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The All You Can Eat Buffet of Beetlejuice · Movie Meltdown

• 0:02
  Speaker 1: Movie meltdown. Sit back and shut up.
• 0:06
  Speaker 2: This is George Steele. The following feature has been rated
• 0:18
  Speaker 2: R by the Motion Picture Association of America. It is
• 0:21
  Speaker 2: intended for mature audiences and parental discretion is advised. It's showtime, folks.
• 0:37
  Speaker 3: Enjoy the show.
• 0:40
  Speaker 4: Our nuclear reactor pumping out one.
• 0:43
  Speaker 5: Million kilowatts of power.
• 1:10
  Speaker 3: To provide more cooling in the containment chamber. To your sentinels,
• 1:13
  Speaker 3: we have a rebound.
• 1:36
  Speaker 2: What's up, and welcome to Movie Meltdown. I am Brian,
• 1:38
  Speaker 2: and joining me once again via the magic of the
• 1:41
  Speaker 2: internet is... I'm Sam.
• 1:43
  Speaker 1: Hey, how's it going?
• 1:45
  Speaker 2: How's it going?
• 1:46
  Speaker 1: Not bad.
• 1:48
  Speaker 2: It's been a little while, so how are you?
• 1:52
  Speaker 1: Yeah, yeah, alright, alright.
• 1:55
  Speaker 2: We gotta check in every once in a while, make
• 1:56
  Speaker 2: sure we're both alive and functional.
• 1:59
  Speaker 1: I think our last conversation was the Crow remake, right? Yeah,
• 2:04
  Speaker 1: which I feel.
• 2:05
  Speaker 2: Like we landed on a better place than even we expected, really.
• 2:10
  Speaker 1: Absolutely.
• 2:10
  Speaker 2: That was a pretty upbeat episode for us.
• 2:13
  Speaker 1: That's right. How I learned to stop worrying and love
• 2:16
  Speaker 1: the Crow remake. It was a good therapeutic session and everything. Yeah, no,
• 2:24
  Speaker 1: so I guess it has been a while, and yeah,
• 2:26
  Speaker 1: there's been a lot of pop culture consumption, so yeah,
• 2:30
  Speaker 1: it was time to lance the boil.
• 2:35
  Speaker 2: That is a pretty good description of this show.
• 2:39
  Speaker 1: Drainage. We needed some drainage. We needed to set up a.
• 2:42
  Speaker 2: Geek drainage. Too much geek built up here. I gotta
• 2:45
  Speaker 2: drain a little of it.
• 2:47
  Speaker 1: I was like i gotta i gotta like act like
• 2:49
  Speaker 1: an adult all day and everything is like i can't
• 2:51
  Speaker 1: be walking around my phone.
• 2:52
  Speaker 2: I don't bother with that yeah yeah people just know
• 2:56
  Speaker 2: better they're like oh it's that.
• 2:58
  Speaker 6: Guy yeah yeah yeah no i gotta like act like
• 3:01
  Speaker 6: a like i gotta like like a manager's like hey
• 3:03
  Speaker 6: your tpo report was not as this report and everything
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  Speaker 6: and i can't i can't do that if i've got
• 3:09
  Speaker 6: beetlejuice 2 in my head.
• 3:12
  Speaker 2: I mean, you can just start singing and dancing like
• 3:15
  Speaker 2: you're him. That's it. You can give them the important
• 3:18
  Speaker 2: meaty notes and, you know, report actions, but you got
• 3:21
  Speaker 2: to do it in song of some forgotten pop song,
• 3:24
  Speaker 2: you know.
• 3:25
  Speaker 1: Yeah, yeah. They don't look kindly upon me when I
• 3:27
  Speaker 1: do that kind of stuff.
• 3:30
  Speaker 2: I don't know why. That seems fine.
• 3:32
  Speaker 1: Yeah, yeah. No, no. There is no metric you can
• 3:37
  Speaker 1: quantify if my song and dance routine was.
• 3:42
  Speaker 1: Conveyed uh the proper emotion i don't know yeah brian
• 3:46
  Speaker 1: it's been it's been a ride dude i guess we
• 3:48
  Speaker 1: just got through the holidays and so uh uh it
• 3:52
  Speaker 1: was pretty good how was your christmas.
• 3:55
  Speaker 2: Fine as functional as anything in my life gets I do,
• 4:01
  Speaker 2: especially like Christmas, other people have like actual lives and like,
• 4:05
  Speaker 2: so I just go visit other people with real lives
• 4:08
  Speaker 2: and they have, you know, households and children and you know,
• 4:12
  Speaker 2: they have a life that they put together and then
• 4:14
  Speaker 2: there's me. They're like, oh yeah, we got to bring
• 4:16
  Speaker 2: that weirdo over. So I go to other people's houses
• 4:19
  Speaker 2: and I watch them have a wonderful life and you know,
• 4:22
  Speaker 2: then I come back home and jump off a bridge
• 4:25
  Speaker 2: or whatever you do and it's a wonderful life. In
• 4:28
  Speaker 2: my abridged version. You've heard that, haven't you, while we're
• 4:31
  Speaker 2: having geek comments here? On Amazon, there is now an
• 4:35
  Speaker 2: abridged version of It's a Wonderful Life.
• 4:38
  Speaker 1: No, I've not heard that.
• 4:40
  Speaker 2: The most sense I could make out of it, which was, yeah,
• 4:43
  Speaker 2: it was like the most sense I could make out
• 4:44
  Speaker 2: of it was the way they described it was like
• 4:47
  Speaker 2: he's talking to Clarence and makes the comment, and then
• 4:50
  Speaker 2: when we get the, like, Back to the Future 2,
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  Speaker 2: where he sees the dark side of everything... They took
• 4:56
  Speaker 2: that part out.
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  Speaker 4: What?
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  Speaker 2: And I'm like, but that's the movie. Like, that's the
• 5:01
  Speaker 2: whole point of the movie. Like, it can't make any
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  Speaker 2: sense at all if he's just like, oh, we're showing alive.
• 5:07
  Speaker 2: And then he's like, yay, I'm alive. Like, if you
• 5:10
  Speaker 2: don't see the reason you need to be there, like,
• 5:12
  Speaker 2: what is the point of this movie?
• 5:15
  Speaker 1: Oh, no.
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  Speaker 2: I hope I heard that all wrong. That's the way
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  Speaker 2: it was described. And people were getting super upset. And
• 5:22
  Speaker 2: then other people were just like, do you not know
• 5:24
  Speaker 2: what abridged means? Like, this is why you don't watch
• 5:28
  Speaker 2: that version, dumbass.
• 5:33
  Speaker 1: Yeah, it's like those family services where they'll make an
• 5:37
  Speaker 1: edited version of movies with all the profanity cut out
• 5:42
  Speaker 1: and all that stuff. But no, let's do it where
• 5:46
  Speaker 1: We just cut out all the sad stuff. Or I
• 5:47
  Speaker 1: guess what? The conflict.
• 5:49
  Speaker 2: Well, that was, yeah, one of the ones that they
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  Speaker 2: did that got a lot of press was the... I
• 5:55
  Speaker 2: didn't watch 13 Reasons Why, but like... Once some kid
• 6:00
  Speaker 2: like off themselves and like had been watching, I don't
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  Speaker 2: even know if they left a note blaming them. They
• 6:05
  Speaker 2: just like, it was on their Netflix feed or whatever.
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  Speaker 2: And they were like, Ooh, they were watching this show
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  Speaker 2: that mentions suicide. So they went in and like re
• 6:14
  Speaker 2: edited it and took out the, like after, like the
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  Speaker 2: whole story is around a kid that committed suicide, but
• 6:20
  Speaker 2: they took out the, effects the like people responding to
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  Speaker 2: the person having killed themselves what and i'm like that
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  Speaker 2: makes no sense at this point you're making it the
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  Speaker 2: romantic act that some dumb kid thinks that it is
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  Speaker 2: that's right this will show them all and then it's
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  Speaker 2: just you're gone you don't see the after effect if
• 6:41
  Speaker 2: you're watching this show you show like oh look at
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  Speaker 2: all this horrible like domino effect of everyone in their
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  Speaker 2: life that's unhappy now because of this stupid thing that
• 6:50
  Speaker 2: you did but they took that part out because oh
• 6:53
  Speaker 2: that might cause a kid to i'm like no that's
• 6:55
  Speaker 2: the whole thing if you see this maybe you'll go
• 6:57
  Speaker 2: oh shit maybe you don't want to do that because
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  Speaker 2: that's stupid and everyone else is.
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  Speaker 1: Unhappy when you leave like right Right.
• 7:04
  Speaker 7: Yeah.
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  Speaker 2: That was one of those they did a few years
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  Speaker 2: ago that I'm like, you're missing the point of what
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  Speaker 2: you're taking out. That's why it's there is to give
• 7:12
  Speaker 2: you an example as a viewer of like, what would
• 7:14
  Speaker 2: happen if you were not here anymore? Look how stupid
• 7:18
  Speaker 2: everyone thinks you are. It's not like you made the
• 7:20
  Speaker 2: right decision. Like everybody just looks at it and goes, wow,
• 7:23
  Speaker 2: that was horrible. And look what you've done to all
• 7:25
  Speaker 2: of our lives now. But they cut that part out.
• 7:29
  Speaker 1: Yeah well it's like it's like the difference between like
• 7:31
  Speaker 1: uh you know an admission and action movie where you
• 7:34
  Speaker 1: see 70 people get blown away by uh you know
• 7:37
  Speaker 1: a howitzer or whatever versus like uh like one of
• 7:40
  Speaker 1: those like uh french extreme movies like martyrs where it's
• 7:45
  Speaker 1: just like a person getting flayed.
• 7:46
  Speaker 2: Alive let's focus on this one or two people and
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  Speaker 2: just really give them some pain Let's just really torment
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  Speaker 2: this person.
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  Speaker 1: Yeah, the truth of violence versus the glorification of violence,
• 8:00
  Speaker 1: you know? So if you show the truth of it,
• 8:04
  Speaker 1: or the other side of it, it becomes a lot
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  Speaker 1: less palatable.
• 8:09
  Speaker 3: You know?
• 8:10
  Speaker 1: Versus clutching your chest in the old westerns and like.
• 8:15
  Speaker 2: I'm dead. But again, and then not give any kind
• 8:20
  Speaker 2: of like, there's no after effect, you know, it's like nothing. Oh,
• 8:24
  Speaker 2: they're gone now. And it's like, no, in the real world,
• 8:27
  Speaker 2: you have to deal with the fact that that person's
• 8:29
  Speaker 2: gone and you got a lot of stupid things you
• 8:32
  Speaker 2: have to do because they're gone. That like, yeah, it
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  Speaker 2: just makes no sense. Yeah. It's like, it really like
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  Speaker 2: it's literal. Physically, you have to do a lot of
• 8:41
  Speaker 2: stupid things now that this person is gone, whether it's
• 8:44
  Speaker 2: natural reasons or they off themselves. So it's like, at
• 8:47
  Speaker 2: least show the, The consequences that come with this, you know?
• 8:51
  Speaker 2: Even if it's not for you, someone has to pay
• 8:54
  Speaker 2: the consequences.
• 8:55
  Speaker 1: Yeah, yeah. And so then you're thinking back to, like,
• 8:59
  Speaker 1: you know, late 80s with, like, Heathers. And you're going, like,
• 9:02
  Speaker 1: you know. But then I was going, like, they would
• 9:05
  Speaker 1: just never do that now. But then I guess they
• 9:07
  Speaker 1: did make a musical out of Heathers that's popular.
• 9:11
  Speaker 2: Which I've seen.
• 9:12
  Speaker 3: Yeah?
• 9:13
  Speaker 2: Yeah.
• 9:13
  Speaker 1: Yeah? Is it good?
• 9:14
  Speaker 2: I saw a smaller production of it here in town.
• 9:17
  Speaker 1: And it was pretty good.
• 9:19
  Speaker 2: It was fun, you know, as much as you can... But,
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  Speaker 2: I mean, that's another one of those that they just
• 9:24
  Speaker 2: wouldn't do now. The kid walks into a high school
• 9:27
  Speaker 2: gym with bombs strapped onto him. It's not a fun
• 9:31
  Speaker 2: comedy these days. When they did that, not that it
• 9:35
  Speaker 2: had never happened, but it wasn't a common thing. Again,
• 9:38
  Speaker 2: in this short span of time, that went from being
• 9:41
  Speaker 2: a Wouldn't this be ridiculous? Oh shit, it's Tuesday and
• 9:45
  Speaker 2: some kid just killed a bunch of other kids at school.
• 9:47
  Speaker 1: Exactly.
• 9:48
  Speaker 2: It's a very different world than it was even in
• 9:50
  Speaker 2: the 80s. Yeah, yeah, yeah, yeah.
• 9:52
  Speaker 1: Yeah, exactly. 40 years ago. Just the other day in
• 9:55
  Speaker 1: the 80s.
• 10:00
  Speaker 2: 80s.
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  Speaker 1: Oh, stupid math. Oh, 40 years.
• 10:03
  Speaker 2: Stupid math.
• 10:05
  Speaker 3: Oh, 40 years ago.
• 10:06
  Speaker 1: Yes, math. Math in its cruel, cruel hand on reality.
• 10:11
  Speaker 2: Which sort of leads to other things that were going
• 10:14
  Speaker 2: on in the 80s that they have now brought right
• 10:16
  Speaker 2: back into play.
• 10:17
  Speaker 1: Booyah. There we go.
• 10:18
  Speaker 2: Would you like to discuss one of those things? Oh, man.
• 10:23
  Speaker 1: You were picking up my vibe. I was going like,
• 10:24
  Speaker 1: now this is the segue. This is it. This is
• 10:30
  Speaker 1: it right here.
• 10:30
  Speaker 3: It's time for Sofa Theater.
• 10:34
  Speaker 2: Sofa Theater.
• 10:47
  Speaker 8: I can't believe Grandpa is dead.
• 10:49
  Speaker 1: Death is hard. Yeah, sometimes I think life is harder.
• 11:01
  Speaker 5: When I was a teenager, a trickster demon terrorized our
• 11:06
  Speaker 5: entire family and tried to force me to marry him.
• 11:12
  Speaker 5: I believed he was gone forever until you found this
• 11:15
  Speaker 5: in the attic.
• 11:17
  Speaker 4: Ew.
• 11:17
  Speaker 3: Use Beetlejuice.
• 11:20
  Speaker 5: Don't ever say that name!
• 11:22
  Speaker 2: Beetlejuice.
• 11:22
  Speaker 1: No, Astrid!
• 11:24
  Speaker 2: I am serious!
• 11:25
  Speaker 9: If you say his.
• 11:27
  Speaker 5: Name three times, he will appear.
• 11:31
  Speaker 2: Beetlejuice.
• 11:33
  Speaker 1: The juice is loose.
• 11:37
  Speaker 2: I'm gonna make you so happy. The Living. The dead,
• 11:49
  Speaker 2: can they coexist?
• 11:54
  Speaker 4: That's what we're here to find out.
• 12:05
  Speaker 3: Where is Betelgeuse?
• 12:07
  Speaker 2: Where's Betelgeuse?
• 12:17
  Speaker 5: Beetlejuice.
• 12:19
  Speaker 1: Feel free to express yourselves. Don't be afraid.
• 12:22
  Speaker 2: You're a figment of my imagination. Really?
• 12:25
  Speaker 3: Is this a figment of your imagination?
• 12:39
  Speaker 1: MacArthur's pop is melting.
• 12:43
  Speaker 4: In the dark All the sweet green icing flowing down Someone.
• 12:48
  Speaker 1: Left the cake out in the rain I don't think
• 12:52
  Speaker 1: that I can take it Cause it took so long
• 12:56
  Speaker 1: to bake it.
• 12:57
  Speaker 8: And I'll never have that recipe again Oh.
• 13:01
  Speaker 2: No This Sofa Theater feature is Beetlejuice, Beetlejuice. The year
• 13:13
  Speaker 2: is 2024. The director, Tim Burton. And the plot, according
• 13:17
  Speaker 2: to IMDb. After a family tragedy, three generations of the
• 13:22
  Speaker 2: Deeds family return home to Winter River. Still haunted by Beetlejuice,
• 13:26
  Speaker 2: Lydia's life is turned upside down when her teenage daughter
• 13:29
  Speaker 2: Astrid accidentally opens a portal to the afterlife. And, spoiler alert,
• 13:35
  Speaker 2: we're going to ruin this one and probably the original
• 13:37
  Speaker 2: and other Tim Burton's. Whatever. Just fair warning. Spoilers abound.
• 13:43
  Speaker 2: I mean, I guess if we're starting or down that road,
• 13:46
  Speaker 2: before we even get to it happening, for years they've
• 13:50
  Speaker 2: been threatening to do a sequel to Beetlejuice.
• 13:54
  Speaker 1: Absolutely.
• 13:54
  Speaker 2: So, sort of, what were your thoughts beforehand? Like, I've
• 13:57
  Speaker 2: been upset that we didn't get Beetlejuice Goes Hawaiian for years. Yeah.
• 14:02
  Speaker 2: Because that was, like, no joke. Like, I'd seen it
• 14:05
  Speaker 2: in print. Like, they kept saying that's what they were, like,
• 14:08
  Speaker 2: I don't know if it was specifically Tim, but, like,
• 14:10
  Speaker 2: somebody wanted to do Beetlejuice Goes Hawaiian. And I'm like,
• 14:13
  Speaker 2: it's so ridiculous and old-timey that I'm like, I'd kind
• 14:16
  Speaker 2: of like to see what somebody does with that.
• 14:18
  Speaker 1: Right, right, right.
• 14:20
  Speaker 2: That is not where we ended up. So, yeah, what
• 14:22
  Speaker 2: were your thoughts on even heading into a sequel?
• 14:25
  Speaker 1: Right, right. So, yeah, so... Uh, original of course is
• 14:29
  Speaker 1: just like one of those, you know, wow, I can't
• 14:31
  Speaker 1: believe that movie exists. And, uh, it was just kind
• 14:34
  Speaker 1: of like, you know, the height is a top 10
• 14:37
  Speaker 1: eighties weird movies, you know, and for, again.
• 14:41
  Speaker 2: That was the era of weird kids sort of. latching
• 14:44
  Speaker 2: on to things and like yeah the weird 80s kids
• 14:47
  Speaker 2: the gen xers that grew up and were like i'm
• 14:49
  Speaker 2: a weirdo nobody's like me and then we started seeing
• 14:52
  Speaker 2: comes things come through in pop culture that were like
• 14:55
  Speaker 2: no no no that guy that weird tim burton guy
• 14:58
  Speaker 2: look at the stuff he makes that guy's insane he's
• 15:00
  Speaker 2: just like me like it finally like started to make
• 15:03
  Speaker 2: its way into pop culture in ways that dorky gen
• 15:07
  Speaker 2: x kids like latched on to and that was when
• 15:09
  Speaker 2: i was one of those kids going man these sandworms
• 15:12
  Speaker 2: are freaking awesome like i want to dress in everything
• 15:16
  Speaker 2: that's striped in black and white yes like i i
• 15:19
  Speaker 2: latched on to a lot of that.
• 15:20
  Speaker 1: Movie absolutely man yeah and and you know michael keaton
• 15:24
  Speaker 1: just at the height of his michael keaton-ness you know
• 15:27
  Speaker 1: uh just Just going at it. Yeah, it was just
• 15:31
  Speaker 1: like kind of a game-changer, like forever favorite kind of movie.
• 15:35
  Speaker 1: So yeah, a sequel, especially like The Beetlejuice Goes Hawaii,
• 15:40
  Speaker 1: it just sounds like... I just think Crocodile Dundee Goes
• 15:43
  Speaker 1: to L.A. or something. It's just like... A classic, sure. Yeah, yeah.
• 15:47
  Speaker 1: You're just thinking like, how... This is like, are they
• 15:50
  Speaker 1: already out of ideas, you know? From this.
• 15:55
  Speaker 2: I like that Beetlejuice guy. I want to see what
• 15:57
  Speaker 2: happens to him next.
• 15:59
  Speaker 1: Right, right. Now, when I read an article on what
• 16:05
  Speaker 1: they were trying to do, it actually sounded so much
• 16:08
  Speaker 1: better than the title would lead you to believe. They
• 16:14
  Speaker 1: were going to, I think, they were really going for
• 16:16
  Speaker 1: like a, like a Tiki, you know, uh, I'm sold already.
