Latest / All The Right Movies / Speed (1994) | Ep. 37 - Part 1

Transcript

Speed (1994) | Ep. 37 - Part 1 · All The Right Movies

• 0:04
  All the movies. Quiz hotshot.
• 0:07
  There's a bomb on a bus. Once the bus goes 50 miles an
• 0:12
  hour, bomb is armed. If it drops below 50, it blows
• 0:18
  up. What do you do?
• 0:21
  What do you do? I'd want to know what bus it
• 0:24
  was. You think I'm going to tell you
• 0:26
  that? Yes.
• 0:29
  Very good. There are rules, Jack, and I
• 0:32
  want you to get this right. No one goes off the bus.
• 0:36
  You try to take any passengers off the bus, I will detonate it.
• 0:40
  Having foiled A lunatic bad guy in an LA high rise, officer Jack
• 0:44
  Travan is once again face to face with bomb nut Howard Payne.
• 0:47
  But this time there's a bomb on the bus.
• 0:49
  If it goes below 50 miles an hour it goes up in flames.
• 0:52
  Cinematographer turned first time director Yan De Bond
• 0:55
  brought his A game to speed a white knuckle workout in the
• 0:58
  mould of Die Hard with a simple concept and a great cast which
• 1:01
  speed all the way to the top of the box office.
• 1:03
  My name is Luke and the hot shots with me are Matt.
• 1:06
  I'm going to go home, have some sex.
• 1:08
  And Westie. I'm going to rip your fucking
• 1:11
  spine out, I swear to God. All the right movies are staying
• 1:14
  above 50, held hostage at the whim of a madman.
• 1:35
  Hi everyone, welcome back to All the Right Movies, a podcast with
• 1:39
  some big round hairy cojones. Oh, that's disgusting, but
• 1:43
  lovely, yeah. If you couldn't tell by that we
• 1:46
  are talking about the king of all Die Hard on a dot dot dot
• 1:49
  films. It is speed.
• 1:51
  Yes, yes it is. Now before we get behind the
• 1:53
  wheel, we're going to let you know about the incredible
• 1:55
  content that you can listen to by becoming in all the right
• 1:58
  movies. Perry on Supporter Lovely as
• 2:00
  per. As per.
• 2:01
  For new listeners, what you're listening to now is our classic
• 2:04
  podcast. We release a classic show every
• 2:06
  two weeks, and only the most recent 20 episodes are available
• 2:09
  for all to listen. The rest over 70 podcasts.
• 2:14
  That's a hell of a long time. A lot of effort.
• 2:17
  Yeah, they are reserved in our podcast archive for our patrons.
• 2:20
  And if you're looking for action movies, you know we've got the
• 2:22
  likes of Predator First, Blood, Terminator Two Point Break,
• 2:26
  obviously, and many, many more in there.
• 2:29
  We've also produced over 55 podcasts exclusive to Patreon
• 2:32
  only and we create a brand new monthly podcast only for our
• 2:36
  patrons. Our iconic that's the that's the
• 2:38
  iconic double Feature Show I. Would agree with you?
• 2:41
  Yeah, I think it's justified by now.
• 2:43
  It's certainly. Icons featured on it.
• 2:45
  But yes, there you are. 3 for example.
• 2:49
  Always takes a left turn when I don't need to.
• 2:52
  Also, you get to vote on the films that we cover, the scores
• 2:55
  that they get as well. So a load of five star movie
• 2:57
  content. If you do like this show, you'll
• 2:59
  love being an ATRM patron. Head over to patreon.com/all the
• 3:03
  Right Movies to get immediate access.
• 3:05
  You can also subscribe to us on Apple Podcast so you get access
• 3:08
  to our complete classic podcast archive.
• 3:11
  So if you can spare the door, it'd be much appreciated because
• 3:14
  it allows us to continue firing on all fronts.
• 3:16
  Thank you very much. Everyone does thank you guys,
• 3:18
  really appreciate it. Any help us really really.
• 3:20
  Appreciate it. It's money Q us.
• 3:23
  That's what it is. No dye packs or anything.
• 3:26
  You'll be fine, yeah. Three points for your book.
• 3:29
  Through Bang for your book, Yeah.
• 3:30
  OK, so back to it then, Wesley. This was your choice.
• 3:33
  So pop quiz hotshot, they Why do you want to talk about?
• 3:36
  Sweet. Why not classic?
• 3:41
  The classic referee. Classic.
• 3:42
  Why? Why not next?
• 3:45
  I mean, it's 30 years old this year.
• 3:47
  Can you believe it? I mean, I remember when I first
• 3:49
  saw it. I got on a terrible copy on BHS
• 3:52
  from school and it was horrible copy, but I loved it.
• 3:57
  I don't know, I just watched it over and over again, just like
• 4:00
  when Jack puts that film on loop.
• 4:02
  It was the same for me, but just this two hour loop of this, it's
• 4:05
  this film. I was like, this is amazing.
• 4:07
  I'm thirteen years old and Sandra Bullock's in this and
• 4:10
  look at her and look at Keanu Reeves in this and that's what I
• 4:12
  want to do when I grow up and wow, this is so exciting.
• 4:16
  It was just like that. It was just one of those.
• 4:17
  I was just lovely to weapon growing up and I just love that
• 4:20
  kind of vibe. Love Die Hard obviously.
• 4:21
  And this was just you. I was like, this is new and it's
• 4:24
  not something that me dad's seen yet or anyone else has seen yet.
• 4:28
  And I'm seeing it before everybody else.
• 4:30
  And I think it was that excitement when I was a kid.
• 4:32
  I still put it on now and get that new opening credits.
• 4:34
  I still see the shit copy. I kind of see it like crystal
• 4:37
  clear. I can still see the Gray and all
• 4:39
  over it and all the noise. Like the bleed?
• 4:41
  Yeah, the colors. Yeah, like, I could never read
• 4:44
  the titles and I'm just pissed off that I can read them now.
• 4:46
  It's just like, there's too much clarity to it.
• 4:48
  Yeah, but it just keeps coming back.
• 4:50
  And every time I put it on, I get that level of excitement
• 4:52
  again of just the first time I've seen it.
• 4:55
  And it's always stuck with this. And it's one of them films that
• 4:57
  doesn't take itself too seriously at all.
• 4:59
  You can let yourself completely go with it.
• 5:01
  It keeps you engaged for the full runtime.
• 5:04
  There's always something just to look at, to enjoy, think about.
• 5:07
  I won't even say it's a guilty pleasure.
• 5:09
  I have absolutely no guilt. Enlightened speed.
• 5:11
  I think it's a fantastic, fantastic action film.
• 5:14
  It is. And it laid a lot of blueprints
• 5:16
  for for films that we're going to come after it, which we'll
• 5:18
  obviously talk about. So I honestly think it's very
• 5:20
  important to the genre and with the genres a little bit throw
• 5:23
  away for most people when they're serious about cinema.
• 5:25
  But I think if you look at Action Cinema, it's a very, very
• 5:27
  important film when it landed, how it landed, and yeah, I'm
• 5:31
  really looking forward to talking about.
• 5:32
  It's one of my real, real nostalgic favorites.
• 5:35
  Wonderful. Yeah.
• 5:36
  To kind of piggyback on what you were seeing there.
• 5:38
  Where? Steel.
• 5:38
  Want to see this up front? See him what?
• 5:42
  He said. It isn't lost on me that you
• 5:45
  fellas are coming straight off the back of covering Ex Machina
• 5:48
  with John, a high concept cerebral sci-fi attack and big
• 5:52
  existential themes. And I'm the one doing the Leave
• 5:56
  Your Brain at the Door 90s action film.
• 5:58
  But it was my choice. So don't.
• 6:00
  Don't paint yourself into a corner.
• 6:02
  But we did say that at the end of the Ex Machina episode, it's
• 6:04
  like, what's next? Blood speed.
• 6:06
  Speed. There's a problem in the puss.
• 6:07
  Yeah, that's it. We need a palate cleanser.
• 6:09
  Let's do. It no westy theories on this
• 6:11
  one. So maybe I need to up my game on
• 6:17
  the next one. Next podcast, I'm sure we'll be
• 6:19
  on one of the big thinkers in movies.
• 6:21
  You know, the Kurosawa, Kubrick, Michael Bay, one of those guys.
• 6:25
  Michael, one of those Pearl Harbor in there.
• 6:29
  But despite what you might think, I don't have too much of
• 6:31
  an affinity with this film. I do remember it coming out.
• 6:34
  I had that bad copy Westy, and I've seen it a few times
• 6:37
  throughout the years, but it's never been an absolute favorite.
• 6:40
  Right. It's obviously noticeable
• 6:41
  because it stands head and shoulders above most in the Die
• 6:44
  Hard knockoff subgenre, probably being a bit unkind saying that.
• 6:47
  But, you know, it's kind of lumped in with those films.
• 6:50
  Yeah, and it's well worth our time because it affirmed Keanu
• 6:52
  Reeves as a box office starlet introduced us to the talents of
• 6:56
  America sweetheart Sandra Bullock.
• 6:58
  Absolutely. Woo Hoo.
• 7:00
  Oh, right. I kind of praise her high enough
• 7:05
  She's. She's wonderful.
• 7:08
  She's just amazing. And anything with Dennis Hopper
• 7:10
  playing a deranged, vengeful madman?
• 7:12
  Definitely, And I'm all in. Absolutely.
• 7:15
  Reeve isn't it for this. I think it's aged very, very
• 7:17
  well. The effects really stand up and
• 7:20
  I think it's got glorious breakneck action.
• 7:22
  And for a near 2 hour film, it absolutely does not quit.
• 7:26
  Not at all. Definitely doesn't.
• 7:28
  And Matt, what about you? Interested about this one?
• 7:30
  Yeah, Yeah. No, no, it would be like that.
• 7:35
  Do I? This film was seemingly
• 7:37
  everywhere when I was a teenager.
• 7:38
  Like you guys, like out of school when this came out and it
• 7:41
  was just like everybody was saying, have you seen that film
• 7:43
  about the bomb and the boss? Like it can't go below 50, all
• 7:46
  blow up and that's all you needed.
• 7:48
  Like when you talk about like high concept ideas for
• 7:51
  thrillers, I think this is still the poster child.
• 7:53
  So this is how you either get people to sign on to a project
• 7:57
  on audience in the cinema, on A1 line Plot Summary alone.
• 8:01
  It can't be a bit pitch. Yeah.
• 8:03
  Like Wesley says, it's 30 years old.
• 8:05
  That concept isn't old now and I don't think that concept will
• 8:07
  ever get old. It's irresistible.
• 8:09
  It still works. It still resonates.
• 8:11
  Obviously there's more to the film than being on the bus,
• 8:13
  which we'll talk about both good and bad.
• 8:15
  But yeah, it's definitely the one that we need to do take off
• 8:17
  the list. Very Much OK Speed was directed
• 8:20
  by Yande Bond, written by Graham Yost, and produced by Mark
• 8:24
  Gordon for Mark Gordon Company. Shot on location in LA, it was
• 8:27
  distributed by 20th Century Fox to theatres on the 7th of June
• 8:31
  1994. It stars Keanu Reeves as Officer
• 8:34
  Jack Travan, Sandra Bullock as Annie Porter, Dennis Hopper as
• 8:37
  the scorned lunatic bomb note, Howard Payne and Jeff Daniels as
• 8:41
  Jack's partner Harry Temple. Yep, OK, get ready for rush
• 8:44
  hour. We're headed to an LA high rise
• 8:46
  for the opening scene of Speed. Yes.
• 9:16
  Into the thick of the action straight away, and I just want
• 9:19
  to talk about these opening credits real, real quick.
• 9:22
  OK, I said that the film's aged well, but I think these credits
• 9:26
  leave a lot to be desired. I.
• 9:27
  Mean. Yeah.
• 9:28
  Very 90s and that bleed that I was talking about that you
• 9:31
  mentioned in the the fake copy. It still looks the same.
• 9:35
  They still look really cheap. I find it very ironic that a
• 9:39
  film called Speed that runs at an hour and 55 minutes kinetic
• 9:43
  energy coursing through it. And these titles are repetitive
• 9:46
  and slow and last about 3 minutes.
• 9:49
  But then a security guard gets a screwdriver in the head which
• 9:52
  brings it all back on track. Very nice.
• 9:53
  It's. That font isn't it, it's.
• 9:57
  Horrible. Blue like a blue gradient.
• 10:00
  On it. Horrible.
• 10:01
  But I think it is impressive that it's all in one tape
• 10:04
  because you can see the countdown of the floors as it
• 10:06
  descends. Yes.
• 10:07
  And the credits were created using a 35 foot miniature
• 10:10
  elevator shaft and was filmed horizontally.
• 10:12
  Which, right OK is real good. I think it gives you the idea of
• 10:15
  Dubon's thirst for practical effects immediately, yeah.
• 10:18
  Yeah, definitely. I mean it's it's incredibly
• 10:20
  unnecessary for all that effort. Yeah.
• 10:23
  Yeah. At some cost as well.
• 10:25
  This is going to look amazing, right?
• 10:26
  The. Worst thing in the film?
• 10:28
  No. One knows, but Wester, you're
• 10:31
  kicking us off with the opening scene here.
• 10:33
  Do you know what I love about this opener?
• 10:35
  Just this introduction to these characters.
• 10:37
  And I know you mentioned the screwdriver in the head.
• 10:39
  Wonderful. We'll set the bad guy up.
• 10:41
  And then there's just a fucking car launches itself over the
• 10:45
  counter. That's.
• 10:47
  Ridiculous. No.
• 10:51
  Like, I'm going to do this all the way through this episode.
• 10:53
  So just prepare yourself. I'm just going to claw every
• 10:56
  inch of joy out of this film that I possibly can that is
• 10:59
  fucking inspired. I'm sorry.
• 11:01
  That is wonderful. It just lands and it's like the
• 11:05
  cars fucked and nobody cares and it pulls over and they get out
• 11:09
  the car and get suited up and there's just that Michael Bay
• 11:11
  shot, that circular motion of the camera that's coming all the
• 11:15
  way around them against you. Just tell the energy involved in
• 11:18
  this already. It's just palpable.
• 11:20
  It's absolutely wonderful. You just like fucking hell slow
• 11:23
  down. Just like eating 10 sugar cubes
• 11:25
  and then just trying to sit still.
• 11:26
  It's like, whoa. And then we're in the lobby and
• 11:28
  Jack's just like, you had the basement.
• 11:31
  He's just like, quipping about shit, like, what's going to stop
• 11:33
  this? And they all look great.
• 11:35
  All them outfits are just great. And I've got like the mics and
• 11:38
  stuff and the guns and I'm like, I want to do that.
• 11:41
  That's imagine, turn it off for work by a jump.
• 11:45
  And then just like. I don't know how it happens.
• 11:50
  It's not like it's San Francisco and you've got all the hills.
• 11:52
  It's just makes no sense in Ellie just to fly over the top.
• 11:57
  Jeff Daniels doing that as well. But there's no reaction to them,
• 12:00
  like they're getting out the car just straight to the boot.
• 12:05
  You must be thinking, if you're good, fuck this car.
• 12:07
  There's got to be some kind of dialogue but there's none
• 12:09
  whatever the straight into it and you're just like, right.
• 12:11
  OK, I I get this now, right. I get the you get the vibe
• 12:14
  immediately. You're like it's not going to
• 12:16
  take itself too seriously. Yes, it's an action film.
• 12:18
  Yes, it's pushing reality already to the edge.
• 12:23
  You've got them lovely credits and then this.
• 12:26
  She's pretty much exactly the same as Johnny Utah here.
• 12:29
  He's like Harry volunteers to you know, it's same as Gore
• 12:31
  wheel with the drop car. It's exactly the same moment.
• 12:34
  Yeah, it is. And you just think, right.
• 12:35
  Well, I know where I am with Reeves.
• 12:37
  That's Jeff Daniels. Wonderful, right.
• 12:38
  I know where I am here. This is great.
• 12:40
  What a setup. Right.
• 12:41
  Let's just see where this goes. It balls to the wall
• 12:43
  immediately. But that car flying over that
• 12:45
  camera, man, I will. I hope that's the last thing I
• 12:48
  say before I die. Ludicrous.
• 12:53
  Daniels. What was Wesley's last words?
• 12:56
  Speed opening. Street opening?
• 13:00
  What? The credits, not the credits.
• 13:04
  Mate, that car would only be better as the one from Dumb and
• 13:06
  Dumber. Imagine that came.
• 13:08
  Flying over the doggy. Is flapping around.
• 13:12
  Just turning around the Reeves in the backseat who got the
• 13:15
  Footlong be amazing. Yeah, I really like this
• 13:20
  introduction to the characters as well.
• 13:22
  So I'm going to like pick up from there because I love the
• 13:24
  scene you get with them in the elevator shaft where the debate
• 13:27
  and what to do. And I think, you know, Oh yeah,
• 13:29
  we're going to mention this quite a few times obviously, but
• 13:30
  it's very die hard. I think this setting it does
• 13:33
  look like die hard. Very.
• 13:34
  Much. But it's really that development
• 13:36
  of the relationship of these two, of that alike.
• 13:38
  You can tell they've just got this, like, complete trust in
• 13:40
  each other. And there's definitely the sense
• 13:43
  that Harry still feels like he's a mentor to Jack, which in
• 13:46
  return a thing that just, like, amuses him, and they've just got
• 13:49
  this really, like, easy chemistry going on between each
• 13:51
  other. And I really like that.
• 13:52
  And what I all say, when Harry asked Jack that question, you're
• 13:55
  at the airport. He's got a hostage.
• 13:56
  What do you do? Because I think your immediate
• 13:59
  thought when you hear that is kind of to roll your eyes more.
• 14:02
  OK, Right. Well, you've just told me what
• 14:03
  the ending is going to be, even, haven't you?
• 14:05
  Why you bring that up if that's not going to be hugely important
• 14:08
  either. So I think it's actually really
• 14:09
  clever that it undercuts that because yes, it does come up
• 14:12
  later, but not at the end, literally in about 5 minutes
• 14:14
  time. And yeah, like that feels like
• 14:16
  that should be on the nose to come up back quickly.
• 14:19
  But because I think we used to seeing foreshadowing like this
• 14:22
  thinking, oh, they'll come right at the end.
• 14:24
  I think it's actually quite clever how they played out so
• 14:26
  quickly instead. Yeah, yeah, I like that.
• 14:28
  I really like that set piece. When Jack has the idea to
• 14:31
  connect the crane to the elevator, they're on the roof.
• 14:34
  And the music's Thunder and the long, I mean, it's all pretty
• 14:36
  outrageous. We just take them out of the
• 14:39
  equation. Fucking yes.
• 14:42
  How does he know that's up there?
• 14:43
  That's not one of them on every building.
• 14:44
  I. Know, I know.
• 14:46
  It's so good. Great Point break and Harry's
• 14:53
  kind of like the classic reserve reluctant partner.
