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Presenting Our New Video Podcast "This Film Should be Played Loud" · DISGRACELAND

• 0:00
  Speaker 1: Hey, discoes, we have a special treat for you today
• 0:02
  Speaker 1: in the feed. Today we are unveiling to all of you,
• 0:05
  Speaker 1: a or most of you anyways, a special sneak peek
• 0:08
  Speaker 1: at our new video podcast, This Film Should Be Played Loud.
• 0:13
  Speaker 1: This Film Should Be Played Loud is a new monthly
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  Speaker 1: podcast co hosted by myself, Disgraceland host of course, Jake Brennan,
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  Speaker 1: and Hollywood Land's Zeth Lundy. In this new show, Zeth
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  Speaker 1: and I tackle our favorite topic, the convergence of music
• 0:27
  Speaker 1: and films. Is kind of like a combination of Disgraceland
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  Speaker 1: and hollywood Land, but just centered around the music in movies.
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  Speaker 1: Each episode of This Film Should Be Played Loud is
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  Speaker 1: a discussion about the great music in an equally great
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  Speaker 1: movie that we both love soundtracks, needle drop scores. We
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  Speaker 1: take you into the moments in these films where music
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  Speaker 1: heightens the storytelling and the movie watching experience. We tackle
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  Speaker 1: one film in every episode. So if you want to
• 0:55
  Speaker 1: know about what drove Martin Scorsese's incredible song selection for
• 0:59
  Speaker 1: the Good Fellow soundtrack, or curious to understand how the
• 1:03
  Speaker 1: songs in Train Spotting impacted nineties pop culture, or maybe
• 1:06
  Speaker 1: you want to hear why Boogie Knights contains the single
• 1:09
  Speaker 1: greatest performance by an actor in a recording studio ever
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  Speaker 1: captured on film. All of these topics are covered in
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  Speaker 1: our episodes. Songs from movies that sent us down rabbit hole,
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  Speaker 1: scenes with songs by that musician who became your favorite,
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  Speaker 1: who you didn't know you loved until you saw the film,
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  Speaker 1: How films soundtrack, the devil and the tunes you hated
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  Speaker 1: before they made it onto the screen, but that you
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  Speaker 1: now love. We discuss, We discuss all this and more
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  Speaker 1: in this film should be played loud. Now. This new
• 1:37
  Speaker 1: podcast is available to watch and listen to exclusively on Patreon.
• 1:42
  Speaker 1: For our Disgraceland All Access members, go to disgracelandpod dot
• 1:46
  Speaker 1: com to sign up now and use discount code Disco
• 1:50
  Speaker 1: for twenty percent off your monthly or yearly membership. But
• 1:53
  Speaker 1: act now because this discount is only available for a
• 1:57
  Speaker 1: limited time. Again, this podcast, this film should be played loud.
• 2:01
  Speaker 1: It's not going to be available here in the Disgrace
• 2:02
  Speaker 1: Sland feed or in the Hollywood Land Feed. You can
• 2:05
  Speaker 1: only get it on Patreon and again, you can watch
• 2:08
  Speaker 1: it and you can listen to it all right as promised.
• 2:11
  Speaker 1: We're now gonna let you hear our first episode of
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  Speaker 1: this film should be played loud on the great soundtrack
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  Speaker 1: for the incredible film Goodfellas. You can hear it here
• 2:20
  Speaker 1: for a limited time and the disgrace Sland feed. But
• 2:22
  Speaker 1: all Access members can watch this good Fellaws episode along with,
• 2:26
  Speaker 1: like I said, episodes on Train Spotting, Boogie Nights, and
• 2:28
  Speaker 1: more to come all over on Patreon by becoming Disgraceland
• 2:32
  Speaker 1: all Access members. As always, guys, thank you for your support.
• 2:36
  Speaker 1: Without further ado, here is this film should be played loud.
• 2:43
  Speaker 1: I'm gonna go get my shinebox, right, Is that what
• 2:45
  Speaker 1: we're doing? Is that's the way.
• 2:46
  Speaker 2: Yeah, Yeah, go eat your shinebox. I'm gonna go pistol,
• 2:49
  Speaker 2: whip my neighbor across the street and go to bed.
• 2:51
  Speaker 1: You want some fucko? Welcome to the first episode of
• 3:02
  Speaker 1: this film should be played loud in exclusive video podcasts
• 3:05
  Speaker 1: for our Patreon listeners. A podcast about great music in
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  Speaker 1: great film. This first episode is on Goodfellas and it's
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  Speaker 1: incredible soundtrack. They often call me Speedo, but my real
• 3:15
  Speaker 1: name is mister Jake Brennan. That's doctor Zeth Lundy. My
• 3:18
  Speaker 1: co host Seth how are you my man.
• 3:20
  Speaker 2: I'm doing great, man. I'm psyched to talk about Goodfellas.
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  Speaker 2: It's turned thirty five this year.
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  Speaker 1: I know that's crazy. That is I was. I was
• 3:28
  Speaker 1: nineteen ninety it came out. I was sixteen years old.
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  Speaker 1: I saw it at the Sears Town Mall in Leminster, Massachusetts.
• 3:36
  Speaker 1: I went with a bunch of friends from Clinton. I
• 3:39
  Speaker 1: believe Bruce Millett took us in what would have been
• 3:42
  Speaker 1: a big black Cadillac arriving in style. And I think
• 3:48
  Speaker 1: my good friend mister Dave Dutch now skiers with us.
• 3:50
  Speaker 1: I can't remember who I was, probably Seth Sala, Sean Hastings. Anyways,
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  Speaker 1: we all saw this, and you know, it was just
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  Speaker 1: I didn't know anything about Martin Scorsese. I didn't know
• 4:01
  Speaker 1: really that much about Robert de Niro. I was just
• 4:03
  Speaker 1: sixteen years old. But what I did know about was
• 4:06
  Speaker 1: the Rolling Stones, and oh my god, what this movie
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  Speaker 1: did for the Rolling Stones. We're going to talk about
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  Speaker 1: that later, but I want to know how you first
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  Speaker 1: saw this movie and how the music impacted you at
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  Speaker 1: the age you were at when you finally saw Goodfellas.
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  Speaker 2: You know, I was thinking about that earlier. I did
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  Speaker 2: not see it in the theater. This came out in
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  Speaker 2: nineteen ninety, so I was, you know, I was thirteen
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  Speaker 2: when it came out, just about to go into high school,
• 4:36
  Speaker 2: or I was going into high school, and I did
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  Speaker 2: not see it in the theater. I don't know when
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  Speaker 2: I saw it. It wasn't one of the first corsesa
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  Speaker 2: films I saw, because I remember very early on seeing
• 4:48
  Speaker 2: Raging Bowl and a Taxi Driver and some of the
• 4:52
  Speaker 2: earlier ones like that first, and then getting into Too
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  Speaker 2: Goodfellas later. But to your point, the music aspect of it.
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  Speaker 1: Really.
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  Speaker 2: We'll get into this some more later, but but it
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  Speaker 2: really illuminated some musical icons for me that weren't illuminated
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  Speaker 2: for me at the time, right.
• 5:11
  Speaker 1: Pre internet era. Yeah, you're not scrolling through it. You
• 5:15
  Speaker 1: don't have the benefit of streaming scrolling, none of that.
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  Speaker 1: You got your your snobby record store guy. You got
• 5:21
  Speaker 1: your your friend, your friend who's got an older brother
• 5:24
  Speaker 1: at college. I actually had a friend in high school
• 5:26
  Speaker 1: around the same time whose older brother went to school
• 5:30
  Speaker 1: in London or somewhere in England. I think it was London,
• 5:33
  Speaker 1: but he had this sounds weird. This sounds like something
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  Speaker 1: you would hear somebody who grew up in the nineteen
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  Speaker 1: sixties say, but it just goes you couldn't. We didn't
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  Speaker 1: have the access to music like we did. I mean,
• 5:46
  Speaker 1: CDs weren't even a thing yet, so it was cassettes
• 5:49
  Speaker 1: for us. And no one really listened to vinyl except
• 5:52
  Speaker 1: their parents, and they weren't really using record players anymore.
• 5:56
  Speaker 1: And Chad Taylor's older brother, I think he got them
• 6:00
  Speaker 1: from Going to Going to Call. He had all the
• 6:02
  Speaker 1: early singles that ended up being that Singles box set,
• 6:05
  Speaker 1: and Chad would make me tapes. So I had all that.