• 16:21
  Speaker 2: Yeah, exactly. You know, if there's anything I love just aesthetically.
• 16:25
  Speaker 5: Yeah.
• 16:26
  Speaker 2: Tiki.
• 16:26
  Speaker 1: So they're going to do like a whole goth Tiki
• 16:28
  Speaker 1: kind of world there. And, uh, and I was like, well,
• 16:31
  Speaker 1: like what, you know, that kind of sounds like that
• 16:33
  Speaker 1: could fit in. I don't know if Tim Burton was
• 16:35
  Speaker 1: involved in that. That may have just been a, you know, hey,
• 16:40
  Speaker 1: write a sequel for this, you know.
• 16:42
  Speaker 2: Random rumors and teased things. I'm sure they wrote many
• 16:46
  Speaker 2: a script over the years, but who knows how much,
• 16:49
  Speaker 2: how close any of them were really to getting greenlit.
• 16:51
  Speaker 3: Yeah, yeah.
• 16:53
  Speaker 1: So, sequels were always like, well, you know, it was
• 16:57
  Speaker 1: kind of like, well, yeah, if they did it, you know...
• 17:00
  Speaker 1: you know, a few years afterwards, but then, you know,
• 17:03
  Speaker 1: it just kind of like fades into the distance. And then,
• 17:06
  Speaker 1: you know, Tim Burton just became like a different kind
• 17:09
  Speaker 1: of filmmaker and, you know, kind of.
• 17:11
  Speaker 2: Was despised for a while.
• 17:13
  Speaker 1: Yeah.
• 17:13
  Speaker 2: Yeah. He's brought it back, but there's a good 10
• 17:16
  Speaker 2: to 15 year period that people just didn't like. He
• 17:20
  Speaker 2: was making way more money than he ever had in
• 17:23
  Speaker 2: his life. But like the fans, even his fans didn't
• 17:27
  Speaker 2: like him.
• 17:28
  Speaker 7: Yeah.
• 17:28
  Speaker 2: Or what he was doing anyway.
• 17:31
  Speaker 1: They just became real kind of, they became so formulaic,
• 17:34
  Speaker 1: you know, his stuff became formulaic. And once, you know,
• 17:36
  Speaker 1: CG kind of marched in, you know.
• 17:39
  Speaker 2: Yeah, it took over his movies. Like, that's all it was,
• 17:42
  Speaker 2: was just a big giant CG cartoon, essentially. Right, right.
• 17:45
  Speaker 1: It's kind of like Terry Gilliam later work and everything,
• 17:48
  Speaker 1: where like, you know, like Brothers Grimm or something like that,
• 17:50
  Speaker 1: you know, it's just not. It just doesn't have that,
• 17:53
  Speaker 1: you know, I don't know, it just doesn't have the...
• 17:55
  Speaker 1: It ain't no time bandits, I can tell you that.
• 17:57
  Speaker 1: There's no time bandits, man. And so, you know, these people,
• 18:00
  Speaker 1: you know, become, you know, entrapped with their successes, you know,
• 18:05
  Speaker 1: and then it's just like a marketing thing and they can,
• 18:10
  Speaker 1: you know, why upset the apple cart, you know, or anything.
• 18:13
  Speaker 1: So nothing really challenging coming out of them anymore, nothing
• 18:16
  Speaker 1: really innovative anymore, you know, it's like, you know, it's
• 18:19
  Speaker 1: like Wes Anderson movies, you know, okay, that's it, but then, But, like,
• 18:22
  Speaker 1: Wes Anderson is kind of, like, at least is making
• 18:24
  Speaker 1: the same kind of movie he's been making forever. Like,
• 18:27
  Speaker 1: Tim Burton's stuff became so, I don't know, so Disney-fied,
• 18:30
  Speaker 1: you know.
• 18:31
  Speaker 2: It was. Like, it was a jailed thing in the
• 18:35
  Speaker 2: early days. Like, those first six or eight movies are
• 18:38
  Speaker 2: just like, yes, Tim Burton, that's a thing. That's a...
• 18:41
  Speaker 2: a marketable you can bottle it and sell it at
• 18:43
  Speaker 2: hot topic it's a thing that's it and then he
• 18:46
  Speaker 2: took in that corner and you're just like what is
• 18:48
  Speaker 2: that like it just didn't even feel like the same
• 18:50
  Speaker 2: filmmaker anymore yeah yeah so yeah i i agree it
• 18:54
  Speaker 2: took a hard.
• 18:55
  Speaker 1: Turn yeah yeah so you're not super excited about a
• 18:58
  Speaker 1: beetlejuice uh sequel you know if it's gonna be modern
• 19:02
  Speaker 1: day tim you know just because he's a different guy
• 19:05
  Speaker 1: and maybe you know i mean i don't know maybe
• 19:07
  Speaker 1: it was what it was like When he's got a
• 19:11
  Speaker 1: relationship with a supermodel, sometimes he just sort of doesn't... Well,
• 19:17
  Speaker 1: you have.
• 19:17
  Speaker 2: To swap in who his new chick is also. It's
• 19:21
  Speaker 2: not even a joke. He did it over and over
• 19:25
  Speaker 2: and over throughout his life. There's been at least four
• 19:29
  Speaker 2: women that became his star is ingenue they like become
• 19:35
  Speaker 2: the focus of whatever he's working on because he's totally
• 19:38
  Speaker 2: into them which i guess in a way is sweet
• 19:41
  Speaker 2: it sort of seems less sincere when you see it
• 19:44
  Speaker 2: keep happening over and over again but like yeah yeah
• 19:47
  Speaker 2: it's a little weird from that angle but i guess
• 19:50
  Speaker 2: it's nice that like he at least was you know
• 19:53
  Speaker 2: with this woman and committed as much as you can
• 19:56
  Speaker 2: be committed but ones that usually started with cheating on
• 19:59
  Speaker 2: somebody which definitely a few times in the middle there
• 20:02
  Speaker 2: happened But, you know, that became a big part of
• 20:06
  Speaker 2: his filmmaking, too, is like, what era are we in now?
• 20:10
  Speaker 2: Are we in, you know, Lisa Marie era? Are we
• 20:12
  Speaker 2: in Hell on the Bottom Carter era?
• 20:15
  Speaker 1: Right. It definitely... The Eva Green era.
• 20:17
  Speaker 2: Yeah, it was definitely... Eva Green was the next one
• 20:21
  Speaker 2: that came along, even though I don't think they were
• 20:23
  Speaker 2: together together. She very much.
• 20:26
  Speaker 2: Was handed the baton by, by his former wife, sort
• 20:30
  Speaker 2: of wife. Were they married? I don't remember.
• 20:32
  Speaker 1: Okay.
• 20:32
  Speaker 2: When Carter dropped out, she got the new spot, even
• 20:36
  Speaker 2: though I don't think, cause I kept checking. I was like,
• 20:38
  Speaker 2: is that what's going on? And it's like, no, I
• 20:40
  Speaker 2: think he just needed a new girl. And he's like,
• 20:43
  Speaker 2: she's really pretty. I like her. But I don't think
• 20:46
  Speaker 2: they were. I think that's the one exception to the rule.
• 20:48
  Speaker 1: But other than that, like every step.
• 20:52
  Speaker 2: Of the way, Again, I think, unless I'm wrong, I
• 20:56
  Speaker 2: thought I looked it up and it was just, yeah,
• 20:58
  Speaker 2: he was just like a fan of.
• 21:00
  Speaker 1: Her and he got, he got friend zoned.
• 21:02
  Speaker 2: Yeah, probably. She was already married by that time or something.
• 21:05
  Speaker 2: He's an old man now. So at least I'll give
• 21:08
  Speaker 2: him credit. He's not picking up 20 year olds. Like
• 21:11
  Speaker 2: along the way, they were always kind of his age.
• 21:14
  Speaker 2: So that's unusual.
• 21:16
  Speaker 1: Yeah.
• 21:16
  Speaker 7: Yeah.
• 21:17
  Speaker 2: Cause even now he found it like surprisingly when he
• 21:19
  Speaker 2: got a new girl, She's pretty close to his age,
• 21:22
  Speaker 2: so that's unusual for a Hollywood type.
• 21:25
  Speaker 1: I'm glad he's, you know, not also a perv.
• 21:30
  Speaker 2: I mean, I'm sure he is. You've seen what he's into.
• 21:33
  Speaker 2: But at least, as long as all parties are willing,
• 21:37
  Speaker 2: you know, of 18 years of age, you know, it's
• 21:40
  Speaker 2: all good.
• 21:41
  Speaker 1: Yeah, yeah, yeah. So, a Beetlejuice sequel, I would say that,
• 21:46
  Speaker 1: you know, I guess you're a big fan of the
• 21:48
  Speaker 1: cartoon and everything.
• 21:50
  Speaker 2: I definitely was. It has been a long time since
• 21:52
  Speaker 2: I went back to watch it. Right, right. I think
• 21:55
  Speaker 2: in my head, I'm so attached to it, it would
• 21:57
  Speaker 2: hold up anyway. I know I've had people say... one
• 22:00
  Speaker 2: of which worked on it and was not a fan
• 22:03
  Speaker 2: of it. And I was like, well, you're wrong. I
• 22:06
  Speaker 2: don't care if you worked on the show. I'm more
• 22:08
  Speaker 2: of an authority, and I say it was awesome. But
• 22:12
  Speaker 2: I was so attached to the little world that it
• 22:14
  Speaker 2: built that I was on board with that.
• 22:17
  Speaker 1: Yeah, yeah, yeah. And that kind of established... like lydian
• 22:21
  Speaker 1: like beetlejuice kind of like working as a team you
• 22:24
  Speaker 1: know kind of put them into a yeah he's.
• 22:26
  Speaker 2: Not a creepy old man that's trying to marry a
• 22:28
  Speaker 2: teenager it did what every cartoon that followed a movie
• 22:34
  Speaker 2: did it just glossed over everything that happened and somehow
• 22:38
  Speaker 2: made it kid-friendly even when it's the robocop cartoon even
• 22:44
  Speaker 2: like no matter how it ended like they just make
• 22:47
  Speaker 2: it a fun new thing and everybody's friends even though
• 22:50
  Speaker 2: this is what happened in the movie like They just
• 22:53
  Speaker 2: continually kept bringing out cartoons of, like, movies and a
• 22:56
  Speaker 2: lot of R-rated movies.
• 22:57
  Speaker 1: Yeah.
• 22:58
  Speaker 2: And then would just be like, eh, forget what happened
• 23:00
  Speaker 2: in the movie. We're taking those characters and doing this. Like,
• 23:04
  Speaker 2: everybody's friends.
• 23:06
  Speaker 1: We're doing the, yeah. So, yeah, it was, yeah, re-watching
• 23:10
  Speaker 1: the original recently with my 12-year-old. You know, I mean,
• 23:15
  Speaker 1: all the Tim Burton movies.
• 23:17
  Speaker 2: This one.
• 23:18
  Speaker 1: This one and Edward Scissorhands both, you know, brought up,
• 23:21
  Speaker 1: you know, oh, yeah, I never thought of it that way. But, yeah,
• 23:24
  Speaker 1: you don't, you know, like, Edward Scissorhands, he's like, is he, like,
• 23:28
  Speaker 1: is he kind of like the hots for his, like,
• 23:32
  Speaker 1: adopted sister? I mean, what's going on here?
• 23:35
  Speaker 2: Is that wrong?
• 23:36
  Speaker 1: Is that wrong? I don't know.
• 23:37
  Speaker 2: That seems fine. I don't know what you're talking about.
• 23:41
  Speaker 1: I don't know, right? But in this one here, yeah,
• 23:45
  Speaker 1: definitely him marrying Lydia. is is hilarious and uh i.
• 23:50
  Speaker 2: Think that occurred to me even the first time i
• 23:52
  Speaker 2: was just like but i never got it she's 15
• 23:55
  Speaker 2: right like.
• 23:56
  Speaker 1: Yeah yeah i never got it i never.
• 23:58
  Speaker 2: Thought she just came out of you know great balls
• 24:01
  Speaker 2: of fire so that's just a thing like guys just
• 24:03
  Speaker 2: like to marry her when she's a teenager nothing wrong
• 24:06
  Speaker 2: with that.
• 24:07
  Speaker 1: Nothing wrong with that it's a different You know, he's
• 24:09
  Speaker 1: from a different era, you know, Beetlejuice, you know, and
• 24:13
  Speaker 1: a more agrarian society. You know, he just got married younger.
• 24:18
  Speaker 1: But I tell you what, what kind of was really
• 24:24
  Speaker 1: cool was they did the Broadway musical of Beetlejuice.
• 24:30
  Speaker 2: It's that one I haven't seen, so.
• 24:32
  Speaker 1: Yeah, so I got to check that one out, and
• 24:35
  Speaker 1: I was like going like, oh, man. it was actually
• 24:39
  Speaker 1: kind of cool because it kind of made you appreciate
• 24:43
  Speaker 1: the movie, but it kind of fleshed out some stuff
• 24:48
  Speaker 1: and kind of expanded the story, but in, in really,
• 24:52
  Speaker 1: in a really interesting way that I think they kind
• 24:55
  Speaker 1: of dealt with in the sequel here, you know, so the.
• 25:00
  Speaker 2: Musical was a retelling of the movie, not a sequel
• 25:04
  Speaker 2: to the movie.
• 25:05
  Speaker 1: That's it. It was a retelling of the movie, but
• 25:08
  Speaker 1: you know, uh, you know, it was interesting how they, uh,
• 25:15
  Speaker 1: how they added elements. I mean, just to jump into it,
• 25:18
  Speaker 1: one of the main things that they kind of ported
• 25:21
  Speaker 1: into the sequel here, it was, uh, the Lydia in
• 25:28
  Speaker 1: the Broadway musical, her whole, uh, her whole, uh, whatchamacallit,
• 25:35
  Speaker 1: her whole motivation is to see her dead mother. And
• 25:42
  Speaker 1: so she teams up with Beetlejuice or summons Beetlejuice because
• 25:48
  Speaker 1: Beetlejuice says that he's going to bring her contact so
• 25:52
  Speaker 1: he'll be able to see her mom again. It kind
• 25:55
  Speaker 1: of had that deep, you know, it kind of had
• 25:58
  Speaker 1: an understandable motivation, you know.
• 26:03
  Speaker 2: And then they.
• 26:03
  Speaker 1: Just sort of totally ported that into the... Anyway, not
• 26:08
  Speaker 1: to get too far ahead.
• 26:09
  Speaker 2: A different version of that, but yeah.
• 26:11
  Speaker 1: Yeah, yeah. So it was pretty cool. And they addressed
• 26:17
  Speaker 1: the totally age-inappropriate marriage. There's a whole song called Creepy
• 26:22
  Speaker 1: Old Guy. Yeah. musical and it's great, you know? And, uh,
• 26:28
  Speaker 1: so yeah, you know, I'm not like a huge musical
• 26:30
  Speaker 1: fan and everything, but it was really well done. And
• 26:31
  Speaker 1: it kind of expanded the story and everything. It kind
• 26:34
  Speaker 1: of like freshened it up, you know? And, uh, you know,
• 26:36
  Speaker 1: cause you got like an hour and a half to
• 26:38
  Speaker 1: like tell the story. And so these musicals can run
• 26:41
  Speaker 1: a little bit longer and, uh, you know, sometimes way
• 26:43
  Speaker 1: too long. Like we talked about the Christmas story musical
• 26:46
  Speaker 1: where it's like every, every emotional beat had to have
• 26:49
  Speaker 1: a five minute song about it, you know?
• 26:51
  Speaker 2: But, uh, Everything that we mention gets its own song
• 26:56
  Speaker 2: and dance number, like the major award, which did have
• 26:59
  Speaker 2: an entire production number built around it.
• 27:02
  Speaker 1: It never stopped. It never stopped. So this one here
• 27:06
  Speaker 1: was well-paced, you know, and you go, yeah, you know,
• 27:10
  Speaker 1: like looking at the movie from fresh eyes, you know.
• 27:13
  Speaker 1: And so with that, and then, you know, there was
• 27:16
  Speaker 1: this guy who wrote like the, back in the uh
• 27:20
  Speaker 1: early 2000s you know the abraham vampire killer and pride
• 27:24
  Speaker 1: and prejudice and zombies and.
• 27:26
  Speaker 2: Uh became such a movement for a few minutes.
• 27:29
  Speaker 1: Yeah yeah so that guy is i think his first
• 27:32
  Speaker 1: name seth i can't remember but he he was you
• 27:37
  Speaker 1: know they were like talking about the beetlejuice sequel like
• 27:40
  Speaker 1: in earnest like they were gonna get this guy and
• 27:42
  Speaker 1: tim's like excited about it and so you're kind of
• 27:44
  Speaker 1: like That was 20 years ago.
• 27:49
  Speaker 2: Which, I mean, for a while, it would have seemed
• 27:52
  Speaker 2: weird to do a sequel from that far back. Now,
• 27:56
  Speaker 2: all we have is legacy sequels. It is amazing to
• 28:00
  Speaker 2: me how many... I think of this, I'm like, oh yeah,
• 28:03
  Speaker 2: I'm gonna do that one. And then 20 movies later,
• 28:06
  Speaker 2: I'm like, oh, that's kind of all they keep making
• 28:09
  Speaker 2: now is not only sequels, but specific legacy sequels. Usually
• 28:13
  Speaker 2: it's been... years, if not decades since the original or
• 28:17
  Speaker 2: the last one. And then you bring back original characters,
• 28:21
  Speaker 2: whoever's still alive that you can bring back and get
• 28:23
  Speaker 2: in the movie. Like you bring them back and try
• 28:25
  Speaker 2: to pick up where you left off 20 years ago.
• 28:27
  Speaker 2: And it's like, that's just something we keep doing now.
• 28:31
  Speaker 2: It didn't used to be a thing. And suddenly in
• 28:33
  Speaker 2: these last eight years or so, it's all we do.
• 28:36
  Speaker 5: Yeah.
• 28:37
  Speaker 2: Yeah.
• 28:37
  Speaker 1: I mean, you used to just be like, it was like,
• 28:39
  Speaker 1: he finally got, used to them just remaking everything. You know,
• 28:43
  Speaker 1: like the Hitcher and Texas Chainsaw... Like, now if they
• 28:45
  Speaker 1: did a Texas Chainsaw remake, you know, they would make
• 28:48
  Speaker 1: it a little... Which I guess they kind of did
• 28:50
  Speaker 1: on Netflix, was the.
• 28:51
  Speaker 2: Yeah, they just did. Yeah, we were just talking about
• 28:54
  Speaker 2: that on one of the other episodes. Yeah. Every time,
• 28:57
  Speaker 2: he's like, why do I keep watching these new Texas
• 29:00
  Speaker 2: Chainsaw Massacres? Because they just keep making them. And every time,
• 29:05
  Speaker 2: I'm like, I don't even know how many there are. Like,
• 29:07
  Speaker 2: I've lost count two or three times now. Like, I
• 29:10
  Speaker 2: can't even... keep up with anything past the fourth when
• 29:13
  Speaker 2: when they started rebooting yeah like i don't know anymore.
• 29:18
  Speaker 1: No the timelines have gotten so there there is no
• 29:20
  Speaker 1: continuity there's just you just need to know there's i
• 29:24
  Speaker 1: just know there's like three leather face prequel movies.
• 29:28
  Speaker 2: Yeah they're always a prequel or it's a sequel but
• 29:30
  Speaker 2: only to the first one and nothing else happened yeah
• 29:33
  Speaker 2: like halloween oh wait that's.
• 29:34
  Speaker 1: Another one they did exactly exactly yeah yeah that latest
• 29:38
  Speaker 1: one on netflix is like oh my gosh they brought
• 29:40
  Speaker 1: back Sally from the first movie.
• 29:42
  Speaker 2: That was the only thing that sounded interesting about that one.
• 29:45
  Speaker 2: And then everything else I heard was like, Oh really? Okay. Yeah.
• 29:49
  Speaker 2: But that concept was cool. And then they didn't really
• 29:52
  Speaker 2: do much with it is what it sounded like. But again,
• 29:55
  Speaker 2: I haven't even made myself watch it yet.