• 14:56
  Jack's the maverick cop with a ridiculous plan.
• 14:58
  But I think the moment that confirms that you're in good
• 15:00
  hands and that speed isn't going to be just another by the
• 15:03
  numbers actioner is this moment where Jack and Harry save the
• 15:06
  hostages. Yeah, I think there's genuine
• 15:08
  threat in this moment. You never know if one of them
• 15:11
  will fall to their doom or be sliced in half as they're
• 15:14
  crossing. That's.
• 15:15
  The fear, isn't it? It's like.
• 15:17
  It's Grace, and I think that The Bond has tight control over this
• 15:20
  scene. In the coverage you get in a
• 15:21
  tight space, it makes it all very claustrophobic.
• 15:24
  And when you're shouting at the TV at that woman to get out of
• 15:27
  there at the end, you know that you're bored in.
• 15:30
  Yeah, yeah, it's great. Lightning's great as well.
• 15:32
  It's all just red, yeah. Yeah, very good.
• 15:34
  So overall a great opening scene, which I think can be
• 15:37
  forgotten about because speed is kind of in your mind's eye.
• 15:40
  All about the boss. Yeah, very much.
• 15:42
  And by the end, our heroes have saved the day with Howard Payne
• 15:45
  exploding into oblivion. Or is he?
• 15:50
  Following the action-packed opening, Harry and Jack are
• 15:53
  commended for their efforts and all is well.
• 15:55
  We're picking up the action on a sun drenched early morning in LA
• 15:59
  where Jack is about to have a very, very bad day.
• 16:04
  Matt, you're going to kick us off here.
• 16:05
  I am. The key thing to enjoying speed
• 16:07
  is don't worry about it too much.
• 16:11
  That's. The.
• 16:14
  Best thing you've ever said, guys.
• 16:18
  Just don't worry about. It too much, man.
• 16:20
  Don't. Worry about it too much on the
• 16:24
  right movies. Sort of the point.
• 16:26
  You're so right. Just don't worry about last.
• 16:34
  Time. God, Absolutely.
• 16:48
  The language used the key to speech.
• 16:54
  This is your lads. Just, you know, just don't worry
• 16:56
  about, OK? OK.
• 17:01
  Come on. Jesus Christ, that was good.
• 17:04
  Genius. Fantastic.
• 17:08
  It's true because it just hit me when I was watching like this
• 17:11
  scene of Jack in the morning because you think and hang on,
• 17:14
  how does this, how does this all hang together?
• 17:16
  Like Jack is so close to that first bus blown up.
• 17:19
  How did how would know he was going to be there?
• 17:21
  And he's also close enough to the phone that he can he would
• 17:24
  ring in and he would answer in the 1st place.
• 17:26
  If just one of those things doesn't work then the whole
• 17:29
  thing falls. Pop likes here, don't worry
• 17:31
  about it. This muffin, like, he's not
• 17:33
  going to get there and the time's going to be different.
• 17:35
  So you forget his muffin. So he's not next to the bus.
• 17:37
  Don't. Forget that muffin.
• 17:38
  Yeah, and then pain's like 2 years that elevator job, two
• 17:41
  years on the elevator job, but he can do this in about 7 days.
• 17:47
  Yes. Two years on, an elevator job
• 17:49
  that looks fairly straightforward compared to
• 17:50
  this. Yeah.
• 17:51
  So, like, say that it's just such a key thing as you're like,
• 17:54
  yeah, OK, I'm going to go with this and it's fine.
• 17:56
  And then I think you're just sick with us into this really
• 17:58
  nice intro for Annie and the rest of the passengers.
• 18:01
  I really like that introduction. Alan Rook.
• 18:03
  Like on a knob. Like, yeah, totally invading her
• 18:07
  personal space Mean it all about him.
• 18:09
  First time in LA. No, Olivia, No mind.
• 18:12
  Oh, that's funny. You heard me wrong.
• 18:13
  Like just the worst. Best be stuck on a bus with.
• 18:17
  And I think this is when you first see how good Bullock's
• 18:20
  comic delivery is, you know? Yeah.
• 18:21
  Oh, you know what? I got gum in my seat.
• 18:23
  Gum. Gum, gum.
• 18:25
  In his face? Yeah, that was Bullock's idea,
• 18:28
  to introduce that, Yeah, just to avoid the character.
• 18:30
  Yeah, absolutely Brilliant. Yeah, she's really funny and
• 18:32
  it's the same, just full of nice little character details.
• 18:35
  He can already see one of the passengers in the background.
• 18:37
  He's already looking quite twitchy when all that's going to
• 18:40
  be off. The fact that Annie says how
• 18:41
  much she misses her car makes it just that little bit more
• 18:44
  believable. But she'll be OK behind the
• 18:46
  wheel of the bus. And I'm assuming it's no
• 18:49
  coincidence that the bus is 2525.
• 18:51
  Obviously. Add that together and you get
• 18:53
  50. So yeah, it's a really good
• 18:56
  thing. But I said, just don't worry
• 18:57
  about it. Yeah, fine.
• 18:59
  OK. Wise words, Martin.
• 19:01
  You can adapt that into any part of your life.
• 19:02
  I. Suppose you absolutely can.
• 19:04
  Don't worry about it. Absolutely can.
• 19:05
  Yeah. Words to live by.
• 19:07
  I think it's a strange choice to have any smoking before she gets
• 19:09
  on that bus. It is not moralizing or anything
• 19:11
  like that. I just don't know why she is.
• 19:13
  Yeah, it's a very specific choice for the character, which
• 19:16
  is never referred to again, yeah.
• 19:17
  Yeah, it is. Quite early 90s though wasn't.
• 19:19
  It early 90s, but maybe, maybe something that played a part in
• 19:22
  previous drafts of the screenplay, because there's a
• 19:24
  lot of them. You.
• 19:25
  Could. Read it.
• 19:26
  Yeah, it's very cut and pace, but we'll get to that with the
• 19:28
  right. So after we've spoken on the
• 19:30
  phone, after we've been introduced to the guys on the
• 19:32
  bus, Jack's obviously on his way to get on the bus, so he's
• 19:37
  coming here as a car from Glenn Plummer as Maurice is a fucking
• 19:42
  joy. He's wonderful, absolutely
• 19:44
  wonderful, obviously in Menace to Society as well, which we are
• 19:46
  new from, and he's in the sequel as well as the same thing.
• 19:49
  Yeah, yeah. But the only.
• 19:50
  Good thing about the sequel, yeah, which we'll get on to, but
• 19:54
  he's going to. Take the phone.
• 19:56
  Absolutely. That's really funny.
• 19:58
  And that jump onto the bus where his feet hit the road.
• 20:01
  And drag a little bit like fucking hell that you know.
• 20:03
  OK, this is really, But the bit for me is when if someone, if
• 20:07
  you're driving a bus, don't worry about it.
• 20:10
  If you're driving a bus or someone gets in front of you and
• 20:11
  writes bomb on bus and it flies and hits the windscreen and you
• 20:15
  can read that you hit the fucking brakes immediately.
• 20:19
  Like. You don't just go, oh, let's
• 20:21
  just think about me life and just slowly release the gas
• 20:24
  pedal and there's a bomb on. But all right.
• 20:27
  And it's just one of the things where you just think this is
• 20:29
  ludicrous, but it's like, no, stay above 50 as you think it.
• 20:33
  The film counteracts your thought and it does this all the
• 20:36
  way through. There's no way that could
• 20:37
  happen. And then it shows the
• 20:38
  speedometer. Sean.
• 20:39
  It's noble of it. Yeah.
• 20:40
  All right. OK.
• 20:41
  It's just having fun with the audience.
• 20:43
  And I think it really plays with it.
• 20:44
  And then bits are just absolutely wonderful.
• 20:46
  Just, you know, that the pace is there.
• 20:48
  It's just breakneck speed. You know, he's banging on the
• 20:51
  way. He's like, this guy's really got
• 20:52
  hard on for this bus that you wouldn't let him on.
• 20:53
  And you're like, oh, yeah, that. OK that you.
• 20:55
  You feel some kind of real terror there.
• 20:59
  Yeah. The sense of, like, don't arm
• 21:00
  the bus, don't go above 50. Jesus Christ.
• 21:02
  And it pulls you through it even when you watch it for like the
• 21:05
  100th time. God knows how many times I've
• 21:07
  seen it. But you still get to that point
• 21:08
  where just like I wish it didn't go over 50 and it just ended,
• 21:13
  just be so much relief. The anxiety would just be so
• 21:16
  grounded. But it doesn't work like that.
• 21:18
  And I think that's the whole point of this opening is just to
• 21:20
  show Jack's determination and then to show exactly what we're
• 21:23
  up for with, you know, the way this is shot, the way this is
• 21:25
  paced and we're in for the ride. Yeah, Jack's determination.
• 21:29
  You know when he gets up close to the bus for the first time
• 21:31
  and he bangs on the door? And the glass smashes.
• 21:33
  Yeah, yeah, it was unplanned. It was just Keanu Reeves up to
• 21:36
  his old tricks. Oh, really?
• 21:37
  He's. Got such?
• 21:38
  A. Doesn't know his.
• 21:38
  Own dream for this role. He's just so committed to this
• 21:42
  role. He's great.
• 21:42
  Joy to watch. Looks great.
• 21:44
  Yeah, great. Nick.
• 21:45
  And in her review with the film, Janet Maslin pondered white.
• 21:48
  Jack didn't just shit out the ties of the bus before it got to
• 21:51
  50. They're saving us all the
• 21:53
  bother. Years later, writer Graham Yoss
• 21:55
  said that he hadn't thought about this, but if he did, he
• 21:58
  would have had the Jag driver take Jack out when he pulled his
• 22:00
  gun, not yet realizing he was a cop.
• 22:02
  Yeah, I mean, come on, Janice. Yeah, get him bored.
• 22:05
  Give us a break. Yeah.
• 22:06
  Don't worry about. Wester, you'd been happy.
• 22:09
  It doesn't go. There it is.
• 22:11
  Wouldn't the bus have tipped and killed people?
• 22:13
  Would it be like to start a final destination or something?
• 22:15
  It would it be. Oh, definitely, yeah.
• 22:16
  Spell out of control. Yeah, there's a.
• 22:18
  Couple of safety issues with. That absolutely.
• 22:20
  That's not a cut and dried solution for me, Janice, no.
• 22:24
  Yeah, great. I mean, action set pieces.
• 22:27
  Absolutely incredible, though. Jumping onto that bus.
• 22:29
  Yeah, gets on that bus. He tries to diffuse the
• 22:32
  situation but doesn't say specifically what's wrong
• 22:34
  because obviously he doesn't want hysteria, but it completely
• 22:37
  blows up in his face when the guy pulls the gun and I think
• 22:40
  line delivery is often being a problem for Keanu Reeves.
• 22:44
  You think? Think so.
• 22:46
  Don't worry about it though. I'm sound now.
• 22:51
  And I think this is a very good example of it when he pulls his
• 22:54
  gun, he said. I don't know you, man.
• 22:56
  Let's not do this. Yeah, I don't care about your
• 23:00
  crime. So what if you did?
• 23:02
  It's cool now. I'm.
• 23:04
  Sure that you're. Sorry, that's ridiculous.
• 23:10
  As if that guy's going to fall for that.
• 23:13
  Yeah, it's cool. Now don't worry about it.
• 23:15
  I'm not a cop right now, see. But I think it is a believable
• 23:19
  plot point and he needs to get behind the wheel for the rest of
• 23:22
  the film. Yeah, I think it's believable
• 23:24
  that Ortiz thinks he's a tough guy who can take down the
• 23:26
  gunman. Yeah.
• 23:27
  Which means that the driver has to take one in the back.
• 23:29
  So the mechanics are going from A to B in the narrative work for
• 23:32
  me here. Yes.
• 23:33
  One thing that I'm uncertain about is, yeah, it's definitely
• 23:36
  a nitpick, but why does everybody know the driver's
• 23:39
  name? And he does when she gets on,
• 23:42
  even though she's only just lost her license.
• 23:43
  Yeah, and so does Helen when he gets shot, she shouts out.
• 23:46
  Sam, how many bus drivers names have you ever known in your
• 23:49
  life? That's a good point, no?
• 23:52
  The answer? Just works every morning and
• 23:53
  they get on the bus every morning to go to work.
• 23:55
  That's he's a sweetheart, Sam. Be fair and he.
• 23:58
  Doesn't know because she's only getting the bus because she's
• 24:00
  lost the license. He's like he pretends not to
• 24:05
  stop and he's. Like he's having a great time.
• 24:08
  He's having a good time. Everyone knows Sam.
• 24:09
  He's probably one of them once. It just like reads out like
• 24:11
  where they're going past and all that kind of stuff.
• 24:13
  Very cool. If you look so, you're right.
• 24:15
  Yeah, well, just to get a chance to delve into his character
• 24:17
  because he's just read Bomb on Bus, so he's a little bit.
• 24:21
  Don't. Worry about it.
• 24:24
  Don't worry about it. But what I do like here is
• 24:28
  Reeves, when Jack has to reveal that there's a bomb on the bus
• 24:31
  and he doesn't, resigned and reluctantly.
• 24:33
  I think he's really good in that moment, but there's a terrible
• 24:36
  line by the guy who says, yeah, there's a bomb on the bus.
• 24:40
  Some funny joke, man. Why would Jack jump on a bus
• 24:43
  traveling 50 mile an hour, reveal he's a cop and have a
• 24:46
  gunfight with the body just to crack some cheeky gangs about a
• 24:49
  bone? It's mental.
• 24:52
  The driver's been shot, bro. He's he's in your arms.
• 24:54
  Is it no time for jokes? Exactly.
• 24:57
  Yeah. Real funny, man.
• 24:58
  It's like, yeah, actually there was a joke.
• 24:59
  I'm getting off the next two stops.
• 25:01
  Yeah, see you later, Drop. I'll leave the driver with the
• 25:03
  bullet hole. Just with you guys.
• 25:04
  Really. Funny.
• 25:06
  Joke, man, is he? Believe it or not, Reeves used
• 25:10
  what he learned from his research on Point Break as the
• 25:13
  basis of his character. No, Elliott, BD said.
• 25:17
  The thing that came off is their concern for human life.
• 25:19
  We get the bad guys and we get to save the good guys.
• 25:22
  Yeah, I can certainly feel that in his interactions with the
• 25:24
  passengers, he's all like, polite to mom.
• 25:27
  Yes, Sir, Yeah, very polite. And I think that comes across
• 25:29
  well. It does.
• 25:30
  It's very black and white. There's no Gray area to this
• 25:32
  character whatsoever, is there? No there isn't.
• 25:34
  Good and evil, and he is good. Save the good people, feel the
• 25:38
  bad guys. Kill the bad guys.
• 25:39
  No regret over that. So we're all in place, Jack's on
• 25:42
  the bus, standing behind the wheel and staying above 50.
• 25:44
  What could possibly go wrong? The director.
• 25:52
  A veteran of movie making, but this was Yande Bond's first time
• 25:55
  in the hot seat. Westy, an impressive debut.
• 25:58
  It is an impressive debut because, I mean, it's shot by a
• 26:01
  cameraman, it's shot by ADP, so he knows what he's doing.
• 26:04
  And the camera is a character in this film.
• 26:06
  And that's what I always enjoy when I watch movies, especially
• 26:09
  action films where he's not scared to move that, you know,
• 26:11
  he's got such control over the frame.
• 26:13
  There's just a real confidence to this for a debut.
• 26:15
  And I'm coming off the back of Die Hard.
• 26:17
  I mean, he DP Luther Wham 3, you know, he knows what he's doing.
• 26:20
  It's kind of look to that and a lot of these are lifted.
• 26:24
  You know, there's the gap in the freeway, which we'll talk about
• 26:26
  later on, but that happens in three That's all these things
• 26:29
  where it's just his nose and it seems very safe for him.
• 26:32
  It seems like ground that he's covered before, but he's
• 26:34
  bringing his own style to it, almost his own kind of voice to
• 26:38
  these situations. He's not really revered as like
• 26:41
  an original action director because he isn't an original
• 26:45
  action director. I think he's just taken what
• 26:47
  really works, the beats of an action film, the blueprint of an
• 26:50
  action film, and mix them around a little bit.
• 26:52
  It's just kind of like taking the Jigsaw and he's just moving
• 26:55
  the pieces in a kind of different place.
• 26:57
  But you've seen the Jigsaw before, but he's doing it in his
• 26:59
  way, which is really entertaining because he's got a
• 27:02
  lot of pace. And I mean, I love Twister.
• 27:03
  I think there's a lot of pace to that.
• 27:05
  This is really, really good to be too ignorable.
• 27:09
  And I think Yander Bond was instrumental to some of the
• 27:11
  sequences. And Die Hard, absolutely
• 27:13
  instrument. And he brings everything to it.
• 27:16
  From an action point of view, it's everything that you want.
• 27:18
  It's just, you know, there's there's emotion there, there's
• 27:20
  there's some real sense of fear at times, but it's just when it
• 27:23
  breaks away. And you know, these set pieces
• 27:25
  are just a start, middle and end.
• 27:26
  You know, it's a Yander Bond film.
• 27:27
  You know, he's in control of it. And that's what I really enjoy
• 27:30
  about this film. It's really confident.
• 27:31
  It's really safe, but at the same time, he's having a lot of
• 27:34
  fun and so are we. Yeah, we certainly are.
• 27:36
  I think he makes great use of his budget.
• 27:38
  Big explosion, set pieces are all impressive.
• 27:40
  Still impressive, Great pace. And it doesn't slow down for a
• 27:43
  second. Not at all.
• 27:45
  I think if you're the bond and you come into this like the
• 27:47
  central idea, you're such a great one, such a care idea,
• 27:50
  you'll want to do it for that alone.
• 27:52
  But I think the smartest thing or one of the smartest things he
• 27:55
  does, despite how fundamentally, like, ludicrous it is, he does
• 27:58
  keep it grounded in some kind of reality.
• 28:01
  And I think, yeah, partly how he does that is some really good
• 28:04
  location shooting because I don't want to be, you know, one
• 28:07
  of those guys banging on about how things were better in the
• 28:09
  past and films all rubbish today, because I don't think
• 28:11
  that's true. Get on with a granddad.
• 28:16
  Just yelling the clouds in the sky.
• 28:19
  But I do think if speed gets made today, it gets made with
• 28:21
  green screen. It gets made with Stagecraft,
• 28:24
  which is this new process where you have a huge video wall that
• 28:28
  the actors and the props in front of.
• 28:29
  You know Disney use it for stream and Matt Reeves use it
• 28:32
  for the Batman, but he you've got, for all intents and
• 28:34
  purposes, Dubon trying to base this in reality, which is so
• 28:37
  much more effective. So that bus really is travelling
• 28:40
  along freeways when it drives into the airport, OK, it's not
• 28:43
  LAX, but it's still a real airport all the same.