• 6:08
  Speaker 1: I had. Memo from Turner I had.
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  Speaker 2: You know, that was my mind. I didn't know about
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  Speaker 2: Memo from Turner until like, way, way, way, way longer.
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  Speaker 1: Well, yeah, well I did. I didn't know the actual
• 6:19
  Speaker 1: lineage of Memo from Turner. And there's some interesting history
• 6:22
  Speaker 1: with the film here. So so Memo from Turner is
• 6:25
  Speaker 1: an obscure Mick Jagger song that the Rolling Stones recorded.
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  Speaker 1: It was first recorded by the Stones. Then I think
• 6:34
  Speaker 1: I have this writers first recorded by the Rolling Stones.
• 6:37
  Speaker 1: Uh then Mick re recorded it with John Hyatt and
• 6:41
  Speaker 1: some members of the Rolling Stones. I think, God, there's
• 6:44
  Speaker 1: there's somebody else famous who plays on this From this.
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  Speaker 2: Track, Rycooter plays slide on it?
• 6:48
  Speaker 1: Did I say, I said, John Hyatt? I met Ry Hooter?
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  Speaker 2: Yeah, And this is for the performance soundtrack.
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  Speaker 1: Performance soundtrack, right you and I'm not d It's nine
• 7:00
  Speaker 1: Gene fifth and six. You're a baggy, a little let
• 7:04
  Speaker 1: a boy with a small up pie six stick. And
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  Speaker 1: that's the version that's in Goodfellas. It's in that incredible
• 7:12
  Speaker 1: run of the helicopter scene. Right, everyone knows the helicopter
• 7:16
  Speaker 1: scene from Goodfellas. This might be me.
• 7:18
  Speaker 2: You're jumping ahead here, but you're getting whatever.
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  Speaker 1: We have no format. This is just all about, you know,
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  Speaker 1: music in movies that we love. So the helicopter scene.
• 7:25
  Speaker 1: I went back and I looked. It's it's the best
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  Speaker 1: mixtape inside of a movie that I that I've ever
• 7:32
  Speaker 1: come across. And it's it feels like it's a long
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  Speaker 1: tape when you think of the impact of it, but
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  Speaker 1: it's actually pretty short. It's Jumping the Fire by Harry Nilsson.
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  Speaker 1: Then it goes to memo from Turner. The Mick Jagger version, however,
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  Speaker 1: incorrectly credited in the soundtrack as a Rolling Stone song,
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  Speaker 1: it's actually Mick Jagger version. Then it goes into like
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  Speaker 1: a couple of seconds of the live version of Magic
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  Speaker 1: Bus by The Who, and then it goes into Monkey
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  Speaker 1: Man and then What Is by George Harrison. You kind
• 8:01
  Speaker 1: of feel like he's getting away with it, like he's
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  Speaker 1: get away with it, and then Managed Boy by Muddy Waters,
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  Speaker 1: and then of course the writing's on the wall for
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  Speaker 1: him to hill, but hang on.
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  Speaker 2: The best part about that whole stretch, for me, at least,
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  Speaker 2: my favorite part is in between Monkey Man and What
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  Speaker 2: Is Life. There's just the briefest clip of Muddy Waters
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  Speaker 2: at the beginning of Man Is Boy going, yes, everything,
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  Speaker 2: everything is gonna be all right.
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  Speaker 1: That's it, everything, everything be all right, this morning to shop.
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  Speaker 2: And then it comes right into What Is Life? And
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  Speaker 2: you're like, what the fuck is going on here?
• 8:37
  Speaker 1: You're absolutely right and you know in that Okay, So
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  Speaker 1: we need to talk about Scorsese's approach here before Goodfellas.
• 8:43
  Speaker 1: Scorsese is famously the guy because of mean streets. He's
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  Speaker 1: famously the guy who uses rock and roll to express emotion,
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  Speaker 1: to use rock and roll songs pop songs to express
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  Speaker 1: emotion in film as opposed to using score. There's Okay.
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  Speaker 1: So by the time he gets a Good Fellas, you know,
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  Speaker 1: he's already gone through and he's worked up the script
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  Speaker 1: with Nicholas Plegi, and he's got like he's he's indicating
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  Speaker 1: in the margins what songs he wants. And I read
• 9:08
  Speaker 1: an interview with the music editor for the film where
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  Speaker 1: he said that Scorsese knew two years in advance what
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  Speaker 1: songs exactly he wanted playing in which frames of the film.
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  Speaker 2: He was putting it in the script. He was like,
• 9:21
  Speaker 2: put cream, sunshine your love.
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  Speaker 1: He right, like exactly. Pledge's rereading the script and it's
• 9:26
  Speaker 1: just this is some shine I love. It's just said
• 9:27
  Speaker 1: add cream. Yeahgi's like, what the fuck do you mean?
• 9:30
  Speaker 1: Ad cream? He's like, dun. You know, it's interesting when
• 9:43
  Speaker 1: I read this thing about the music editor from Goodfellas
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  Speaker 1: making a big deal of the fact that Scorsese knew
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  Speaker 1: exactly what songs he wanted in the film two years
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  Speaker 1: in advance, it didn't strike me as being strange. I
• 9:57
  Speaker 1: was just like, well, yeah, that's how you fucking do it, dude,
• 9:59
  Speaker 1: right right, But it's not how you do it. I mean,
• 10:01
  Speaker 1: I've actually, I've worked on indie films and stuff. I've
• 10:05
  Speaker 1: have music supervised stuff and did music for a film,
• 10:08
  Speaker 1: a Parker Posi film, and the director, who was a friend,
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  Speaker 1: he was basically like, I don't know shit about music.
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  Speaker 1: You figure it out. And I feel like that's an
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  Speaker 1: approach that a lot of directors have.
• 10:18
  Speaker 2: I think you're right. But remember that Scorsese started. I mean,
• 10:22
  Speaker 2: one of his first major gigs was the Woodstock movie,
• 10:26
  Speaker 2: which he's credited for now as an editor, but I
• 10:30
  Speaker 2: believe at the time this was in that that mister
• 10:32
  Speaker 2: Scorsese documentary was on Apple recently. He was like the
• 10:35
  Speaker 2: second director of that movie. So like he's he's creating
• 10:38
  Speaker 2: that movie. He's cutting that movie with music at the
• 10:42
  Speaker 2: forefront of his mind.
• 10:43
  Speaker 1: Right exactly exactly, and he's obviously he's surrounded by great
• 10:47
  Speaker 1: live music, Santana's Slaston and all that stuff. Yeah, but
• 10:50
  Speaker 1: this is after he grows up. And this is the
• 10:53
  Speaker 1: good thing about good Fellas. It really feels like a
• 10:56
  Speaker 1: like I don't know it was growing up in my
• 10:59
  Speaker 1: small town. It was very much like this, where you know,
• 11:02
  Speaker 1: we all hung out on this main drag, right and
• 11:04
  Speaker 1: you would just hear there just be this soundtrack constantly
• 11:07
  Speaker 1: cars driving by people still carry boomboxes around. I'm not
• 11:10
  Speaker 1: trying to make it sound like I grew up in
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  Speaker 1: the Bronx. I didn't. But music was kind of like
• 11:14
  Speaker 1: it was more in the air then than it is now.
• 11:17
  Speaker 1: Now everyone's got you know, ear pods on and you know,
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  Speaker 1: in their little pods and their cars and whatever. It
• 11:23
  Speaker 1: just it was. It was different then, and and I
• 11:26
  Speaker 1: feel like it was much different in a much more
• 11:29
  Speaker 1: extreme version of what I just explained in a tiny,
• 11:33
  Speaker 1: little sort of you know, two block stretch of downtown
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  Speaker 1: New York where Martin Scorsese grew up in the nineteen sixties,
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  Speaker 1: and that sort of like jukebox system that he was
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  Speaker 1: living in. Yeah, and that's what that movie feels like
• 11:47
  Speaker 1: all the way throughout the beginning. I mean, the first
• 11:49
  Speaker 1: you know, the opening is you know, by the time
• 11:52
  Speaker 1: he blows up the cars, you've already whipped through like
• 11:55
  Speaker 1: your your ears are just on fire from all the
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  Speaker 1: incredible soundtracking that's going on.