• 29:56
  Speaker 1: No, no, it's, It's not the worst of the Leatherface sequels,
• 30:00
  Speaker 1: but it is like a missed opportunity because, you know,
• 30:03
  Speaker 1: that idea of bringing Sally back to fight. But, I mean,
• 30:07
  Speaker 1: they're all so old now. I mean, that's the problem.
• 30:10
  Speaker 2: I mean, Gunner's gone. Gunner's gone. We've lost a good
• 30:17
  Speaker 2: portion of the people. I mean, he would have.
• 30:19
  Speaker 1: Been in his... Okay, so Leatherface in that latest Legacy sequel,
• 30:24
  Speaker 1: I mean, he would have been... Let's say in 1974,
• 30:28
  Speaker 1: he was 25 years old, okay? And so, 74 to,
• 30:33
  Speaker 1: oh boy, 74 to 2004.
• 30:35
  Speaker 2: Didn't we just say math is bad?
• 30:38
  Speaker 1: Yeah, right. So, let's just say it was 50 years, yeah,
• 30:41
  Speaker 1: they just had the 50th anniversary of Texas Chainsaw. And so,
• 30:45
  Speaker 1: you know, he would have been in his, you know, 75.
• 30:48
  Speaker 2: If he was 20, he would have been 70. So, yeah,
• 30:51
  Speaker 2: he was possibly older than that. I don't even know.
• 30:54
  Speaker 1: Considering that this guy is in his mid-70s, he is...
• 30:57
  Speaker 1: You can't.
• 30:59
  Speaker 2: Pick up a chainsaw.
• 31:00
  Speaker 3: Dude.
• 31:01
  Speaker 1: And he is doing.
• 31:01
  Speaker 2: Oh, my back.
• 31:02
  Speaker 1: Oh, jeez. He's doing feats of superhuman strength in that movie.
• 31:07
  Speaker 1: And you're going like, this guy's 70. And then Sally,
• 31:11
  Speaker 1: the same age, she's in her 70s. So it's kind
• 31:14
  Speaker 1: of like... You're just kind of like.
• 31:17
  Speaker 1: It's cool that they're trying to honor the first ones,
• 31:21
  Speaker 1: but then you're just kind of going like, oh, man,
• 31:23
  Speaker 1: just let people... just uh i don't know it's kind
• 31:27
  Speaker 1: of also sad i mean it's kind of like man
• 31:29
  Speaker 1: if they're that old i guess i'm getting old too
• 31:34
  Speaker 1: but i.
• 31:34
  Speaker 2: Mean that's all like even the biggest properties in the
• 31:38
  Speaker 2: world they just keep doing that i mean you're obviously
• 31:42
  Speaker 2: star wars but then blade runner did one yeah like
• 31:47
  Speaker 2: indiana jones came back and did another one even when
• 31:50
  Speaker 2: people didn't like the last one like now we need
• 31:52
  Speaker 2: a really old man version yeah he's back again so
• 31:56
  Speaker 2: it's like all these huge properties it's like ah it's
• 32:00
  Speaker 2: been 15 years let's do another scream what the hell
• 32:03
  Speaker 2: well that's it that's it just keep doing it.
• 32:07
  Speaker 1: Well you go into the movie theater and you see
• 32:10
  Speaker 1: the movies that are coming out and you think it's
• 32:12
  Speaker 1: like The late 80s, because it's all sequels to movies from,
• 32:16
  Speaker 1: you know, a property that's 40 years old, you know?
• 32:18
  Speaker 2: I did see somebody post it one time, and they
• 32:20
  Speaker 2: were like, the three sequels that had come out this
• 32:24
  Speaker 2: month were ones that had all been in the theater
• 32:26
  Speaker 2: at the same time in the 80s.
• 32:27
  Speaker 1: Yeah, yeah.
• 32:29
  Speaker 2: And I'm like, wow.
• 32:30
  Speaker 1: That's it.
• 32:30
  Speaker 2: It's like, we really... Haven't come that far, have we?
• 32:33
  Speaker 1: Yeah. And then, like, if you go into, like, the
• 32:36
  Speaker 1: toy section of a Walmart, all the IP properties are
• 32:39
  Speaker 1: things from, like, 40 years ago. It's like, you know,
• 32:41
  Speaker 1: I mean, you might have, like, a little tiny section
• 32:43
  Speaker 1: of Minecraft, you know, but it's G.I. Joe and Star Wars,
• 32:48
  Speaker 1: and there was, like, new alien figures that came out
• 32:52
  Speaker 1: at one point. And so.
• 32:54
  Speaker 2: Well, I think that's just because all the old people
• 32:56
  Speaker 2: are buying this. I don't know that kids care about
• 32:58
  Speaker 2: any of that.
• 33:00
  Speaker 3: No.
• 33:01
  Speaker 1: No, they don't. And I don't think kids care about
• 33:03
  Speaker 1: movies either.
• 33:06
  Speaker 2: Kind of not to the extent that, again, back to
• 33:09
  Speaker 2: the Dorky Gen X kids, like nobody latched on like
• 33:12
  Speaker 2: we did.
• 33:13
  Speaker 1: No, no.
• 33:13
  Speaker 2: I brought up a list of ones I'm forgetting. See,
• 33:15
  Speaker 2: I already forgot. But I was just complaining. I was like,
• 33:18
  Speaker 2: there's been more Ghostbusters since the 80s than there ever
• 33:22
  Speaker 2: were in the 80s. And nobody even likes them, but
• 33:24
  Speaker 2: they keep making them. So yeah, Ghostbusters, Halloween, Scream, Mad Max.
• 33:29
  Speaker 2: Two new ones on Mad Max now.
• 33:31
  Speaker 1: Yeah.
• 33:33
  Speaker 2: Another Matrix that I forgot existed already. That Top Gun.
• 33:37
  Speaker 2: People actually like that Top Gun. They're supposedly working on
• 33:40
  Speaker 2: another Tron after the last Tron Legacy sequel.
• 33:44
  Speaker 6: Yeah, yeah.
• 33:45
  Speaker 2: Oh i forgot about creed creed is a whole series.
• 33:48
  Speaker 1: Of like yeah i think they've made three of those.
• 33:51
  Speaker 2: Yeah i mean they won't stop making bad boys movies
• 33:54
  Speaker 2: yeah they do mary poppins returns for.
• 33:57
  Speaker 10: God it's insane the stuff that comes back that you're
• 34:03
  Speaker 10: just like how how do you make a legacy sequel
• 34:06
  Speaker 10: out of dr sleep oh wait they.
• 34:08
  Speaker 2: Did so take your pick like there's so many like
• 34:12
  Speaker 2: legacy sequels now that it's like i mean i can't
• 34:15
  Speaker 2: say i'm shocked that they wanted to cash in on
• 34:17
  Speaker 2: beetlejuice too but yeah it is insane that like did
• 34:21
  Speaker 2: they make three more jurassic park movies yeah actually they
• 34:24
  Speaker 2: did did anybody like most of them the first one
• 34:28
  Speaker 2: was all right all right after that they they got
• 34:32
  Speaker 2: a little crazy.
• 34:33
  Speaker 1: But whatever yeah i i Yeah, I just feel like
• 34:36
  Speaker 1: those just all blur in my head now, you know,
• 34:40
  Speaker 1: the latest Jurassic Park movies. You know, I couldn't tell you, like... Again, the.
• 34:44
  Speaker 2: First one's pretty solid because it's making, it's almost commenting
• 34:48
  Speaker 2: on the first movie. Like, it is a mirror to
• 34:50
  Speaker 2: the original one and almost with a, like, wink to
• 34:54
  Speaker 2: the audience of, like, look how bad, like, we've learned nothing.
• 34:58
  Speaker 2: Look how stupid these people are now, decades later. still
• 35:02
  Speaker 2: making the same stupid mistakes.
• 35:05
  Speaker 1: Right, right.
• 35:06
  Speaker 2: So I'm like, that is almost clever, really. But then
• 35:09
  Speaker 2: by the time they got to, like, genetically cloning humans
• 35:12
  Speaker 2: along the way, I'm like, what are we even doing now?
• 35:15
  Speaker 2: And a plot line, like, at least if you went
• 35:17
  Speaker 2: with that, it could get interesting. But they kind of, like,
• 35:19
  Speaker 2: it's a seventh plot line down on the list. Like,
• 35:22
  Speaker 2: there's so many things going on by that third movie
• 35:24
  Speaker 2: that I'm like, why are we talking about locusts? And
• 35:27
  Speaker 2: what is in this movie?
• 35:29
  Speaker 1: Yeah, yeah. It's almost like... it is almost like the
• 35:33
  Speaker 1: fifth season of a TV show. They just don't know
• 35:38
  Speaker 1: what to do. What does this even become now? I mean,
• 35:42
  Speaker 1: we've got to.
• 35:42
  Speaker 2: Keep making these, but I don't, I don't know how.
• 35:46
  Speaker 1: Yeah. It's, it's like they, you got to give them
• 35:49
  Speaker 1: like 20 years so they can come up with some
• 35:51
  Speaker 1: new ideas. Like, uh, like I think that scream, uh,
• 35:54
  Speaker 1: legacy was like, Oh man, that was pretty darn good.
• 35:58
  Speaker 1: I enjoyed that one. But, uh, And like, you know,
• 36:00
  Speaker 1: of course, you know, Fury Road was like, yeah, he
• 36:03
  Speaker 1: had 20 years to let that percolate.
• 36:05
  Speaker 2: Yeah, everybody liked that. But then the next one, even
• 36:08
  Speaker 2: people that liked the Fury Road didn't seem to like
• 36:10
  Speaker 2: so much. So I'm like, what? Yeah, yeah. And it's
• 36:12
  Speaker 2: the same guy. I'm like, what do you want? Like,
• 36:14
  Speaker 2: he just liked the last thing he did. He did
• 36:15
  Speaker 2: the same thing. Now you don't like it anymore.
• 36:17
  Speaker 1: Right right yeah that was that was sad i mean
• 36:20
  Speaker 1: i enjoyed it and but uh it was like i
• 36:23
  Speaker 1: was alone in the theater you know it.
• 36:26
  Speaker 2: Was like which is weird because go back and look
• 36:28
  Speaker 2: at how much money fury burrowed made yeah it was
• 36:31
  Speaker 2: so successful it got oscar nominations for god's sake yeah
• 36:36
  Speaker 2: mad max movie got oscar nominations.
• 36:39
  Speaker 1: For real man yeah that's insane craziness craziness um Yeah,
• 36:46
  Speaker 1: I think some of these things, you know, just, you know,
• 36:49
  Speaker 1: you need a decade to let it sort of, you know,
• 36:54
  Speaker 1: get the appetite up again for it.
• 36:56
  Speaker 2: Build up some momentum again.
• 36:57
  Speaker 1: Yeah, yeah, yeah.
• 36:59
  Speaker 2: It was too soon, I guess. I don't know.
• 37:01
  Speaker 1: I don't know. I don't know. Well, you know, it
• 37:03
  Speaker 1: was very distracting. Chris Hemsworth, they just put like a
• 37:06
  Speaker 1: fake nose on him, and that's sort of like, Whenever
• 37:10
  Speaker 1: you put a fake nose on an actor, you just
• 37:12
  Speaker 1: wonder why.
• 37:13
  Speaker 2: Hey, when he takes on that Jimmy Durante biopic, you're
• 37:17
  Speaker 2: going to be like, yes, finally, it's come together for me.
• 37:24
  Speaker 2: That's waiting to happen.
• 37:25
  Speaker 1: The prosthetic nose movie to end all prosthetic nose movies.
• 37:30
  Speaker 1: The movie's so good that you forget it's a prosthetic nose.
• 37:36
  Speaker 2: That's the new pitch for the Superman movie.
• 37:39
  Speaker 1: Oh yeah right oh that one's.
• 37:41
  Speaker 2: Just a full reboot though as far as i can
• 37:43
  Speaker 2: tell just a.
• 37:44
  Speaker 1: Full reboot well that was that was a legacy sequel
• 37:47
  Speaker 1: i guess with the the brian singer one was yeah that.
• 37:50
  Speaker 2: Was attempting to be that was before it was even trendy.
• 37:53
  Speaker 1: Right right and nobody liked that either no no when
• 37:59
  Speaker 1: i walked into that one i was going like as
• 38:00
  Speaker 1: long as it's not about real estate i'll be okay
• 38:03
  Speaker 1: and then bam they went right to the real estate.
• 38:06
  Speaker 2: Well i mean that was the first one too It's
• 38:09
  Speaker 2: all about beachfront property.
• 38:12
  Speaker 1: That's it, man. That was always the thing that bugged
• 38:15
  Speaker 1: me about it. They just repeated the evil. All these sequels,
• 38:23
  Speaker 1: the time was ripe for it. It is kind of
• 38:27
  Speaker 1: like Burton's last couple of movies of not exactly set
• 38:32
  Speaker 1: the world on fire. For him to go back to
• 38:34
  Speaker 1: the well, I guess, we just want to be cynical
• 38:38
  Speaker 1: about it. uh you know he picked.
• 38:40
  Speaker 2: Up momentum again because he started doing stuff that was
• 38:43
  Speaker 2: more like him my my first one that turned a
• 38:46
  Speaker 2: corner i saw the the full version of frank and
• 38:50
  Speaker 2: weenie i was a huge fan of the short film
• 38:53
  Speaker 2: right but like when he did the the stop motion
• 38:56
  Speaker 2: when i was just like oh like him you know
• 38:58
  Speaker 2: he he found a whole subsection of stop motion over
• 39:01
  Speaker 2: the years but then like this is awesome an awesome
• 39:04
  Speaker 2: story anyway. And his like super personal story from back
• 39:07
  Speaker 2: when he was still pretty young. So I thought he
• 39:11
  Speaker 2: expanded that one. Yeah. And did a good job turning
• 39:14
  Speaker 2: it into a full length feature and adding in cool
• 39:16
  Speaker 2: elements to it. And it looked amazing because it was
• 39:19
  Speaker 2: stop motion. And so like, that was the first time
• 39:21
  Speaker 2: I went, Oh, maybe I don't hate Tim Burton anymore.
• 39:24
  Speaker 2: Like maybe, maybe he's still got something in him, you know?
• 39:27
  Speaker 2: And it's like he, the next couple of movies, were
• 39:30
  Speaker 2: a little more, it's okay. They were getting closer to
• 39:34
  Speaker 2: what he used to do. At least the Miss Peregrine's whatever.
• 39:37
  Speaker 2: I was like, that's fine. I, it's not groundbreaking, but
• 39:40
  Speaker 2: it was like, it was fun. And, I still haven't
• 39:42
  Speaker 2: watched Big Eyes. I'll get around to it eventually, I guess.
• 39:46
  Speaker 2: I feel like the thing that pushed it over the
• 39:48
  Speaker 2: edge was he came in and did that first half
• 39:52
  Speaker 2: of Wednesday. So not only did it pair him up
• 39:55
  Speaker 2: with Ortega, but like It's also him fully getting back
• 40:00
  Speaker 2: into his gothy roots and being like, oh, this is
• 40:03
  Speaker 2: the kind of stuff... Everybody always thought he directed those
• 40:06
  Speaker 2: other two movies anyway. And it's like, no, no. I
• 40:09
  Speaker 2: don't think Barry appreciates that you keep giving him Burton
• 40:12
  Speaker 2: his movies. So yeah, that vibe of the other movies
• 40:18
  Speaker 2: kind of matched him and he didn't get to make them.
• 40:20
  Speaker 2: So it's like he got this other chance to come
• 40:22
  Speaker 2: back and be like... Creepy Addams Family vibe. I can
• 40:25
  Speaker 2: do this. So, yeah, when I saw his name attached
• 40:28
  Speaker 2: to that first episode, I was like, oh, okay. And then, like,
• 40:31
  Speaker 2: it went well and people really responded to it. And
• 40:34
  Speaker 2: he kind of got into the visuals of it again. And, like,
• 40:38
  Speaker 2: I was like, all right, so this is promising. We
• 40:41
  Speaker 2: can see him, like, coming back to something similar to
• 40:43
  Speaker 2: what he used to be. Yeah. And then they announced
• 40:46
  Speaker 2: the Beetlejuice sequel.
• 40:47
  Speaker 3: Agreed.
• 40:49
  Speaker 1: That's it. I think, really, Wednesday, like, was, like, the
• 40:54
  Speaker 1: spark that gave, like, this movie some legs, because Ginny
• 40:58
  Speaker 1: Ortega is, like, so popular now. Yeah, she's huge.
• 41:03
  Speaker 2: Thanks to Wednesday, essentially. Again, weird old man that I am.
• 41:07
  Speaker 2: I've been watching her since she was a kid. I
• 41:10
  Speaker 2: was the weird grown-up with no children watching that sitcom
• 41:13
  Speaker 2: of hers, because she was good on it. Like, it
• 41:15
  Speaker 2: was well-written, and, like, It's one of the few of
• 41:19
  Speaker 2: that era that I'm like, you know, this is actually
• 41:20
  Speaker 2: a good show. Regardless of whether it was geared for kids,
• 41:25
  Speaker 2: you can see from that early on. She has a
• 41:29
  Speaker 2: charisma that is just waiting to take over. And it
• 41:32
  Speaker 2: took a few more years, and now here she is.
• 41:35
  Speaker 2: She's the biggest thing in the industry.
• 41:37
  Speaker 1: That's it.
• 41:38
  Speaker 3: That's it. Yeah.
• 41:39
  Speaker 1: And so, yeah. I could see... You could sort of
• 41:41
  Speaker 1: see how this sequel sort of became... inevitable yeah all of.
• 41:47
  Speaker 2: These dominoes are being set up it's like legacy sequels.
• 41:54
  Speaker 7: Tim burton needing tim burton kind of redeeming himself like
• 41:58
  Speaker 7: it's all getting set up and michael keaton coming back
• 42:01
  Speaker 7: in like yeah from from birdman on he'd just gotten
• 42:05
  Speaker 7: bigger and bigger and it's like.
• 42:07
  Speaker 2: You know, he's phenomenal in that Spider-Man movie. Like, you know,
• 42:10
  Speaker 2: it's like, who would think you'd get, throw somebody in
• 42:12
  Speaker 2: a superhero movie, make them a generic villain. And it's like,
• 42:15
  Speaker 2: he's so good in the movie. Like he's so good.
• 42:19
  Speaker 2: So he'd been building up momentum again is like, Oh,
• 42:22
  Speaker 2: he's back. And he even came back and was Batman
• 42:24
  Speaker 2: before this. So like he has no problem coming back
• 42:27
  Speaker 2: to his old legacy routine. And so yeah, all of
• 42:31
  Speaker 2: these pieces were just kind of sitting there waiting to
• 42:33
  Speaker 2: be thrown into a new puzzle.
• 42:35
  Speaker 1: Yeah, it's so weird that within a year of, you know,
• 42:38
  Speaker 1: maybe a year, we had Keaton back as Batman and Beetlejuice.
• 42:44
  Speaker 2: Again, we have not come very far since the 80s.
• 42:50
  Speaker 1: It's so weird. It's so weird. And so, yeah, yeah. So, Beetlejuice, Beetlejuice.
• 43:00
  Speaker 1: Don't say it again. I mean, exactly.
• 43:02
  Speaker 2: You can't name at the three because then we're all
• 43:05
  Speaker 2: in trouble.
• 43:05
  Speaker 1: No, no, we're all screwed. Right, right. So, which gets
• 43:10
  Speaker 1: down to like the actual movie that was made of this.
• 43:14
  Speaker 2: If you want to call it that.
• 43:16
  Speaker 1: Yeah, yeah. I would say it's not a.
• 43:18
  Speaker 2: It is a film, I guess. Yeah.
• 43:21
  Speaker 1: I don't think it's like a total miss, but I
• 43:25
  Speaker 1: really do have conflicting feelings of it. Because I don't
• 43:30
  Speaker 1: really know what was, I think it's kind of a mess.
• 43:34
  Speaker 1: It's not a miss, but it is kind of a mess.
• 43:37
  Speaker 2: It is definitely a mess. I enjoyed it, but even
• 43:40
  Speaker 2: leaving the theater, I was like, that was a lot.
• 43:45
  Speaker 2: It was a lot of things that I like, so
• 43:47
  Speaker 2: I'm okay overall, but if I want to be nitpicky
• 43:52
  Speaker 2: movie dork, I'm just like, as plots go, this was bad.
