  As I mentioned at the start about our Kubrick episode,
• 1:32:00
  there's always lots of great stuff we have to cut out.
• 1:32:03
  So those directors Cuts always have loads more audio than the
• 1:32:06
  actual versions we release. So next Friday we're releasing
• 1:32:11
  one of those Directors Cuts episodes so you can see the sort
• 1:32:13
  of thing we're talking about as we're talking Spielberg.
• 1:32:17
  We thought a great one to release would be Raiders of the
• 1:32:19
  Lost Ark. The only.
• 1:32:20
  One, so keep an eye out for that coming as the next episode after
• 1:32:25
  this one next week. Excellent.
• 1:32:27
  I haven't heard it yet. I'm excited.
• 1:32:31
  The main thing on our Patreon subscription though is the extra
• 1:32:34
  bonus episodes that you will only have access to if you are
• 1:32:37
  patron. 3 new episodes per month so don't miss out on that and
• 1:32:41
  please do take a look. Thanks guys.
• 1:32:44
  So that's it for this part of our Steven Spielberg special
• 1:32:47
  episode. We hope everyone's enjoyed it.
• 1:32:50
  Join us again in two weeks for the conclusion, the ranking
• 1:32:53
  Spielberg and that top ten. In the meantime, you can keep up
• 1:32:57
  with us in the following places. Subscribe, rate, and review us
• 1:33:00
  on iTunes and Apple Podcasts, please.
• 1:33:03
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• 1:33:06
  us out on Patreon, which is patreon.com/all the Right
• 1:33:11
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• 1:33:20
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• 1:33:23
  movies.com. So we're all off now for some
• 1:33:27
  Mashed potato to take a shower and get called Cry Babies.
• 1:33:33
  Stay well everybody, and we'll catch you next time.