• 12:00
  Speaker 2: It's like a radio station, you know, it's just like
• 12:01
  Speaker 2: switching the channels. It's do up zach groups, it's it's Italian,
• 12:05
  Speaker 2: it's it's it's it's all over the place.
• 12:08
  Speaker 1: But it's what he would have heard, right, And he's
• 12:11
  Speaker 1: so fearless with his music choices and confident, and you know,
• 12:17
  Speaker 1: I don't care man Like, like I know, we all
• 12:22
  Speaker 1: love Memo from Turner and Monkey Man, but no one
• 12:26
  Speaker 1: knew those fucking songs except Stones Heads. And they'd be like,
• 12:29
  Speaker 1: wellf you're gonna put a stone song in there, give
• 12:30
  Speaker 1: me shelter. I understand, but you know, why not Jump
• 12:32
  Speaker 1: and Jump? Why not Brown Sugar? Why not? Hey, they
• 12:35
  Speaker 1: got the new Steel Wheels album just came out. Why
• 12:37
  Speaker 1: don't we use the song off the you know what
• 12:38
  Speaker 1: I mean? Like, and he's like, no, fuck you. It's
• 12:41
  Speaker 1: these songs I.
• 12:42
  Speaker 2: Had never heard. To the point earlier talking about Memo
• 12:45
  Speaker 2: from Turner, I had never heard Monkey Man. I had
• 12:48
  Speaker 2: never heard Memo from Turner. I never heard Harry Neilson's
• 12:51
  Speaker 2: Jumping the Fire. I had never heard any of these
• 12:53
  Speaker 2: songs until I saw them in Goodfellas.
• 12:55
  Speaker 1: Yeah, yeah, it really And then think of like I
• 12:59
  Speaker 1: was thinking about this too. This movie does a lot
• 13:01
  Speaker 1: for Eric Clapton, who I have a real rough relationship with, like.
• 13:06
  Speaker 2: I think we all do.
• 13:06
  Speaker 1: But yes, yeah, like the Rolling Stones were I was
• 13:11
  Speaker 1: kind of like I was like in my group of friends,
• 13:13
  Speaker 1: I was like the guy who listened. I was the
• 13:15
  Speaker 1: Stones guy. But I was also the guy who listened
• 13:17
  Speaker 1: to like old music. And it's only I'm not trying to,
• 13:20
  Speaker 1: you know, inflate my taste as a young fucking Wes
• 13:23
  Speaker 1: Anderson character. But my dad had a massive record collection,
• 13:26
  Speaker 1: so I had actually the shit that other my friends didn't, right, Yeah,
• 13:28
  Speaker 1: but I was like the Stones guy. I was always
• 13:30
  Speaker 1: I was always trying to push the Stones on people,
• 13:33
  Speaker 1: and you know, people were going to go.
• 13:34
  Speaker 2: So far because they were fucking lame in nineteen because
• 13:37
  Speaker 2: all we knew was rocking a hard play said the
• 13:40
  Speaker 2: late eighties, you know what I mean?
• 13:41
  Speaker 1: Yes, yes, it was. They were lame. Those records sucked.
• 13:46
  Speaker 1: Those nineteen eighties records sucked. Steel wheels.
• 13:49
  Speaker 2: I like now, I kind of like stee wheels now.
• 13:51
  Speaker 2: I gotta I gotta admit, yeah.
• 13:52
  Speaker 1: Hated it then, and all my friends records as well.
• 13:55
  Speaker 1: But then Goodfellas happens and it's like, oh yeah, and
• 13:59
  Speaker 1: I'm sitting there going see I told you pricks, you know,
• 14:01
  Speaker 1: like listen, listen. However, we have to talk about Clapton
• 14:07
  Speaker 1: and we have to talk. There's something. This happens. It
• 14:12
  Speaker 1: happens twice in this movie with me. I've never been
• 14:15
  Speaker 1: an aeric Clapton fan. I'm becoming one. I'm becoming one.
• 14:18
  Speaker 1: But we used to, you know, you know, ten years
• 14:20
  Speaker 1: after Goodfellas is out. Now it's like Shorthand, and it's
• 14:22
  Speaker 1: in the culture, it's in the zeitgeist. We're hanging out
• 14:24
  Speaker 1: upstairs at the Middle East or whatever with our friends
• 14:26
  Speaker 1: and we're like, Lala's on or like, and you know,
• 14:29
  Speaker 1: the piano part happens. We're like, this is the best
• 14:31
  Speaker 1: shit Clapton ever, did you know what I mean? Because
• 14:33
  Speaker 1: he's not on it, it's right, yeah at that point. Yeah,
• 14:36
  Speaker 1: but it cemented that song for me. I love it.
• 14:41
  Speaker 1: I fucking love the tune, the whole thing, the entire song.
• 14:45
  Speaker 1: It's fantastic. And I gotta say, like, you know, Sunshine
• 14:49
  Speaker 1: of Your Love. I showed Goodfellas to Harlan, my eleven
• 14:52
  Speaker 1: year old the other night, and that scene Jimmy Conway
• 14:57
  Speaker 1: at the bar, no out, don't, don't, don't and he
• 15:02
  Speaker 1: and he and it's when he's really he realizes he's
• 15:04
  Speaker 1: gonna kill Mary. Yeah, and they've.
• 15:06
  Speaker 2: Taken that long drag on the cigarette.
• 15:08
  Speaker 1: Yeah. Yeah, it's fucking pure evil and Sunshine of Your
• 15:12
  Speaker 1: Love is playing, It's getting when's closed upside, and my
• 15:23
  Speaker 1: son just goes.
• 15:26
  Speaker 3: Like that was it?
• 15:28
  Speaker 1: Like he was so moved by that, like this really
• 15:31
  Speaker 1: like you know, he just knew how awesome that was.
• 15:33
  Speaker 2: I love that. I love that. That's great, that's great.
• 15:35
  Speaker 2: You know, there's something about the way. I think it
• 15:37
  Speaker 2: was Philip Seymour Hoffman who once said that, uh, cigarettes
• 15:41
  Speaker 2: are great for actors because it gives them something to
• 15:43
  Speaker 2: do with their hands. Like, but but de Niro really
• 15:46
  Speaker 2: knows how to like the pull on that cigarette. Like
• 15:49
  Speaker 2: he doesn't have to say anything, you just that and
• 15:51
  Speaker 2: the song. And in the song you hear air craft
• 15:54
  Speaker 2: and say it's getting near dark, right, it's getting near dark?
• 15:57
  Speaker 2: Really shit, like yeah.
• 15:59
  Speaker 1: Oh wow wow. So and just like the Rolling Stones
• 16:04
  Speaker 1: in nineteen ninety were fucking dead, Clapton was nothing in
• 16:11
  Speaker 1: nineteen ninety.
• 16:11
  Speaker 2: Yeah, I mean.
• 16:13
  Speaker 1: The lamest, you know, like my friend's dad's like Derek Clapton,
• 16:17
  Speaker 1: you know what I mean.
• 16:18
  Speaker 2: It was that whole we joke about this, but it's
• 16:20
  Speaker 2: that whole divorce Rock era really is what's that shit?
• 16:25
  Speaker 2: What was that record? He had out.
• 16:26
  Speaker 1: It was pro that's not the one. It's uh, it's promises.
• 16:30
  Speaker 1: He is a song promise I love. I love that shit.
• 16:32
  Speaker 1: Now that's the thing.
• 16:33
  Speaker 2: No, I knew too hold on. But he had a
• 16:35
  Speaker 2: he like, he had this incredible divorce rock record out
• 16:38
  Speaker 2: at that time. Journeyman came out in nineteen eighty nine.
• 16:41
  Speaker 2: Journeyman had Pretending Running on Faith, Bad Love, No Alibis.
• 16:46
  Speaker 2: This was like the super slick Aoar Eric Clapton, which
• 16:51
  Speaker 2: which sort of made him, uh, super lame.
• 17:01
  Speaker 1: Yeah. The I think the eyeshot, the sheriff shot stuff
• 17:04
  Speaker 1: is like nineteen eighty nineteen eighty one, that's okay, and
• 17:07
  Speaker 1: then it's bad. And then he has a Scorsese he
• 17:11
  Speaker 1: like rise again with Color of Money.
• 17:13
  Speaker 2: Or Money, which is also lame.
• 17:22
  Speaker 1: I was like, this is like a fucking Miller, like
• 17:24
  Speaker 1: it's latest.