• 43:57
  Speaker 2: yeah nine too many maybe but exactly if anything was
• 44:02
  Speaker 2: the problem it was yeah too many things thrown in
• 44:04
  Speaker 2: the pot there.
• 44:06
  Speaker 1: Yeah it was exactly because really the first one is
• 44:09
  Speaker 1: a pretty simple story you know and it's pretty you
• 44:11
  Speaker 1: know they kind of pretty streamlined really yeah yeah they
• 44:14
  Speaker 1: they really do uh you know pick their shots you
• 44:17
  Speaker 1: know and you know uh don't You get the sense
• 44:22
  Speaker 1: of a bigger world, but they really are pretty economical
• 44:25
  Speaker 1: on what they show and what they don't show.
• 44:29
  Speaker 2: Again, it's what we always talk about. When you have
• 44:32
  Speaker 2: limited resources and limited finances and you're a scrappy young director,
• 44:37
  Speaker 2: you find a way to make it work. And that's
• 44:39
  Speaker 2: what he did. He's like, I don't have the money
• 44:42
  Speaker 2: to do an entire movie set in this other world
• 44:44
  Speaker 2: of craziness. So you get these little five-minute snippets here
• 44:48
  Speaker 2: and there. And you build what you need to build.
• 44:51
  Speaker 2: And the rest of the time you're in the house
• 44:53
  Speaker 2: that you can afford to shoot in, you know? So
• 44:54
  Speaker 2: it's like, because he was forced to do that, it's,
• 44:58
  Speaker 2: it made it stronger. Like we were the geeks at
• 45:00
  Speaker 2: home going, ah, but then when they went to the office,
• 45:02
  Speaker 2: I wonder what goes on in that office. And like,
• 45:04
  Speaker 2: so you had to make an animated series because then
• 45:07
  Speaker 2: you could tell more stuff behind, you know, what goes
• 45:10
  Speaker 2: on behind on that other, other world. But like, he
• 45:13
  Speaker 2: couldn't do that back then. Whereas now, once again, it's
• 45:16
  Speaker 2: what I've always said about Tim Burton. Once they hand
• 45:18
  Speaker 2: him money, He just kind of gets sloppy and doesn't
• 45:22
  Speaker 2: really care and throws a whole bunch of crap in there. Yeah.
• 45:27
  Speaker 1: I think this is good that we're talking about this
• 45:31
  Speaker 1: because this might get just... This would be a good
• 45:34
  Speaker 1: purging of what this all was. The first one has
• 45:41
  Speaker 1: got a very... Whatchamacallit? It's got a very cool.
• 45:49
  Speaker 1: Hook to it where like these are like relatable normal
• 45:55
  Speaker 1: people who happen to be ghosts who have to scare
• 45:59
  Speaker 1: these annoying people out of their house or it's like
• 46:01
  Speaker 1: okay it's a ghost story told from the ghost point
• 46:04
  Speaker 1: of view right and it's a.
• 46:05
  Speaker 2: And while being relatable again that 80s attachment like every
• 46:11
  Speaker 2: weird kid that felt like they didn't fit in right
• 46:15
  Speaker 2: saw lydia and went oh my god oh my god
• 46:18
  Speaker 2: there there it is like there were so many kids
• 46:20
  Speaker 2: that like latched on to that character because they were
• 46:23
  Speaker 2: the weirdo in the family and like so it did
• 46:26
  Speaker 2: a good job of that it's like we've got normal,
• 46:28
  Speaker 2: relatable ghosts, and we've got this, like, person that you
• 46:32
  Speaker 2: are attached to if it's not you. She's so weird
• 46:35
  Speaker 2: and lovable that, like, you have this grounded, you know,
• 46:38
  Speaker 2: trio that kind of runs that whole movie.
• 46:41
  Speaker 1: Right, right. And I think, like, what should I call it?
• 46:43
  Speaker 1: It's like the self-obsessed parents, you know, and I think
• 46:49
  Speaker 1: probably a lot of Gen Xers just feel like, you know,
• 46:51
  Speaker 1: they were kind of like, you know, free-range kids, you know?
• 46:55
  Speaker 1: latchkey kids she's.
• 46:56
  Speaker 2: Just a rich latchkey kid which means they're there all
• 46:59
  Speaker 2: day but they don't give a shit.
• 47:01
  Speaker 1: What you're doing they don't they're not it's like uh
• 47:04
  Speaker 1: it's a very interesting thing of like uh you know
• 47:07
  Speaker 1: versus the helicopter parents of today you know and uh
• 47:12
  Speaker 1: with with versus like how lydia is treated which is
• 47:15
  Speaker 1: just like you know basically a you know why is
• 47:18
  Speaker 1: she right right right Please don't embarrass me in front
• 47:22
  Speaker 1: of my cool friends.
• 47:25
  Speaker 2: Meanwhile, her stepmother is the weirdest person on the planet.
• 47:28
  Speaker 1: Absolutely.
• 47:29
  Speaker 4: Yeah, yeah.
• 47:30
  Speaker 1: Yeah, definitely. But that kind of self-obsessed artist, it's all
• 47:34
  Speaker 1: about her. It's all about needing to express herself. And
• 47:37
  Speaker 1: it's not really a motherly kind of thing. And the
• 47:40
  Speaker 1: dad just being completely like, wants to be left alone.
• 47:43
  Speaker 2: Oblivious to anything that's going on.
• 47:46
  Speaker 1: Right, right. Or even like, how can I use this
• 47:50
  Speaker 1: to make money? You know, kind of thing. When he
• 47:53
  Speaker 1: does find out about ghosts, it is like, wow, we
• 47:55
  Speaker 1: could totally develop this. So it's very much of its time,
• 47:59
  Speaker 1: you know?
• 47:59
  Speaker 2: Greed is good.
• 48:01
  Speaker 1: Greed is good, right, right. I never got, in my
• 48:07
  Speaker 1: previous viewings of Beetlejuice until I saw it recently, that
• 48:10
  Speaker 1: they were there. because he had had a nervous breakdown.
• 48:14
  Speaker 7: Oh, yeah.
• 48:15
  Speaker 2: That's why he really wasn't at work all day. He
• 48:17
  Speaker 2: just hung around the house now, because that's why they
• 48:21
  Speaker 2: were there.
• 48:22
  Speaker 1: I guess he was a real estate developer or something.
• 48:25
  Speaker 1: I don't know. But he had a moment. He couldn't
• 48:30
  Speaker 1: do it anymore.
• 48:32
  Speaker 2: We've all been there.
• 48:33
  Speaker 1: Yeah, sure, sure. Absolutely.
• 48:36
  Speaker 2: So.
• 48:37
  Speaker 1: So the movie's got a hook, though. You know, it's
• 48:40
  Speaker 1: like an understandable concept that you can go like, okay,
• 48:44
  Speaker 1: I get what this is about. Ghosts trying to scare
• 48:47
  Speaker 1: out some annoying people that moved into their house, all right?
• 48:50
  Speaker 1: And then, you know, the thing, the title characters just,
• 48:54
  Speaker 1: you know, they need help because they're not very scary.
• 48:56
  Speaker 1: They're not good at being scary, all right? So they
• 48:58
  Speaker 1: got to get somebody. So that's a cool kind of,
• 49:01
  Speaker 1: you know... It's got a good beat. You can dance
• 49:03
  Speaker 1: to it.
• 49:05
  Speaker 2: And also interesting that the lead, in theory, the title character,
• 49:11
  Speaker 2: is very minimally in that movie. Very minimally. They add
• 49:14
  Speaker 2: it up and it's like, what, 15 minutes of screen time?
• 49:16
  Speaker 2: But he's such a presence and Keaton is so amazing. Yeah.
• 49:10
  Speaker 7: Yeah.
• 49:10
  Speaker 2: Yeah. Right. Like he just shows up for special appearances,
• 49:29
  Speaker 2: you know, when somebody says his name. So it's like,
• 49:32
  Speaker 2: he isn't the focus of the movie, even though it's
• 49:34
  Speaker 2: named after him.
• 49:35
  Speaker 1: Yeah.
• 49:35
  Speaker 3: Yeah.
• 49:36
  Speaker 1: And I think I even thought that was odd when
• 49:38
  Speaker 1: I first saw the movie because the, all the marketing
• 49:41
  Speaker 1: was based on Keaton and he is very rarely in
• 49:44
  Speaker 1: the movie. And, uh, but it's kind of cool. I,
• 49:47
  Speaker 1: when a new thing I got out of the seeing
• 49:50
  Speaker 1: it again, uh, was, it was never really addressed, but, uh,
• 49:56
  Speaker 1: the ghosts, the Maitlands, you know, kind of take to
• 49:59
  Speaker 1: Lydia because they don't have kids and they had trouble
• 50:05
  Speaker 1: conceiving as kind of, you know, a thing. Hey, do
• 50:08
  Speaker 1: we want to try again?
• 50:09
  Speaker 2: It's definitely a surrogate kind of thing, yeah. Yeah, yeah.
• 50:11
  Speaker 1: So she kind of gets like parental figures out of
• 50:16
  Speaker 1: these ghosts living around.
• 50:17
  Speaker 2: Parents who care.
• 50:18
  Speaker 1: Parents who care. They care about her. They care about
• 50:20
  Speaker 1: her feelings. They care about her life, you know. Yeah, yeah.
• 50:23
  Speaker 2: Exactly.
• 50:24
  Speaker 7: Right. Right.
• 50:25
  Speaker 1: And so, so that's sort of like what that movie
• 50:28
  Speaker 1: is about. And Beetlejuice is just like this crazy thing
• 50:32
  Speaker 1: that like, like comes in and out, you know, and, uh,
• 50:35
  Speaker 1: it's kind of like the foil or the bad guy really,
• 50:37
  Speaker 1: you know?
• 50:38
  Speaker 7: Yeah.
• 50:38
  Speaker 2: I mean, he, as the structure goes, he is the
• 50:41
  Speaker 2: villain essentially. And so like, it's weird that they sort
• 50:45
  Speaker 2: of pitch it like he's the hero of the story,
• 50:47
  Speaker 2: but like, no, Lydia is the hero. He's the villain.
• 50:50
  Speaker 1: Like, yeah, totally. Totally.
• 50:51
  Speaker 2: Totally.
• 50:52
  Speaker 1: And so, I can tell you what Beetlejuice is about.
• 50:55
  Speaker 1: I don't know what Beetlejuice Beetlejuice is about.
• 50:58
  Speaker 2: I know a lot of things going on in Beetlejuice Beetlejuice,
• 51:02
  Speaker 2: but do I know what the intended plot was supposed
• 51:07
  Speaker 2: to be? I don't know if Tim knows what it
• 51:10
  Speaker 2: was supposed to be exactly.
• 51:12
  Speaker 1: I don't know. I mean, other than the plot is what,
• 51:15
  Speaker 1: Beetlejuice is back? Or, I mean, I don't get, I
• 51:19
  Speaker 1: didn't get what the flow of the story was. And
• 51:23
  Speaker 1: there was... Alright, let's just... I'm.
• 51:27
  Speaker 2: Sorry, listing off the problems.
• 51:29
  Speaker 1: Yeah, alright, let's just go through the main problem I
• 51:33
  Speaker 1: had was there were so many bad guys.
• 51:39
  Speaker 2: And so many side plots that get introduced and you're like,
• 51:43
  Speaker 2: I don't even need these really. And you don't realize that,
• 51:48
  Speaker 2: I guess, until you get to the end because there's
• 51:49
  Speaker 2: like at least three different characters that get set up
• 51:53
  Speaker 2: like they should be a big main thing that pays off,
• 51:56
  Speaker 2: and none of them pay off. None of them become
• 52:00
  Speaker 2: essential to what happens. It's like the only one we
• 52:03
  Speaker 2: end up needing is Beetlejuice to end the movie. But
• 52:06
  Speaker 2: other than that, it's like we bring in the ex-wife,
• 52:10
  Speaker 2: which is completely unnecessary.
• 52:13
  Speaker 1: Absolutely.
• 52:13
  Speaker 2: Don't get me wrong, it's great to see Monica Bellucci
• 52:17
  Speaker 2: in a big mainstream movie. And the whole reason, this
• 52:21
  Speaker 2: is once again me going back to his go-to, they're
• 52:24
  Speaker 2: together now. So if that character wasn't already in the movie,
• 52:30
  Speaker 2: he was suddenly with this girl and went, well, I'm
• 52:32
  Speaker 2: writing you a part. Like, so... Now, does that part
• 52:36
  Speaker 2: make sense? Because all of a sudden, this character that
• 52:39
  Speaker 2: doesn't need to be there is sandwiched into the plot
• 52:42
  Speaker 2: because he's with her. I mean, she barely even interacts
• 52:47
  Speaker 2: with any characters the whole movie. She just shows up
• 52:49
  Speaker 2: and continually kills people randomly. Ghosts. And then, like... shows
• 52:54
  Speaker 2: up for a half second at the finale and that's
• 52:56
  Speaker 2: it but like no yeah we totally don't need that
• 52:59
  Speaker 2: character but again real world wise we understand why she
• 53:02
  Speaker 2: got put in there.
• 53:03
  Speaker 1: Absolutely and she's really one of my favorite elements in
• 53:06
  Speaker 1: the movie but she didn't need to be there she.
• 53:08
  Speaker 2: Definitely doesn't need to be there Along those lines, don't
• 53:11
  Speaker 2: get me wrong. I think Willem Dafoe is amazing in everything.
• 53:15
  Speaker 2: And he's hilarious here. But it goes nowhere. Like, there's
• 53:20
  Speaker 2: no reason for him to be there. They sandwich in
• 53:23
  Speaker 2: the reason for him to even show up. But then
• 53:25
  Speaker 2: by the end, it doesn't even pay off. Like, he
• 53:27
  Speaker 2: doesn't do anything when we get to the finale. He's
• 53:30
  Speaker 2: just stuck there. And then disappears. And, like, the end
• 53:33
  Speaker 2: of the movie happens. And I'm like, so what was
• 53:35
  Speaker 2: all that for other than you could score Willem Dafoe? Like, again...
• 53:40
  Speaker 2: Tim Burton is such a big name now that people
• 53:42
  Speaker 2: want to work with him. So, like, you know, Willem
• 53:44
  Speaker 2: was like, all right, I'll read this thing. And maybe
• 53:46
  Speaker 2: he read the script. Maybe he just went, eh, what
• 53:48
  Speaker 2: day do I show up?
• 53:49
  Speaker 7: Right, right.
• 53:50
  Speaker 1: What's my part?
• 53:52
  Speaker 2: Yeah, there's no reason for him.
• 53:54
  Speaker 7: Yeah.
• 53:55
  Speaker 2: The only other one that kind of makes sense that
• 53:57
  Speaker 2: you would introduce is the new boyfriend for Ortega.
• 54:01
  Speaker 1: Yeah.
• 54:02
  Speaker 2: And like, that seems like it's going somewhere. That seems
• 54:04
  Speaker 2: like it's driving the plot. And the second we get
• 54:07
  Speaker 2: to a point where I'm like, all right, now it's
• 54:09
  Speaker 2: really getting going. They off him and he's gone. Like it,
• 54:13
  Speaker 2: it does. He doesn't even come into play at the
• 54:15
  Speaker 2: end of the movie. Like he's not even there for
• 54:17
  Speaker 2: the finale.
• 54:19
  Speaker 1: I couldn't believe how they wrapped that up. I was like,
• 54:22
  Speaker 1: that's a trap door. They just literally put them down
• 54:25
  Speaker 1: a trap door.
• 54:26
  Speaker 2: Which again, if it were, if it were a minor
• 54:28
  Speaker 2: side character, if it were just one of those, you know,
• 54:30
  Speaker 2: crazy people off in the other world and like, like
• 54:33
  Speaker 2: in the first movie and you're like, look, that's what
• 54:35
  Speaker 2: happened to him. But we set him up like his,
• 54:38
  Speaker 2: his plot line is what's guiding the whole rest of
• 54:41
  Speaker 2: the movie is how he's bringing her in and taking
• 54:44
  Speaker 2: her to the other side. And this is what the
• 54:46
  Speaker 2: movie is going to be about that really like that
• 54:48
  Speaker 2: first third. That's what I thought the movie was about
• 54:51
  Speaker 2: was her going to the other side and like, she's
• 54:53
  Speaker 2: trying to find her dad. And like, so all of
• 54:55
  Speaker 2: that seemed like it was the direction the movie was going.
• 54:58
  Speaker 2: And then they just pull the rug out from under
• 55:00
  Speaker 2: you or the trap door. And like, that's it. Like
• 55:03
  Speaker 2: it's gone. Like it makes no sense that you would
• 55:06
  Speaker 2: put that much time and effort into setting up the
• 55:09
  Speaker 2: storyline to then just drop it. Like literally down a hole,
• 55:13
  Speaker 2: drop it.
• 55:14
  Speaker 7: Yeah.
• 55:15
  Speaker 1: Totally dropped it.
• 55:16
  Speaker 7: Yeah.
• 55:16
  Speaker 1: So I was going, I agree. And that was what
• 55:18
  Speaker 1: sort of they borrowed from the Broadway musical was like
• 55:21
  Speaker 1: her whole, you know, motivation, you know? So I was
• 55:23
  Speaker 1: going like, okay.
• 55:24
  Speaker 2: Instead of Lydia, it's her daughter now. Yeah. Right.
• 55:27
  Speaker 7: Exactly.
• 55:28
  Speaker 1: Exactly. Exactly. So that would make sense. And, you know,
• 55:33
  Speaker 1: so yeah, you've got the William Dafoe antagonist. You got
• 55:37
  Speaker 1: the Monica Bellalucci antagonist. You got the pretty boy antagonist.
• 55:42
  Speaker 1: And you got the Beetlejuice antagonist. And then you got
• 55:45
  Speaker 1: the weird, slimy fiancé antagonist, which I think he was.
• 55:51
  Speaker 1: Hilarious i mean i loved his performance as like the
• 55:55
  Speaker 1: the the sensitive you know uh you know tell me
• 55:59
  Speaker 1: your emotions stuff slime ball you know i thought he
• 56:02
  Speaker 1: was hilarious but he was so in this so crowded movie.
• 56:08
  Speaker 2: He's another like fake antagonist he's the four down fake
• 56:11
  Speaker 2: antagonist yeah yeah So it's like he is setting up something.
• 56:19
  Speaker 2: But I guess, again, if they throw enough money at
• 56:21
  Speaker 2: you and they'll make whatever you want, you don't even
• 56:23
  Speaker 2: have to weed it down. You don't have to send
• 56:25
  Speaker 2: it for another rewrite. You're just like, yeah, sure, throw
• 56:28
  Speaker 2: anybody you want in there.
• 56:30
  Speaker 1: I mean, it's kind of like we got... all the
• 56:35
  Speaker 1: antagonists from all the unmade Beetlejuice sequels from the last version.
• 56:40
  Speaker 2: Just keep them all! Let's work them all in there!
• 56:43
  Speaker 1: Each one of these movies could have been... I mean,
• 56:46
  Speaker 1: it's kind of like what they used to say about
• 56:47
  Speaker 1: Batman sequels. Like, why do we need three bad guys
• 56:51
  Speaker 1: in each sequel?
• 56:51
  Speaker 2: Why are all the villains here?
• 56:55
  Speaker 1: That's right. We can space these out, you know? And so, yeah,
• 57:00
  Speaker 1: I mean, William Dafoe would have been a great... uh,
• 57:03
  Speaker 1: antagonist in, in, in a Beetlejuice sequel.
• 57:06
  Speaker 2: I was going to say, yeah, not that character. I mean,
• 57:09
  Speaker 2: but that character is fun. Like I wish you could
• 57:11
  Speaker 2: do something else with him. Like the, the guy that's
• 57:14
  Speaker 2: now dead, but wants to be a cop, but wasn't
• 57:18
  Speaker 2: a cop was just an actor. So even in the afterworld,
• 57:20
  Speaker 2: he's an actor playing a cop. Like it's, it's, layered
• 57:25
  Speaker 2: in a way that needs a real story built around
• 57:28
  Speaker 2: it yeah and instead it's a weird little offshoot streamline
• 57:31
  Speaker 2: that also disappears in the middle of the movie and
• 57:34
  Speaker 2: then you're like oh yeah he's back again i forgot
• 57:36
  Speaker 2: about that guy like it's just so weird the way
• 57:40
  Speaker 2: they structured all these different pieces and all these threads
• 57:44
  Speaker 2: running through it that get dropped when something else happens
• 57:47
  Speaker 2: because there's too many characters That they disappear for 20
• 57:50
  Speaker 2: minutes at a time, you know? Yeah, yeah, yeah.