• 28:45
  So when you have people hanging out of the door, when you've got
• 28:48
  Jack underneath the bus trying to disarm the bomb, it's very
• 28:51
  cleverly done because it's got that real sense of, God, this is
• 28:54
  travelling at least 50 miles an hour, even though it's not.
• 28:57
  And this has got a real visceral filter it because, you know,
• 28:59
  it's not fake in that sense. You know, that's real tarmac
• 29:02
  People are mainly like smacking the heads off.
• 29:04
  You can practically smell like the rubber on the ties, smoking
• 29:07
  as it keeps going and going and going.
• 29:09
  Yeah, they were out in the real world filming this.
• 29:11
  So I think everything around that bus sequence, the opening,
• 29:13
  the end doesn't quite have that same feeling impact too, because
• 29:16
  that's obviously more studio bass.
• 29:18
  But when you're on that bus, you're definitely on the bus.
• 29:21
  And I think you can tell us the part that Dubont really wanted
• 29:24
  to do more than. Yeah, that's a bit.
• 29:26
  You got his teeth into it. Oh.
• 29:27
  Absolutely. Talking about real locations,
• 29:29
  feeling it under your fingernails.
• 29:31
  Because of the gang violence in LA during the mid 90s, gunshots
• 29:35
  could be heard throughout filming as the boss circled the
• 29:37
  outer reaches. Really.
• 29:38
  It can be, Yeah, crazy. I think you can see a natural
• 29:43
  die hard influence. Matt, you mentioned this
• 29:45
  particularly in those elevator scenes at the start, which could
• 29:47
  easily fit into that film. Oh, easily, yeah.
• 29:50
  And what I think Devon does remarkably well is his use of
• 29:53
  single locations. The film's like an action movie
• 29:56
  theme park, 3 rides in one, three locations only.
• 29:59
  Yeah, the elevator and the train book and the film.
• 30:01
  But speed is all about that bus that has to have an identity and
• 30:05
  play a big part in the plot. Yeah, there were a total of 13
• 30:07
  buses during production, used in various states, Exterior,
• 30:11
  interior shots, one with a hidden stunt driver on the 2nd
• 30:14
  row, et cetera. One of them sold in 2018 for
• 30:17
  over $100,000. So you can see how much impact
• 30:20
  it's had on kind of like the movie going landscape.
• 30:22
  It's it's a big character in the film.
• 30:24
  Yeah, money well spent for me, though.
• 30:28
  I get to work. It's in the yard, yeah.
• 30:32
  Yeah, it's interesting because the Bond felt that the bus was
• 30:34
  as much a character in the film as the cast members.
• 30:36
  And so he spent a lot of time casting it until what he decided
• 30:40
  on was an old Santa Monica bus line model.
• 30:42
  And he also felt because of its importance in the narrative, it
• 30:45
  needed to have a fitting ending, almost given an arc.
• 30:47
  Which is why he conceived with the collision with the plane.
• 30:50
  And he bought that for $80,000 DMA.
• 30:53
  Wow. I mean, it's a big explosion and
• 30:55
  it's a real impressive explosion, really.
• 30:57
  Impressive. Yeah, it's.
• 30:58
  Great. Yeah.
• 30:59
  The bus it is really is a character in the film, and
• 31:02
  having largely one location, I think could get boring very
• 31:04
  quickly. Yeah, But he infuses the film,
• 31:07
  one set piece after another, to keep things moving in the
• 31:10
  script. That would be minimal dialogue
• 31:12
  and he's got to create tension and keep things going from a
• 31:14
  visual point of view, which I really think he does.
• 31:16
  I don't think there's a point in the film where it starts to sag
• 31:19
  at all. No, no, I think it's it's
• 31:21
  breakneck from beginning to end, balls to the wall.
• 31:24
  I also think that you only think about the bus when you think of
• 31:27
  speed, but it's only in there for around half of the runtime
• 31:30
  here. I think it's really effective
• 31:32
  film making to plant that in your mind.
• 31:34
  Yeah. Do you think of speed?
• 31:35
  You think of the bus. I also think it's quite a feat
• 31:38
  just to get the footage to match.
• 31:40
  Considering this, scenes where there are like 2 vehicles
• 31:43
  driving side by side on an Elliot Freeway and cast members
• 31:46
  going from one to the other just to get the dialogue to sync is
• 31:49
  an achievement. Yeah, yeah.
• 31:51
  And. You really get the sense that
• 31:52
  this is all shot in one location, which it was.
• 31:55
  For the integrity of film, it has to be as realistic as
• 31:58
  possible. There's no shaky background out
• 31:59
  of the window. You get that in there, you don't
• 32:01
  fall. Yeah, absolutely.
• 32:02
  I mean, when it cuts between the interiors and the exteriors, you
• 32:06
  know, just getting off the freeway, it's Sandra Bullock in
• 32:09
  the interior and then it cuts to the exterior.
• 32:10
  It's definitely not her. But it doesn't matter because
• 32:12
  the where where the bus is, the location of it is exactly the
• 32:15
  same. It is, yeah.
• 32:16
  And what you're saying, it's just the editing.
• 32:18
  It's just absolutely perfect. It is.
• 32:19
  It's a great match them shots of is, Yeah.
• 32:21
  I mean, that's a feat in itself. So on that point, we've got our
• 32:24
  first Petri on question. OK.
• 32:26
  And this is a benefit you can get your hands on if you sign
• 32:28
  up, you get to ask us a question for the film that we're
• 32:30
  covering. Yeah.
• 32:31
  Our first of the day comes from Daniel Block.
• 32:34
  Hello, Daniel. Hello, Daniel.
• 32:35
  Daniel says Pop Quiz Hot Shots. Speed was influential in being
• 32:40
  the first huge hit action film with a fix set in high concept.
• 32:44
  Later equivalents include things like Phone Booth and Buried.
• 32:48
  Which do you think is the best limited location thriller which
• 32:50
  followed in the slipstream of Speed Westy?
• 32:55
  Do you want to take that first? I've got a couple, sure, and the
• 32:58
  slipstream is, but I think Snakes on a Plane is probably
• 33:01
  one that seems to mind first. Like it's a pretty much
• 33:05
  forgotten about. That was huge when it came out.
• 33:07
  I was raving about that. It was.
• 33:08
  That's very similar kind. Of.
• 33:11
  Yeah, it's a ridiculous as well. It's a ridiculous concept.
• 33:13
  One location, OK Wonderful panic room I think was.
• 33:17
  Oh, yes. Was one that's to go for me.
• 33:19
  Cube was ones to go for me. Pontypool.
• 33:23
  I think it's a great horror film.
• 33:24
  In one location. I really enjoyed Moon, which
• 33:27
  felt like it was just kind of rooms with some Rockwell that
• 33:30
  was, you know, the breadth and the, yeah, they go outside and
• 33:33
  inside, but I think that's kind of similar speed.
• 33:35
  But he's mentioned Phone Booth, which would be.
• 33:36
  It's probably the most obvious one.
• 33:38
  Yeah. Yeah.
• 33:38
  Like, how do you do the opposite speed?
• 33:41
  We'll do Phone Booth. Yeah.
• 33:42
  Fair enough. Yeah.
• 33:43
  Yeah. But yes, next on a plane for me
• 33:45
  was really surprising. So, ridiculous premise, but very
• 33:48
  well done. Really is, Yeah.
• 33:50
  Well, I'm going to throw in a curveball here, use artistic
• 33:52
  license and throw a thriller slash horror movie into the.
• 33:55
  I know, I know, Daniel, you asked for thrillers, but you
• 33:58
  know, horror thriller. Wow.
• 34:00
  And it's one that you mentioned. Westy, it's Cube, the Canadian
• 34:03
  horror movie for 1997. OK, great, great.
• 34:06
  I think it's a stretch to say that speed influenced it, but
• 34:09
  for the purposes of this segment, we'll see it did.
• 34:12
  Yeah, maybe the credits. Yep.
• 34:16
  It's about a group of strangers who wake up in a square room,
• 34:19
  not knowing how they got there, and they work together to make
• 34:21
  it from room to room, trying not to be killed in the process by
• 34:24
  deadly booby traps. Kind of like a horror version of
• 34:27
  The Crystal Maze for all of our UK based listeners.
• 34:29
  Yeah, definitely. It makes great use of its
• 34:32
  overall budget, with incredible set design and really inventive
• 34:35
  prop work. I think it's a really chilling
• 34:37
  concept. Very claustrophobic and well
• 34:39
  worth searching out if you haven't.
• 34:41
  Yeah, it's really good film. Great.
• 34:42
  Film. What about you, Matt?
• 34:44
  Yeah. I mean, I don't think there's
• 34:45
  anything that came after speed that's as good as it, but I
• 34:48
  think there are some that are genre cinema ended after speed
• 34:53
  for me. Fucking write.
• 34:55
  It down there were a few are far worth mentioning or two set at
• 35:00
  sea open water, which is the one about yes, the couple who go
• 35:03
  scuba diving but the board kind of ends up forgetting them and
• 35:06
  they end up stuck in the shark confessed sea.
• 35:09
  Very good. It does not end well.
• 35:10
  I'll just say that. Nope.
• 35:12
  Also All is Lost which is Robert Redford film from.
• 35:14
  Fuse. Oh, yeah, right.
• 35:16
  Yeah. I think it's literally only him
• 35:17
  in the film and he's just on his little sailing yacht.
• 35:21
  There was a film from 2009 called Lebanon, which is a war
• 35:24
  film and it's all set within the confines of a tank.
• 35:27
  I've. Heard of that?
• 35:28
  I've not seen it. Yeah, that one's effective.
• 35:31
  And then Frozen. Not that one.
• 35:34
  There was a film. Called Frozen in 2010.
• 35:37
  Yeah, Bob, some people get trapped on the ski lift, which
• 35:40
  it's not green, but it's quite an interesting film.
• 35:43
  I thought that one worked pretty well.
• 35:44
  Yeah, I enjoyed that. One, obviously.
• 35:46
  So nice pics there then. Well done fellas.
• 35:49
  So we've got Snakes on a Plane, Cube and.
• 35:52
  Frozen. But not that.
• 35:53
  Frozen. Frozen, but not that one.
• 35:55
  Yeah, just let it go. Not that one.
• 36:00
  Brilliant. Yeah, I mean, we have brought it
• 36:02
  up, but this was one of the very first movies that got labeled as
• 36:06
  Die Hard on air dot dot dot. Yeah, yeah.
• 36:09
  And so it's very fit in that Die Hard director John McCain and
• 36:12
  was first choice to direct. But he turned it down precisely
• 36:15
  for the reason. He just thought it was too much
• 36:16
  like Die Hard. Yeah.
• 36:18
  Yeah, yeah, it's a fair cop, isn't it?
• 36:21
  McCain did point them in the direction of his DP on Die Hard.
• 36:24
  Yeah, and the Bond. But before the bond came on, as
• 36:25
  director, others were approached, including Walter
• 36:28
  Hill and Outrageously, we went in Tarantino.
• 36:31
  Wow. Wow.
• 36:32
  Who only had Reservoir Dogs and Ruth Belt at that point?
• 36:35
  Was only driving the bus with a feet up on the wheel.
• 36:40
  Like death roof. Yeah, Naturally declined.
• 36:42
  But in 2009, he listed Speed as one of his favorite 20 films
• 36:46
  since his debut in 1992, Right. I mean, it's right up
• 36:50
  Tarantino's alley, this kind of. Yeah.
• 36:53
  Literally Ellie as well. It's an Ellie film.
• 36:55
  Yeah, of course, yeah. Michael Bay was desperate to
• 36:58
  direct the script. I can imagine.
• 37:00
  Yeah, of course he would. At the time, he was largely
• 37:03
  known for music videos and commercials, but Fox rejected
• 37:05
  them because they wanted someone with more movie experience.
• 37:08
  Yeah, I mean, this is Michael Bay's career in NHL, Yeah.
• 37:12
  This would be his absolute baby. He's remade this every single
• 37:15
  film. When Devon was first given the
• 37:21
  script for Speed, it came with a caution that it's about a bus.
• 37:25
  I mean, if you want to get somebody excited about directing
• 37:27
  your screenplay, you probably want to make it sound a little
• 37:30
  sexier. Yeah, just a touch, yeah.
• 37:34
  Yeah, and The Bunted worked as a cinematographer fears, working
• 37:37
  with Paul Verhoeven back in his native Netherlands.
• 37:40
  And then on American movies like All the Right Moves, The Jewel
• 37:42
  of the Nile, Black, Red, and, of course, Die Hard.
• 37:46
  Yes, of course. Yeah, he was moved to take up
• 37:48
  the hot seat based on his experience as ADP, he said.
• 37:51
  Quite often when I work with other directors, I felt like, Oh
• 37:54
  my God, I would have done that differently.
• 37:56
  And at one point it became a frustration to me.
• 37:58
  Yeah, very few DPS moved from cinematographer to director, do
• 38:03
  they? Very few, yeah.
• 38:04
  Yeah. I can only really think of Barry
• 38:06
  Sonnenfeld. Sonnenfeld, Yeah.
• 38:08
  But I'm sure there are others in.
• 38:10
  Kaminsky make a couple of films. Wally Fester did.
• 38:12
  Oh, yes. Yeah, I think, I think they kind
• 38:14
  of dip their toy and don't they? Yeah.
• 38:16
  And then come straight run straight back out.
• 38:18
  Yeah, Wally Fester did that one with Johnny Depp about
• 38:20
  transcendence or some. Transcendence.
• 38:22
  Yeah, that's. Right.
• 38:22
  And then he never worked with Nolan again after that.
• 38:26
  Boom, you're dead to me. Yeah.
• 38:28
  So with the bond in place, the script was with Paramount
• 38:30
  originally, but they ended up passing and it eventually made
• 38:33
  its way over to Fox, who only took it if there were changes
• 38:36
  made. Originally, the script was set
• 38:38
  on the bus alone, which Fox didn't like right, and De Bond
• 38:41
  came up with the elevated idea at the start, inspired by his
• 38:44
  experience working on Die Hard, where he was stuck in an
• 38:47
  elevator during production and had to be rescued by the fire
• 38:49
  department, threw a hatch at the top.
• 38:51
  Right. Just it just looks like die
• 38:53
  Hard, yeah. It's exactly the same.
• 38:56
  So de Bond was all about making the action look as real as
• 38:59
  possible and use as many practical effects as possible,
• 39:01
  as we've discussed, Yeah, you also like to include the actors
• 39:04
  in the effect shots in whatever happens.
• 39:06
  You get the sense that there's more in the shot than the
• 39:08
  effect, which is exactly what we were talking about.
• 39:10
  Just the way that all the shots kind of linked together, the
• 39:12
  exteriors, the interiors, everyone was there for
• 39:14
  everything. So it really shows.
• 39:17
  Yeah, I really like that shot of the exploding bus at the start
• 39:20
  with Reeves in shot reacting the explosion.
• 39:22
  Yeah, that's really immersive. Yeah.
• 39:23
  When he tries to get closer, he's oh.
• 39:30
  Yeah, I think he does something really, really special in that
• 39:33
  he makes you believe this fairly unbelievable plot.
• 39:36
  Here. No, definitely.
• 39:37
  He only used computer generated effects in six scenes.
• 39:40
  Obviously CGI was in its infancy at this point and he said there
• 39:44
  were more visual effects that were later composited rather
• 39:47
  than the special effects that we know and love today.
• 39:49
  Yeah, I think he's more comfortable with the visual
• 39:51
  effects as opposed to a special effect.
• 39:53
  Yeah. Definitely.
• 39:54
  So despite being a rookie director, Yande Bond
• 39:56
  encapsulated 90s action movies with speed.
• 39:59
  Almost certainly is greater cinematic achievement, Yes.
• 40:02
  Yeah, I would say so. Yeah.
• 40:06
  The cast. An important cast in the 90s
• 40:12
  movie landscape, we've got Reeves as the action star,
• 40:14
  bollocks introduction into the mainstream, and a rejuvenated
• 40:17
  Dennis Hopper in the cast. And Westie, you're going to take
• 40:21
  it away with the star performer. I am.
• 40:24
  I'm going to go for Keanu Reeves because I find it wonderful to
• 40:27
  watch something like this. And he's not great in it.
• 40:30
  And that's the first thing you just you go, he's not great as
• 40:32
  he's line deliveries possible. He's a great action star, but
• 40:36
  some of it, he's just a little bit overly excessive.
• 40:39
  He's just a little bit overly excited.
• 40:40
  He's like a dog with two Dicks. Most of the time he's just
• 40:42
  running everywhere, just really, really effervescent about saving
• 40:47
  lives and it should be pissed off.
• 40:49
  But it's Keanu Reeves, isn't it? So you can't diss the guy.
• 40:52
  He's just fucking sweetheart. He's just one of the nicest
• 40:54
  human beings on the planet. He.
• 40:56
  Is and he's. Really forged the career out of
• 40:58
  just being the same character over and over and over again and
• 41:02
  really. Amazing.
• 41:02
  Yeah, it is. It's absolutely baffling but
• 41:05
  it's this for me is one of the standouts is like a dumb almost
• 41:09
  rookie cop but he's in this kind of elite unit.
• 41:12
  He's gung ho and he's American about it without being really
• 41:14
  American about it. Do you know what I mean?
• 41:16
  It's like the American all Action * and he he knows that
• 41:19
  it's never really said and it doesn't explore his psyche it
• 41:23
  doesn't explore kind of walk up alone is most you know about his
• 41:26
  personal life. You don't it doesn't delve into
• 41:28
  that. It's it's not bothered about
• 41:30
  that at all. It's just about this is this
• 41:32
  guy's motivation is to be a good person, be morally sound, and
• 41:36
  you cannot watch a character like that and not be enamored by
• 41:39
  it. You kind of watch your car and
• 41:40
  go a fucking. I wish I was a bit more like
• 41:42
  that. I'm going to get a muffin every
• 41:44
  morning in the coffee and I'm going to I'm going to I'm going
• 41:46
  to converse with the bus driver because if he came in and sort
• 41:49
  of give him a shit in like 8:00 in the morning when I'm getting
• 41:52
  the coffee before I start work I'm going to go and fuck
• 41:54
  himself. I'll be out the night before
• 41:58
  tell you how you look fat you know what I mean.
• 42:00
  I'm not in the fucking mood. But it Reeves is just it's like
• 42:02
  have a good one Bob. And he's just in a grid I.
• 42:06
  Need to be more like that. I think the.
• 42:09
  Chemistry he has with Bullock is.
• 42:10
  Wonderful. There's just something there
• 42:12
  that there's this realism to it. You know, it's like, good to get
• 42:16
  you so far and then they'll get you killed.
• 42:17
  And he doesn't understand what that means yet.
• 42:20
  And that's kind of what the film's about, is that he's just,
• 42:23
  he's almost like a superhuman in it.