• 17:25
  Speaker 2: Well I know, but that's that's what makes that movie
• 17:26
  Speaker 2: so great. It's like the Phil Collins on in that
• 17:28
  Speaker 2: movie as well, Like it makes that it's of that time,
• 17:31
  Speaker 2: you know.
• 17:31
  Speaker 1: Yeah. Yeah, Color of Money is.
• 17:37
  Speaker 2: It's it's essential, it's amazing essential. Really, it's essential. It's essential. Scorsese, Yes, yeah.
• 17:44
  Speaker 1: It's it, you know. Tom Cruise could have done nothing
• 17:46
  Speaker 1: after that, and we would have been like, Tom Cruise
• 17:48
  Speaker 1: is fucking the man.
• 17:49
  Speaker 2: He's amazing in that.
• 17:50
  Speaker 1: He's incredible. Oh, that's real. The whole thing we're getting
• 17:54
  Speaker 1: out track with with Vince.
• 17:55
  Speaker 2: And just the fact that he's playing We don't have
• 17:57
  Speaker 2: to go in the weeds about this, but he's playing
• 17:59
  Speaker 2: Paul Newman thinks he's playing Tom Cruise, and Tom Cruise
• 18:02
  Speaker 2: has been playing Paul new in the whole movie.
• 18:03
  Speaker 1: It's just it is so good. It's so damn good.
• 18:11
  Speaker 1: All right, So I wanted to do this thing. Okay,
• 18:13
  Speaker 1: there's no score in Goodfellas in this podcast, just so
• 18:17
  Speaker 1: everyone knows, we'll reset it a little bit. This podcast,
• 18:20
  Speaker 1: Zeth and I are gonna do this once a month
• 18:21
  Speaker 1: for Patreon listeners, for you guys, and we're gonna do
• 18:24
  Speaker 1: a new movie every month, and we're gonna talk about
• 18:26
  Speaker 1: the music in that movie. We're gonna talk about this here.
• 18:28
  Speaker 1: We're clearly talking about the soundtrack, but we're also gonna
• 18:30
  Speaker 1: talk about score. We're gonna talk about music supervision, and
• 18:33
  Speaker 1: we're gonna do it, you know, more in a fanboy
• 18:36
  Speaker 1: kind of way and less than kind of a nerdy
• 18:37
  Speaker 1: research kind of way, because we do enough nerdy research
• 18:40
  Speaker 1: on other stuff. Yeah, and this is just stuff that's
• 18:43
  Speaker 1: fun to talk about on a Tuesday night. Well, I'm
• 18:44
  Speaker 1: having a glass of bourbon with my doctor here, so
• 18:48
  Speaker 1: so we're gonna keep it to that now. In Goodfellas,
• 18:51
  Speaker 1: there's no score like zero right, nine, zilch. This has
• 18:57
  Speaker 1: become my new favorite thing in watching film and television, okay,
• 19:02
  Speaker 1: because I'm like, I've had it with modern scoring and television.
• 19:07
  Speaker 1: Like I'm watching the new Clear Danes Netflix show, which
• 19:09
  Speaker 1: I kind of like a lot, and the score is
• 19:13
  Speaker 1: just like it's like, yeah, we've been doing the same
• 19:15
  Speaker 1: score since Ozark. Okay, everybody does this, and it gets
• 19:20
  Speaker 1: in the way of the emotion. It's so predictable. It
• 19:26
  Speaker 1: puts a sort of governor on the emotion, right, And
• 19:29
  Speaker 1: it's also there's something going on with the way they're
• 19:31
  Speaker 1: mixing stuff lately where it's so hard to hear dialogue
• 19:34
  Speaker 1: and I don't know if it's our TVs or what
• 19:35
  Speaker 1: the hell it is. Anyhow, I'm rewatching the wire, like
• 19:38
  Speaker 1: we talked about, absolutely no score in the wire.
• 19:41
  Speaker 2: Interesting, no scoring.
• 19:43
  Speaker 1: Everything is incidental. It's all the radio or whatever. Same
• 19:47
  Speaker 1: thing with Rachel getting married another great example of that.
• 19:49
  Speaker 1: And this, this is intentional what he does, like absolutely
• 19:53
  Speaker 1: no score, fantastic, there's this. There's a best Score in
• 19:57
  Speaker 1: Music Supervision category at the Oscars. There it is no
• 20:00
  Speaker 1: best Soundtrack award at the Oscars. Their fucking should be man. Yeah,
• 20:05
  Speaker 1: like you think of all the great movies with great soundtracks. Yeah, Goodfellas,
• 20:10
  Speaker 1: Boogie Knights, Easy Rider. I can go on and I'll
• 20:14
  Speaker 1: do the right thing. It's ending, yeah, yeah, it's the graduate.
• 20:18
  Speaker 1: It's it's like, why we're going to be doing this
• 20:20
  Speaker 1: show forever exactly? Endless material. So one thing I want
• 20:25
  Speaker 1: to look at though, if I want to look at, Like, okay,
• 20:28
  Speaker 1: if there was a best soundtrack category, sure right from
• 20:33
  Speaker 1: films that were released when Goodfellows was released in nineteen ninety, Okay,
• 20:38
  Speaker 1: who would win it? So it's it's hard to come
• 20:41
  Speaker 1: up with a list of nominees. I think you get
• 20:42
  Speaker 1: a look first at the Best Picture nominees, which Goodfellas
• 20:46
  Speaker 1: was nominated for Best Picture, didn't win, It only won.
• 20:48
  Speaker 1: It was nominated for five awards it won. Joe Peshi
• 20:51
  Speaker 1: won for Best Supporting Actor. That's it, Okay, one Best
• 20:54
  Speaker 1: Picture the Best Picture was Dances with Wolves. Yeah, okay, okay,
• 21:00
  Speaker 1: So Best Picture nominies Dances with Wolves, Ghost, Awakenings, Godfather Three,
• 21:05
  Speaker 1: and Goodfellas. Now, of these, I think the only one
• 21:10
  Speaker 1: that sniffs a Best Soundtrack nomination. I can't believe I'm
• 21:15
  Speaker 1: fucking saying this, but Ghost because of that iconic Righteous
• 21:18
  Speaker 1: Brothers fucking Swayze. I was like, was that Swayze kind
• 21:23
  Speaker 1: of like I was thinking about it? Was Swayze kind
• 21:25
  Speaker 1: of like like like feeling up Whoopy Goldberg and Ghosts
• 21:28
  Speaker 1: and the Righteous Brothers were playing. I looked at it.
• 21:29
  Speaker 1: I was like, no to me more, but Whoopy Goldger
• 21:33
  Speaker 1: Goldberg was in Ghosts Ghost.
• 21:36
  Speaker 2: Yeah, all right, So again another movie where I and
• 21:40
  Speaker 2: it's just probably part of our generation, but I was
• 21:43
  Speaker 2: made aware of unchained melody by that movie.
• 21:46
  Speaker 1: You know, yeah, I probably was too. Yeah, Big Chill
• 21:49
  Speaker 1: turned me onto a lot of shit.
• 21:51
  Speaker 2: Big Chill, Big Chill, stand by Me, Good Morning Vietnam
• 21:54
  Speaker 2: and all that stuff.
• 21:54
  Speaker 1: Yeah.
• 21:55
  Speaker 2: Yeah.
• 21:55
  Speaker 1: What was the other one, the share one? Was it
• 21:58
  Speaker 1: The Mermaids Little Mermaids? Yeah? I think that was another one,
• 22:01
  Speaker 1: kind of big Chili. So other films from nineteen ninety
• 22:04
  Speaker 1: that came out that weren't Best Picture. Okakay, here's the
• 22:07
  Speaker 1: list of the top grossing films in order. Some of
• 22:11
  Speaker 1: them were Best Picture Nomenies, Ghost, Home Alone, Pretty Women,
• 22:15
  Speaker 1: Dances with Wolves, Total Recall, Back to the Future three,
• 22:17
  Speaker 1: and even though there was a three, Diehard two, Presumed Innocent,
• 22:21
  Speaker 1: Teenage Mutant, Ninja Turnals, and Kindergarten Cop. So those are
• 22:24
  Speaker 1: the best, the highest tuma. It's gross. It's not a
• 22:28
  Speaker 1: tuma at all.