• 57:53
  Speaker 1: I mean, it's kind of like too much Beetlejuice. It's
• 57:55
  Speaker 1: just like when they made those Pirates of the Caribbean movies.
• 57:59
  Speaker 2: I like Pirates, but man.
• 58:00
  Speaker 1: Too much Jack Sparrow. There's too much Pirates.
• 58:04
  Speaker 2: Way too much Jack Sparrow.
• 58:06
  Speaker 1: Yeah, too much Jack Sparrow. I mean, it's kind of like,
• 58:10
  Speaker 1: oh man. It's just like, this movie is like this concentrated,
• 58:16
  Speaker 1: you know, beetlejuice on steroids thing or it's kind of
• 58:20
  Speaker 1: like the pitch meeting for a limited series on netflix
• 58:24
  Speaker 1: and it's just kind of like we can.
• 58:26
  Speaker 2: Do this for five seasons and we got all these
• 58:28
  Speaker 2: storylines we're like well we don't want to make a
• 58:30
  Speaker 2: series but we could make a movie all right but
• 58:34
  Speaker 2: we got all these plot lines we want to do
• 58:36
  Speaker 2: for you know two seasons out you're like no no
• 58:38
  Speaker 2: no no just work them all in here because that's
• 58:40
  Speaker 2: the thing it seems like you could wrap up each
• 58:43
  Speaker 2: of these characters in a season and go on to
• 58:45
  Speaker 2: the next season and then introduce the ex-wife in this
• 58:47
  Speaker 2: season or the cop in this season but like instead
• 58:51
  Speaker 2: it's all packed into like an hour and a half
• 58:53
  Speaker 2: or whatever it was like.
• 58:54
  Speaker 1: It's so packed so packed and and so and so
• 58:59
  Speaker 1: it's not like so you know you don't want it
• 59:02
  Speaker 1: to be uh a phoned in you know piece of
• 59:07
  Speaker 1: crap that you know they didn't try so i mean
• 59:09
  Speaker 1: yeah it's real ambitious. But, man, you just got to, like,
• 59:14
  Speaker 1: pick something. You got to pick something. Pick something for
• 59:17
  Speaker 1: the movie to be about. Just make a decision. I
• 59:20
  Speaker 1: think maybe, like, having versus, like, Fury Road where you had, like,
• 59:25
  Speaker 1: you know, Which really doesn't even have a story.
• 59:28
  Speaker 2: It's the other way. Yeah, there is no plot. The
• 59:31
  Speaker 2: plot is drive.
• 59:32
  Speaker 7: Drive.
• 59:32
  Speaker 2: And then about halfway there, drive back. Drive back.
• 59:36
  Speaker 1: That's the whole movie.
• 59:37
  Speaker 2: That's it. There is no other plot to it.
• 59:40
  Speaker 7: Right.
• 59:40
  Speaker 2: It's just, we're driving, they're trying to kill you. You
• 59:43
  Speaker 2: turn around, they're trying to kill you.
• 59:45
  Speaker 3: That's it.
• 59:45
  Speaker 2: There you go. Movie's over. Get a lot of explosions
• 59:49
  Speaker 2: and car crashes in there, and we're set.
• 59:51
  Speaker 1: Good to go, man. Good to go. So in this
• 59:53
  Speaker 1: one here, though, it's like, you know, they had 20
• 59:55
  Speaker 1: years of like script ideas and these ideas and different
• 59:59
  Speaker 1: writers on it. And it just kept compiling and compiling,
• 1:00:04
  Speaker 1: it seems like. And they just didn't cut anything, you know.
• 1:00:07
  Speaker 1: And and then there's just like like obligatory things where like,
• 1:00:12
  Speaker 1: you know, the really long lip sync sequence with Cake
• 1:00:18
  Speaker 1: in the Rain or whatever. You know, they play the
• 1:00:21
  Speaker 1: whole song and it's, but you just kind of feel like, well,
• 1:00:25
  Speaker 1: this is kind of like a, they kind of, I
• 1:00:27
  Speaker 1: feel like they felt like they had to do that.
• 1:00:30
  Speaker 1: You know, like they had to have a lip sequence.
• 1:00:33
  Speaker 2: That's, I mean, that's the perfect lead in where I
• 1:00:35
  Speaker 2: eventually wanted to go because this is what I thought
• 1:00:38
  Speaker 2: coming out of the theater. I said, oh, I enjoyed it.
• 1:00:41
  Speaker 2: But this was my takeaway as I'm walking to the
• 1:00:44
  Speaker 2: parking lot. I'm like, but if ever, because I complain
• 1:00:47
  Speaker 2: about this in certain movies over the years now, specifically
• 1:00:51
  Speaker 2: talking about them on here all the time, when you
• 1:00:53
  Speaker 2: can see the strings in a movie.
• 1:00:55
  Speaker 1: Yeah.
• 1:00:56
  Speaker 2: And like this one more than most movies, it's like
• 1:01:00
  Speaker 2: you can see the strings leading everywhere. It's like all
• 1:01:04
  Speaker 2: these things that like needed to get worked in there
• 1:01:08
  Speaker 2: in somebody's head, maybe Tim. maybe some producer, like, I
• 1:01:12
  Speaker 2: don't know, but there's all these, like, it's the most
• 1:01:15
  Speaker 2: fan service-y, and don't get me wrong, all these legacy
• 1:01:17
  Speaker 2: sequels are fan service-y, but this one, like, To the
• 1:01:20
  Speaker 2: point of like, I don't care if we have a
• 1:01:23
  Speaker 2: functional plot.
• 1:01:24
  Speaker 7: Right.
• 1:01:24
  Speaker 2: I just want to service the fans. So like.
• 1:01:27
  Speaker 3: That's it.
• 1:01:28
  Speaker 2: We had to get all of these things in there
• 1:01:30
  Speaker 2: even when they didn't fit. Right. Or they didn't have
• 1:01:33
  Speaker 2: to be there. So I think that's a perfect example.
• 1:01:36
  Speaker 2: It's like, well, the thing that people remember about that
• 1:01:38
  Speaker 2: first movie is the big dinner song and dance number.
• 1:01:41
  Speaker 2: So it's like. Right. We have to. That's a Beetlejuice
• 1:01:43
  Speaker 2: signature thing. We have to get that in there. So
• 1:01:46
  Speaker 2: let's cram it in there.
• 1:01:47
  Speaker 5: Right.
• 1:01:48
  Speaker 2: So like that comes into play, which I can almost
• 1:01:50
  Speaker 2: give you that one. Like that is such a big
• 1:01:52
  Speaker 2: thing that if you're making that part of Beetlejuice's MO,
• 1:01:55
  Speaker 2: like when he comes in to mess up a house,
• 1:01:57
  Speaker 2: like he does a song and dance number. I'm like,
• 1:01:59
  Speaker 2: all right, I can give you that. But then we
• 1:02:01
  Speaker 2: also get like the one that, or certainly one of
• 1:02:04
  Speaker 2: the ones that really seems fan service-y is Bob and
• 1:02:09
  Speaker 2: all of Bob's friends. Because that character is a minor,
• 1:02:14
  Speaker 2: minor character in that movie. Or if it was even him,
• 1:02:19
  Speaker 2: like whoever the shrunken head guy is in that first movie.
• 1:02:21
  Speaker 1: Oh, dude.
• 1:02:23
  Speaker 2: He's a minor character in that first movie. He's not
• 1:02:26
  Speaker 2: even a character. He's a cameo sitting on a couch,
• 1:02:29
  Speaker 2: you know? So it's like, but over the years, the
• 1:02:32
  Speaker 2: fans have like loved that visual, loved that basic design.
• 1:02:38
  Speaker 2: And like, it's gone to like, there's, they've made toys
• 1:02:40
  Speaker 2: of him. They've made t-shirts with him. You know, it's
• 1:02:43
  Speaker 2: like he's become a fan favorite, even though he's barely
• 1:02:45
  Speaker 2: in the movie. So now, as fan service, not only
• 1:02:49
  Speaker 2: are we going to put him in there, we're going
• 1:02:51
  Speaker 2: to put a whole bunch of other guys that look
• 1:02:53
  Speaker 2: like him in there. Yeah. And then it makes no
• 1:02:56
  Speaker 2: sense that they're there. I'm like, why is Beetlejuice, why
• 1:03:01
  Speaker 2: is he even working in an office, basically? Like, I
• 1:03:04
  Speaker 2: don't know what the hell led to, like, before he
• 1:03:06
  Speaker 2: was just sitting on the couch with a really long number.
• 1:03:08
  Speaker 2: Last we saw him and he got his head shrunk.
• 1:03:11
  Speaker 2: But now he's working in an office running things. He's
• 1:03:14
  Speaker 2: got nothing but these Bob type guys around him. So
• 1:03:17
  Speaker 2: I'm like, why are there that many? And if there
• 1:03:20
  Speaker 2: are that many, why are they all working with him?
• 1:03:23
  Speaker 2: Except because the fans want to see it. Like, there's
• 1:03:26
  Speaker 2: no reason it makes sense. Like, why would you have
• 1:03:29
  Speaker 2: an office of nothing but people that died the same way?
• 1:03:32
  Speaker 2: Like we've never seen that anywhere else in this weird
• 1:03:35
  Speaker 2: afterlife universe. There weren't nothing but like blue girls that
• 1:03:38
  Speaker 2: slit their wrists all working in this office or flattened
• 1:03:42
  Speaker 2: run over by a car guys that work in this office. Like,
• 1:03:44
  Speaker 2: so why all of a sudden here is it all
• 1:03:47
  Speaker 2: room full of this guy that people love because people
• 1:03:49
  Speaker 2: love it. It makes no other sense except fan service.
• 1:03:53
  Speaker 1: That's annoying. That is sort of.
• 1:03:55
  Speaker 2: And I like that guy, but like, and even worse,
• 1:03:58
  Speaker 2: then we kill him off for no good reason. Like,
• 1:04:01
  Speaker 2: people love that guy. Let's kill him. Just to fuck
• 1:04:04
  Speaker 2: with him. I didn't understand that move either. I'm like,
• 1:04:09
  Speaker 2: you've established how beloved this minor character is. The only
• 1:04:13
  Speaker 2: character along the way that we really know that gets
• 1:04:16
  Speaker 2: offed is him.
• 1:04:17
  Speaker 1: No, dude. That is a sickness that this movie definitely has.
• 1:04:26
  Speaker 1: It makes no sense. I gotta say, it was cool. Like,
• 1:04:30
  Speaker 1: there were... It's like, it's confusing, Brian. It's confusing because
• 1:04:36
  Speaker 1: at one point you're going like, that is really cool
• 1:04:40
  Speaker 1: that they use practical makeup effects to make these, you know,
• 1:04:44
  Speaker 1: build up these guys shoulders and make these characters. And
• 1:04:48
  Speaker 1: they're all running out of the old Beetlejuice house, like,
• 1:04:51
  Speaker 1: like maniacs. And you're like, wow, that's really, that looks
• 1:04:55
  Speaker 1: really cool. But you're going like, why is any of
• 1:04:58
  Speaker 1: this happening?
• 1:05:00
  Speaker 2: Exactly.
• 1:05:06
  Speaker 1: Yeah, you're going like, so Beetlejuice all this time, he's
• 1:05:10
  Speaker 1: just become like a middle manager office crap, you know?
• 1:05:15
  Speaker 1: And I guess he's expanded the business and now he
• 1:05:17
  Speaker 1: has a bunch of people working for him. I guess
• 1:05:19
  Speaker 1: that's an understandable progression. and now he's like maybe just
• 1:05:27
  Speaker 1: bored in his job or, but you don't see that
• 1:05:30
  Speaker 1: like change over of like Beetlejuice has gotten, you know,
• 1:05:36
  Speaker 1: quote unquote old, you know, and now he's like as,
• 1:05:39
  Speaker 1: you know, washed up, you know, uh, kind of like
• 1:05:42
  Speaker 1: the Incredibles, you know, he's like, he used to be
• 1:05:44
  Speaker 1: like the man and now he's just working this crappy
• 1:05:47
  Speaker 1: job in the afterlife, you know, and he gets a
• 1:05:50
  Speaker 1: chance to, you know, uh, cause havoc again, like the
• 1:05:54
  Speaker 1: old days. You know, that might have been good, but
• 1:05:58
  Speaker 1: they didn't have time to really say that because they
• 1:06:00
  Speaker 1: had so much other scramble going on.
• 1:06:02
  Speaker 2: So many other nine plot lines you weren't paying attention to.
• 1:06:05
  Speaker 1: Yeah, yeah.
• 1:06:07
  Speaker 2: The other thing that was like, you could just feel it,
• 1:06:10
  Speaker 2: like it was just in the air, was the, because
• 1:06:14
  Speaker 2: I saw the trailer and I was like, okay, because,
• 1:06:17
  Speaker 2: I mean, the big real world question going into a
• 1:06:20
  Speaker 2: Beetlejuice sequel is like, okay, one of the cast member's
• 1:06:24
  Speaker 2: We don't want to come back. That's it. Charles is
• 1:06:28
  Speaker 2: essential in the first movie because we have our little
• 1:06:31
  Speaker 2: happy family that's not very happy. But moving forward in time,
• 1:06:36
  Speaker 2: we don't want that guy in the movie. You wouldn't
• 1:06:38
  Speaker 2: be crucified if you brought this guy in to be
• 1:06:41
  Speaker 2: in your movie and pretended like nothing happened.
• 1:06:44
  Speaker 1: Yeah, definitely.
• 1:06:45
  Speaker 2: I saw that first trailer and I'm like, okay, we
• 1:06:47
  Speaker 2: start off at his funeral. I'm like, okay, good move, Tim.
• 1:06:51
  Speaker 2: First thing you do is off that guy that everyone
• 1:06:53
  Speaker 2: in the real world hates. So good going. Now we
• 1:06:56
  Speaker 2: just stand in front of his headstone and we move
• 1:06:59
  Speaker 2: on with the movie and we don't mention him again.
• 1:07:01
  Speaker 2: But that's not what they did. Like, you had a
• 1:07:05
  Speaker 2: perfect out. You killed him. You're done. Move on. No, no.
• 1:07:10
  Speaker 2: We've then got to show a... And if it was
• 1:07:13
  Speaker 2: just like they never showed him, but like they show
• 1:07:16
  Speaker 2: pictures of him, they do a stop motion animation of
• 1:07:20
  Speaker 2: a whole side backstory of how things happened. His character's
• 1:07:24
  Speaker 2: roaming around with no head in the afterworld. His character
• 1:07:28
  Speaker 2: is looming over this movie. And I'm like, but nobody
• 1:07:33
  Speaker 2: wants anything to do with this guy. What are you doing?
• 1:07:36
  Speaker 2: Just write him out and be done with him.
• 1:07:39
  Speaker 1: Yeah.
• 1:07:40
  Speaker 2: That was weird. I don't even know. I'm like, that's
• 1:07:42
  Speaker 2: not really fan service. That's just an odd move. What
• 1:07:46
  Speaker 2: are you doing? You had an out. You were done.
• 1:07:49
  Speaker 2: That guy's gone. yes, maybe at the end she could
• 1:07:53
  Speaker 2: meet up with him and we don't see their face
• 1:07:54
  Speaker 2: and like, Oh look, they're happy together now.
• 1:07:57
  Speaker 1: Yay.
• 1:07:57
  Speaker 2: But like we log in a lot of time on
• 1:08:00
  Speaker 2: this character that we shouldn't want to touch. And yet
• 1:08:03
  Speaker 2: somehow I'm like, why are we coming back? Like every
• 1:08:07
  Speaker 2: time they'd show something again, I'm like, why are we
• 1:08:09
  Speaker 2: still on Charles? I thought we all decided we weren't
• 1:08:12
  Speaker 2: going to go there. Like that was just weird.
• 1:08:17
  Speaker 1: No, so weird, man. So weird. It was kind of like, uh,
• 1:08:21
  Speaker 1: Crispin Glover and Bad Future 2, you know? Yeah. The
• 1:08:24
  Speaker 1: character there, but not there, you know?
• 1:08:27
  Speaker 2: We would have liked to have had you if things
• 1:08:30
  Speaker 2: had worked out in the real world, but they didn't.
• 1:08:33
  Speaker 2: So what are we doing now? But at least that one,
• 1:08:35
  Speaker 2: they got it over with quick.
• 1:08:36
  Speaker 1: Like, yeah, yeah.
• 1:08:37
  Speaker 2: It's like a two minute thing. They, make him upside
• 1:08:40
  Speaker 2: down so you can't even recognize it's not him with
• 1:08:42
  Speaker 2: bad makeup on. So you're just like, yeah, okay. That
• 1:08:45
  Speaker 2: character's there, but the actor's gone. Whatever. We're not, we
• 1:08:49
  Speaker 2: didn't cause I mean, originally that second movie script was
• 1:08:52
  Speaker 2: about him. Like he was a huge part of it.
• 1:08:55
  Speaker 2: And they, once they saw that, wasn't coming together they
• 1:08:59
  Speaker 2: rewrote everything so it's like they just again smart move
• 1:09:03
  Speaker 2: rewrote around him worked in the minimal amount of him
• 1:09:07
  Speaker 2: existing that they needed to and then moved.
• 1:09:10
  Speaker 1: On yeah exactly versus.
• 1:09:12
  Speaker 2: Like this one we went the opposite of like We
• 1:09:15
  Speaker 2: can't have this guy in the movie. So let's spend
• 1:09:17
  Speaker 2: a good amount of time talking about him and working
• 1:09:20
  Speaker 2: in other stories about him and having his character walking
• 1:09:23
  Speaker 2: around the whole time. I'm like, I don't understand your move.
• 1:09:26
  Speaker 2: This is a weird move.
• 1:09:28
  Speaker 1: Yeah, it was like just another distraction from an already
• 1:09:32
  Speaker 1: hyper-distracted movie.
• 1:09:34
  Speaker 2: Super complicated plot. Let's throw in something else that really
• 1:09:38
  Speaker 2: doesn't need to be there.
• 1:09:39
  Speaker 1: Yeah.
• 1:09:40
  Speaker 3: I mean.
• 1:09:45
  Speaker 1: Beetlejuice, Beetlejuice. Well, this title is very apropos. It's a
• 1:09:53
  Speaker 1: lot of stuff that just doesn't.
• 1:09:54
  Speaker 2: Need to be there. Remember that other movie? This is
• 1:09:56
  Speaker 2: it with twice as much stuff, except that's not enough.
• 1:10:00
  Speaker 2: Here's this with seven times as many Beetlejuice things.
• 1:10:05
  Speaker 1: Yeah, yeah. And I gotta tell you, man, I was
• 1:10:09
  Speaker 1: really disappointed in the treatment of Lydia. And, uh, what,
• 1:10:14
  Speaker 1: what her character became and the fact that she hasn't
• 1:10:17
  Speaker 1: changed her clothes.
• 1:10:20
  Speaker 2: Well, I liked, I liked again, the modern world version
• 1:10:24
  Speaker 2: of her that before she was just a weird kid
• 1:10:26
  Speaker 2: and didn't know what to do with herself in the
• 1:10:29
  Speaker 2: world we live in now, there is a market for that.
• 1:10:32
  Speaker 2: So I do like that. She just became a ghost
• 1:10:35
  Speaker 2: TV show person. Like I thought that was funny. Like, again,
• 1:10:39
  Speaker 2: they didn't really do the right thing with it, I guess,
• 1:10:42
  Speaker 2: but I thought that idea, I was like, well, yeah,
• 1:10:44
  Speaker 2: if anybody can make use of this world that we
• 1:10:48
  Speaker 2: now live in, like, there is a market for that,
• 1:10:51
  Speaker 2: you know, let's do nothing but go around to spooky
• 1:10:54
  Speaker 2: haunted houses and pretend like we heard a noise. Like, so,
• 1:10:57
  Speaker 2: even if she weren't legit, like, which she can talk
• 1:11:00
  Speaker 2: to dead people, but, like, it... It is exactly what
• 1:11:04
  Speaker 2: someone like that back in the day would end up
• 1:11:06
  Speaker 2: growing up to do. So that part I thought was
• 1:11:08
  Speaker 2: kind of interesting. But yeah, the fact that nothing really changed.