• 42:24
  You'll do absolutely anything that needs to be done to be
• 42:28
  morally correct and just be the good person.
• 42:31
  Yeah, I mean the role. I don't.
• 42:33
  I don't know any other role in films that is just this heroic.
• 42:38
  Yeah, there's nothing else. He's missing his Halo.
• 42:41
  From his head, he's so virtuous. He is.
• 42:45
  It's unbelievable. Like morally ambiguous.
• 42:49
  That is not something in his dictionary.
• 42:51
  He doesn't know what that means. He's not ambiguous means he's.
• 42:54
  Just he's not ambiguous about anything.
• 42:57
  He is a He's a Casio G# in human form.
• 43:02
  Tough. Rugged.
• 43:03
  Tough. Rugged.
• 43:03
  Reliable solar powered. Far from?
• 43:12
  Being first choice for the role of Jack Keanu Reeves was way,
• 43:15
  way down the list of potentials. Stephen Baldwin was first
• 43:19
  choice. Stephen Baldwin.
• 43:21
  Stephen Baldwin. Yeah.
• 43:23
  Right, but. Baldwin turned it down because.
• 43:25
  He thought it was too much like Die hard Now I don't know what
• 43:28
  universe there is that Baldwin can be this choosy.
• 43:33
  Much ridiculous. Stop.
• 43:34
  The bus, you fucking cock sucker motherfucker.
• 43:44
  Then after this, the list is endless, but the main targets
• 43:47
  were Tom Cruise, Tom Hanks, Woody Harrelson and Wesley
• 43:51
  Snipes. Tom Hanks.
• 43:52
  Tom Hanks. Yeah, in 94, yeah.
• 43:55
  Forrest Gump, yeah. He was nearly running.
• 43:58
  To be fair, yeah, that's true enough, he actually.
• 44:00
  Wouldn't stop, would overtake the bus.
• 44:03
  Yeah, I can't see, I can't see Hanks in that get up, you know,
• 44:06
  with all the wires and the mics and underneath the bus, like
• 44:10
  stripping the wire off it. I cannot see it.
• 44:12
  I cannot see it. No, no, not at all.
• 44:15
  Yeah, but Yonder bonded. Liked what he.
• 44:16
  Saw from Reeves and Point Break and said Keanu was vulnerable on
• 44:20
  the screen. He's not threatening to men
• 44:21
  because he's not that bulky and he looks great to women.
• 44:24
  Well, they are, yeah. And.
• 44:26
  Graham, you all said about Yeah, Graham, you all said about
• 44:28
  Reeves coming in to talk about the party drove up on a
• 44:30
  motorcycle at Disney. He's 6 foot and already had a
• 44:34
  cool haircut and was long and lean.
• 44:36
  He done point breaks so we knew he could handle a like handle a
• 44:39
  gun and be cop like long and lean.
• 44:43
  Yeah. Well, Reeves wasn't.
• 44:45
  Too thrilled about coming back to the action movie?
• 44:47
  Well, so close to Point Break. But De Bond convinced him by
• 44:50
  saying that he could do as many stunts as possible.
• 44:52
  And De Bond credits a lot of the film's success down to the
• 44:55
  realism of the action very much and despite.
• 44:58
  Having a cool haircut, De Bond wandered Reeves to shed his dude
• 45:01
  persona and Asma shave his head for it and this freak the studio
• 45:05
  out who'd signed Keanu because of his established movie
• 45:08
  stardom. And the hair was like an
• 45:09
  integral part of that. So he insisted that the whole
• 45:13
  production until it grew out a little bit in the Bond said
• 45:15
  everyone at the studio was sketch shitless when they first
• 45:18
  saw it. I think it's a strong look, you
• 45:20
  know. It's a really strong look.
• 45:22
  It's totally. Supports the character.
• 45:24
  It's just no nonsense. He doesn't care about himself.
• 45:26
  I'm just going to have something I don't have to fucking do
• 45:28
  because I'm too busy saving the fucking world do.
• 45:33
  You. Know what I mean?
• 45:34
  Yeah, he does. He looks great.
• 45:36
  Yeah, and while. Shooting River Phoenix, who was
• 45:39
  Reeves great friend. He tragically died and they had
• 45:42
  worked together on I Love You to Death in my own private Idaho.
• 45:45
  Reeves took the news particularly badly soon later.
• 45:48
  I've never felt a thing like that before in my life.
• 45:51
  It was very sad and something beyond sad.
• 45:54
  Yeah, heartbreaker. Yeah, well to make it easier on
• 45:57
  Keanu, the Bond shifted the shooting schedule around so that
• 46:00
  Reeves could work on some easier scenes 1st and when he wasn't
• 46:03
  shooting, he reportedly stayed in his trailer reading Hamlet Oh
• 46:08
  I. Mean.
• 46:09
  For fuck's sake, give us a chance.
• 46:13
  Give the rest of the world a chance.
• 46:15
  Reeves, for fuck's sake, if one of you died, I would not be
• 46:18
  sitting reading Hamlet. I'll be fucking mortal crying in
• 46:22
  the pub. But then as production rumbled
• 46:29
  on. Keanu threw himself into the
• 46:31
  physical side of the wall as promised by Dubont, and
• 46:34
  reportedly he did 90% of Jack stunts, including the one way
• 46:37
  forced himself from the Jack onto the bus.
• 46:39
  A law for the one that's in the film that was done by the
• 46:42
  stuntman. Yeah, cuts, doesn't it?
• 46:44
  Takes it to the. Other side, yeah.
• 46:45
  Yeah. So as I mentioned.
• 46:47
  Great watch. So Jack wears A Casio G Shock DW
• 46:50
  5600 C, which has been discontinued by the time the
• 46:53
  film came out. But because of the film's
• 46:55
  success and the consumer demand for the watch, mainly mine
• 46:58
  because I've got one, Casio put it back into production.
• 47:01
  But yeah, I do have one and I bought.
• 47:02
  I bought one for my son for his 7th birthday because he wanted
• 47:05
  the speed watch and knew as soon as I saw.
• 47:08
  That watch I was thinking that has got Westy written all over
• 47:11
  it. It's my most born watch I.
• 47:13
  Just feel like I I'll look at it.
• 47:15
  I'll see you at 8:05. And no matter who's around, I'm
• 47:17
  like, have a good one, Bob. Reeves along.
• 47:23
  With. Jeff Daniels, I almost said.
• 47:25
  Paul Daniels may as well have had Paul in there to be honest.
• 47:29
  They both underwent SWAT training in prep for their
• 47:32
  roles. Reeves, I mean, I can totally
• 47:33
  understand why Daniels. I think he wasted his time to be
• 47:37
  honest. He could have been really
• 47:38
  Hamlet. Instead, couldn't he?
• 47:40
  So, Reeves. Confirming.
• 47:41
  His status as a sensitive 90s action hero with speed and, as
• 47:45
  Westy is confirmed, a dog with two Dicks.
• 47:48
  Yes. Builders the new Julia Roberts.
• 47:55
  Following the success of the film, Sandra Bullock obviously
• 47:58
  not. Turns out, man.
• 48:02
  Oh, I shouldn't have drank this. Is she worthy of the new Julia
• 48:09
  Roberts tag for you, Matt? Absolutely she is.
• 48:11
  I mean. We just did appear on an episode
• 48:13
  last month where we talked about favorite actresses.
• 48:16
  I don't know. Wesley mentioned then Gravity,
• 48:18
  which is a massive Sandra Bullock film.
• 48:19
  But in general, I do feel I probably missed her off the list
• 48:22
  because she's one of those actresses where even in the
• 48:26
  worst film or in a bad film, she's still so watchable.
• 48:29
  And there's so much likeability she brings here.
• 48:32
  And you know, this is definitely one of her best films,
• 48:35
  definitely one of her best performances.
• 48:36
  And when I watch her, I'll just get this like huge wave of
• 48:39
  nostalgia because it it just brings me like that time in the
• 48:41
  90s where she just seemed to be everywhere.
• 48:44
  All of a sudden, you know this while you were sleeping.
• 48:47
  Demolition Man the net, a time to kill.
• 48:49
  She did have such a breakthrough.
• 48:50
  And you go back to this and it's so easy to see you.
• 48:53
  I like straight away like instant presence.
• 48:56
  As I said before, just a really naturally gifted comic actress,
• 48:59
  That line about the gum, when Jack has punctured the fuel
• 49:02
  tank, you know what, you thought you needed Another challenge.
• 49:05
  Like she just sells those types of lines really well and you
• 49:08
  know, like it speeds. Like Annie is not the kind of
• 49:11
  character where we're going to dissect all the character
• 49:13
  nuances and her arc or the big dramatic moments.
• 49:16
  It's more, you know, the film needs a love and rest for Jack.
• 49:19
  It needs someone for him to spark off.
• 49:21
  It needs someone to drive the bus.
• 49:22
  He's never driven the bus before because that increases the
• 49:25
  peril. And an actual bus driver, that's
• 49:27
  who won here. So if there's not a lot on the
• 49:29
  page, I think that just makes it even more impressive what Sandra
• 49:32
  Bullock does with it. And I would say she has great
• 49:35
  chemistry with Reeves. But I know at one point there
• 49:37
  was concern on set that the chemistry wasn't there.
• 49:40
  Apparently Reeves was a bit stiff and Bullock was, do you
• 49:43
  reckon? Outrageous.
• 49:50
  We've. Gone back to 19. 94 and we're in
• 49:53
  the playground with those guys certainly are 13 year.
• 49:55
  Old boys. Well, yeah, Reeves was a bit
• 50:00
  stiff. And Bullock was tasked with
• 50:01
  getting him to loosen up. But Reeves took Bullock Sandex
• 50:04
  as a come on. Told her he wasn't interested in
• 50:06
  any funny business, which he took offence to.
• 50:08
  But they did resolve it very quickly and Reeves sent us some
• 50:11
  flowers as an Apache. What did she do?
• 50:13
  He doesn't. Mind any funny business?
• 50:16
  What's he A? Nihilist.
• 50:18
  No funny business. I believe in nashing just.
• 50:23
  Think about that, Lebowski. No funny business.
• 50:30
  Yeah, I mean, years later, they. Did both admit that they held a
• 50:33
  mutual seeker crush on each other?
• 50:35
  And so I don't know what he's playing at.
• 50:37
  No, neither do I and much. Like you on a reef, Sandra
• 50:39
  Bullock wasn't first choice for the part of Annie.
• 50:42
  She was pretty much an unknown quantity.
• 50:44
  She'd been in a few low key films.
• 50:46
  She was a third lead in Demolition Man, but that hadn't
• 50:48
  been released. When she was cast in Speed,
• 50:51
  Halle Berry was initially approached, but turned it down.
• 50:53
  At that point. The character of Annie was a
• 50:55
  paramedic driver, right? Yeah, yeah, there was some big.
• 50:58
  Changes in this like in the different variations iterations
• 51:01
  of the script, but your first choice.
• 51:03
  Was, of all people, Ellen DeGeneres, because at that point
• 51:06
  she was a comedian. She'd been in a few TV shows and
• 51:09
  at this point in the script and he was a driver's Ed teacher and
• 51:12
  was more of a comedy sidekick. Yeah, I can see that.
• 51:14
  Yeah, I can. See that in that iteration?
• 51:16
  Yeah, I can see that. And Ellen claims that she was
• 51:18
  never officially approached for the role.
• 51:20
  But basically any actress in Hollywood at the time was
• 51:22
  considered, but there was serious about Kim passenger and
• 51:26
  Meryl Streep Street. From there, Steven Hanks.
• 51:31
  Amazing Streep and. Baldwin.
• 51:34
  Oh God, this could have been very different.
• 51:37
  Yeah, but I think. Well, look, just completely
• 51:39
  charmed them in her edition. Yeah, make it look more legit.
• 51:42
  She learned to drive a bus for real before filming started and
• 51:45
  nailed a bus driving test on her first go.
• 51:47
  So nice if the Rolls dry up. Sandy, you can always drive on
• 51:51
  the LA everywhere. Absolutely, yeah.
• 51:54
  But she was never in control of that.
• 51:56
  Bus. When filming, it was controlled
• 51:57
  by a stunt driver either on the 2nd row of the seats or on a
• 52:00
  roof of the bus, Right. Right.
• 52:02
  OK. I mean that doesn't.
• 52:04
  Come across at all. Doesn't watch.
• 52:05
  No, she looks like she is. Very surprising that she wasn't
• 52:07
  in control. Of course she wasn't, because
• 52:09
  she's an actor with everyone's life in our hands.
• 52:14
  Stay on to get. Off.
• 52:15
  I don't know. Ask the guy.
• 52:16
  Upstairs so. America's sweetheart.
• 52:19
  Confirm for Sandra Bullock, who brings a natural warmth to the
• 52:22
  screen every time. Finally, the man who's not.
• 52:28
  Crazy. Just eccentric.
• 52:29
  It's Dennis Hopper as Howard Payne and my Oh my.
• 52:36
  It's almost as if Hopper is in a different film.
• 52:38
  It is it. I don't think he knows.
• 52:40
  He's just by himself and just is he in a two shot?
• 52:45
  I don't think so. Maybe with Sandra Bullock?
• 52:48
  Yeah. I mean, he's torn is just.
• 52:50
  Well, off the mark for this. There's no subtlety.
• 52:53
  He's just straight up and down crazy.
• 52:55
  No new ones really. You just meant no, no
• 52:58
  explanation. Really.
• 52:59
  No, no. When he makes his escape at.
• 53:01
  The star Jax is give it up. You've got nowhere to go.
• 53:04
  And he gives this ludicrous laugh before he scampers off.
• 53:08
  I mean, that's just straight out of Batman, the TV show from the
• 53:11
  60s. Crazy.
• 53:13
  I think these. Motivations aren't really clear
• 53:15
  either. I know that he's lost his thumb
• 53:17
  and he got a crap, your retirement gift.
• 53:20
  But, you know, didn't he know that when he was on the force?
• 53:22
  Yeah, I mean he. And no one knows that.
• 53:25
  He knows that. He knows that.
• 53:27
  Yeah, you get a shit. Pension and a cheap watch.
• 53:29
  Cool. Yeah.
• 53:31
  Fairly cheesy. I mean, he is so over.
• 53:34
  The top like only Dennis Hopper can be, but I think, I do think
• 53:38
  it works. He raises the stake for Jack
• 53:41
  because we know it's going to take something extra special to
• 53:44
  take him down, making Jack's task near impossible.
• 53:47
  And I think that's all down to Hopper.
• 53:49
  I think a different actor wouldn't have been able to bring
• 53:51
  this level of maniacal energy, No, but believable.
• 53:55
  Maniacal energy. It's a believable thing.
• 53:58
  It's like, but why I don't why it doesn't matter.
• 54:02
  I don't understand. I'm not saying he's the best
• 54:04
  actor in the. World.
• 54:05
  It's just that he's uniquely Dennis Hopper, isn't he?
• 54:08
  Yes. He's very much unique, yeah.
• 54:10
  It's the same kind. Of energy that he brought to.
• 54:11
  Frank Booth in Blue Velvet? Pretty much, yeah.
• 54:14
  So for audiences. Who've seen him in?
• 54:16
  That we know that he's capable of absolutely anything.
• 54:20
  A nod to Blue Velvet is when he's in the elevator at the
• 54:22
  start and he says don't fuck with daddy.
• 54:25
  It's something that Booth says in.
• 54:27
  Blue. Velvet And I think in a much
• 54:29
  more disturbing way than this film.
• 54:31
  Very much morable, yeah. I like that all the way through.
• 54:34
  It feels like. Paying his question in Jack's
• 54:36
  intelligence, he knows he's a, you know, a good cop, but I
• 54:39
  think he thinks he's a brain dead idiot who's no more match
• 54:42
  for him. Some nice real world parallels,
• 54:45
  I think of what people might have thought of Reeves then and
• 54:47
  potentially now. Yeah, very possibly it he.
• 54:50
  Just plays on his physicality over his intelligence.
• 54:52
  He's like, we all know that Harry's the brains of the
• 54:54
  operation. I'm taking him out of there.
• 54:56
  So now you've got nothing but your physicality, which means
• 54:58
  nothing. But then again, he's he hasn't
• 55:00
  got full physicality because of that wound that he's got with
• 55:02
  his thumb being gone. So it kind of it plays into
• 55:05
  that. He's almost jealous of Jack.
• 55:06
  I think he's jealous of Jack's physicality and what he can do.
• 55:09
  Yeah, yeah, yeah, good point. And if he is more.
• 55:11
  Intelligent. He's a real threat.
• 55:12
  So he tries to dumb him down all the way through.
• 55:14
  Yeah, he tries to undermine him. I like that.
• 55:15
  Yeah, yeah, and his reactions are priceless.
• 55:18
  When he gets the die on his face and completely loses his shit
• 55:22
  and he shuffles off screaming, I'm.
• 55:23
  Coming for you? Jack and when he notices the
• 55:31
  footage is being looped is hilarious.
• 55:32
  Just a massive close up of his face screaming Yeah, no, with
• 55:36
  his fingers it's yeah, it's ridiculous.
• 55:40
  You're just one of the worst. It's it's a favorite film of
• 55:43
  mine, but it's got one of the worst cuts I've ever seen.
• 55:46
  It's when he's just he sees Jack getting the award and he's like
• 55:49
  way to go, Jack, where to go. It just cuts.
• 55:53
  He's just. Cuts where to go?
• 55:55
  Where to go? It's just like, let it play.
• 55:57
  Out. Surely, yeah.
• 55:59
  What did he do for them to do that?
• 56:00
  Cut. Exactly that cut there, yeah.
• 56:03
  What was after that? Jesus.
• 56:05
  No, no, no. So I think in a straight down
• 56:09
  the line action thriller, I think you need someone like
• 56:11
  Copper in there to give it this absolutely crazy edge.
• 56:14
  Lunacy, but I think it works unbelievably, yeah.
• 56:19
  I mean, we talk about like lunatic.
• 56:20
  Edge that Hopper brings. It was his ID to pick Jeff
• 56:23
  Daniels up by the nose in the elevator the same.
• 56:26
  Just really strange it is. Really.
• 56:28
  Well, Debon thought it might. Look silly, but he will ended
• 56:30
  after he realized it hurt like a son of a bitch.
• 56:32
  I'm sure it would, but. It's just a really odd choice.
• 56:36
  It's very strange choice. For the character of pain.
• 56:39
  Debon said that Hopper really brought the character a life,
• 56:41
  which, I mean, come on, yeah, it was Hopper who developed the
• 56:44
  characters motivations beyond the ransom.
• 56:46
  Debon said that when the bus blows up at the start of the
• 56:49
  film, you see his excitement over the fact that this thing
• 56:52
  that he actually made worked and that deeply personal thing
• 56:55
  really set up the entire movie like it's a personal thing to
• 56:58
  him. And yet the loss of life means
• 57:00
  nothing and he needs to be noticed.