• 22:29
  Speaker 2: Pretty Woman had a soundtrack soundtrack, but the rest of
• 22:32
  Speaker 2: those probably had scores.
• 22:33
  Speaker 1: Right it did. Yes, you're right, I'm sure Back to
• 22:36
  Speaker 1: the Future had a soundtrack. So Pretty Women and Ghost
• 22:39
  Speaker 1: are in the mix here. Okay, So now let's look
• 22:43
  Speaker 1: at so so far we've got good fellows, Pretty Women,
• 22:46
  Speaker 1: and Ghost for possible nominees. Okay, so let's look at
• 22:50
  Speaker 1: some of the best independent films from nineteen ninety. Okay,
• 22:54
  Speaker 1: here's where it gets interesting. Okay, all right, pump up
• 22:57
  Speaker 1: the volume.
• 22:58
  Speaker 2: Oh yeah, oh yeah, oh yeah, pump up the volume.
• 23:01
  Speaker 2: Has got the Wave of Mutilation, UK Surf version, that
• 23:05
  Speaker 2: slow version of the Pixies song. Mm hmm, yeah, sorry
• 23:09
  Speaker 2: I digressed there.
• 23:10
  Speaker 1: It also has Henry Rollins and bad Brains doing MC
• 23:13
  Speaker 1: five Metropolitan. I just wanted to mention this movie because
• 23:17
  Speaker 1: I love it, but it doesn't have a soundtrack. Slacker,
• 23:21
  Speaker 1: Wild at Heart, King of New York House Party. Oh yeah,
• 23:28
  Speaker 1: some great soundtracks here. Let's just dip into the pump
• 23:31
  Speaker 1: up the volume soundtrack here.
• 23:32
  Speaker 2: All right?
• 23:32
  Speaker 1: All right, this is gold everybody Knows by Concrete Blonde,
• 23:38
  Speaker 1: the Leonard Cohen song, the Leonard Gowenson. Yeah, Wave of
• 23:40
  Speaker 1: Mutilation Pixies. You mentioned that UK surf version Kick Out
• 23:44
  Speaker 1: the Jams. I mentioned the MC five tune, Bad Brains
• 23:48
  Speaker 1: and Henry Rollins, Me and the Devil Blues, Robert Johnson
• 23:52
  Speaker 1: song by Cowboy Junkies, just so so so good dad,
• 23:58
  Speaker 1: I'm in jail, But was not on us.
• 24:02
  Speaker 2: The other day.
• 24:03
  Speaker 1: Yeah, why were we?
• 24:04
  Speaker 2: Why were we talking about I'm in jail? Because you were.
• 24:06
  Speaker 2: We were just talking about it was and not was?
• 24:09
  Speaker 2: And uh I asked you if you knew that song,
• 24:11
  Speaker 2: and you and uh, it's just it's such a great song.
• 24:14
  Speaker 2: So even a song, it's just an experimental, strange track.
• 24:17
  Speaker 1: Just a telephone call. It's just Don Wallas recording Ryan
• 24:20
  Speaker 1: Adams calling home. All right, So all right, The Wilded
• 24:24
  Speaker 1: Hearts soundtrack. Yeah, all right, lot of Angelo, Bottle of metalmente.
• 24:29
  Speaker 1: Uh so I'm not gonna go through that. Literally like
• 24:31
  Speaker 1: seven songs. There's them them doing baby Please Don't Go Sure, great,
• 24:35
  Speaker 1: Chris Isaac's Wicked Game, Jean Vincent Beatbaupaalula, this is this
• 24:38
  Speaker 1: is what you'd expect.
• 24:41
  Speaker 2: I think there's that like that thrash metal band is
• 24:43
  Speaker 2: on there too. That the club they go to, it's
• 24:45
  Speaker 2: it's kind of all over the place. Yeah, best way.
• 24:47
  Speaker 1: Yeah, yeah, I don't remember this movie hardly at all.
• 24:52
  Speaker 1: I know I saw it with my girlfriend at the time.
• 24:56
  Speaker 1: I was probably distracted and I want, I really want
• 24:59
  Speaker 1: to hear Nick Age doing love Me Tender. Dude.
• 25:01
  Speaker 2: It's amazing. It's amazing. Like I've watched this movie probably
• 25:04
  Speaker 2: more than I should. It's one of my favorites. But yes,
• 25:09
  Speaker 2: Nick Age doing singing those songs, it's incredible, especially inside
• 25:13
  Speaker 2: that that thrash metal club where he has the thrash
• 25:16
  Speaker 2: band stop and has them provide the backing to love
• 25:20
  Speaker 2: Me Tender to to. Uh, it's not love Me Tender
• 25:23
  Speaker 2: because he wait, he says he's going to sing that
• 25:25
  Speaker 2: to his wife. He sings another Elvis song Love Love
• 25:29
  Speaker 2: Me maybe Yeah.
• 25:30
  Speaker 1: Yeah, yeah love all right, so Wild at Heart, Pump
• 25:43
  Speaker 1: up the Volume and then House Party, Ello, Cool J
• 25:47
  Speaker 1: to the Break, Dawn, Luther Vandros Delphonix, Hey Love Yeah,
• 25:52
  Speaker 1: bad Boy having a Party, Sam Cook, So this is
• 25:55
  Speaker 1: this is a good one. This is a good one.
• 25:56
  Speaker 1: He didn't really crack the Eric Barek him run for Cover. Yeah,
• 26:02
  Speaker 1: this is a great, great soundtrack. So if we're nominating,
• 26:06
  Speaker 1: we got to come up with five. Let me know.
• 26:08
  Speaker 1: These are the five. I have goodfellas, Pretty Woman, Pump
• 26:11
  Speaker 1: up the Volume, House Party in Ghost all from nineteen ninety.
• 26:14
  Speaker 2: Okay, all right, I can go. I can get with that.
• 26:16
  Speaker 1: There's nothing I missed, right, No, No, you don't want
• 26:19
  Speaker 1: to throw Godfather three in here for Godfather Waltz for
• 26:21
  Speaker 1: the seventeen hundredth time.
• 26:24
  Speaker 2: No, no, I don't. And I actually did a little
• 26:26
  Speaker 2: recon just to see if we were missing anything, and
• 26:28
  Speaker 2: I you know, we're really not. There was The Adventures
• 26:31
  Speaker 2: of Ford Farreley movie with the Dice Clay Dice play
• 26:35
  Speaker 2: that has a pretty kind of an interesting soundtrack, but
• 26:38
  Speaker 2: I don't know that it really deserves to be in
• 26:39
  Speaker 2: this list.
• 26:40
  Speaker 1: So no, I mean it's almost like this is an
• 26:44
  Speaker 1: unfair version of this, Like I really think this could
• 26:47
  Speaker 1: be a good device to do like podcast episode of
• 26:49
  Speaker 1: podcast episode. Yeah, like what are the what are the
• 26:52
  Speaker 1: best soundtrack nominations for the year that the movie comes out?
• 26:56
  Speaker 1: But Goodfellas might be the greatest soundtrack ever, so nothing
• 26:59
  Speaker 1: is going to come close to it in nineteen ninety.
• 27:02
  Speaker 2: You know what's great about Goodfellows soundtrack is it just
• 27:04
  Speaker 2: seems to span the genesis of rock and roll. You know,
• 27:09
  Speaker 2: it's it starts with Douop and Girl Group and then
• 27:12
  Speaker 2: it moves into you know, British Invasion and uh uh
• 27:18
  Speaker 2: that does gritty rock and roll, rolling stones cream whatever.
• 27:21
  Speaker 1: Drug rock, drug rock. That's like classic rock, drug rock.
• 27:24
  Speaker 1: It's not Queens of the Stone Age drug rock. It's
• 27:28
  Speaker 1: Eric Clapton at his filthiest, like exactly.
• 27:30
  Speaker 2: Like everything's got that. Yeah, they've been filthy, gritty, kind.
• 27:33
  Speaker 1: Of dyne Amon and needles hanging out of their arms
• 27:36
  Speaker 1: and like that era Clapton, you know what I mean,
• 27:38
  Speaker 1: Like songs written by a fucking murderer, but Clapton.
• 27:42
  Speaker 2: Clean the credit and two songs that involve Jim Gordon
• 27:47
  Speaker 2: on drums right Leila and uh Jump into the Fire.
• 27:51
  Speaker 1: Yeah, yeah, pretty incredible.