• 1:11:13
  Speaker 2: Like when we pick up with her at the beginning
• 1:11:14
  Speaker 2: of this movie, she's still talking and acting kind of
• 1:11:17
  Speaker 2: like that kid. Even though she's been through a whole marriage,
• 1:11:21
  Speaker 2: she's raised a child. There's all these other things that
• 1:11:24
  Speaker 2: she could have grown a little more. But we don't
• 1:11:27
  Speaker 2: really see that in her character. She plays it pretty
• 1:11:30
  Speaker 2: much like she did when she was 15 years old. Yeah, yeah.
• 1:11:33
  Speaker 1: She was real, like, uh... It's just kind of like, uh...
• 1:11:37
  Speaker 1: She didn't get to do anything. I mean, it was
• 1:11:40
  Speaker 1: just like, uh... She just kind of was, like... People
• 1:11:43
  Speaker 1: were talking to her, and she was acting like, I
• 1:11:45
  Speaker 1: don't know. You know, kind of like the, uh... Kind
• 1:11:48
  Speaker 1: of like, uh... kind of like a neurotic uh middle-aged
• 1:11:53
  Speaker 1: lady who you know just was like uh i mean
• 1:11:57
  Speaker 1: what was what did she do in the movie i
• 1:11:59
  Speaker 1: mean did she like uh push anything forward or you
• 1:12:02
  Speaker 1: know because it was not a movie she was until it.
• 1:12:05
  Speaker 2: Got well that's what i was thinking as you said
• 1:12:07
  Speaker 2: that it was like it's almost like she knew she
• 1:12:09
  Speaker 2: wasn't the lead anymore it's almost like she knew jenna
• 1:12:12
  Speaker 2: took over the movie and she's just there to be
• 1:12:14
  Speaker 2: background to kind of keep the plate spinning and Jenna
• 1:12:17
  Speaker 2: is the push of the movie. So I'm like, she's
• 1:12:20
  Speaker 2: not wrong. But she also doesn't really bring anything new
• 1:12:25
  Speaker 2: to it. It's just sort of the same old Lydia
• 1:12:27
  Speaker 2: thrown into some new scenarios. The only thing, by the end,
• 1:12:30
  Speaker 2: at least I do like that she steps up and
• 1:12:32
  Speaker 2: wants to be a real mom and will go to
• 1:12:34
  Speaker 2: whatever lengths to protect her daughter. That last 20 minutes
• 1:12:38
  Speaker 2: is almost the only thing we get out of her character-wise.
• 1:12:41
  Speaker 2: But it seems like she should have already been at
• 1:12:44
  Speaker 2: that point At the beginning of the movie.
• 1:12:46
  Speaker 1: Right.
• 1:12:47
  Speaker 2: She's a teenager by now. It's not like you just
• 1:12:49
  Speaker 2: became a mom. You've been a functioning mother for the
• 1:12:53
  Speaker 2: last 15, 16 years. So why all of a sudden
• 1:12:57
  Speaker 2: does it take that before I guess all these inciting
• 1:13:00
  Speaker 2: incidents came together and made her be like, oh, you
• 1:13:03
  Speaker 2: know what? I should actually take care of my daughter.
• 1:13:05
  Speaker 1: Yeah.
• 1:13:06
  Speaker 2: Yeah.
• 1:13:06
  Speaker 1: I don't know, man.
• 1:13:07
  Speaker 2: Yeah.
• 1:13:07
  Speaker 1: It was like... I think the movie did her dirty, you.
• 1:13:11
  Speaker 2: Know, and... It just didn't give her much to do, yeah.
• 1:13:14
  Speaker 1: Yeah, yeah. I mean, yeah, the initial concept that she
• 1:13:17
  Speaker 1: would be on a ghost thing, and, you know, there's just, like,
• 1:13:19
  Speaker 1: a lot of untapped potential of, like, if Lydia could
• 1:13:23
  Speaker 1: see ghosts, you know, what her life would have been like,
• 1:13:26
  Speaker 1: you know, and where do we find her now, and.
• 1:13:32
  Speaker 1: You know, and, and she really just, I guess she was, they,
• 1:13:35
  Speaker 1: they kind of say she has a pill problem, but
• 1:13:38
  Speaker 1: they don't really get into it. You know, I mean, they,
• 1:13:41
  Speaker 1: they don't really get into it because they don't have
• 1:13:43
  Speaker 1: time to get into it because I got 500 other
• 1:13:46
  Speaker 1: things to throw at us, you know? And, uh, so yeah,
• 1:13:51
  Speaker 1: messy man, messy. I would say though, I liked, uh,
• 1:13:56
  Speaker 1: so like just, you know, in general, uh, I did
• 1:14:01
  Speaker 1: like the visuals. I liked that it wasn't a CG fest.
• 1:14:09
  Speaker 1: They went old school with the mannequin skeletons being controlled
• 1:14:15
  Speaker 1: by wires and stuff.
• 1:14:16
  Speaker 2: Which, again, is old school Tim Burton.
• 1:14:19
  Speaker 1: I love that.
• 1:14:20
  Speaker 3: Yeah.
• 1:14:21
  Speaker 1: So you're going like, man, I really... You know, because
• 1:14:23
  Speaker 1: what I was dreading going into this was that, oh, man,
• 1:14:26
  Speaker 1: it's just going to be a CG migraine, you know,
• 1:14:29
  Speaker 1: and it's just going to be so much visual garbage,
• 1:14:32
  Speaker 1: you know.
• 1:14:34
  Speaker 2: And most of the characters were practical. Like, I mean,
• 1:14:37
  Speaker 2: some of the crazy background stuff they did, I'm sure,
• 1:14:39
  Speaker 2: was CG. But most of the people they were dealing
• 1:14:42
  Speaker 2: with were people in latex. So it's like that was
• 1:14:45
  Speaker 2: awesome to see that much. Cause again, once they go
• 1:14:48
  Speaker 2: to the other side, it's nothing but crazy looking people
• 1:14:51
  Speaker 2: in latex everywhere they go. So I'm like, that's a
• 1:14:54
  Speaker 2: lot of, you know, special effects work that he created.
• 1:14:56
  Speaker 2: That's cool. Like I liked all that part.
• 1:14:59
  Speaker 1: Absolutely. So I'm going like, okay, his heart's in the
• 1:15:02
  Speaker 1: right spot. I mean, he knew what was, you know,
• 1:15:05
  Speaker 1: at least that was one of the main appeals of
• 1:15:07
  Speaker 1: the old Beetlejuice movie was, uh, You know, the practicality
• 1:15:11
  Speaker 1: of everything, because I guess there was no computers that
• 1:15:13
  Speaker 1: they couldn't, so they had to, but that was sort
• 1:15:14
  Speaker 1: of like what people liked about it.
• 1:15:17
  Speaker 2: That's what we all came to love, was these weird
• 1:15:19
  Speaker 2: side characters and the physical thing that they brought to
• 1:15:23
  Speaker 2: each time you saw them on screen. Yeah, yeah.
• 1:15:26
  Speaker 1: So, again, it's like the technical side of it, you know,
• 1:15:30
  Speaker 1: is great, you know? And it's like one of those
• 1:15:32
  Speaker 1: things that seems like it's going to really work on paper,
• 1:15:35
  Speaker 1: you know? I think this is too much paper. I mean,
• 1:15:38
  Speaker 1: it was just like, I mean, you got Burton back,
• 1:15:40
  Speaker 1: you got these, all these folks back and you got,
• 1:15:43
  Speaker 1: you know, uh, you know, they're, they're going to go
• 1:15:46
  Speaker 1: practical and, you know, we're going to see what, what's
• 1:15:49
  Speaker 1: been happening to all these characters. And then we're going
• 1:15:51
  Speaker 1: to have this new, cool story of, uh, new, cool threats.
• 1:15:55
  Speaker 1: But it's, it's, uh, again, it's just so packed. And
• 1:15:58
  Speaker 1: I really did like the backstory of Beetlejuice. I like that.
• 1:16:01
  Speaker 1: That's all that and made it, you know, you know,
• 1:16:04
  Speaker 1: like an old Italian movie, you know, that was cool.
• 1:16:07
  Speaker 1: You know, um, you know, I thought that again, it's,
• 1:16:12
  Speaker 1: it's twofold.
• 1:16:12
  Speaker 2: Number one, I liked it, but at the same time,
• 1:16:15
  Speaker 2: I think once again, it's a real world situation that
• 1:16:18
  Speaker 2: made this change in the plot. I like the fact
• 1:16:22
  Speaker 2: that we got Delia back because she's so much fun
• 1:16:25
  Speaker 2: in that first movie.
• 1:16:26
  Speaker 1: Yeah.
• 1:16:27
  Speaker 2: And like, Again, Catherine O'Hara knocks it out of the park.
• 1:16:31
  Speaker 2: She is, once again, insane Delia. She hasn't grown any.
• 1:16:36
  Speaker 2: She's the same crazy woman we left because that is
• 1:16:40
  Speaker 2: her character. She is not going to grow and become
• 1:16:42
  Speaker 2: amazing and a grounded person. She is insane. No, but
• 1:16:48
  Speaker 2: she's still by the end of this, even we see
• 1:16:50
  Speaker 2: she's a good person and she wanted to be a
• 1:16:51
  Speaker 2: good stepmom. Like she's just not good at it, but
• 1:16:54
  Speaker 2: like she did care. But the thing that I think,
• 1:16:59
  Speaker 2: you know, if you would have looked at that plot
• 1:17:01
  Speaker 2: and it would have been some other random actress and
• 1:17:03
  Speaker 2: then we move forward 30 years, I think Delia would
• 1:17:06
  Speaker 2: have been a minor. She would have been standing there
• 1:17:08
  Speaker 2: at the funeral and like she would have drifted off
• 1:17:10
  Speaker 2: into the plot. But in that time in between, in
• 1:17:13
  Speaker 2: these last 10 years or so, Catherine O'Hara is like,
• 1:17:17
  Speaker 2: huge like had this second wind in her career that
• 1:17:21
  Speaker 2: is like she is like regular people know who she
• 1:17:25
  Speaker 2: is now thanks to her sitcom so it's like she
• 1:17:28
  Speaker 2: is a huge name so once again we got her
• 1:17:30
  Speaker 2: back it's like well gotta make use of her so
• 1:17:33
  Speaker 2: that i think is a huge devotion of time on
• 1:17:37
  Speaker 2: screen to this character which don't get me wrong i
• 1:17:39
  Speaker 2: think it's hilarious but i'm like again i don't know
• 1:17:42
  Speaker 2: how much she's driving the overall plot that's already stuffed
• 1:17:45
  Speaker 2: with so many other things that like just watching her
• 1:17:49
  Speaker 2: go to like her art show and then like her
• 1:17:51
  Speaker 2: running around trying to find her husband and like it's
• 1:17:54
  Speaker 2: all of that extra stuff is like yeah really necessary
• 1:17:58
  Speaker 2: like i enjoy it because it's catherine o'hara and she's
• 1:18:00
  Speaker 2: hilarious but again if we're whittling down the plot of
• 1:18:04
  Speaker 2: things that don't need to be there i don't know
• 1:18:06
  Speaker 2: that we need to either of the parents in the afterlife,
• 1:18:09
  Speaker 2: I don't need to know that we needed that much
• 1:18:11
  Speaker 2: time with. We spent a good amount of time with
• 1:18:13
  Speaker 2: her before she dies. And like, so yeah, she's on
• 1:18:15
  Speaker 2: screen a lot for what was a kind of a
• 1:18:18
  Speaker 2: minor character in the first movie. You know, it's like, yeah,
• 1:18:21
  Speaker 2: it's not super essential. She was just there to be
• 1:18:24
  Speaker 2: a pain in the ass to Lydia, basically.
• 1:18:26
  Speaker 1: Right. Right.
• 1:18:27
  Speaker 2: So I thought that was another real world aspect coming
• 1:18:30
  Speaker 2: in that they were like, we got one of the
• 1:18:32
  Speaker 2: biggest names in the business right now. So it's like, let's,
• 1:18:35
  Speaker 2: make sure she's on screen doing her crazy thing. And, like,
• 1:18:38
  Speaker 2: she did. Like, she was great at it. But is
• 1:18:41
  Speaker 2: it necessary to have this plot? Not really.
• 1:18:47
  Speaker 7: No.
• 1:18:48
  Speaker 1: Yeah, it would have been fine. for Beetlejuice 2 had
• 1:18:51
  Speaker 1: they come out, like, you know, two years after the
• 1:18:54
  Speaker 1: first one.
• 1:18:55
  Speaker 2: But even then, I feel like she wouldn't have been
• 1:18:57
  Speaker 2: a major player.
• 1:18:58
  Speaker 3: Right, right.
• 1:18:59
  Speaker 2: We were just like, ah, that girl from SCETV is
• 1:19:02
  Speaker 2: on this.
• 1:19:02
  Speaker 1: Cool.
• 1:19:03
  Speaker 2: She wasn't a big deal. Like, she was just... She was...
• 1:19:06
  Speaker 2: Geeks knew who she was because she's hilarious. But, like,
• 1:19:09
  Speaker 2: she didn't really... I mean, even... I guess Home Alone's
• 1:19:13
  Speaker 2: her biggest, most recognizable thing, but she's not really in
• 1:19:16
  Speaker 2: that movie much either. So it's like between Beetlejuice and
• 1:19:19
  Speaker 2: Home Alone, those were the big peaks of like mainstream,
• 1:19:22
  Speaker 2: but still like she just got bumped up like so
• 1:19:25
  Speaker 2: many notches in these last few years of like now
• 1:19:28
  Speaker 2: people are like, oh, comic genius, Catherine O'Hara.
• 1:19:31
  Speaker 1: Like, of course. Right, right.
• 1:19:34
  Speaker 2: So I think that became a big part of why
• 1:19:36
  Speaker 2: she's so.
• 1:19:36
  Speaker 1: Featured in this movie. Yeah, yeah, yeah.
• 1:19:40
  Speaker 2: In this already overstuffed movie. Oh yeah.
• 1:19:44
  Speaker 1: For real, man.
• 1:19:45
  Speaker 2: I can see the strings and like, it's all good
• 1:19:48
  Speaker 2: in theory, but like once it's all puppetry going at
• 1:19:52
  Speaker 2: the same time, you got 19 puppets on stage and
• 1:19:55
  Speaker 2: you're like, what, what am I watching? Hold on.
• 1:19:57
  Speaker 1: Which, which thing? Yeah, totally. It's a lot, man. It's
• 1:20:04
  Speaker 1: a lot. It's a lot. And I don't know if
• 1:20:06
  Speaker 1: like in, you know, uh, 10 years when I'm 60,
• 1:20:11
  Speaker 1: you know, I'll watch Beetlejuice, Beetlejuice, and go like, oh,
• 1:20:13
  Speaker 1: I get it now. You know, I don't know if
• 1:20:14
  Speaker 1: I got it.
• 1:20:15
  Speaker 2: It's all come together now.
• 1:20:17
  Speaker 1: Yeah, oh, I see what they were trying to do now.
• 1:20:20
  Speaker 1: This movie is like Speed Racer. It's an unrecognized piece
• 1:20:27
  Speaker 1: of genius filmmaking, you know? But yeah, right now, just
• 1:20:32
  Speaker 1: initial hit was like, I can't even say it was
• 1:20:36
  Speaker 1: a missed opportunity because there's a lot there.
• 1:20:39
  Speaker 2: They didn't miss one opportunity.
• 1:20:41
  Speaker 8: They took advantage of every opportunity.
• 1:20:46
  Speaker 2: It's definitely not a missed opportunity. It's hammering you over
• 1:20:49
  Speaker 2: the head with any opportunity that ever occurred to them
• 1:20:52
  Speaker 2: in the last 30 years.
• 1:20:53
  Speaker 1: That's totally it, man. That's totally it. It's the difference between, hey,
• 1:21:03
  Speaker 1: we went to a restaurant and we had a really
• 1:21:08
  Speaker 1: good cheeseburger versus we went to the Golden Corral and
• 1:21:13
  Speaker 1: we ate everything. It was like, yeah, it's not a
• 1:21:18
  Speaker 1: missed opportunity, but it was like, man, I think at
• 1:21:21
  Speaker 1: some point this meal lost its focus. About my fifth
• 1:21:26
  Speaker 1: trip to the chocolate fountain, I'm just like, I don't really.
• 1:21:30
  Speaker 2: This is like a salad bar, and you just keep
• 1:21:32
  Speaker 2: piling stuff from every different bin, and you're loading it up,
• 1:21:36
  Speaker 2: and then eventually you're like, oh my god, I can't
• 1:21:39
  Speaker 2: have any more. My seventh trip to the salad bar
• 1:21:42
  Speaker 2: is killing me.
• 1:21:43
  Speaker 1: Yeah, man, I didn't even touch those chicken wings. I
• 1:21:46
  Speaker 1: put them on my plate, but I was so full,
• 1:21:48
  Speaker 1: I just looked at them, but I didn't even get
• 1:21:50
  Speaker 1: to eat them.
• 1:21:51
  Speaker 2: And then I went back and got pudding. Why did
• 1:21:55
  Speaker 2: I round it out with more pudding? Yeah.
• 1:21:59
  Speaker 1: I don't even want pudding, but it's like.
• 1:22:01
  Speaker 2: But it was there, a whole trough of it.
• 1:22:03
  Speaker 1: I like the concept of pudding, but man, I'm just like...
• 1:22:07
  Speaker 1: I gotta at least put it in the bowl to
• 1:22:10
  Speaker 1: see if I want it by the time I'm done.
• 1:22:13
  Speaker 2: And then I went back and had my cake in
• 1:22:15
  Speaker 2: the rain. Why was I having so much cake in
• 1:22:17
  Speaker 2: the rain?
• 1:22:18
  Speaker 1: I know. I know. They seriously went from... like opening bar,
• 1:22:24
  Speaker 1: the ending of that song. And, and, uh, and you're
• 1:22:27
  Speaker 1: just going like, man, this is like stopping everything.
• 1:22:32
  Speaker 2: And it's, it's mirroring that first one. Like that first
• 1:22:36
  Speaker 2: one is the thing you think of. It's the icon.
• 1:22:39
  Speaker 2: When you, when you, for a several generations ago, when
• 1:22:43
  Speaker 2: you hear that song, that's the only thing you think of.
• 1:22:45
  Speaker 1: That's it.
• 1:22:45
  Speaker 2: It's not like people are singing, dancing around in their
• 1:22:48
  Speaker 2: Calypso parties.
• 1:22:50
  Speaker 7: No.
• 1:22:50
  Speaker 2: When, since that movie happened, it took over that song
• 1:22:54
  Speaker 2: and nobody since has heard it and went, yeah, I
• 1:22:57
  Speaker 2: want to get into some Calypso music. You're just like, Ooh, Beetlejuice.
• 1:23:01
  Speaker 2: I love this part. That's, it just stole that song.
• 1:23:04
  Speaker 2: And I guess that's kind of what they were trying
• 1:23:06
  Speaker 2: to do here.
• 1:23:08
  Speaker 3: Yeah.
• 1:23:08
  Speaker 1: I'm not sure, man. I'm not sure. I mean, and,
• 1:23:10
  Speaker 1: and on its own, it's a kind of a, Keaton
• 1:23:13
  Speaker 1: is killing it in that scene. Oh, yeah. So it's
• 1:23:18
  Speaker 1: like you can't hate it, but it's like you're just
• 1:23:22
  Speaker 1: kind of going, why?
• 1:23:23
  Speaker 7: Why?
• 1:23:24
  Speaker 2: Why?
• 1:23:27
  Speaker 1: The question is, why? Why is this even going on?
• 1:23:30
  Speaker 3: Money.
• 1:23:33
  Speaker 1: Money. But, I mean, yeah, I guess there's just enough...
• 1:23:37
  Speaker 1: they somehow these movies make money on, uh, ancillary markets
• 1:23:41
  Speaker 1: or something. I mean, I don't know.
• 1:23:42
  Speaker 2: Well, I mean, that's what I looked up. Cause I was,
• 1:23:44
  Speaker 2: as we were getting into this, I was like, Oh yeah.