• 57:02
  I think that's that comes across as well.
• 57:04
  Yeah, I think it does. I think he said he was.
• 57:06
  Driven more by deranged scorn and obsession with bombs than
• 57:09
  the monetary gain was kind of secondary.
• 57:12
  I mean, it's such an arbitrary figure that he's asking for 3.7
• 57:15
  million. I mean, I know it's his nest
• 57:17
  egg, but how do you come up with that number?
• 57:19
  Yeah, that's very stranded. Up mate.
• 57:22
  Yeah. Yeah, if.
• 57:23
  They're going to give. You that they'll give you an
• 57:24
  extra 300. Grand.
• 57:26
  Yeah, they call it 4. Yeah, call it 4.
• 57:29
  OK. So the end of.
• 57:30
  Our conversation on the cast brings the 2nd Patreon question
• 57:33
  for speed. OK, this one is from Matthew
• 57:36
  Williams. Hello Matthew.
• 57:38
  Hello, Matthew. Matthew.
• 57:39
  Says if this film. Was made.
• 57:41
  Now which actors do you think would work in key roles and on
• 57:44
  what form of transport? Where you have it sets right?
• 57:47
  A similar question came from Stefan Rossi and Jacob Perry
• 57:49
  regarding remakes and what mode of transport.
• 57:51
  So it is OK. Your other question good
• 57:53
  question a very. Good question, Matt.
• 57:56
  Do you? Want to take the reins?
• 57:57
  I think this day and age would have to.
• 57:59
  Be an Uber, wouldn't it? Brilliant.
• 58:01
  Nice sabotage. As an Uber.
• 58:02
  Like collateral? Yeah, very much like.
• 58:05
  Collateral. Yeah.
• 58:06
  Or maybe one of those, like delivery riders who go around on
• 58:09
  the bikes like they can't slow down, but they've still got to
• 58:11
  deliver the food, just throwing. Pizza.
• 58:16
  There's no. Breaks.
• 58:19
  Really. Fast food.
• 58:19
  Just call it fast. Food.
• 58:21
  Call it fast food. It's genius.
• 58:23
  Can I tell you what? There's the elevator.
• 58:25
  Pitch it right. There we go.
• 58:27
  Absolutely. And then I thought in terms of
• 58:30
  question, I really like Daniel Kluya, so thought he could be an
• 58:34
  interesting Jack Travon give a good spin on it.
• 58:37
  Yeah. Sydney Sweeney is this up and
• 58:39
  coming actress has done a lot of TV kind of procedure stuff in
• 58:42
  HBO. She's really good, very much and
• 58:44
  someone who. Mentioned.
• 58:45
  Was in consideration for Jack, but I think Woody Houston could
• 58:48
  be really good, bad guy. Oh yeah, definitely.
• 58:50
  Nice. Yeah, yeah.
• 58:51
  I like these choices. Yeah.
• 58:53
  Very nice. What about you?
• 58:54
  Westy Oh, I've got 3. Christ.
• 59:00
  This is coming up. In a pair.
• 59:02
  An episode that we're going to be recording next week, but Anne
• 59:05
  Hathaway and McConaughey together in an airport over a
• 59:09
  Texas swamp? Brilliant.
• 59:10
  You know, like you start. Gentle bent, then big.
• 59:12
  Airport, right It doesn't it? Doesn't.
• 59:14
  Stop. Yeah, that would be great, Emily
• 59:18
  Blunt. Ryan goes on to know they've
• 59:19
  just got together for the fall guy, but I think they would be
• 59:21
  really good in a hot air balloon.
• 59:25
  That we can't get back down. And Josh Brawl and and Florence
• 59:28
  Pukes. I've just seen June 2 and it's
• 59:30
  incredible. But them two will be wonderful
• 59:32
  in like a western but the Stagecoach.
• 59:35
  But the horses are on speed. School horses on speed.
• 59:41
  What do you think of? That.
• 59:43
  I don't know what this cable is in.
• 59:45
  A dream? It's called.
• 59:47
  Horses on speed. It's called horses on speed.
• 59:49
  What do you think about that? Put that on the.
• 59:50
  Front cover. That's all you need.
• 59:51
  It's about the horse. It's the end of about the future
• 59:56
  for. 3 for 2 1/2 hours. Oh, wow.
• 1:00:02
  But I. Do love these questions, like
• 1:00:04
  recasting is a favorite. So we had a ball recasting point
• 1:00:07
  break, if you remember rightly, was yes.
• 1:00:10
  Yeah, yeah. Schwarzenegger was in there.
• 1:00:12
  Obviously it's a contemporary tip that Matthew has us on here,
• 1:00:17
  so I'm going to say as Jack Luis Guzman, yes, obviously not
• 1:00:24
  obviously Schwarzenegger and. DeVito.
• 1:00:26
  But DeVito couldn't reach the Pedals twins too.
• 1:00:33
  In the lead I am. Having what you had, Matt, I'm
• 1:00:35
  having Daniel Kaluu yet. Nice, great choice.
• 1:00:39
  Young, strong, athletic. A believable action star.
• 1:00:41
  I think. Definitely.
• 1:00:42
  And I think, and I'm going to start some like a granddad here,
• 1:00:46
  but there are too many. Faceless, bland leads in movies
• 1:00:50
  over the last 10 years. I can't remember their names,
• 1:00:52
  but they're all called Chris or Tom or some shit like that.
• 1:00:57
  There's a lot. Of Chris's, there's a.
• 1:00:58
  Lot of there's too many. Chris's too many, Hemsworth's
• 1:01:02
  too many. Hemsworth's.
• 1:01:03
  I don't know if any of them are any good, but I think Kaluya
• 1:01:06
  really stands out for me because he's a really, really good
• 1:01:09
  actor, believe me, more than I think he's got the air, the
• 1:01:11
  rage. I don't know if any of them are
• 1:01:14
  any good. We should really do a podcast
• 1:01:16
  about films. Don't know the actors.
• 1:01:20
  Of the good when I say I don't know.
• 1:01:22
  If they're any good, my point is that they aren't very good.
• 1:01:25
  I don't know. I know.
• 1:01:27
  Bland. In.
• 1:01:28
  The part of Annie. I'm going to say Alison Brie,
• 1:01:31
  OK, she's in TV like Mad Men and glorious starting Scream 4.
• 1:01:34
  She's really come to the form the last few years.
• 1:01:37
  I think she's got a similar kind of appeal that Bullock has.
• 1:01:40
  She does indeed, Yeah, I think she'd be.
• 1:01:41
  Believable in a role like. This vulnerable kind of like
• 1:01:44
  girl next door, but with a steely eye.
• 1:01:45
  Determination as well. Yeah, and humor.
• 1:01:48
  Humor. Very much good sense of humor,
• 1:01:49
  yeah. And as pain, I've got Kate
• 1:01:52
  Blanchett in there. I think she can dial it up to
• 1:01:55
  deranged very easily. She's one of the best actresses
• 1:01:59
  out there, but I can just see her kind of getting maniacal.
• 1:02:03
  Yeah, yeah. Great.
• 1:02:04
  Yeah, although they did try. That in Indiana Jones.
• 1:02:05
  And it didn't quite work. She doesn't need an accent.
• 1:02:08
  Oh. That's fair enough, right?
• 1:02:09
  Just to. Shave her head.
• 1:02:10
  Yeah, yeah. I mean all this talent.
• 1:02:14
  I'm not too sure whether they would be interested in a speed
• 1:02:17
  remake, but their ideas are there.
• 1:02:22
  If they're up for it, it's worth a shot.
• 1:02:24
  It's. Worth a shot, and I've probably
• 1:02:26
  been one upped. By Chris Macquarie But I'd like
• 1:02:28
  to go with a train like the Orient Express.
• 1:02:31
  Had a little bit of class of proceedings.
• 1:02:32
  Nice. Yeah, yeah, yeah, like that.
• 1:02:34
  So our fantasy is. Notwithstanding, the cast of
• 1:02:36
  speed is certainly one of the reasons for its continued
• 1:02:39
  success. Definitely.
• 1:02:47
  This episode of all the right movies.
• 1:02:49
  Are sponsored by Nord VPN. As you might expect, here at
• 1:02:53
  ATRM we watch a lot of movies, a lot of movies, and a lot of TV
• 1:02:57
  shows and major sporting events, and we couldn't do almost all of
• 1:03:01
  it without Nord. VPNI was desperate to watch the
• 1:03:04
  season finale of The Americans, but it wasn't available in my
• 1:03:07
  region. I use Nord VPN to switch regions
• 1:03:10
  to US and here Presto, I got it on Hulu.
• 1:03:13
  It streams brilliantly from Netflix as well.
• 1:03:15
  The quality is seamless, but it works great with any platform.
• 1:03:19
  With thousands of servers in 97 countries, Nord VPN is one of
• 1:03:22
  the fastest VPNs out there. One Nord VPN account can be used
• 1:03:26
  on multiple devices and it supports every major platform
• 1:03:29
  like Windows, Android, iOS, Mac OS, Linux, and even Android TV.
• 1:03:35
  Sounds good right? And we have a deal for you.
• 1:03:38
  To get the best discount of your Nord VPN plan.
• 1:03:40
  Go to nordvpn.com/atrm. Our link will also give you 4
• 1:03:46
  extra months on the two year plan.
• 1:03:48
  There's no risk with Nord's 30 day money back guarantee so it
• 1:03:51
  is a no brainer really. The link is in the podcast
• 1:03:54
  episode description box but here it is again. nordvpn.com/atrm
• 1:04:00
  What are you waiting for? Thanks to Nord VPN for
• 1:04:03
  sponsoring this episode of All the Right Movies.
• 1:04:06
  This episode of All the Right Movies are sponsored by Better
• 1:04:08
  Help. Without a healthy mind, being
• 1:04:10
  truly happy and at peace is hard.
• 1:04:12
  The good news is, therapy works. But what is therapy, exactly?
• 1:04:16
  It's whatever you want it to be. Maybe you're not feeling
• 1:04:18
  motivated right now and would like some tools to help, or
• 1:04:21
  maybe you're feeling insecure and relationships are at work
• 1:04:24
  and not dealing well with stress.
• 1:04:26
  Whatever you need, it's time to stop being ashamed of normal
• 1:04:29
  human struggles and start feeling better because you
• 1:04:31
  deserve to be happy and now you don't have to worry about
• 1:04:34
  finding an in person therapist need you to help?
• 1:04:37
  Better help is customized online therapy that offers video,
• 1:04:40
  phone, and even live chat sessions with your therapist so
• 1:04:43
  you don't have to see anyone on camera if you don't want to.
• 1:04:46
  It's much more affordable than in person therapy and you can
• 1:04:48
  start communicating with your therapist in under 48 hours.
• 1:04:52
  Join the millions of people who has seen what online therapy is
• 1:04:54
  really about. It's always a good time to
• 1:04:56
  invest in yourself because you are your greatest asset and a
• 1:05:00
  special offer to all ATRM listeners.
• 1:05:02
  You can get 10% off your first month of professional therapy at
• 1:05:05
  betterhelp.com/atrm. That's Betterhelp help.com/atrm.
• 1:05:14
  Thanks again to Betterhelp for sponsoring this episode of All
• 1:05:17
  the Right movies. The middle The second act has
• 1:05:25
  Annie behind. The wheel.
• 1:05:26
  And she knows how to keep it above 50, but there's a big
• 1:05:29
  problem in her way. Classic LA traffic, which
• 1:05:32
  threatens everything. And I just like the constant
• 1:05:35
  threat that Annie, Jack and the passengers face here.
• 1:05:37
  Yeah, I think there's some great footage here of the bus of Aiden
• 1:05:40
  traffic smashing into parked cars.
• 1:05:42
  The reactions from the passengers.
• 1:05:44
  I think for the most part it makes you believe that the bus
• 1:05:46
  is going above 50, although there are some shots in there
• 1:05:50
  though that convincer. Yeah.
• 1:05:52
  But it's all pretty hair raising, edge of your seat kind
• 1:05:55
  of stuff. When the bus exits the freeway
• 1:05:57
  and slams into the traffic, the actual bus had to stop every 25
• 1:06:00
  feet or so because it didn't have enough power to ram through
• 1:06:03
  them all. Well, there you go.
• 1:06:05
  That's. Great editing.
• 1:06:07
  That footage together to make it look believable, yeah, but that
• 1:06:10
  moment. When the bus smashes.
• 1:06:11
  Into the baby carriage is great, but it's sneaky.
• 1:06:16
  Sneaky is yeah, it's very it's really.
• 1:06:18
  Really painful. Yeah.
• 1:06:20
  It makes you believe that there. Would be a baby in there.
• 1:06:22
  The shot of a flying in the air in front of the bus is very
• 1:06:25
  dramatic slow motion as well. Excellent.
• 1:06:28
  Yes. Slow.
• 1:06:28
  More. Just draw it out, yeah.
• 1:06:31
  Bullets reaction. Is excellent.
• 1:06:32
  You really believe that she thinks that she's killed a baby,
• 1:06:35
  which is terrifying, yeah, but then it's the classic tin can
• 1:06:38
  reveal. Yeah, Graeme Yost, the
• 1:06:40
  screenwriter, said. This is the moment he's most
• 1:06:42
  proud of in the film. I mean, it's not the most
• 1:06:46
  original movie idea, is it? No, I mean, it's not the best
• 1:06:48
  writing I've ever. Encounters.
• 1:06:50
  No, it's not but the. Film tricks you into it.
• 1:06:53
  The woman pushing it, She ain't no snaggletooth toe ball.
• 1:06:56
  It's a respectable looking woman who's at a crossing saying
• 1:06:59
  goodbye to a friend who looks equally respectable.
• 1:07:02
  Yeah, what on earth is she doing pushing a pram full of new
• 1:07:06
  ideas? What is?
• 1:07:07
  She up to just pissing us? Off as an audience.
• 1:07:10
  That's the whole point. Isn't it crazy?
• 1:07:11
  It's not cool when it just just disappears from her complete
• 1:07:15
  grasp. It's just it's such a great cut.
• 1:07:18
  Well, the film needs it to happen.
• 1:07:20
  But creates this unbelievable scenario for it.
• 1:07:23
  But not to take anything away from the action and the
• 1:07:25
  intensity that Debon brings to this sequence overall, but the
• 1:07:29
  moment he's most proud of. I mean, come on, come on.
• 1:07:33
  Go ahead, come. On following that.
• 1:07:37
  I want to talk about when Helen comes a cropper and me too
• 1:07:41
  denies comes a cropper, brilliant comes a.
• 1:07:44
  Cropper and I laugh. Someone's been reading.
• 1:07:47
  Hamlet. Because I think when she gets
• 1:07:52
  blown. Up.
• 1:07:53
  That feels like such a trope of the disaster movie, you know,
• 1:07:56
  There's always someone as busy as like the sacrificial lamb to
• 1:08:00
  just remind you of, like how perilous the situation is by
• 1:08:03
  losing their life. You know, it's really
• 1:08:06
  reminiscing to me of the town inferno when they've set up the
• 1:08:09
  the cables between towers to where people off and Robert
• 1:08:11
  Vaughan and all the other rich assholes jump on it and then
• 1:08:14
  have fallen to the. Deaths.
• 1:08:16
  But the difference is, Helen is just an innocent bystander
• 1:08:18
  caught up in this. You can understand the fact that
• 1:08:21
  she gets this little glimpse of safety, of getting off the bus
• 1:08:24
  and just kind of loses control and rushes forward.
• 1:08:27
  Because I do like that nice little set up earlier when she's
• 1:08:30
  talking around and she says how she can't handle freeways
• 1:08:32
  anymore. So there's already that anxiety
• 1:08:35
  there about driving. But it's not too much.
• 1:08:38
  It's not if she'd said something like if I have to take the bus
• 1:08:41
  one more time, it's going to kill me.
• 1:08:43
  That would be so on the nose. Yeah, yeah, that'd be too.
• 1:08:45
  That would be really. That's what I.
• 1:08:46
  Do like if that. Was in there, yours would be so.
• 1:08:48
  Proud of it, that'd be. A second favor.
• 1:08:51
  Moment. Second.
• 1:08:52
  Favor moment. But I think it's moment that's
• 1:08:55
  really well judged because I think in movies like this, where
• 1:08:57
  again, like I say, you have to demonstrate how seriously you
• 1:09:00
  take the villain, how seriously you take the peril.
• 1:09:02
  It can go too far, like I or say in Die Hard Two, once Colonel
• 1:09:06
  Stewart crashes that passenger plane and 200 innocent people
• 1:09:10
  just die in a ball of flame, like, you can't enjoy the rest
• 1:09:12
  of the film. Yeah, because that's too much.
• 1:09:15
  Like, how can you enjoy the rest of it?
• 1:09:17
  It's, you know, compared Die Hard.
• 1:09:19
  All you have to do is execute Takagi, the sort is one man, and
• 1:09:22
  that's all you need to know. These people are serious.
• 1:09:25
  And I think speed, thankfully, is much more Die Hard than it is
• 1:09:27
  Die Hard Two, when it comes to that, Yeah, very much.
• 1:09:31
  The one thing that de Bond would?
• 1:09:32
  Change about the film is this moment where the driver has
• 1:09:35
  helped off the bus. You wish that he had.
• 1:09:37
  All the passengers rushed to the exit to give the scene more
• 1:09:40
  urgency. It's like they're all desperate
• 1:09:42
  to get off. Yeah, yeah, I mean.
• 1:09:44
  It would have worked, I think. I think it works.
• 1:09:45
  With Helen meeting, they do and I think that the the urgency and
• 1:09:49
  the peril is is more than enough in that it's more than enough.
• 1:09:52
  He would have just really. Wrapped up your anxiety to
• 1:09:54
  think, well, we can't trust these people and you want them
• 1:09:57
  all to be a team and you want them all to kind of work for
• 1:09:59
  each other and that's that gives you security within this whole
• 1:10:02
  terrible situation. I think if that had been every
• 1:10:05
  man for himself, Jack wouldn't have been able to control that
• 1:10:08
  at all. Especially the character that
• 1:10:09
  he's played. Yeah, it shows the the lack of.
• 1:10:11
  Control that he he would have Jack would have if exactly.
• 1:10:14
  Go for it. Yeah.
• 1:10:14
  Yeah. So I'm going.
• 1:10:15
  To go for the moment that we've all expected and really looking
• 1:10:19
  forward to, Oh yeah, oh, there's a gap in the freeway.
• 1:10:22
  Fucking course there is. Amazing.
• 1:10:25
  And it's the dialogue here that's just so wonderful. 50
• 1:10:29
  feet. It's a 50 feet gap, right?
• 1:10:32
  At least, Jack said. There might be an incline,
• 1:10:35
  Floyd. Yes.
• 1:10:42
  To be that guy for. 30 seconds in any day would absolutely just
• 1:10:46
  make my life so much more complete.