• 27:53
  Speaker 2: Do you know about the songs that Squire says he
• 27:56
  Speaker 2: had on a list that he didn't include in this movie?
• 27:59
  Speaker 1: No, but I can't wait to hear this.
• 28:01
  Speaker 2: So, so there's a made man I think is the
• 28:06
  Speaker 2: name of the book is a book is about the
• 28:07
  Speaker 2: making of good fellas, And in that book there's a
• 28:10
  Speaker 2: there's a list of song titles that Squire says he had,
• 28:13
  Speaker 2: and a bunch of them were the ones that we
• 28:15
  Speaker 2: hear in the movie. You know what's funny is that
• 28:17
  Speaker 2: Jump into the Fire by Harry Nilsen is not on
• 28:20
  Speaker 2: this list. But the songs, some of the songs that
• 28:23
  Speaker 2: are on this list that were not used include with
• 28:26
  Speaker 2: a Little Help from My Friends by Joe Cocker.
• 28:29
  Speaker 1: Okay, I feel like he used Did he use that
• 28:31
  Speaker 1: in Casino? No?
• 28:34
  Speaker 2: I don't think so. I don't think so, Keep Going,
• 28:37
  Speaker 2: I don't want to cut y'af keep Going Gasoline Alley
• 28:39
  Speaker 2: by Rod Stewart. I was thinking if there was a
• 28:41
  Speaker 2: song that could have been included here that was not
• 28:44
  Speaker 2: like A Face's Rod Stewart's song again with that sort
• 28:46
  Speaker 2: of like gritty, like druggy rock.
• 28:48
  Speaker 3: That's true blue tue a million, I don't care. Oh
• 29:01
  Speaker 3: it's so good.
• 29:02
  Speaker 1: I'm using that one in my movie.
• 29:03
  Speaker 2: What year is that? From True Blue? It seems a
• 29:06
  Speaker 2: little too late, don't you think.
• 29:07
  Speaker 1: No, it's still it's still seventies. I think.
• 29:10
  Speaker 2: Okay, oh no, you're right, you're right, Okay, all right, anyways, okay,
• 29:13
  Speaker 2: Gasoline ally rods to it. Only the good die Young
• 29:16
  Speaker 2: Billy joel O, great one.
• 29:19
  Speaker 1: You might have no die. If that was in Goodfellas, right,
• 29:26
  Speaker 1: we would now be saying that makes perfect sense. These
• 29:29
  Speaker 1: were like Long Island mobster Queen's guys, you know, likely,
• 29:32
  Speaker 1: and it would have had this whole blow up shine
• 29:34
  Speaker 1: culturally to it that it doesn't really have. Yeah, you know.
• 29:38
  Speaker 2: Yeah. Now, not to get like too like uh too
• 29:45
  Speaker 2: too much, professor Lundy about this at all, But do
• 29:48
  Speaker 2: you notice that it stocked Wendy to you when we
• 29:51
  Speaker 2: get into when we get into like the True like
• 29:54
  Speaker 2: when when Polly's like, don't be involved in in drugs,
• 29:58
  Speaker 2: don't be involved in heroin and Henry's like, hey, yeah,
• 30:00
  Speaker 2: no problem, and then we cut to him doing coke
• 30:03
  Speaker 2: and immediately that's like, give me shelter. The rolling stones
• 30:06
  Speaker 2: we jumped from do wop and girl group stuff to
• 30:09
  Speaker 2: rock and roll, When the when the corruption comes in,
• 30:12
  Speaker 2: When the Vice comes in the darkns very tellingly right
• 30:17
  Speaker 2: after Henry is arrested, after that incredible playlist of songs
• 30:22
  Speaker 2: with the Nielsen Rolling Stones, Muddy Waters, He's arrested, and
• 30:26
  Speaker 2: then the rest of the movie, which is like twenty
• 30:28
  Speaker 2: to twenty five minutes, has no music at all. I
• 30:32
  Speaker 2: know nothing. It's the anything. It's the aftermath. Yeah yeah, yeah,
• 30:37
  Speaker 2: it's just like it's dead. Everything's dead. It's Hines ketchup
• 30:40
  Speaker 2: on egg noodles dead. I was gonna say, you noticed
• 30:45
  Speaker 2: that de Niro's that Jimmy puts ketchup on his pasta.
• 30:49
  Speaker 1: And he shakes it. He shakes it. My buddy Dave
• 30:53
  Speaker 1: Wels from Clinton used to do that. You should just
• 30:55
  Speaker 1: fucking shake it.
• 30:56
  Speaker 2: Oh my god.
• 30:57
  Speaker 1: It's like, dude, it's gonna take you twenty minutes to
• 30:58
  Speaker 1: get that shit on your fresh fries. I know you're doing.
• 31:02
  Speaker 1: Come on now.
• 31:03
  Speaker 2: Oh man.
• 31:04
  Speaker 1: It's hard to find glass bottles of Hinds, I gotta
• 31:06
  Speaker 1: tell you, yeah, I know, and getting for like nine
• 31:08
  Speaker 1: bucks at Whole Foods. But you know who wants to
• 31:10
  Speaker 1: do that. So there's some interesting music. Uh, life imitating
• 31:17
  Speaker 1: art in this film. Okay, it's when they're at the Kopa.
• 31:22
  Speaker 1: It's Henny Youngman, wife, please, it's the real Henny Youngman
• 31:27
  Speaker 1: playing himself like twenty years older than he should be
• 31:30
  Speaker 1: in that scene. And they do that incredible device where
• 31:34
  Speaker 1: they cut from I think it's the Copa or Henny Youngman.
• 31:36
  Speaker 1: It's some club, I think so. And they cut from
• 31:39
  Speaker 1: the club and Henning on stage doing his thing, take
• 31:43
  Speaker 1: my wife, that whole bit, you know what I mean? Right,
• 31:45
  Speaker 1: and he keeps going. If they cut through the airport
• 31:49
  Speaker 1: where they're they're stealing, they're you know, they're robbing the airport.
• 31:52
  Speaker 2: The fod still doing his bit. Doctor welshers here one
• 31:58
  Speaker 2: of them. Doctor give a guys say, while they're showing
• 32:03
  Speaker 2: them walking, you still hear it.
• 32:06
  Speaker 1: It's so good. I know, it's so fucking good. It's
• 32:10
  Speaker 1: one of those things I'm like, did Scorsese like fall
• 32:12
  Speaker 1: into that? Did he invent that? Or who did he
• 32:15
  Speaker 1: steal it from? I want to know where that came
• 32:17
  Speaker 1: from because it's so simple, it's but it's so brilliant.
• 32:20
  Speaker 1: It's just great. It's just great.
• 32:22
  Speaker 2: His cinematic language is just unmatch. It's really this like
• 32:25
  Speaker 2: the syntax, the punctuation that everything. He's just it's like
• 32:30
  Speaker 2: it's like someone's talking to you with all the senses,
• 32:32
  Speaker 2: you know.
• 32:33
  Speaker 1: Yeah, yeah, I mean it was I was reading about
• 32:37
  Speaker 1: talk about punctuation. The opening scene, you know, when they're
• 32:41
  Speaker 1: after they opened the trunk of the car and they
• 32:44
  Speaker 1: they stab bats and then they they slammed the trunk
• 32:49
  Speaker 1: and Rags to Riches starts. Yep. They had a fight
• 32:53
  Speaker 1: in the edit over and over again to get that.
• 32:56
  Speaker 1: So the trunk slams on the downbeat, you know what
• 33:03
  Speaker 1: I mean. It's like normally you would start it like
• 33:06
  Speaker 1: with the yup, like on the on the one or whatever,
• 33:09
  Speaker 1: but it's like that they and he wanted the down
• 33:11
  Speaker 1: beat because the slamming of the trunk down just brilliant.
• 33:18
  Speaker 1: It's so smart, and I.
• 33:19
  Speaker 2: Think it's just all in his head. I think it's
• 33:21
  Speaker 2: just evidenced by all those storyboards that he drew as
• 33:24
  Speaker 2: a kid. I think he's just he just has he
• 33:27
  Speaker 2: has this innate, god given nack for that sort of thing.