• 1:23:46
  Speaker 2: I was like, I went and saw it that first
• 1:23:48
  Speaker 2: week or so. So I'm like, how did it do?
• 1:23:50
  Speaker 2: And then in looking it up just in the first
• 1:23:53
  Speaker 2: three weeks it was out, it like tripled its budget.
• 1:23:56
  Speaker 2: So it did really well, like more, more than I
• 1:23:59
  Speaker 2: realized at the time, but like it made money. Which
• 1:24:03
  Speaker 2: is kind of... Then I'm like, well, then aren't we
• 1:24:07
  Speaker 2: to blame? We keep going to these movies, even if
• 1:24:10
  Speaker 2: we don't like the legacy sequels, or sometimes they don't
• 1:24:14
  Speaker 2: do a great job at them. But we keep going
• 1:24:17
  Speaker 2: and supporting them, making them, so it's like, I don't know,
• 1:24:19
  Speaker 2: we're to blame. Yes, it'd be nice if they do
• 1:24:23
  Speaker 2: better jobs on them before we get there, but... we
• 1:24:26
  Speaker 2: all keep going to the theater to see these things.
• 1:24:28
  Speaker 2: Even at a time when people don't go to the
• 1:24:30
  Speaker 2: theater that much, these legacy sequels keep coming through for
• 1:24:33
  Speaker 2: nostalgia reasons and people paying money. So they just greenlight
• 1:24:37
  Speaker 2: the next one. Yeah.
• 1:24:39
  Speaker 7: Yeah.
• 1:24:39
  Speaker 1: I mean, okay. And so that's, that's fair. That's fair.
• 1:24:42
  Speaker 1: I'm glad it made its money. Cause I, I don't
• 1:24:44
  Speaker 1: hate it. I think, you know, it's, it's not like
• 1:24:48
  Speaker 1: I'm mad at it or anything. Like, I don't feel like, Oh,
• 1:24:50
  Speaker 1: they ruined my childhood.
• 1:24:51
  Speaker 2: You know, it's, it's fun, but that's all I took
• 1:24:54
  Speaker 2: out of it. I was like, that was fun. Didn't
• 1:24:56
  Speaker 2: make much sense, but it was fun.
• 1:24:58
  Speaker 5: Yeah.
• 1:24:58
  Speaker 1: Yeah, exactly. Right.
• 1:25:00
  Speaker 7: Right.
• 1:25:00
  Speaker 1: I'm not, I wouldn't go back. I would, I'd have
• 1:25:03
  Speaker 1: to go back and see it in, like, little doses or, like, way... And,
• 1:25:07
  Speaker 1: you know, I've got to get some real distance beside it.
• 1:25:10
  Speaker 1: Go like, oh, let's see what that is again, you know?
• 1:25:13
  Speaker 2: Now that everyone does their own edits of movies, is
• 1:25:15
  Speaker 2: that what we're just going to take the seven different
• 1:25:17
  Speaker 2: plot lines and edit them down into, like, a 20,
• 1:25:19
  Speaker 2: 25-minute movie and you can just watch it like the
• 1:25:22
  Speaker 2: limited series that it was going to be?
• 1:25:24
  Speaker 1: That it should have been.
• 1:25:25
  Speaker 2: Like it probably should have been. This episode's about Monica Bellucci.
• 1:25:29
  Speaker 2: This episode's about Willem Dafoe.
• 1:25:32
  Speaker 5: Mm-hmm.
• 1:25:33
  Speaker 7: Yeah.
• 1:25:33
  Speaker 2: Yeah. I mean, that's kind of what you could do almost.
• 1:25:37
  Speaker 2: Cause they're very, some of them are very separate from
• 1:25:40
  Speaker 2: each other.
• 1:25:40
  Speaker 1: For real, man. For real.
• 1:25:43
  Speaker 2: So that's my question, I guess, since it made a
• 1:25:47
  Speaker 2: ton of money, is there a Beetlejuice cubed? Do you see?
• 1:25:53
  Speaker 2: Because they kind of did something like Scream. It's like
• 1:25:57
  Speaker 2: it went years before they came back and did another one.
• 1:25:59
  Speaker 2: Then when it was successful, they cranked another one out
• 1:26:01
  Speaker 2: before a year was out. Because the iron is hot
• 1:26:05
  Speaker 2: in their head, do they turn around and do another
• 1:26:07
  Speaker 2: Beetlejuice sequel?
• 1:26:08
  Speaker 1: Yeah yeah i could say it's probably too soon for
• 1:26:11
  Speaker 1: me but do you think they will right will they
• 1:26:17
  Speaker 1: i don't.
• 1:26:17
  Speaker 2: Because it made so much money and everybody was game
• 1:26:20
  Speaker 2: to come back i don't know i kind of feel
• 1:26:23
  Speaker 2: like you know he would sign on again he don't
• 1:26:25
  Speaker 2: care like if people are enjoying i mean and that's
• 1:26:28
  Speaker 2: the thing i think he's great and like he is
• 1:26:31
  Speaker 2: discerning he has picked some really solid dramas over the
• 1:26:35
  Speaker 2: years and made good movies but like if fans want
• 1:26:37
  Speaker 2: to see him come back and be batman he's like
• 1:26:39
  Speaker 2: i don't care i'll come back and be batman you
• 1:26:42
  Speaker 2: want me to lose i'll come back and be beetlejuice
• 1:26:43
  Speaker 2: like he he like doesn't seem to have a problem
• 1:26:47
  Speaker 2: with being like all right you want to do a
• 1:26:48
  Speaker 2: dumb popcorn movie i'll do that too i don't care
• 1:26:50
  Speaker 2: yeah sure i mean so i don't blame him like
• 1:26:54
  Speaker 2: but now i'm beginning to wonder i'm like well everything
• 1:26:57
  Speaker 2: kind of fired financially on this one and people didn't
• 1:27:01
  Speaker 2: love it like the first one, but they didn't hate
• 1:27:03
  Speaker 2: it enough that it got backlash, really. Everybody just went, man,
• 1:27:08
  Speaker 2: that was a lot going on. But that's certainly not
• 1:27:11
  Speaker 2: stopped them from making sequels in the past.
• 1:27:13
  Speaker 1: Definitely not. At this point, though, I would be kind
• 1:27:17
  Speaker 1: of curious to see Beetlejuice Goes to Hawaii.
• 1:27:20
  Speaker 2: There we go. Let's finally make this come full circle.
• 1:27:24
  Speaker 2: Beetlejuice Goes to Hawaii.
• 1:27:27
  Speaker 1: I mean, it could have been I mean, I guess,
• 1:27:30
  Speaker 1: I don't know. If they went for the Tiki thing, maybe...
• 1:27:34
  Speaker 1: I don't know, man. I don't see where you... What
• 1:27:38
  Speaker 1: would they... They would just have to pick a character.
• 1:27:40
  Speaker 1: I mean, if they go Jenna Ortega and they make
• 1:27:43
  Speaker 1: a movie about her.
• 1:27:43
  Speaker 2: Okay, that's not what they did this last time. I
• 1:27:48
  Speaker 2: don't know why you think they would in the third one.
• 1:27:50
  Speaker 2: They should, I agree. They should pick a character.
• 1:27:54
  Speaker 1: They should just pick a character and then.
• 1:27:56
  Speaker 2: and go with it and make a decision Tim come.
• 1:27:59
  Speaker 1: On yeah I mean I don't you know I mean
• 1:28:02
  Speaker 1: I don't know man it's like uh and and I
• 1:28:06
  Speaker 1: don't even know what I'm so I'm so confused it
• 1:28:08
  Speaker 1: feels like they they've they exhausted all the different storylines
• 1:28:13
  Speaker 1: and possible.
• 1:28:13
  Speaker 2: And you know, you see, that's the thing. This could
• 1:28:16
  Speaker 2: have been a seven sequel run and they knocked every
• 1:28:20
  Speaker 2: option out in the first sequel. Like, yeah, yeah.
• 1:28:23
  Speaker 1: I mean, yeah.
• 1:28:24
  Speaker 2: So maybe he thought they weren't ever going to give
• 1:28:27
  Speaker 2: him another chance again. He's like, I've gone this far
• 1:28:29
  Speaker 2: and didn't get to return to this character. This might
• 1:28:31
  Speaker 2: be it. I better cram everything in. I've thought of like,
• 1:28:35
  Speaker 2: that might be it. I don't know.
• 1:28:37
  Speaker 1: That might be it. I don't know. I don't know.
• 1:28:39
  Speaker 1: It just seems, it seems uh.
• 1:28:42
  Speaker 2: It's uh i can feel just how excited you are
• 1:28:51
  Speaker 2: for this.
• 1:28:52
  Speaker 1: Yeah i just i feel like yeah i feel like
• 1:28:54
  Speaker 1: i've just been at like uh I had the all-you-could-eat
• 1:28:58
  Speaker 1: buffet of Beetlejuice, and I just can't get back into it.
• 1:29:02
  Speaker 2: Not right now, man.
• 1:29:03
  Speaker 1: Yeah, not right now, man.
• 1:29:05
  Speaker 2: I'm so full. Give me a few years to work
• 1:29:08
  Speaker 2: off this glutton feeling I have.
• 1:29:11
  Speaker 1: Yeah, yeah. That's exactly what it is. That's exactly what
• 1:29:14
  Speaker 1: it is. And that might have been, like, the problem
• 1:29:16
  Speaker 1: with Furiosa was, like, you know, yeah, the Fury Road was, like,
• 1:29:20
  Speaker 1: such a feast of Mad Max, everything you wanted in
• 1:29:24
  Speaker 1: a Mad Max thing that, you know, for them to
• 1:29:28
  Speaker 1: chase it, give you another one, you know, so soon afterwards, uh,
• 1:29:33
  Speaker 1: it was just kind of like, dude, I'm still kind
• 1:29:34
  Speaker 1: of full.
• 1:29:38
  Speaker 2: That could be it. I mean, we saw it happen.
• 1:29:41
  Speaker 2: So that might be, that might be part of it.
• 1:29:47
  Speaker 1: Oh my gosh, dude.
• 1:29:48
  Speaker 2: Yeah. All right, so we have covered a lot of
• 1:29:51
  Speaker 2: ground on the Beetlejuice and the Beetlejuice, so... I think
• 1:29:56
  Speaker 2: we've sort of landed on what we think of it. Yeah.
• 1:30:01
  Speaker 2: We accomplish much, so it really is like Beetlejuice Beetlejuice.
• 1:30:05
  Speaker 1: It's really very much.
• 1:30:06
  Speaker 2: We went a long way, and we didn't really accomplish much,
• 1:30:08
  Speaker 2: but it was fun along the way, so... This episode
• 1:30:11
  Speaker 2: has become a mirror of our film. So there you go. Yeah, yeah.
• 1:30:18
  Speaker 1: And you're going like, yeah, I kind of walked away
• 1:30:20
  Speaker 1: going like, I still am not sure how I feel
• 1:30:23
  Speaker 1: about this movie. I feel like I need time to
• 1:30:24
  Speaker 1: digest it for a little bit longer.
• 1:30:26
  Speaker 2: For a decade. And then when you come back, you'll
• 1:30:28
  Speaker 2: be like, ah, yeah, that's still pretty packed. Yeah, it's
• 1:30:32
  Speaker 2: still got a lot of crap going on.
• 1:30:36
  Speaker 1: But it's fun.
• 1:30:37
  Speaker 2: I don't understand why.
• 1:30:40
  Speaker 1: The people that make these movies don't have these conversations
• 1:30:43
  Speaker 1: before they, they shoot, start shooting.
• 1:30:46
  Speaker 2: Well, and it's like, they haven't learned because there's so
• 1:30:49
  Speaker 2: many times, this is what I've said definitely over the
• 1:30:51
  Speaker 2: years about like freaking star Wars. Like they listen to
• 1:30:54
  Speaker 2: the fan base, but in the wrong way, like they
• 1:30:57
  Speaker 2: listen to people bitch about this and then they swing
• 1:31:00
  Speaker 2: back the other way. Like the pendulum swings completely the
• 1:31:04
  Speaker 2: opposite end. I'm like, okay, we're not going to do
• 1:31:06
  Speaker 2: any of that anymore. And I'm like, no, no, no, no, no.
• 1:31:08
  Speaker 2: Like just take into account some of what they're saying,
• 1:31:12
  Speaker 2: make minor adjustments and tighten up your story. Don't take
• 1:31:17
  Speaker 2: the wrong, like, well, we can never have that person
• 1:31:19
  Speaker 2: in a movie again. People hated them. I'm like, well, yeah,
• 1:31:23
  Speaker 2: but it's also 12 idiots on the internet that don't
• 1:31:25
  Speaker 2: shut up. That are those people that are like, you
• 1:31:28
  Speaker 2: can take some of it into account, but don't take everything.
• 1:31:31
  Speaker 2: So again, I feel like just the, the producers and,
• 1:31:35
  Speaker 2: you know, suits behind the scenes need to like, get
• 1:31:39
  Speaker 2: a group of geeks together and let them sit around
• 1:31:41
  Speaker 2: the table and just be like, okay, you all read
• 1:31:44
  Speaker 2: the screenplay. So what do you think? And then they'll
• 1:31:46
  Speaker 2: just bitch for a couple hours and you'd be like, okay,
• 1:31:49
  Speaker 2: we're not going to take everything you said into account,
• 1:31:52
  Speaker 2: but let's, let's weed this, some of the weird shit
• 1:31:56
  Speaker 2: out of there. Let's, you know, cut it down a
• 1:31:58
  Speaker 2: little bit. We'll make it a little more focused. And like,
• 1:32:00
  Speaker 2: that's right. I don't understand. Like, cause we've had like
• 1:32:04
  Speaker 2: 20 years or more of this, like ongoing internet fan
• 1:32:07
  Speaker 2: base that's, voices their opinion whether anyone wants it or
• 1:32:11
  Speaker 2: not so it's like why can't they learn to use
• 1:32:14
  Speaker 2: that to their advantage and like bring them in beforehand
• 1:32:18
  Speaker 2: but so you don't have to like spend millions and
• 1:32:21
  Speaker 2: millions of dollars to listen to the bitch like bring
• 1:32:23
  Speaker 2: them in for a few thousand bucks and sit them
• 1:32:26
  Speaker 2: around a table and give them a job and then
• 1:32:28
  Speaker 2: be like Oh, hey, we saved a couple of steps here.
• 1:32:31
  Speaker 1: Yeah, yeah, absolutely.
• 1:32:34
  Speaker 2: We saved a lot of money in a couple of
• 1:32:35
  Speaker 2: steps and we got this done before we committed it
• 1:32:38
  Speaker 2: all to film.
• 1:32:40
  Speaker 1: Yeah, yeah, yeah, yeah. It's kind of like Ain't It
• 1:32:42
  Speaker 1: Cool News, you know, where they would like review leaked
• 1:32:46
  Speaker 1: scripts and everything. And, you know, I mean, I don't
• 1:32:49
  Speaker 1: know if it ever did. I don't know if any
• 1:32:51
  Speaker 1: of this feedback actually helps anybody come up with anything.
• 1:32:55
  Speaker 2: Well, I mean, I thought that just in general, like
• 1:32:58
  Speaker 2: of us in all of the years doing this, I
• 1:33:01
  Speaker 2: feel like we've learned to spot so many problems with
• 1:33:04
  Speaker 2: just a screenplay or a finished film or whatever that
• 1:33:07
  Speaker 2: i'm just like somebody not necessarily me i'm an idiot
• 1:33:11
  Speaker 2: but somebody out there has got it down so well
• 1:33:14
  Speaker 2: that you could bring them in as a as a
• 1:33:16
  Speaker 2: script doctor and just be like okay what's the problem
• 1:33:19
  Speaker 2: here and like right i would think just having somebody
• 1:33:23
  Speaker 2: like from the outside like once you're that close to
• 1:33:25
  Speaker 2: it you can't make the adjustments and make it make
• 1:33:27
  Speaker 2: sense tim burton right but like if you bring in
• 1:33:30
  Speaker 2: some dork off the internet that actually maybe has logged
• 1:33:33
  Speaker 2: in a little time in the industry and knows what
• 1:33:35
  Speaker 2: he's talking about. And like, right. He or she, and then, um,
• 1:33:39
  Speaker 2: sit down and, and like, just kind of weed out
• 1:33:42
  Speaker 2: the bullshit. Like, yeah, just things that don't need to
• 1:33:45
  Speaker 2: be there and tighten it up. Right.
• 1:33:47
  Speaker 1: It just seems like they did one person to say like, Hey,
• 1:33:50
  Speaker 1: there's too many bad guys in this.
• 1:33:52
  Speaker 2: Again, I feel like when you're a nobody, every suit
• 1:33:55
  Speaker 2: in the world will tell you that when you're Tim
• 1:33:57
  Speaker 2: Burton and you've made them billions of dollars. I guess
• 1:34:01
  Speaker 2: nobody wants to tell him that. You're just like, well,
• 1:34:03
  Speaker 2: we got him back and he brought Keaton with him.
• 1:34:06
  Speaker 2: And like, we want to keep this money train a rolling.
• 1:34:08
  Speaker 2: I guess we'll let him put in 16 extra people
• 1:34:11
  Speaker 2: that don't need to be in this movie. And there
• 1:34:13
  Speaker 2: you go.
• 1:34:14
  Speaker 1: That is totally what it is. There was no Gary
• 1:34:18
  Speaker 1: Kurtz on this.
• 1:34:19
  Speaker 2: Yeah. Nobody's, nobody's telling him no. Like you need somebody
• 1:34:23
  Speaker 2: equally as big to come in and be like, no, no, no, no, no, no. look,
• 1:34:28
  Speaker 2: you need somebody there to kind of shoot you down sometimes.
• 1:34:31
  Speaker 1: That's it.
• 1:34:32
  Speaker 2: Once you get to this level of filmmaking, hardly anybody
• 1:34:35
  Speaker 2: shoots you down anymore.
• 1:34:37
  Speaker 1: Oh my gosh. I think you nailed it right there.
• 1:34:40
  Speaker 1: I think that's the main problem with this movie is
• 1:34:42
  Speaker 1: nobody told Tim Burton he couldn't.
• 1:34:44
  Speaker 2: I mean, that's his whole career. From the time we
• 1:34:48
  Speaker 2: turn that corner to the time we start hitting it.
• 1:34:52
  Speaker 2: Definitely by the time you get to the What all
• 1:34:55
  Speaker 2: did he make? Did he make the Oz ones? No,
• 1:34:57
  Speaker 2: that's Raimi. See, I mixed him up because he got
• 1:35:00
  Speaker 2: the same way. So, like, what was the ones that
• 1:35:03
  Speaker 2: Tim was doing that was out of control?
• 1:35:05
  Speaker 1: Oh, geez. Well, let's see here. I'm just looking. Well,
• 1:35:10
  Speaker 1: you know, you know, really, man, kind of Mars attacks
• 1:35:14
  Speaker 1: is kind of overstuffed.
• 1:35:16
  Speaker 2: I mean, that's one of those. I think that's one.
• 1:35:19
  Speaker 2: That's probably the first point because he was still... up
• 1:35:23
  Speaker 2: and coming by the time he made edward scissorhands it's
• 1:35:25
  Speaker 2: impressive that they let him make that weird ass story
• 1:35:28
  Speaker 2: but it's still pretty tight and still pretty focused but
• 1:35:31
  Speaker 2: you get to like he had just had enough momentum
• 1:35:35
  Speaker 2: and enough money made on these last few films that
• 1:35:37
  Speaker 2: like they did kind of give him the go-ahead and
• 1:35:40
  Speaker 2: that one seems like a very like self-satisfying film like
• 1:35:45
  Speaker 2: nobody else in the world except a handful of geeks
• 1:35:48
  Speaker 2: cared about mars attacks as a property but he loved
• 1:35:51
  Speaker 2: it so much that he's like, okay, not only am
• 1:35:53
  Speaker 2: I going to make this, but I'm going to make
• 1:35:55
  Speaker 2: this a huge Epic with a massive cast. And like,
• 1:35:58
  Speaker 2: that was part of it. I think he was sort
• 1:36:00
  Speaker 2: of making fun of those old, you know, seventies disaster
• 1:36:03
  Speaker 2: films with huge cast. Like, I think part of it
• 1:36:06
  Speaker 2: is a commentary, but it also becomes victim of its
• 1:36:10
  Speaker 2: own problem of having a huge cast and a giant
• 1:36:13
  Speaker 2: story with all these random people and, crazy characters that, again,
• 1:36:18
  Speaker 2: nobody's invested in, really. That's it. I enjoy that movie,
• 1:36:22
  Speaker 2: but it's kind of that same thing of, like, it's fun,
• 1:36:26
  Speaker 2: but you can see he's the one having the most fun.