• 1:10:49
  But I have that just blind sense of faith.
• 1:10:52
  He's just, we're going to make it.
• 1:10:54
  It's going to happen. There's that incredible aerial
• 1:10:57
  shot where the bus just did. Everyone around it just
• 1:10:59
  disappears and the bus just speeds ahead and you do.
• 1:11:02
  Then it pans up. You see the gap in the freeway.
• 1:11:04
  It's like there's a real thing and then music ramps up and
• 1:11:07
  everyone's just fucking shitting themselves and it's just like.
• 1:11:11
  This is. Never going to happen but then
• 1:11:12
  you see these cuts to the speedometer and it's 70 and they
• 1:11:16
  hit that ramp at 70 and then it takes off like a bus in mid air
• 1:11:19
  is going to hit 70 miles an hour or 70 kilometers an hour or
• 1:11:23
  whatever it is is so unbelievably stupid and then
• 1:11:26
  hits every single barrier as it lands doesn't slow it down
• 1:11:30
  whatsoever it's just it's not a. Missile.
• 1:11:34
  It's just a bus. It's maximum speed is 70.
• 1:11:37
  That's the maximum speed it goes.
• 1:11:39
  It's got to think keep that. Maintain that 20 all the way
• 1:11:42
  through. But you fucking buy it because
• 1:11:44
  of them closer. You just go, that's.
• 1:11:47
  Not going to happen. Well, the speedometer says 70,
• 1:11:49
  so fuck you. And it's like, that's not going
• 1:11:50
  to happen. But it's landed.
• 1:11:51
  Look, it's still about 50, So in your face, it's just a great,
• 1:11:54
  great sequence. Yeah, incredible.
• 1:11:58
  Nothing more to say. Nothing more to.
• 1:12:00
  Say cinema. Cinema.
• 1:12:03
  Sassy. Cinema.
• 1:12:04
  That bloody. Bastard cinema make me believe
• 1:12:06
  things that aren't real. And the interesting thing is
• 1:12:09
  though. That jump over the freeway, it
• 1:12:11
  wasn't even in the shooting script.
• 1:12:12
  The film was shot on the yet to be opened Century Freeway
• 1:12:15
  Interstate 105 and de Bond was on his way to set one morning
• 1:12:18
  and he noticed the unfinished parts of the construction and
• 1:12:21
  just thought it'd be great to say to drum set piece on that is
• 1:12:24
  this film just written on post. It notes Moving it around.
• 1:12:27
  Just moving it. Yeah, that doesn't.
• 1:12:30
  Work there, just driving to the set.
• 1:12:32
  Oh. This would be really good.
• 1:12:32
  Like one of the biggest set pieces in the whole film.
• 1:12:35
  Yeah, just be. The tent poles set piece in the
• 1:12:38
  whole the films. For the stunt, the bus was
• 1:12:43
  stripped down to make it as light as possible with only the
• 1:12:46
  stunt driver on board. The first attempt was a
• 1:12:48
  disaster. The bus crashed, a fact which
• 1:12:50
  was hidden from the studio. Didn't want them to know that.
• 1:12:53
  No, of course not. Dangerous.
• 1:12:55
  The second attempt was much more successful.
• 1:12:56
  It was mapped out to hit the ramp at 67 miles an hour to get
• 1:12:59
  sufficient air time, and it started it's run a mile back and
• 1:13:03
  it hit the ramp at 61 mile an hour, travelling 109 feet, and
• 1:13:07
  the front wheels reached 20 feet off the ground, which was much
• 1:13:10
  further than anticipated. There were five cameras set up
• 1:13:13
  to catch different angles and it landed on one of the cameras,
• 1:13:16
  smashing it to bits. But they've got enough coverage
• 1:13:20
  with the and obviously with the aid of Slo MO and the Oscar
• 1:13:23
  nominated editing, this mention of disbelief I think is
• 1:13:26
  maintained because if you look at the raw footage of the stunt,
• 1:13:30
  it's not impressive. No, no, no it.
• 1:13:33
  Just goes up and. Down and down, Yeah.
• 1:13:35
  To cut all of that material together to make it look like it
• 1:13:39
  goes over a 50 foot jump is really impressive, The stunt
• 1:13:42
  driver. Himself was on a harness which
• 1:13:44
  suspended him an aiming that his spine wasn't at risk of
• 1:13:47
  compressing on Landon. But he forgot to put, forgot to
• 1:13:50
  put in his mouth guard and the impact meant that he pretty much
• 1:13:53
  bit his tongue in half. Like, seriously, one of the cast
• 1:13:57
  members from the bus said that it was hanging off when he got
• 1:14:00
  out the bus and he had to go to hospital.
• 1:14:02
  But he's back on set two days later, he wrote.
• 1:14:06
  Wow. He's the real.
• 1:14:08
  Jack Travan, isn't he? He's the real anything that's.
• 1:14:11
  Needed in. Reality.
• 1:14:13
  There wasn't a missing. Piece in the freeway.
• 1:14:14
  It was digitally removed and DuPont added in a flock of birds
• 1:14:17
  flying by. They emphasize the fact.
• 1:14:19
  OK, I think it looks, I mean, like you said, it's in camera.
• 1:14:23
  It looks as though it's not there.
• 1:14:24
  But if you look closely at the ground, you'll see that there's
• 1:14:27
  a shadow from the digitally removed piece of the road.
• 1:14:29
  Oh, really? OK.
• 1:14:30
  OK, right, right. Yeah.
• 1:14:32
  Of course it has been. Proven that it's physically
• 1:14:34
  impossible for the bus to have made the jump of that distance.
• 1:14:36
  It would have just basically plummeted to the ground.
• 1:14:39
  But who cares about that, right? Yeah, so.
• 1:14:44
  Set pace after set pace in the. Second act, turn the tension
• 1:14:46
  dial up to 11? Definitely, yeah.
• 1:14:51
  With Annie making the jump relative.
• 1:14:52
  Safety is resumed and Jack has a master plan to save the day.
• 1:14:56
  The bus pulls into LAX where it ultimately meets its demise.
• 1:15:00
  Yeah, and I'm picking up here. With a conversation.
• 1:15:02
  Jack has with pain over the telephone.
• 1:15:04
  Nice first point to make. Here is that when the.
• 1:15:07
  Bus enters the airport, the tyres are popped, which should
• 1:15:10
  make an impact to the speed and navigation of the bus, correct?
• 1:15:13
  I mean, it does, but not until way later, just when the film
• 1:15:16
  needs it to. Which is nice and convenient,
• 1:15:18
  isn't it? Physics don't exist, no.
• 1:15:20
  No, no, no, no, no. There are some shots throughout
• 1:15:22
  the film where Pain miraculously gets his thumb back, and as one
• 1:15:26
  of our patrons pointed out, one of them happens.
• 1:15:28
  During this phone call, Payne snaps his fingers with his
• 1:15:31
  apparent forefinger hand. You know we're gonna skirt over
• 1:15:35
  that as well, I suppose. Yeah.
• 1:15:36
  Yeah. Wow, I.
• 1:15:37
  Think here. You can tell that.
• 1:15:39
  Payne is starting to get a little threatened by Jack, and
• 1:15:41
  he knows that the walls are closing in, so that's when he
• 1:15:43
  starts to make his demands about the money and he's undermining
• 1:15:46
  Jack's intelligence again. I don't know why these demands
• 1:15:49
  about the money haven't been set in play before now from Payne,
• 1:15:53
  just been pissing around with dummies behind him and TV
• 1:15:56
  screens watching the ball game drinking diet Cokes line
• 1:16:01
  delivery here is weird as well. When Jack is saying that the
• 1:16:04
  people on the bus think that he's bullshit and Pain replies,
• 1:16:08
  they don't think that awful. Just a really odd choice.
• 1:16:15
  And there's some bad Dublin When Jack negotiates to get off the
• 1:16:18
  bus, Pain says all right, but I want you back real fast.
• 1:16:21
  But his mouth says something completely different.
• 1:16:24
  Check it out next time if you haven't noticed it yet.
• 1:16:26
  Notice that. But I like.
• 1:16:27
  When Jack gets off the bus. Doug says, what, are you just
• 1:16:29
  going to leave us here? And Ortiz says I would.
• 1:16:33
  Great, yeah. And then there's a lovely human
• 1:16:36
  moment between Jack and Annie that could have been cheese on
• 1:16:39
  toast. What comes across as very
• 1:16:41
  sincere. And I think that's down to the
• 1:16:43
  chemistry between the two. And he says, don't forget about
• 1:16:46
  us. Yeah, Jack just shoots her a
• 1:16:47
  look. I think it just gives the whole
• 1:16:49
  thing an extra layer of emotion, which I really, really like
• 1:16:52
  that. Yeah, it's kind of like the
• 1:16:53
  moment in Aliens. Yeah.
• 1:16:55
  When Ripley tells Hixie's name, she says Ellen.
• 1:16:57
  And it kind of Yeah, it has that feel I've got.
• 1:16:59
  Yeah, I get that. I get that.
• 1:17:00
  But. Imagine how cool that would be.
• 1:17:01
  You've been through all of that, you know for a fact she's
• 1:17:03
  interested, and you just step onto your mate's Jeep.
• 1:17:06
  Yeah, and you're just. Like talking through.
• 1:17:08
  The window. And it's just like, oh, this guy
• 1:17:11
  like couldn't. He be any cooler?
• 1:17:13
  At that point. It's.
• 1:17:14
  All I ever wanted to do, I would slip.
• 1:17:15
  Off. That dead.
• 1:17:18
  The easiest thing to do, I would slip.
• 1:17:20
  Off I'm going to pick up for me. Because I think Jack's plan to
• 1:17:23
  try and defuse the bomb underneath the bus.
• 1:17:26
  I love this sequence because it's all about how the situation
• 1:17:29
  just escalates. Like, I don't even know what you
• 1:17:32
  call that thing that Jack is lying on, but they've got a time
• 1:17:35
  and place it perfectly to get it under the bus.
• 1:17:38
  It doesn't look like the most secure thing in the world that
• 1:17:40
  I'd want to be lying on going at that speed.
• 1:17:43
  And again, this is what I'm talking about.
• 1:17:45
  I want to say how good the location shooting is about how
• 1:17:47
  visceral it is. You know, even if Reeves, you
• 1:17:49
  know, in the scene he is tethered to the bottom of the
• 1:17:51
  bus for this scene, you still think that Tom acts like 6
• 1:17:54
  inches of like splitting his skull open.
• 1:17:57
  And it really brings that home. And it's all those cuts to like
• 1:18:00
  the to try this and the rubbish on the runway that Annie is
• 1:18:03
  running over, you know, that's going to come back at some point
• 1:18:06
  but, and he can't swerve because now Jack is underneath the bus,
• 1:18:10
  so it's just got to keep it straight like an arrow.
• 1:18:12
  She's trying to stop everyone kicking off on the bus, get them
• 1:18:15
  back behind the line. And then when Harry gives Jack
• 1:18:17
  the instruction over the phone, you know, cut the sheath, but
• 1:18:20
  don't cut the wire. I mean, fucking hell.
• 1:18:22
  That's, like, precise. Enough.
• 1:18:25
  At the best of times, let more travelling at 50 miles an hour
• 1:18:28
  on a metal tree that's bouncing around all over the place.
• 1:18:31
  Yeah, and Yander Bontes throws in.
• 1:18:32
  Some rubbish on top of that to bounce him up, Yeah, yeah.
• 1:18:35
  Exactly. It's great stuff.
• 1:18:37
  And then Jack punctures the fuel tank when one of those pieces of
• 1:18:40
  Roach just hit him. So yeah, I really love the
• 1:18:42
  sequence. And it's just got a great, a
• 1:18:43
  great line at the end of it when he gets back on the bus.
• 1:18:46
  Did you have any luck with the bomb?
• 1:18:47
  Yeah. Didn't go off.
• 1:18:48
  Didn't go off that. Yeah.
• 1:18:50
  But him getting. On to that bus is.
• 1:18:52
  Physically impossible. I mean, he must have some core
• 1:18:54
  strength, so his legs must be straight and he's bending his
• 1:18:58
  top half of his body into the bus without his legs going any
• 1:19:00
  further to the road and they pull him up and it's fine.
• 1:19:04
  It's like it always makes me feel really fucking wheezy, like
• 1:19:06
  I would never. I'm done.
• 1:19:08
  In that situation, I'm done. This scene was scrutinized by an
• 1:19:13
  explosives ordnance disposal expert.
• 1:19:16
  Of course it was fucking hell. Who rubbish?
• 1:19:19
  Jack's. Actions.
• 1:19:21
  He said that there were dozens of ways to tackle this kind of
• 1:19:23
  situation, but this wasn't it. But he said.
• 1:19:27
  That Jack shouldn't. Use a radio for communication
• 1:19:30
  next to an electronic device which totally solid point.
• 1:19:36
  And also he said that considering Jack's profession he
• 1:19:40
  should know more about bombs and shouldn't rely on the advice of
• 1:19:43
  his partner on the other end of the phone.
• 1:19:45
  Oh Jesus Christ, all fair points I.
• 1:19:47
  Mean he. Is a bomb disposal expert, but
• 1:19:50
  he endures shit all about bombs. Yeah, yeah, I think are.
• 1:19:55
  They're not, are they're not Just like a special Special
• 1:19:57
  Forces kind of member of the LAPD bomb squad, the bomb squad.
• 1:20:02
  The bombs. All right.
• 1:20:04
  Well, but yeah, that totally. Makes sense then.
• 1:20:05
  He's a fucking idiot. This is where it gets like.
• 1:20:09
  The most emotional that it's going to get, I guess, And it's
• 1:20:13
  Harry. That's a scumbag.
• 1:20:16
  And they find the guy. And everyone's really excited
• 1:20:19
  about having the guy with the who's holding the file at that
• 1:20:22
  point where she's like describing how Howard Payne is
• 1:20:25
  and like fingers totaling 9 and the guy's just like, wait,
• 1:20:29
  watching on the left. Hand side of the.
• 1:20:30
  Screen. So fucking funny.
• 1:20:32
  It's just doesn't care. Like Yande Bond does not care
• 1:20:35
  about these signatures at all in the police stations.
• 1:20:37
  Like just get it over with. And it's that house, the most
• 1:20:40
  blown up house in cinema history in LA.
• 1:20:43
  Yeah, I was like, you see that? I was.
• 1:20:44
  You go that's going to explode. Surely that is the same house
• 1:20:46
  I've seen blown up so many times.
• 1:20:48
  But it's I need something else. Here from.
• 1:20:51
  Harry I need like he just accepts his fate.
• 1:20:54
  I need a line or something. You know like Barry Patron and
• 1:20:57
  Saving Private Ryan. When he's like Park, I get out
• 1:20:59
  and he's just just knows that he's it's no good anyway.
• 1:21:02
  But there's that emotional kind of pull like you just there's
• 1:21:05
  none of that. It's Harry just going fucking
• 1:21:07
  hell, right? Still hungover, thank God.
• 1:21:12
  It's almost. Like he's saying, oh, thankful
• 1:21:13
  for this, I'm over here. It's absolutely fine.
• 1:21:15
  There's no real. Regret in that moment.
• 1:21:17
  I wanted a little bit more hot, and it's Jack's reaction to that
• 1:21:20
  actually brings the heart to it. But he really needs that phone,
• 1:21:24
  and he just smashes it up Judy needs.
• 1:21:27
  You don't want to smash that he. Really needs that.
• 1:21:29
  And then he loses it and he's like, he gets to that point
• 1:21:32
  where, like, we're all going to die.
• 1:21:35
  All right then. You.
• 1:21:36
  See how good Annie is as his partner, as his teammate in this
• 1:21:41
  and she brings back job. We need you, OK?
• 1:21:42
  We need you. We need you back.
• 1:21:44
  We need you back. And there's that great one way
• 1:21:46
  just looks and you see that shot that all the passengers on the
• 1:21:49
  bus and it just resets him and he just goes, OK.
• 1:21:52
  I've got a job to do. OK.
• 1:21:54
  I'm going to push that on one side and not to get too like
• 1:21:57
  deep into it, but maybe that's what he thought, like hearing
• 1:22:00
  about River Phoenix dying and trying to like get on with the
• 1:22:03
  film. And maybe that's a little bit
• 1:22:05
  loaded in this because he he's genuinely great at that point,
• 1:22:09
  Like Reeves against that, and he's genuinely brilliant.
• 1:22:12
  And that reset, Yeah, because he's been completely.
• 1:22:14
  Unflappable up until this exactly.
• 1:22:15
  And he gets that news and it. Breaks him down, but it's how
• 1:22:18
  quickly he rebuilds himself. Again, just morally perfect.
• 1:22:21
  I think that we can't. Go any further without
• 1:22:24
  addressing Jeff Daniels performance in this film.
• 1:22:27
  Yeah, fair enough. I think he.
• 1:22:28
  Feels. Very oddly out of place.
• 1:22:31
  I don't think he's ever shown up in a film like this and is
• 1:22:34
  pretty much an inconsequential cast member.
• 1:22:37
  I mean, Jeff Daniels, what's he doing?
• 1:22:39
  What's Jeff Daniels doing in this film at this time as well?
• 1:22:42
  He was quite a big star and he's like a fourth lead originally.
• 1:22:47
  Who's the villain of the piece? In cahoots with Howard Payne,
• 1:22:50
  right. But once Hopper came on board,
• 1:22:52
  it was decided that Hopper could carry the vilny on all by
• 1:22:55
  himself. Yeah, so dramatic rewrites were
• 1:22:57
  done about a month before production started, so changed
• 1:23:01
  the whole thing. I think you can tell Justine is
• 1:23:04
  a bit. Pissed off about the whole
• 1:23:05
  thing, like the way he just maybe he had a line and he said
• 1:23:08
  I'm not saying it, I'm not. Doing it.
• 1:23:11
  Fuck your line. Yeah.
• 1:23:11
  Fuck off, I'm glad to be out the film.
• 1:23:13
  I think it's quite loaded at the start.
• 1:23:15
  Or when they're when they're having drinks, Yeah, when they
• 1:23:18
  get commended and he's saying things about she shot us in the
• 1:23:21
  leg and he's quite bitter about it.
• 1:23:22
  So I think that would have fed into where he was the villain.
• 1:23:25
  I think that would have fed into that, yeah.
• 1:23:27
  And I think I suppose. It works in.
• 1:23:28
  Retrospect that because it's Daniel's, you're almost
• 1:23:31
  expecting him to be a bad guy in Hayden, but the film subverts
• 1:23:34
  those expectations. I think that's quite lucky,
• 1:23:36
  though it is. It is very lucky the way.
• 1:23:38
  The way that it's played out. But I mean, it would have been
• 1:23:40
  wonderful if Jeff Daniels turned out to be the bad guy with pain
• 1:23:43
  at the end, and they were both because the bombs were so
• 1:23:46
  different every single time. It's their expertise that
• 1:23:50
  happens. And then you find out that
• 1:23:51
  Annie's got a strap to her and then you see that that's the
• 1:23:55
  twist. But then you see again, the
• 1:23:56
  twist on top of that is that it's Harry.