• 33:31
  Speaker 1: Yeah, yeah, he absolutely does. And again, the confidence of
• 33:36
  Speaker 1: this is one of those things too that has to
• 33:38
  Speaker 1: be some sort of like we just we can pull
• 33:41
  Speaker 1: this one of these out of every movie. I feel
• 33:42
  Speaker 1: like on every movie soundtrack we talked about, this movie
• 33:46
  Speaker 1: kind of makes you like Clapton. It absolutely. Now, this
• 33:50
  Speaker 1: took a while. Like I didn't see Don't Look Back,
• 33:52
  Speaker 1: the Dylan movie until probably ten years after I saw
• 33:57
  Speaker 1: Good Fellas. Yeah, same, yeah, So it took me a
• 33:59
  Speaker 1: full decade developed my hatred of Donovan.
• 34:02
  Speaker 2: Okay, and I your hatred of Donovan like vicariously through
• 34:06
  Speaker 2: Bob Dylan, because Bob Dylan hates Donovan.
• 34:09
  Speaker 1: Really well you can kind of tell in that movie.
• 34:11
  Speaker 1: And he's just such a twit and he's he's I was,
• 34:15
  Speaker 1: this guy so contrived and full of shit. You know,
• 34:19
  Speaker 1: he's like Scott Wiland without the darkness, you know.
• 34:22
  Speaker 2: What I mean, Like, yeah, I hear you, I hear you.
• 34:24
  Speaker 1: But then and even like Goodfella, it took it took
• 34:28
  Speaker 1: like twenty years of Goodfellas for me to finally be like,
• 34:32
  Speaker 1: I love Donovan just because of Atlantis.
• 34:40
  Speaker 2: Atlantis.
• 34:41
  Speaker 1: Yeah, it's it's so good. The counterpoint between that song
• 34:44
  Speaker 1: and it's hippie dippy bullshit and the violence that's going
• 34:47
  Speaker 1: on totally. Oh you know who stole that completely his
• 34:51
  Speaker 1: Gus Van's aunt in Goodwill Hunting. It's me. It's me
• 34:56
  Speaker 1: Will remember we went to kindergarten together. We when they're
• 35:02
  Speaker 1: tooling on the kid in South Boston in the beginning
• 35:04
  Speaker 1: of the film and Jerry Rafferty's uh Baker Street is playing. Yep. Yeah,
• 35:08
  Speaker 1: it's absolutely it's the same thing. It's absolutely slow motion
• 35:13
  Speaker 1: all of it. I don't know they I think they
• 35:14
  Speaker 1: do like a bit of slow motion in the in
• 35:17
  Speaker 1: the scene where they're beating on billy bats.
• 35:21
  Speaker 2: Maybe not, there might be. I always get that scene.
• 35:24
  Speaker 2: That scene is very similar to that scene in Casino
• 35:27
  Speaker 2: where the staffs the guy with the neck with a pen.
• 35:30
  Speaker 2: It's very similar.
• 35:31
  Speaker 1: Yeah, it is very similar.
• 35:37
  Speaker 2: The the Good Fella scene though with Atlantis is one
• 35:39
  Speaker 2: of those great like you put it, counterpoints like that
• 35:43
  Speaker 2: that that song is not at all what you'd expect
• 35:46
  Speaker 2: for that moment of violence, you know, and it and
• 35:49
  Speaker 2: it just the violence does seem way more real with
• 35:52
  Speaker 2: that song playing.
• 35:53
  Speaker 1: Yeah, And this is why counterpoint with filmmaking and soundtracking,
• 36:00
  Speaker 1: you just hit the nail completely on the head, and
• 36:01
  Speaker 1: I want to reinforce it. It's why it's so important
• 36:04
  Speaker 1: because if you were in a bar and a fight
• 36:06
  Speaker 1: broke out, the fucking jukebox doesn't care what song's playing exactly. Yeah,
• 36:12
  Speaker 1: and that's how life works. It's absurd and there's strange
• 36:15
  Speaker 1: shit happening all the time and you can't control it.
• 36:18
  Speaker 1: And he's just like it's but I have to say,
• 36:21
  Speaker 1: that's not how I think that the majority of creative
• 36:25
  Speaker 1: people think. They think, like we have to match the
• 36:28
  Speaker 1: emotion sure of what we're seeing and sure, and Scorse's
• 36:33
  Speaker 1: brave bravery is creative bravery is just like, no, this
• 36:36
  Speaker 1: is how I saw a guy getting his head fucking
• 36:40
  Speaker 1: stomped on the ground in my neighborhood. And you know,
• 36:43
  Speaker 1: Frankie Valley, a Frankie Valley ballad was playing in the background,
• 36:47
  Speaker 1: you know.
• 36:47
  Speaker 2: Yeah, He's he seemed to just kind of say like
• 36:50
  Speaker 2: fuck it with this movie, like I'm just gonna I'm
• 36:52
  Speaker 2: gonna do whatever creative impulse I want to do with
• 36:55
  Speaker 2: this movie. And you know what I mean, like detractors
• 36:58
  Speaker 2: be damned or whatever.
• 36:59
  Speaker 1: Right, Yeah, it's it's his. I think it's his most
• 37:04
  Speaker 1: personal movie.
• 37:06
  Speaker 2: I think I wouldn't be a surprised knowing his upbringing.
• 37:09
  Speaker 1: You know, I mean, maybe maybe mean streets. But it's
• 37:13
  Speaker 1: so much earlier, and he wasn't at the peak of
• 37:16
  Speaker 1: his powers. He didn't have the budget. I'm trying to
• 37:19
  Speaker 1: think of another one that is more personal. It's kind
• 37:21
  Speaker 1: of later. Maybe The Irishman. That's very personal, I feel
• 37:24
  Speaker 1: like because of how the age he was at when
• 37:26
  Speaker 1: he made it and all those guys were at. Yeah, yeah,
• 37:29
  Speaker 1: I can see that. Scoring in that is fantastic as
• 37:32
  Speaker 1: well soundtracking in that and the scoring he used his
• 37:34
  Speaker 1: score he has Robbie Robertson scoring, Yeah, yeah, which is
• 37:38
  Speaker 1: a reason we have to cover Irishman. And that was
• 37:40
  Speaker 1: something too, which in the beginning, you don't like Irishman
• 37:43
  Speaker 1: as much as.
• 37:44
  Speaker 2: I do do No, no, I no, I like the Irishman.
• 37:46
  Speaker 2: I haven't. I need to see it more. I haven't
• 37:48
  Speaker 2: seen it enough. I need to see it more. So
• 37:51
  Speaker 2: it's sort of like lives in me some more, you
• 37:53
  Speaker 2: know what I mean.
• 37:54
  Speaker 1: But yeah, in the beginning, the scoring was a sore thumb,
• 37:57
  Speaker 1: and now I can't live without it. Now I just
• 38:00
  Speaker 1: I love it. It's fantastics.
• 38:02
  Speaker 2: The the best music, the best the best movies are
• 38:05
  Speaker 2: the ones that you know. It's like it's like Glenn says,
• 38:09
  Speaker 2: in Raising Arizona. It's a way, Homer, you only get
• 38:11
  Speaker 2: it on the way home.
• 38:15
  Speaker 1: I love that. Okay, more more life imitating art. Bobby
• 38:18
  Speaker 1: Vinton at the Coopa, Okay, that's actually Bobby Vinton, it's
• 38:22
  Speaker 1: Robert Vinton. That's Bobby Winton's sons exactly like his dad
• 38:28
  Speaker 1: and is actually I think he's the same age his
• 38:31
  Speaker 1: old man would have been at in that era when
• 38:34
  Speaker 1: they were doing.
• 38:35
  Speaker 2: No way, what else? Did what?
• 38:36
  Speaker 1: What? Did he?
• 38:37
  Speaker 2: What else?
• 38:37
  Speaker 1: I don't think he did anything. I think he was
• 38:39
  Speaker 1: just sitting around this whole entire life being like, Okay, here,
• 38:42
  Speaker 1: I'm ready, mister Squire saysy, here we go.
• 38:46
  Speaker 2: Oh my god, Roses are read? Is that the song?
• 38:47
  Speaker 2: He does that scene Roses and he holds out his
• 38:50
  Speaker 2: hand to that the bottle goes to the table and he's.
• 38:53
  Speaker 1: Yeah, yeah, yeah, that's the one.