• 1:36:29
  Speaker 2: More than the audience, sometimes. That one is almost entirely
• 1:36:33
  Speaker 2: made for Tim Burton. So, yeah, that may be the
• 1:36:37
  Speaker 2: first time it kind of started going off the rails.
• 1:36:41
  Speaker 2: I feel like he was still pretty controlled with, like,
• 1:36:44
  Speaker 2: your Sleepy Hollow and Oh, yeah, yeah, yeah. What's the
• 1:36:48
  Speaker 2: murdering barber dude? Like, that one, again, nobody needed to
• 1:36:53
  Speaker 2: be singing, probably. That wasn't really a cast of singers,
• 1:36:56
  Speaker 2: so putting them in a musical is maybe the problem.
• 1:36:59
  Speaker 2: But other than that, the visuals were great on that.
• 1:37:02
  Speaker 2: It still had a decent story that it stole from
• 1:37:05
  Speaker 2: the play or whatever.
• 1:37:07
  Speaker 1: Yeah, yeah.
• 1:37:08
  Speaker 2: I mean, he was just slowly inching his... Oh, no, wait.
• 1:37:12
  Speaker 2: I remember Planet of the Apes. That is the full
• 1:37:16
  Speaker 2: off-the-rails moment. That's it. He started rattling a little bit
• 1:37:19
  Speaker 2: back at Mars Attacks. The Planet of the Apes was
• 1:37:22
  Speaker 2: the full-on. You've gone way too into the digital. Even though,
• 1:37:27
  Speaker 2: don't get me wrong, those makeup effects were phenomenal. The
• 1:37:31
  Speaker 2: two main monkeys are amazing to look at. But the
• 1:37:35
  Speaker 2: plot's insane. It makes no real sense. You bring in
• 1:37:39
  Speaker 2: a questionable lead. And you're doing a property that at
• 1:37:43
  Speaker 2: the time nobody was asking to be remade. And then
• 1:37:46
  Speaker 2: he went about it a way that nobody really liked.
• 1:37:49
  Speaker 2: I feel like that's the first one that people went, wait,
• 1:37:51
  Speaker 2: what are you doing?
• 1:37:52
  Speaker 1: Yeah, yeah.
• 1:37:54
  Speaker 2: And then from that point on, it goes off the rails.
• 1:37:57
  Speaker 1: Yeah, yeah. Well, he has the saving grace. I'm looking
• 1:38:00
  Speaker 1: at his filmography here. You got Big Fish.
• 1:38:02
  Speaker 2: Big Fish aside, I think Big Fish is kind of
• 1:38:04
  Speaker 2: a masterpiece that skated by. It was under the radar,
• 1:38:08
  Speaker 2: but it's pretty impressive when you go back.
• 1:38:10
  Speaker 1: And watch that one. Yeah, yeah. It's like about people,
• 1:38:12
  Speaker 1: you know?
• 1:38:13
  Speaker 2: Yeah, it's got weird effects every once in a while,
• 1:38:16
  Speaker 2: but it's still a human story.
• 1:38:18
  Speaker 1: Right, right. But then, you know, I would say Charlie
• 1:38:21
  Speaker 1: and the Chocolate Factory is more of along the lines.
• 1:38:23
  Speaker 1: That's a miss.
• 1:38:25
  Speaker 2: Definitely for me. I know some people still kind of
• 1:38:28
  Speaker 2: reference that like it's their. willy wonka but i'm like
• 1:38:31
  Speaker 2: no no no yeah no i love willy wonka that
• 1:38:34
  Speaker 2: ain't willy wonka that ain't my.
• 1:38:35
  Speaker 8: Willy wonka yeah i know i'm just being a spoiled
• 1:38:39
  Speaker 8: brat but i'm like right the other one's so good
• 1:38:42
  Speaker 8: i can't watch this one and not compare and Johnny's
• 1:38:45
  Speaker 8: just that's Johnny off the rails too like they both
• 1:38:48
  Speaker 8: simultaneously started like we all know the turning point for
• 1:38:52
  Speaker 8: him is.
• 1:38:52
  Speaker 2: Jack Sparrow and it's like he used to be this
• 1:38:54
  Speaker 2: great actor and then he did Jack Sparrow and it
• 1:38:57
  Speaker 2: ruined his career don't get me wrong he made more
• 1:39:00
  Speaker 2: money from that point on but like his acting roles
• 1:39:03
  Speaker 2: suffer after that.
• 1:39:05
  Speaker 1: Yeah, because he wanted to make big, take these big
• 1:39:08
  Speaker 1: swings on everything, like putting the bird on his head
• 1:39:10
  Speaker 1: for Lone Ranger.
• 1:39:11
  Speaker 2: Everything's over the top. Big, dumb performances. Almost all the time.
• 1:39:15
  Speaker 2: Every once in a while, he'd still drain it in.
• 1:39:17
  Speaker 2: But most of the big budget stuff was just him
• 1:39:19
  Speaker 2: acting like an idiot.
• 1:39:21
  Speaker 1: It's like.
• 1:39:26
  Speaker 2: But yeah.
• 1:39:27
  Speaker 1: The problem with successful people, they don't get.
• 1:39:32
  Speaker 2: Again, nobody told him no. Somebody needed to be like, Johnny,
• 1:39:36
  Speaker 2: what the hell are you doing? And they didn't. And
• 1:39:40
  Speaker 2: that's the problem.
• 1:39:41
  Speaker 1: That's it, man. That's it. These things look good on paper,
• 1:39:46
  Speaker 1: but just because they don't... They need somebody calling them
• 1:39:51
  Speaker 1: on their bullshit. People need restrictions. Art needs conflict and
• 1:39:56
  Speaker 1: restrictions so that people are engaged. You know, so the
• 1:40:02
  Speaker 1: creators are engaged and they got to be hitting up
• 1:40:04
  Speaker 1: against like some kind of limitation, I think, to wake
• 1:40:07
  Speaker 1: them up and, Otherwise they're just like, you know, that
• 1:40:10
  Speaker 1: looks good. That's good.
• 1:40:12
  Speaker 2: Alice in Wonderland. That's the one I was thinking of.
• 1:40:14
  Speaker 2: That was his Wizard of Oz that Sam Raimi did.
• 1:40:16
  Speaker 2: They both came out around that time. They both used
• 1:40:18
  Speaker 2: to be amazing directors and they made this big CG
• 1:40:22
  Speaker 2: bullshit that I'm like, I don't want to see either
• 1:40:25
  Speaker 2: of these movies.
• 1:40:26
  Speaker 1: Yeah.
• 1:40:27
  Speaker 2: It's a migraine. That Alice in Wonderland thing was the
• 1:40:29
  Speaker 2: one I was thinking of that was like that. He
• 1:40:31
  Speaker 2: was too far gone at that point. Like I didn't
• 1:40:33
  Speaker 2: even want to see that one. I was like, I
• 1:40:35
  Speaker 2: watched most of the other ones, but we got there
• 1:40:37
  Speaker 2: and I was just like, I don't know what you're doing, man.
• 1:40:40
  Speaker 2: And then I was forced to go for the show
• 1:40:43
  Speaker 2: for some reason. We did Dark Shadows. And I'm like, dude,
• 1:40:46
  Speaker 2: you've lost it. Like, what are you doing? Like, this
• 1:40:48
  Speaker 2: isn't even funny anymore. Like, you missed the point of
• 1:40:51
  Speaker 2: this story. And it's not even funny. So, yeah, until Frankenweenie,
• 1:40:57
  Speaker 2: that was the first time I saw something promising again.
• 1:40:59
  Speaker 2: I was like, okay, wait, he's still in there. He's
• 1:41:02
  Speaker 2: just had a lot of money thrown at him.
• 1:41:04
  Speaker 1: He keeps making bad decisions.
• 1:41:06
  Speaker 2: But he's still in there because Frank and Weenie is awesome.
• 1:41:08
  Speaker 1: Yeah, it's great. It's great.
• 1:41:10
  Speaker 2: He's had a crazy career.
• 1:41:12
  Speaker 1: He has had a crazy career and everything. You know,
• 1:41:16
  Speaker 1: I've got no, you know, I'm sure, you know, if
• 1:41:20
  Speaker 1: he comes up with something, you know, I'm always interested
• 1:41:23
  Speaker 1: in what he's going to do next, you know, and everything.
• 1:41:25
  Speaker 1: But it's, you know, I think it's probably... We're in
• 1:41:30
  Speaker 1: such a world of people terrified to make a movie
• 1:41:37
  Speaker 1: now because everything has to make, you know, like $ 500
• 1:41:42
  Speaker 1: million to make a profit now.
• 1:41:45
  Speaker 2: Especially if we're talking theatrical, yeah. If you've got to
• 1:41:48
  Speaker 2: put it out there and get it in theaters and
• 1:41:50
  Speaker 2: make people get into theaters, like, it's got to be
• 1:41:53
  Speaker 2: a huge thing. It's got to be a crazy tentpole
• 1:41:56
  Speaker 2: release or nobody's going to do it.
• 1:41:59
  Speaker 1: That's it. That's it.
• 1:42:00
  Speaker 2: And even then they don't sometimes. It's still a crapshoot
• 1:42:03
  Speaker 2: whether or not they're going to show up for even
• 1:42:05
  Speaker 2: the big movies.
• 1:42:08
  Speaker 1: So, yeah, it's not a great environment to make stuff.
• 1:42:15
  Speaker 2: I thought maybe, like, once I saw he was attached
• 1:42:18
  Speaker 2: to Wednesday, I was like, maybe this is his new move.
• 1:42:20
  Speaker 2: Maybe because he's had such an iffy track record in
• 1:42:23
  Speaker 2: theaters that, like, maybe... this is a different platform. It's
• 1:42:27
  Speaker 2: a smaller budget. It's a smaller like production, I would
• 1:42:30
  Speaker 2: assume than your crazy Beetlejuice stuff. So it's like, maybe
• 1:42:34
  Speaker 2: he's just going to go with that and just make
• 1:42:36
  Speaker 2: other people's stories and not where it just be a
• 1:42:38
  Speaker 2: director for hire on streaming services. But no, no, he
• 1:42:42
  Speaker 2: went back to Beetlejuice.
• 1:42:46
  Speaker 1: And so we're like, thank you.
• 1:42:48
  Speaker 2: I guess. I mean, it's kind of hard to have
• 1:42:51
  Speaker 2: director for hire Tim Burton. He's really got to get
• 1:42:55
  Speaker 2: to the point of phoning it in when you can
• 1:42:57
  Speaker 2: just hand him anything. And he'll be like, yeah, whatever.
• 1:43:00
  Speaker 2: I'll show up on set, whatever. So that's equally sad,
• 1:43:04
  Speaker 2: I guess.
• 1:43:05
  Speaker 1: That'd be a very weird episode of ER or whatever.
• 1:43:08
  Speaker 2: Yeah.
• 1:43:10
  Speaker 1: That would be a very weird episode of Grey's Anatomy. Yeah.
• 1:43:13
  Speaker 2: Like, what the hell is going on this week? But, again,
• 1:43:20
  Speaker 2: they usually don't let directors have much style in TV. So,
• 1:43:24
  Speaker 2: that's why the producer ends up running it. The showrunner
• 1:43:27
  Speaker 2: is the showrunner. Directors have little influence on a week-to-week thing.
• 1:43:35
  Speaker 1: Joe Dante was doing all these TV shows like Hawaii
• 1:43:39
  Speaker 1: Five-0 and stuff like that. I seriously doubt there was...
• 1:43:41
  Speaker 1: Any very much eerie Indiana about those episodes.
• 1:43:46
  Speaker 2: Man, you got to keep your insurance up. What do
• 1:43:48
  Speaker 2: you want?
• 1:43:49
  Speaker 1: You got to keep your insurance up.
• 1:43:50
  Speaker 2: That's pretty much how it works. I mean, you got
• 1:43:52
  Speaker 2: to show up and log in just enough time doing
• 1:43:55
  Speaker 2: something to keep your insurance up and keep your benefits rolling. And,
• 1:43:59
  Speaker 2: you know. It's a business. I don't blame them.
• 1:44:02
  Speaker 1: Yeah, sure, man. It's like Starbucks. If you work 20 hours,
• 1:44:06
  Speaker 1: you get the health insurance at Starbucks.
• 1:44:08
  Speaker 2: So we're going to see Joe Dante out on strike
• 1:44:11
  Speaker 2: right now. These bastards aren't paying us enough to live on.
• 1:44:16
  Speaker 2: My mansion needs groundskeeping, damn you. I don't know if
• 1:44:24
  Speaker 2: Joe lives in a mansion, but I hope so, really.
• 1:44:27
  Speaker 2: He's made some awesome movies.
• 1:44:28
  Speaker 1: I like that guy. I would hope so. I'd hope so.
• 1:44:30
  Speaker 1: I hope that Gremlin's money keeps coming in.
• 1:44:33
  Speaker 2: I hope so. Oh, man.
• 1:44:37
  Speaker 1: Brian, this was a good conversation, dude. It was exhausting.
• 1:44:40
  Speaker 2: Once again, we dug in a little deeper than we
• 1:44:43
  Speaker 2: probably intended, but here we are. Like, every time we
• 1:44:46
  Speaker 2: sit down together.
• 1:44:48
  Speaker 1: Absolutely. Absolutely. It is kind of like, you know, doing
• 1:44:52
  Speaker 1: an emotional purge at a therapist. Yeah. Okay. Oh, I
• 1:44:56
  Speaker 1: feel good.
• 1:44:56
  Speaker 2: I think that's why I keep at it because we're
• 1:44:59
  Speaker 2: both a little unstable. So I think we need a
• 1:45:01
  Speaker 2: therapy session on a regular basis and then it benefits
• 1:45:06
  Speaker 2: us both and we move on with our lives. And
• 1:45:08
  Speaker 2: then when things get a little iffy, we come back and.
• 1:45:10
  Speaker 1: We do another one, you know, that's it. That's it.
• 1:45:16
  Speaker 2: Oh man. Woo. Well then I guess we will round
• 1:45:20
  Speaker 2: out this one and we'll, We're maybe already planning out
• 1:45:24
  Speaker 2: that next one. We might have an even more insane
• 1:45:27
  Speaker 2: movie in mind for the next go-round. I say we
• 1:45:31
  Speaker 2: just bank it for that and we'll be back when
• 1:45:34
  Speaker 2: we're unstable enough to do another episode.
• 1:45:37
  Speaker 1: That's it. That's right. When the moon is full and
• 1:45:41
  Speaker 1: the thirst for blood becomes overwhelming, we'll be back.
• 1:45:45
  Speaker 2: We'll be back. That's what we do. That's it.
• 1:45:49
  Speaker 4: Cool.
• 1:45:51
  Speaker 2: All right, that having been said, otherwise that about does it.
• 1:45:55
  Speaker 2: We will return next time, same geek feed. Thanks for listening.
• 1:46:14
  Speaker 9: And I felt used, kind of confused. I would refuse
• 1:46:18
  Speaker 9: to look in their eyes.
• 1:46:20
  Speaker 2: But now I really love creepy old guys.
• 1:46:24
  Speaker 1: We all do.
• 1:46:25
  Speaker 2: Dumb disease.
• 1:46:27
  Speaker 5: Skin like grilled cheese.
• 1:46:28
  Speaker 9: Baggy old asses. Baggy old asses. Cute and vile.
• 1:46:33
  Speaker 2: Hey, baby, smile.
• 1:46:34
  Speaker 9: Take each girl at best.
• 1:46:37
  Speaker 2: They make me blush.
• 1:46:38
  Speaker 4: Can't get enough now.
• 1:46:43
  Speaker 9: I'm marrying my.
• 1:46:45
  Speaker 2: Own creepy old guy.
• 1:46:47
  Speaker 4: I'm a creepy old guy.
• 1:46:49
  Speaker 2: My creepy old guy, my creepy old guy.
• 1:46:52
  Speaker 9: I'm so happy I could cry. Girls may seem disgusted,
• 1:46:57
  Speaker 9: but we're actually just shy.
• 1:47:00
  Speaker 1: The creepy old girl, creepy old girl.
• 1:47:03
  Speaker 9: I laid that wedding to three folks step aside.
• 1:47:08
  Speaker 4: I am older, but I'm glad I waited.
• 1:47:16
  Speaker 9: I am marrying my creepy old guy. Creepy old guy.
• 1:47:21
  Speaker 1: Creepy old guy. Creepy old guy.
• 1:47:23
  Speaker 2: She's my very own guy.
• 1:47:24
  Speaker 9: Creepy old guy. Creepy old guy.
• 1:47:28
  Speaker 1: Creepy old guy.
• 1:47:29
  Speaker 2: Fix his hair. I'm getting prepared for Armageddon. Showing the
• 1:47:36
  Speaker 2: groom crawls out of a tomb.
• 1:47:37
  Speaker 9: Hey, hey, you don't want it. So dim the lights,
• 1:47:42
  Speaker 9: pick up some rice, say something nice.
• 1:47:44
  Speaker 3: It's my day time.
• 1:47:45
  Speaker 2: I'm getting hitched on my creepy old guy. It's showtime.
• 1:47:49
  Speaker 2: Creepy old guy, creepy old guy.
• 1:47:57
  Speaker 4: Have you guys seen Lolita?
• 1:48:00
  Speaker 1: This is just like that, but fine.
• 1:48:02
  Speaker 2: Creamy old dude, creamy old dude.
• 1:48:05
  Speaker 9: Our faith has been renewed.
• 1:48:07
  Speaker 2: Our love is alive.
• 1:48:20
  Speaker 9: I wanna see a tear in every eye as I
• 1:48:24
  Speaker 9: pass by And all that on the outside, he's disgusting
• 1:48:30
  Speaker 9: And even on the inside, he's disgusting But I know
• 1:48:34
  Speaker 9: that this done, I'm making it right With my family
• 1:48:41
  Speaker 9: by my side.
• 1:49:04
  Speaker 4: OMG, dressed to a T, fancy and formal. I found
• 1:49:13
  Speaker 4: me a wife, l'chaim.
• 1:49:15
  Speaker 2: To life.
• 1:49:16
  Speaker 4: This is so normal. I was ignored, but now I'm adored.
• 1:49:23
  Speaker 4: Cause I extorted torture and lied. Give it up for
• 1:49:29
  Speaker 4: my underage bride.
• 1:49:31
  Speaker 2: Here comes the bride. Here comes the bride. I can't
• 1:49:40
  Speaker 2: believe some cultures think this kind of thing's all right.
• 1:49:44
  Speaker 1: My creepy old guy, my creepy old guy.
• 1:49:48
  Speaker 2: Doesn't he deserve a.
• 1:49:50
  Speaker 9: Chance at life?
• 1:49:52
  Speaker 2: Oh, yeah, that's right. Yeah, that's right.
• 1:49:56
  Speaker 9: Let's make him laugh.
• 1:49:59
  Speaker 2: I am.
• 1:50:16
  Speaker 1: I think the sugar crash of Beetlejuice, Beetlejuice, I think
• 1:50:20
  Speaker 1: I just don't have it in me.
• 1:50:22
  Speaker 2: It sucked the life out of you.
• 1:50:24
  Speaker 1: It sucked the life out of me.
• 1:50:24
  Speaker 2: Like Monica Bellucci.
• 1:50:26
  Speaker 1: Like Monica Bellucci.
• 1:50:27
  Speaker 3: This episode is a production of Movie Meltdown, produced and
• 1:50:30
  Speaker 3: edited by The Oddity Studios, with opening music performed by
• 1:50:33
  Speaker 3: The Empires. For more on how to sponsor or support
• 1:50:36
  Speaker 3: the show, email producer at moviemeltdown.com.
• 1:50:39
  Speaker 1: Talk hard!
• 1:50:45
  Speaker 2: This program is a proud member of the Battleship Pretension Fleet.