• 1:23:58
  And then he turns to Keanu Reeves character, right?
• 1:24:00
  He turns to Jack and goes shoot the hostage and then shoot
• 1:24:03
  Sandra Bullock in the head. But it's like.
• 1:24:07
  Shoot the hostage and he. Kills her.
• 1:24:08
  That would have been fucking massive.
• 1:24:10
  Yeah. Yeah, I mean.
• 1:24:12
  Yeah, it sounds great. It's greedy.
• 1:24:14
  Depressing. Yeah, really.
• 1:24:15
  But that was lovely. They kind.
• 1:24:17
  Of lovely, lovely something works.
• 1:24:19
  Shot in the. Head.
• 1:24:20
  Not for me. Can't shoot, Yeah.
• 1:24:22
  But. Using his own words.
• 1:24:23
  Against him is like, you know, got to get you so far, then I'll
• 1:24:25
  get you killed. You know, I think that would
• 1:24:27
  have been good. Oh, it would.
• 1:24:29
  I mean it. Sounds great, but you know, a
• 1:24:30
  little dramatic. Never gonna happen.
• 1:24:32
  Who's gonna watch that? Classic Westie film apart from
• 1:24:35
  Westie. So Jack is running out of
• 1:24:38
  options and close to giving up, but Annie's by his side every
• 1:24:41
  step of the way? Absolutely, yeah.
• 1:24:46
  The crew crew work on speed A. Mixed bag of unfamiliar names, I
• 1:24:53
  suppose. We're starting with the
• 1:24:55
  screenplay by Graham Yost. And I think the story, the
• 1:25:00
  screenplay is a very complicated one.
• 1:25:01
  And we'll get into that in a moment.
• 1:25:03
  Yeah. But what I like about the
• 1:25:04
  writing is we mentioned it, that very straightforward, high
• 1:25:08
  concept. Yeah.
• 1:25:10
  There are no big themes at play here, no metaphor.
• 1:25:13
  This is just pure popcorn movie making.
• 1:25:16
  And there's absolutely nothing wrong with that at all.
• 1:25:19
  No. In fact, if you're making a film
• 1:25:20
  like this, make it as simple as possible.
• 1:25:23
  But exactly that's what you want, isn't?
• 1:25:25
  It. And that's exactly what Gramios.
• 1:25:26
  Has written a bus going over 50 miles an hour.
• 1:25:28
  If it goes under, it explodes, taking all the passages with it.
• 1:25:31
  Boom. That's the pitch that get
• 1:25:32
  anybody interested. Let's go.
• 1:25:34
  I'm all in. It sounds amazing.
• 1:25:36
  Yeah, A very simplistic concept and in some respects a very
• 1:25:39
  silly one. We talked about it.
• 1:25:41
  You've got to suspend your disbelief to be bought in.
• 1:25:43
  Yeah. And I think that's a word that
• 1:25:45
  I've and we've all used a lot on this episode.
• 1:25:48
  Belief. Disbelief.
• 1:25:50
  Unbelievable. Yeah.
• 1:25:51
  Yeah, outrageous, you know. Those kind of words all
• 1:25:55
  necessary. So it's not rooted in reality by
• 1:25:59
  any stretch. And I think that the reason that
• 1:26:01
  we do suspend disbelief is down to that physical film making
• 1:26:05
  that Yander Braun brings to it. And to some extent the cast, the
• 1:26:09
  writing, a lot of it was done on set.
• 1:26:11
  Like we mentioned, Harry's character was changed just like
• 1:26:13
  that. Yeah, IDs were added.
• 1:26:15
  IDs were taken away. The big set piece, the film, the
• 1:26:18
  huge spectacle set piece was thought about on set, On the
• 1:26:22
  way, On the way to work. Ridiculous.
• 1:26:24
  I think it's a. Miracle We've got a cohesive.
• 1:26:26
  Film, considering the changes, yeah.
• 1:26:27
  So I think it's got a great elevator pitch concept, but
• 1:26:31
  nothing really wonderful going on outside of that.
• 1:26:33
  It doesn't necessarily need to for what it does.
• 1:26:36
  It does it very well. Yeah, and on.
• 1:26:39
  That note. It's time for our third and
• 1:26:41
  final period question. This one comes from Scott
• 1:26:43
  Norton. How you doing, Scott?
• 1:26:45
  Hello, Scott, Scott says. Suspension of disbelief.
• 1:26:48
  Is part of enjoying movies, Of course.
• 1:26:51
  But is there another movie ostensibly set in the court's
• 1:26:54
  real world that has a more ludicrous plot than speed?
• 1:26:57
  The idea that it's even remotely possible to keep a bus moving
• 1:26:59
  through a major city of 50 miles an hour?
• 1:27:01
  It is ludicrous. I get an LA Traffic Elliott is
• 1:27:05
  synonymous with traffic and not being able to move for hours on
• 1:27:08
  end. So yeah, yeah, we've mentioned
• 1:27:10
  it. So I'm going to go first on this
• 1:27:12
  one and I can't quite remember the setting because I watched it
• 1:27:15
  quite a while ago. I think it was when it was
• 1:27:17
  released, which is over 25 years.
• 1:27:18
  But I do remember watching face off when it came out and it
• 1:27:21
  totally lost me, that's what. That's my first choice.
• 1:27:28
  Obviously Nick Cage didn't help that either, no, but the big one
• 1:27:31
  for me is an outside choice. It is Weekend at Bernie's.
• 1:27:37
  A silly silly. Film.
• 1:27:41
  Now Carton, a dead body around town of a man who's known in the
• 1:27:45
  area and not being found out. I'm also certain that in that
• 1:27:49
  film, Bernie's cadaver has sex with a woman who's none the
• 1:27:53
  wiser. Yes, I.
• 1:27:55
  Mean which execs? Signed off on that and give $15
• 1:27:59
  million budget in 1989. I'm I'm going to say it works
• 1:28:05
  for. Me.
• 1:28:05
  We're going to burn this course. It does.
• 1:28:09
  So yes. Weekend of Bernie's is my
• 1:28:12
  choice. A very strange film.
• 1:28:14
  Very, very strange concert. What about yours, Matt?
• 1:28:17
  Very good. Couldn't be more.
• 1:28:19
  Opposite to Weekend of Bernie's, Quite honestly, I've gone
• 1:28:22
  Armageddon. I mean just from making and to
• 1:28:24
  end that film. They say the asteroid is the
• 1:28:26
  size of Texas, but Even so, would it still have its own
• 1:28:29
  gravity? I don't think that's how gravity
• 1:28:31
  works, and I don't know how much of an urban myth it is, but I
• 1:28:34
  have heard it reported. If you do ever work at NASA, one
• 1:28:37
  of your first tasks is watch Armageddon and you've got to
• 1:28:40
  make a note of harmony. Scientific inaccuracies.
• 1:28:43
  There are. Oh wow, really.
• 1:28:44
  And apparently. There's one. 168 in there, which
• 1:28:47
  is approximately 1 per minute of the film because it's quite a
• 1:28:51
  little film. And there's the famous quote
• 1:28:54
  from Ben Affleck where he said he went up to Michael Bain.
• 1:28:56
  He said, well wouldn't it be easier to train astronauts to be
• 1:28:59
  drillers rather than drillers to be astronauts.
• 1:29:01
  And Beard just said shut the fuck up.
• 1:29:02
  So that was the end of that conversation.
• 1:29:05
  That's a fair shout matter. Yeah, and.
• 1:29:08
  Wesley. I'm going to go Nick Cage.
• 1:29:10
  Again and I'm going to go Connie, OK?
• 1:29:14
  Brilliant. Yeah, just.
• 1:29:16
  Loads of prisoners on a plane and it just gets hijacked and
• 1:29:18
  then lands on the Vegas Strip? Yeah, no problem, no worries.
• 1:29:22
  Yeah. That's absolutely.
• 1:29:23
  Fine, that's most be like grounded in reality.
• 1:29:26
  But a special shout out the Highlander, which is just
• 1:29:29
  absolutely outrageous. He was for being totally
• 1:29:32
  grounded. Do we feel amazing?
• 1:29:34
  Yeah, but like, whopping. Their heads off.
• 1:29:35
  That's the only way it kills them by.
• 1:29:36
  That's just a great, great concept.
• 1:29:38
  And I'll say snakes on the plane again.
• 1:29:44
  So bringing it back. To the right and.
• 1:29:45
  Westie Yeah. What are your thoughts on
• 1:29:47
  Graham? Your script feel like he really.
• 1:29:50
  Sweated over this, and I feel like there's a script out there
• 1:29:53
  that really makes sense, that's really grounded in reality, that
• 1:29:56
  he really tried to just think of all these obstacles and try to
• 1:29:59
  think of a real way to defeat them, and that whole thing was
• 1:30:03
  thrown out. When they've just looked at the
• 1:30:05
  tagline, it's like they can't drop below 50.
• 1:30:07
  Instead it explodes and it's like, yeah, let's just go with
• 1:30:09
  that. Let's go.
• 1:30:11
  And. Just like no, but I've got all
• 1:30:12
  these extra. Bits that are going to go in
• 1:30:13
  there that makes sense and like, fuck off.
• 1:30:16
  I'm not bothered about that. That's how it.
• 1:30:18
  Feels it, feels like it's a. Great concept.
• 1:30:21
  And there was a script by Graham Yost that was cohesive and that
• 1:30:24
  made sense. But at the same time, that's not
• 1:30:27
  an action film. And you can see some of the bits
• 1:30:30
  on the bus where it makes absolute sense.
• 1:30:33
  Like, you know that he's being watched with the with the CCTV
• 1:30:36
  all the time that that's been set up.
• 1:30:37
  And then that's a nice twist and you realize he's been watching
• 1:30:40
  them on the bus and it wasn't actually the cameras outside.
• 1:30:43
  And then go to the airport because there's no, like, planes
• 1:30:45
  flying overhead. He hits the gas tank because
• 1:30:47
  he's just trying to disarm the bomb underneath.
• 1:30:49
  That all makes perfect sense. It's like it adds levels of like
• 1:30:53
  peril to what's going on. But then the goal now we're
• 1:30:55
  going to put this elevator in the start and just there's this
• 1:30:58
  thing on the on the roof that's going to be able to, you know,
• 1:31:00
  suspend it. It's fine.
• 1:31:01
  And then we're going to throw this train and at the end and
• 1:31:04
  that's going to be great. And then this is going to
• 1:31:05
  happen. And there is a cohesive
• 1:31:07
  screenplay out there, but it is not what we see on the screen at
• 1:31:10
  all. No, I agree.
• 1:31:12
  And Matt, what are your thoughts on the writing of Speed?
• 1:31:16
  Yeah, I mean. Obviously you can take it apart
• 1:31:18
  at any kind of number of levels of logic, and very easy very
• 1:31:23
  easily. But you know what?
• 1:31:25
  The film wouldn't work. Fundamentally it didn't have
• 1:31:27
  good things in it, and I do think that's a lot of good
• 1:31:29
  things in it. And one I want to talk about is,
• 1:31:32
  I really do like the writing of all the smaller supporting
• 1:31:35
  characters in this because it is, again to mention it, it is
• 1:31:38
  similar to Die Hard in that way. Like if you take cleaning hands
• 1:31:41
  out of Die Hard, you still got a lot of characters to talk about
• 1:31:44
  even with minimum screen time. And I'm not putting speed quite
• 1:31:47
  out there with that. But it does have a few that
• 1:31:49
  stick in mind before we talk about Maurice with this Jaguar.
• 1:31:53
  I really do like Alan Rook's character.
• 1:31:55
  He's very funny, but he's very good.
• 1:31:57
  Yeah, when Jack is. Using him to.
• 1:31:59
  Relay information. How are you?
• 1:32:00
  Over the phone he goes fuck me and he just takes bingos.
• 1:32:04
  Oh darn, yeah, yeah, yeah. That's really funny.
• 1:32:07
  Or. When they're trying to get some
• 1:32:08
  off the bus and he's snapping away photos because, like he
• 1:32:10
  says, he's a tourist so he's just having a wheel over time.
• 1:32:12
  Yeah, yeah, I've been. To the airport, Yeah, I've been
• 1:32:15
  the airport, so I'm the. Driver, I like him, Ortiz.
• 1:32:18
  But again, I think I've mentioned Harry here because the
• 1:32:21
  way his character is written and, you know, we've already
• 1:32:23
  said it got changed the last minute.
• 1:32:25
  But I would still say because Jack shoots him, he's out the
• 1:32:28
  action, he stuck behind the desk.
• 1:32:29
  You think, well, he's going to be stuck there.
• 1:32:31
  He's going to be safe. He's going to be doing, you
• 1:32:33
  know, the investigation wreck on the ground and that's his role
• 1:32:36
  now. So he'll be fine.
• 1:32:37
  But that's not the case, obviously.
• 1:32:39
  So, you know, I think that bit does hit and I think that that
• 1:32:41
  part is written well. Yeah.
• 1:32:43
  So yeah, the writing is obviously primarily concerned.
• 1:32:45
  We're making the middle part of the film work, which it really,
• 1:32:48
  really does. But in a one side, I do think
• 1:32:51
  you've got some nice little character moments along the way.
• 1:32:53
  But it is interesting that the casting of the passengers, that
• 1:32:56
  was deliberately influenced by ethnicity because Dubon wanted
• 1:33:00
  to represent how multicultural LA is and he wanted an ordinary
• 1:33:04
  looking people that you would conceivably see if you did
• 1:33:06
  travel by bus in that city. Yeah, yeah.
• 1:33:10
  I mean, I've been on a bus in LA and I didn't see no Sandra
• 1:33:13
  Bullock, I'll tell you that. The cast who played the bus?
• 1:33:18
  Passengers. Generally have a bittersweet
• 1:33:20
  memories of filming, yeah. When they were cast, the script
• 1:33:23
  looked very different. As we've discussed originally,
• 1:33:26
  they all had a major part to play in the narrative.
• 1:33:28
  They all had different talents. One was a paramedic, one was a
• 1:33:30
  film student, etcetera, And eventually they pulled together
• 1:33:33
  to solve the problem. But when rewrites came in, the
• 1:33:35
  whole cast were left deflated because their lines were taken
• 1:33:37
  away and they were just just like scream and cultural
• 1:33:40
  stereotypes. Yeah, it is a bit of a shame,
• 1:33:43
  Beth. Grant, who is Helen, said she
• 1:33:44
  was originally supposed to give CPR to the bus driver who had
• 1:33:47
  heart attack originally, and she felt she had like a really
• 1:33:50
  heroic role. And after the rewrites to Bond
• 1:33:53
  told her there's too many heroes in this.
• 1:33:55
  We need a coward and you're it. Oh, wow, Wow.
• 1:33:58
  OK. Yeah, thanks Jesus Christ.
• 1:34:01
  And despite all the disappointment, there was a huge
• 1:34:03
  amount of camaraderie created on the bus cast.
• 1:34:06
  They kept each other amused, telling jokes and dancing with
• 1:34:09
  Bullock being the ring lead. Obviously amazing.
• 1:34:12
  They even rescued a few stray dogs roaming the LA streets and
• 1:34:15
  in the end now look back fondly on their time circum and Ellie
• 1:34:18
  and the swelter and heat and they all had a pretty good time.
• 1:34:21
  Apparently they're on the same they're on the same boat.
• 1:34:24
  Yeah, they're the same boat. Yeah, definitely when it came.
• 1:34:27
  To Bullock, they're all just overwhelming in the prayers for
• 1:34:30
  her, how much the loved her and her daughter.
• 1:34:31
  And because she, as you'd expect, she's very outgoing.
• 1:34:34
  She kept morale sky high and apparently not adverse to the
• 1:34:38
  odd practical joke because one day Alan Rock went to his
• 1:34:40
  trailer for a nap and notice what he thought was a pile of
• 1:34:43
  dog turd on his floor. But on close examination it
• 1:34:47
  turned out to be a banana that had been cut up, painted brown
• 1:34:50
  with twigs and debris added to give a text here, which is
• 1:34:53
  disgusting. This was down to Bullock.
• 1:34:57
  Being creative. And she was, obviously.
• 1:34:58
  Killing herself, laughing when he came out of this trailer.
• 1:35:00
  Very confused. But to get it back, he broke
• 1:35:02
  into her trailer and he glued everything that moved to the
• 1:35:04
  surface loads. Of downtime.
• 1:35:09
  It's like. Tim on Gareth just gluing his
• 1:35:11
  phone. Together, but he's still very.
• 1:35:16
  Yeah, on the other end of the scale, the cast, you know, they
• 1:35:19
  said that Keanu was lovely, but that he was very reserved and
• 1:35:23
  very serious. But Beth Grant loved his acting
• 1:35:27
  approach, she said. He's so good at silences.
• 1:35:32
  He's great at doing nothing. And June is.
• 1:35:36
  Working between TV. Jobs Yos was searching for a
• 1:35:38
  great movie idea, so he asked his dad because he presented
• 1:35:42
  Saturday Night at the Movies, which was a Canadian movie
• 1:35:45
  review show. So he asked him if there were
• 1:35:47
  any great movie IDs that didn't fulfill their potential, and his
• 1:35:51
  dad mentioned Runaway, A Train from 1985, which is directed by
• 1:35:55
  Andre Konchalovsky, which stars Jon Voight and Eric Roberts,
• 1:35:58
  which he thought included a bomb on the train.
• 1:36:00
  He also got round to watching it, realized there is no bomb on
• 1:36:03
  the train and from there the idea he was born switched the
• 1:36:06
  action to a bus and added the bomb.
• 1:36:08
  Right, I've seen that. Film.
• 1:36:09
  Before. It's got a really good
• 1:36:11
  reputation, but it's it's badly acted, really badly acted, the
• 1:36:15
  actions again like. Speed.
• 1:36:17
  The location shooting on that, it's excellent.
• 1:36:18
  But yeah, the acting is very, is very strange.
• 1:36:20
  It's awful. Yeah, awful.
• 1:36:22
  Originally all of the action in speed was contained in the bus,
• 1:36:24
  no elevators or trains. Insight just wrote it as the bus
• 1:36:28
  not being able to go below 20 miles an hour originally and
• 1:36:32
  called it minimum speed. That sounds very safe.
• 1:36:37
  Anyone. In that is that is true.
• 1:36:39
  That is that true? That's true.
• 1:36:41
  Oh Jesus. Christ. 20 mile an hour.
• 1:36:45
  But a close. Friend.
• 1:36:46
  Suggested popping it up to 50 to heighten the jeopardy, and after
• 1:36:50
  this you just removed the word minimum, thinking that it didn't
• 1:36:53
  really scream excitement it doesn't really like.