• 38:55
  Speaker 2: The way that this film is scored with its soundtrack,
• 38:58
  Speaker 2: that rock and roll is equals corruption, rock and roll
• 39:03
  Speaker 2: equals reckoning. Not not that Scorsese is coming down on
• 39:06
  Speaker 2: rock and roll, but it's just the way the seduction
• 39:09
  Speaker 2: of the Lifestyle, which is the first half of the film,
• 39:12
  Speaker 2: how you're seduced by this lifestyle, that's all do wop.
• 39:15
  Speaker 2: It's girl groups, it's like, you know, uh.
• 39:19
  Speaker 1: Big strings arrangements, it's roses are red.
• 39:22
  Speaker 2: It's then he kissed me leader of the pack, you know,
• 39:25
  Speaker 2: like he's sure the boy. I love all these the ronettes,
• 39:28
  Speaker 2: the crystals, the whatever. And then as soon as we
• 39:32
  Speaker 2: get into the nitty gritty of Henry Hill doing cocaine
• 39:35
  Speaker 2: with one of his multiple mistresses, it's like, you know,
• 39:40
  Speaker 2: it's Mick Jagger saying about rape and murder.
• 39:42
  Speaker 1: You know what I mean, Mick Jagger literally like puking
• 39:44
  Speaker 1: into the microphone on a monkey man like a.
• 39:57
  Speaker 2: Yeah, exactly. And it's that's obviously so deliberate choice, and
• 40:01
  Speaker 2: it works so well I think on a almost like
• 40:03
  Speaker 2: a subconscious level as you're watching this movie and moves
• 40:06
  Speaker 2: you through where the where the character ark of Henry
• 40:10
  Speaker 2: Hill is going.
• 40:12
  Speaker 1: Yeah, I think that's accurate. I think that's accurate. I
• 40:14
  Speaker 1: think this is I don't own this soundtrack.
• 40:19
  Speaker 2: I don't think it exists. It exists. I mean it
• 40:22
  Speaker 2: came out back in the day.
• 40:23
  Speaker 1: It came out. It's not it's not you can't stream it.
• 40:25
  Speaker 2: You can find playlists, right, but you know what, you know,
• 40:28
  Speaker 2: what was not on it's just a wild I looked
• 40:30
  Speaker 2: at the soundtrack. You know what song was not on
• 40:32
  Speaker 2: the soundtrack the physical CD that came out was Jumping
• 40:36
  Speaker 2: to the Fire.
• 40:38
  Speaker 1: Hmm. That's interesting, which.
• 40:39
  Speaker 2: Might be because it's so long. Maybe they didn't you.
• 40:41
  Speaker 1: Know, Yeah, yeah, you only had seventy minutes on a
• 40:44
  Speaker 1: CD or whatever it was, right, did you know? I
• 40:47
  Speaker 1: think you're the one who told me this. That my way.
• 40:48
  Speaker 1: They wanted the Sinatra version of it for the closing credits.
• 40:51
  Speaker 2: Oh, I didn't tell you that.
• 40:52
  Speaker 1: I didn't know that. Yeah, and they couldn't get it,
• 40:54
  Speaker 1: so they went with the sid Business version. And how
• 40:56
  Speaker 1: fucking great is that? I love that.
• 40:58
  Speaker 2: I love that.
• 40:59
  Speaker 1: Yeah much better, Yeah, so much better totally. I mean,
• 41:04
  Speaker 1: I don't even think he would have gone with the
• 41:05
  Speaker 1: Sinatra thing if he did clear it, because it just
• 41:08
  Speaker 1: I mean so on the money. I mean, what it
• 41:09
  Speaker 1: was the plan to have the Sinatra thing playing while
• 41:11
  Speaker 1: Tommy shooting?
• 41:16
  Speaker 2: Yeah, no, because that would have that would have taken
• 41:18
  Speaker 2: us back in time. We need the we need to
• 41:20
  Speaker 2: be moving forward. The music's moving forward, as the character's
• 41:23
  Speaker 2: moving forward. You need to have the nineteen seventy seven
• 41:26
  Speaker 2: seventy eight, seventy nine, whatever it is version of that song,
• 41:29
  Speaker 2: the punk version, it's.
• 41:30
  Speaker 1: The best credits to It's just the shooting too. It's
• 41:34
  Speaker 1: just fucking it's so good. It's great, it's so good.
• 41:38
  Speaker 1: All right, all right, let's talk about some movies we're
• 41:40
  Speaker 1: gonna do next next month. We're gonna do this. We're
• 41:42
  Speaker 1: gonna do this every month, guys, and we're gonna do
• 41:44
  Speaker 1: it towards the end of the month because we need
• 41:46
  Speaker 1: time to think about this and and you know, put
• 41:49
  Speaker 1: them together. I just think there's no shortage of incredible
• 41:56
  Speaker 1: topics that we can cover here. Boogie Knights comes to mind.
• 41:58
  Speaker 1: That is a huge one. We can do seventeen different
• 42:02
  Speaker 1: Scorsese ones. There's a million Tarantino ones. We came out
• 42:05
  Speaker 1: of the game big here with Goodfellas. I want to
• 42:07
  Speaker 1: I want to. I don't want to go so big.
• 42:09
  Speaker 1: I don't want to burn out on all the huge ones. Yeah,
• 42:11
  Speaker 1: early on, we got to come up with a good mix.
• 42:13
  Speaker 1: I watched the other night. This is gonna sound like
• 42:15
  Speaker 1: the most emo shit ever. And I'm not trying to
• 42:17
  Speaker 1: sound like fucking gee from right to spring. But I
• 42:20
  Speaker 1: watched Rachel getting married the other night.
• 42:22
  Speaker 2: Yeah, yeah, I watched it the other day too.
• 42:24
  Speaker 1: And the soundtrack is it's uh, it's actually incidental. There
• 42:31
  Speaker 1: are no songs mixed into it. But it's about a family,
• 42:35
  Speaker 1: uh in the music business, and you there's a bunch
• 42:38
  Speaker 1: of musicians at this wedding and you hear everything. It's fantastic.
• 42:41
  Speaker 1: And the stories behind how they got that music, how
• 42:45
  Speaker 1: they made it, how they shot it, because it's a small,
• 42:47
  Speaker 1: little indie film, is really interesting. So I'd like to
• 42:50
  Speaker 1: cover that at some point as well. I mean, there's
• 42:53
  Speaker 1: so many I mean, I would even I don't even
• 42:55
  Speaker 1: know how we would do it, but i'd love to do.
• 42:57
  Speaker 1: There's no music in no Country for all men, and
• 43:00
  Speaker 1: somehow I think there's a version of us covering that
• 43:04
  Speaker 1: because all the spots where the music should be, where
• 43:07
  Speaker 1: it would have fucked it up. I don't know what
• 43:10
  Speaker 1: are some of the choices you've been thinking about.
• 43:12
  Speaker 2: I mentioned this to you earlier. I mentioned Trainsponding earlier.
• 43:14
  Speaker 2: Every watched train Sponning recently, and I really think that
• 43:17
  Speaker 2: that is sort of like the consummate example of using
• 43:23
  Speaker 2: songs in your movie to to sort of communicate whatever
• 43:26
  Speaker 2: you're whatever's going on theme thematically and narratively in the film,
• 43:31
  Speaker 2: So that springs to mind right away. Yeah, there's so
• 43:35
  Speaker 2: many there's so many places we can go with this.
• 43:38
  Speaker 1: I mean, yeah, okay, we could. We could just turn
• 43:42
  Speaker 1: this into the selections pod. We're not going to do that.
• 43:45
  Speaker 1: Let's get some sort of list together with the listeners
• 43:49
  Speaker 1: on Patreon. We'll get some suggestions from folks.
• 43:52
  Speaker 2: Great adele.
• 43:54
  Speaker 1: Yeah, man, this was fun. This is good.
• 43:56
  Speaker 2: Absolutely.
• 43:58
  Speaker 1: I'm gonna go get my shinebox, right, is that what
• 44:00
  Speaker 1: we're doing? Is that's the way.
• 44:01
  Speaker 2: Yeah, yeah, go eat your shinebox. I'm gonna go pistol,
• 44:03
  Speaker 2: whip my neighbor across the street and go to bed.
• 44:06
  Speaker 1: You want some fucko? You want you want some? Sure?
• 44:18
  Speaker 1: All right? Hope you guys. Dug that that was our
• 44:20
  Speaker 1: first episode of this film should be played loud. You
• 44:23
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• 44:26
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• 44:31
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• 44:58
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