• 1:36:55
  Paramount optioned the. Script first in 1992 and sat on
• 1:36:59
  it for a while. During this time, an executive
• 1:37:02
  paramount Don Granger considered the DAP net to become Beverly
• 1:37:05
  Hills Cup 3, which would have been about anything else, is
• 1:37:08
  better than Beverly Hills. Yeah, he pitched at a meeting.
• 1:37:11
  But it. Was quickly dismissed as a
• 1:37:13
  really bad idea. Yeah, yeah.
• 1:37:15
  Well, I. Suppose Axel in a theme park
• 1:37:17
  sounded better on theatre. Yeah, it's just like the start
• 1:37:20
  of Beverly Hills Cup. One just for longer.
• 1:37:22
  I don't smoke Lucky Strike Smoke King size.
• 1:37:28
  The script went through loads of rewrites.
• 1:37:30
  I mean, we've talked about this as these things usually do, And
• 1:37:33
  as mentioned, Fox demanded more rewrites when they picked it up
• 1:37:35
  Originally the bus circle Dodger Stadium, with it exploding near
• 1:37:39
  in the Hollywood sign before moving the action to LAX.
• 1:37:42
  Lots of changes, yeah. Yeah.
• 1:37:44
  And part of the reason for the rewrite.
• 1:37:45
  Where studio demands. So one screenwriter, still
• 1:37:49
  unnamed to this day. Actually, he was drafted in by
• 1:37:51
  Fox and he basically destroyed the whole thing.
• 1:37:53
  It was left in tatters. So Fox had to bring in his
• 1:37:56
  script doctor to get it back into shape.
• 1:37:58
  And that is now disgraced writer director Josh Whedon who zinged
• 1:38:01
  up the dialogue. And according to yours, he did
• 1:38:04
  end up writing 98.9% of the dialogue.
• 1:38:08
  But because the Writers Guild of America have these kind of
• 1:38:10
  labyrinthian, complicated rules, Whedon never got a writing
• 1:38:14
  credit for it. Wow 98.9 So.
• 1:38:16
  Basically all of all of the dialogue.
• 1:38:19
  You can. See where Payne's got his three?
• 1:38:20
  Point 7 million figure from, Yeah.
• 1:38:25
  Yeah, he has claims that Whedon was the most famous line in the
• 1:38:28
  film, the pop quiz Hot Chop. But Whedon refutes this.
• 1:38:32
  He said that it was already in the script when he got his slimy
• 1:38:34
  hands on it. So nobody knows exactly where it
• 1:38:37
  came from. It may have been from that
• 1:38:38
  unknown unnamed writer. Yeah, right.
• 1:38:41
  OK. Aside from the.
• 1:38:42
  Dialogue. He changed Alan Rooke's
• 1:38:44
  character from a high-powered offensive lawyer to an out of
• 1:38:46
  town wide eyed tourist, and he will best Reeves to change Jack
• 1:38:50
  from a wisecracking badass to a polite guy trying not to get
• 1:38:54
  anybody killed. Is that what he's like?
• 1:38:58
  Reeves told Weeden. I don't want to pull my gun.
• 1:39:00
  And Weeden said I don't want you to either, but you kind of have
• 1:39:03
  to. The studio is not going to let
• 1:39:05
  you not pull your gun. Yeah, after Whedon was.
• 1:39:07
  Unsuccessful in getting her a writing credit, Jos was kind of
• 1:39:10
  selfish in in his outlook. He said that the WGA, the
• 1:39:14
  Writers Guild of America, was to blame for not allowing the
• 1:39:16
  additional dialogue credit. And he also said, of course, I'm
• 1:39:20
  going to write a letter to the WGA saying I deserve sole
• 1:39:23
  credit. I sat with that thing for years.
• 1:39:25
  That's my baby. Yeah, yeah, you can see that
• 1:39:27
  though. You can see.
• 1:39:28
  That there was something in there somewhere that absolutely
• 1:39:30
  made sense? Yeah.
• 1:39:32
  Well, did it. Minimum speed sounds.
• 1:39:35
  Fucking massive. I think that it would never have
• 1:39:40
  been made had weed knock him on board, to be quite honest.
• 1:39:43
  Yeah, true reading between the lines.
• 1:39:45
  So say what you want about the writing.
• 1:39:47
  The concept at the hardest speed is popcorn movie gold.
• 1:39:50
  It is. Yes it is.
• 1:39:51
  It's the concept. That makes the whole thing work.
• 1:39:55
  Next up in the crew, we're talking.
• 1:39:57
  About the score by Mark Mancina, Nice.
• 1:40:03
  Talking about the score by. Mark Lantina.
• 1:40:05
  Nice. What do you think this one,
• 1:40:11
  Wesley. Wesley, you go for it.
• 1:40:14
  It's. Fucking massive, isn't?
• 1:40:15
  It what a fucking score this is. It's huge.
• 1:40:18
  I love it. It's got a theme.
• 1:40:20
  I love that it's recognizable. I love that it's got real
• 1:40:23
  emotion to it when them strings come in.
• 1:40:24
  But it's got that punch and it's got that drive.
• 1:40:27
  It is memorable, but at the same time, does it really work for
• 1:40:32
  the film? Does it match what you're
• 1:40:34
  saying? I don't know.
• 1:40:35
  If it does, do you know what I mean?
• 1:40:36
  It seems like it's a different thing and I don't know if it's
• 1:40:40
  got like the grandeur that it needs.
• 1:40:42
  It's there and it's big, but it's not big enough.
• 1:40:45
  I don't think it's big enough. You know what I mean?
• 1:40:46
  To to really. It's not like Hans Zimmer doing
• 1:40:49
  like Inception or something where you're like all this in
• 1:40:52
  this in golf is more, Yeah, I've just watched like, I'm not just
• 1:40:56
  being, say June 2, but like watching that you just got this
• 1:40:58
  whole soundscape just engulfs the whole picture in IMAX.
• 1:41:03
  This is like, come on, it's good, but then.
• 1:41:11
  It needs. That it gets too emotional when
• 1:41:15
  it should be dramatic and it gets too dramatic when it should
• 1:41:18
  be emotional and it just like it's mismatched for me.
• 1:41:21
  It's a great score and I'll listen to it on me commute now
• 1:41:24
  and again just to make me commute a little bit more
• 1:41:27
  exciting. But it doesn't sit to as one of
• 1:41:31
  them classics. No, the theme's great.
• 1:41:34
  It just needs to be fucking 10 times bigger.
• 1:41:40
  What about you, Matt? Would you prefer to see a 10
• 1:41:42
  times bigger? I want everything 10 times
• 1:41:44
  bigger. Quite frankly.
• 1:41:50
  I think it's the most 90s. Action soundtrack imaginable.
• 1:41:53
  Like those syndromes, the orchestration.
• 1:41:56
  Like until you still started doing it, I would have to say I
• 1:41:59
  wouldn't really recognize or be able to hum the theme from
• 1:42:01
  speed. Now I can't because yeah, you
• 1:42:03
  can be banging on about it. That's a couple of hours.
• 1:42:07
  If I listen to an. Isolation, I wouldn't be.
• 1:42:09
  Able to say, oh that's some speed, but I'd go that's a mid
• 1:42:12
  90s action film. Could be the rock, could be
• 1:42:14
  Conair, could be face off. So it's definitely a genre.
• 1:42:17
  I think it's got all the hallmarks.
• 1:42:19
  Of kind of like a classic movie score orchestral numbers, but it
• 1:42:23
  kind of sounds like a dance track from the 90s as well.
• 1:42:26
  Yeah, I don't mean groove into that in the 90s.
• 1:42:30
  Yeah, it's like it's like a menu from.
• 1:42:33
  The SNES, like one of the games on the Super Nintendo?
• 1:42:36
  Yeah, I'm getting into this. I'll take points from both of
• 1:42:41
  your. Comments and say that, Yes,
• 1:42:43
  Matt, I didn't think that. I really noticed it on 1st
• 1:42:46
  rewatch as a result. Wesley, I think it needs to be
• 1:42:49
  bigger. Yeah, just like Dalton.
• 1:42:51
  Yeah, I thought it'd be bigger. I thought it'd be bigger.
• 1:42:53
  Yeah. If you listen.
• 1:42:54
  Out in the quieter moments. Of the film.
• 1:42:55
  The score takes individual parts of the main theme and uses them
• 1:42:58
  as cues. Yeah, De Bond said that the
• 1:43:00
  title track during the credits contains all the themes in the
• 1:43:03
  movie. Every single one is represented
• 1:43:05
  and kind of pushed together. So like some parts are used in
• 1:43:08
  isolation for cues throughout the film.
• 1:43:11
  Wasted. It's not, it's an.
• 1:43:13
  Absolute waste, Waste of energy, that I do think that the main
• 1:43:16
  theme is a very. Good one.
• 1:43:17
  We've talked about on recent podcasts about the lack of a
• 1:43:19
  main theme in in scores recently.
• 1:43:21
  Definitely this one is memorable.
• 1:43:23
  It's identifiable. I think it is used effectively
• 1:43:26
  to add the action scenes. I think it could have been used
• 1:43:28
  more effectively though. Oh yeah, definitely.
• 1:43:30
  Yeah. And the least said about that?
• 1:43:31
  Billy Idol song. The much better.
• 1:43:34
  Yeah. Plus that's terrific.
• 1:43:35
  We'll. Leave it there.
• 1:43:36
  Yeah, Yeah. Mark Mancini.
• 1:43:38
  Said that he. Wanted the theme to play the
• 1:43:39
  character of the boss representing incredible danger
• 1:43:42
  and also heroic power because they are safe on that bus until
• 1:43:46
  it blows up. And he also incorporated sounds
• 1:43:48
  from the bus itself into the score.
• 1:43:50
  So instead of using traditional instruments he used a hammer for
• 1:43:53
  example, hitting the bus and the tie being hit with a mallet.
• 1:43:56
  A waste of time. Yeah, a waste.
• 1:43:59
  Yeah, a waste of time. A waste of time.
• 1:44:00
  I don't. Think he did, if you're.
• 1:44:06
  Listening again. It's It's not like.
• 1:44:08
  Like the Joker's theme from a Dark Knight as it where it's
• 1:44:10
  just like it's razor wire on string.
• 1:44:13
  It's not like Texas. Chainsaw where you're like, no,
• 1:44:15
  this has got an actual idea. Age.
• 1:44:17
  Yeah, it's just with a hammer gun that's it.
• 1:44:23
  Not necessary originally. Fox had hired Go.
• 1:44:26
  To action music stalwart Michael Cayman.
• 1:44:29
  I mean, yeah, of course, Wouldn't you?
• 1:44:31
  Yeah, yeah. To compose some music.
• 1:44:33
  But Dubon wanted something. Check this out, wanted something
• 1:44:36
  more active and contemporary. His goal was to have music that
• 1:44:40
  was modelled on what you might hear from someone's headphones
• 1:44:43
  on a bus. Now that's true if you're
• 1:44:46
  standing next to me on a bus listening.
• 1:44:49
  Because. Of.
• 1:44:50
  Speed. So it's a paradox?
• 1:44:54
  He approached. Mancina through Hans.
• 1:44:55
  Zimmer's studio because of his youthful musical zest and his
• 1:44:59
  rock'n'roll background. Apparently he had worked with
• 1:45:01
  the band. Yes, of course.
• 1:45:03
  We're being very broad by Colin. Yes.
• 1:45:05
  Rock'n'roll. Very, very broad.
• 1:45:07
  Yes. No.
• 1:45:09
  No. So a decent score from Mount
• 1:45:15
  Lansina and a fortuitous script from Graham Yost.
• 1:45:19
  Yeah, I would say, yeah. But also, I think a special
• 1:45:22
  mention should go to editor John Wright and his team for the
• 1:45:24
  Oscar nominee. Definitely 100%.
• 1:45:31
  The end with Jack in the depths of despair.
• 1:45:36
  Over Harry and his impending doom, he noticed something that
• 1:45:39
  changes the game. Matthew, you're going to take us
• 1:45:42
  away. I am going to talk about the
• 1:45:43
  Wildcat. Scene because it's classic
• 1:45:45
  speed. On one hand, you can pick apart
• 1:45:48
  the logic very easily. That camera's not exactly high
• 1:45:50
  def, is it? So the chances of pain being
• 1:45:54
  able to see the logo on Annie's jacket.
• 1:45:57
  And also if Paine has been watching that camera, he didn't
• 1:46:00
  see the passengers dragged through the Hatch when he's been
• 1:46:02
  trying to defuse the bomb. I mean, he couldn't have missed
• 1:46:05
  that. I mean, surely that would have
• 1:46:06
  made him blown it there and then.
• 1:46:08
  But on the other hand, it kind of rescues itself with a little
• 1:46:11
  bit of a clever twist to it because Jack and his captain
• 1:46:14
  have been griping all through the film about the TV
• 1:46:17
  helicopters following the bus. So that's how you think Paine
• 1:46:20
  has been keeping track of them all.
• 1:46:21
  So it's a nice little bit of misdirection.
• 1:46:23
  And also we've seen all along the while Paine has been
• 1:46:26
  watching them, he's also had that American football game on
• 1:46:29
  the TV in the background. So he's clearly a fan.
• 1:46:32
  He knows his teams. It's such an innocuous detail
• 1:46:34
  because he go, yeah, OK, the guy likes his sport.
• 1:46:37
  He needs something to do while he's watching the bus.
• 1:46:39
  So you don't think anything of it.
• 1:46:40
  So it kind of adds up in that sense as well.
• 1:46:42
  So as much as plot wise it doesn't really hold up, I think
• 1:46:46
  characterize it does, which more than compensates for it.
• 1:46:49
  Yeah, I think it's a bit of a a. Leap.
• 1:46:51
  But it's believable. It's buyable, I think.
• 1:46:53
  Yeah, Well, at the moment where they hack into Payne's video
• 1:46:57
  feed and loop the bus footage, making a fool out of him, I just
• 1:47:01
  like the narrative. BT Yeah.
• 1:47:02
  I think it feels very believable and it it feels like we're
• 1:47:04
  finally kind of getting away off this bus.
• 1:47:07
  We've outstayed our work now, I think.
• 1:47:08
  Yeah, yeah, but they've only. Got a minute of footage?
• 1:47:11
  So the tension is sky high when the passengers are getting off
• 1:47:14
  again. I think it's practical effects
• 1:47:16
  which work well. Doug just about makes it and you
• 1:47:18
  really feel that. But this is when the popped bus
• 1:47:21
  tyres show their face to raise the stakes.
• 1:47:24
  The film needed it to. And I suppose I am that deep
• 1:47:27
  into the film that I can suspend my disbelief that little bit
• 1:47:30
  further to give it a pass. Yeah.
• 1:47:33
  And yes, physical effects. So much so that the casts
• 1:47:37
  successfully lobbied to get danger money from hopping from 1
• 1:47:41
  bus to the other. Right.
• 1:47:42
  Because it's all part of kind of like the union pay scale.
• 1:47:45
  OK. So if they're doing dangerous
• 1:47:46
  work, they, I think they got an extra couple of $100 a piece.
• 1:47:49
  Right. Which is all very nice.
• 1:47:51
  Lovely. It's Mack in that.
• 1:47:52
  Scene though. That guy is just trying his best
• 1:47:54
  to loop that table. He's run it, right?
• 1:47:57
  All right, man. For fuck.
• 1:47:58
  See, just calm down. I've got control of this.
• 1:48:01
  Stop shouting in me face. I'm trying to loop this.
• 1:48:03
  I've got a minute of it, right? Run it.
• 1:48:05
  Run it. Just loop it.
• 1:48:07
  All right. Fucking.
• 1:48:10
  Back off, man, I'll look this in a.
• 1:48:12
  Second Jesus Christ. He's just right in his face.
• 1:48:15
  It was. This is me off a bit, Miles
• 1:48:18
  Dyson. Straight in there,
• 1:48:31
  very good. And westy.
• 1:48:33
  This sequence for you, it's just everyone's off the bus.
• 1:48:36
  And there's just this great moment where Jack's like, get on
• 1:48:40
  and I can't do this. And I'm thinking neither could
• 1:48:43
  I. I couldn't save you.
• 1:48:44
  I would die in an embrace with Sandra Bullock in a burst of
• 1:48:47
  flames. And what a way to go.
• 1:48:49
  That would be beautiful. But like, there's no way you
• 1:48:53
  could just balance on that thing because you would.
• 1:48:56
  Feet would. How do you?
• 1:48:57
  How does it work? It makes no sense.
• 1:48:59
  It's just you can't just. But it's wonderful because this
• 1:49:02
  is where the music really, really works for me.
• 1:49:05
  And this is where the film really just goes.
• 1:49:07
  Doesn't matter what you've been thinking.
• 1:49:08
  Take reality and throw it out the window because like, they
• 1:49:11
  come out and then the rope slips, they get on that little
• 1:49:13
  metal grid or whatever and it's just that didn't.
• 1:49:16
  And then they come from underneath the bus and it's that
• 1:49:20
  absolute applause of music where it's like.
• 1:49:26
  And I cry. Salt fucking tears.
• 1:49:29
  Every single time I see them just emerge from the bottom of
• 1:49:32
  the bus. It's one.
• 1:49:34
  It's just a wonderful. Moment.
• 1:49:35
  It plays as the ending and that's really good.
• 1:49:39
  I just. Really.
• 1:49:40
  Would have loved it. If the bus had went and just
• 1:49:43
  crashed into a plane full of people I know.
• 1:49:46
  Yeah, that. Would be wonderful, just like
• 1:49:48
  it's all of this is. Pointless like it's all it is
• 1:49:51
  because Jack can't guarantee. That that.
• 1:49:53
  Plane isn't full of people, exactly.
• 1:49:55
  And it's just. It's so flippant, but so
• 1:49:58
  beautifully realized. Morally.
• 1:50:00
  It's just like if you do the right thing, it will be fine,
• 1:50:03
  but it won't. No, it won't.
• 1:50:06
  You've got to, really. Be careful.
• 1:50:09
  And this is this isn't careful at all.
• 1:50:11
  So that plane we've mentioned which the.
• 1:50:13
  Bus crashes into that has a Pacific Curry freight low on it,
• 1:50:17
  and League Live viewers may recognize this brand from the
• 1:50:20
  truck at the start of Die Hard and the one that gets blown up
• 1:50:23
  with the sort of Die Hard with a vengeance.
• 1:50:25
  Yeah, and that's because Jackson de Govia was the production
• 1:50:28
  designer on all three films, so it's basically his trademark.
• 1:50:31
  Yeah, just loads of fun just blowing.
• 1:50:33
  Stuff up? Yeah, yeah, just blowing shit
• 1:50:35
  up. 80 grand? No problem.
• 1:50:36
  Yeah. No, no peril.
• 1:50:37
  Just just. Entertainment.
• 1:50:38
  The bus passenger cast, said that.
• 1:50:40
  This explosion was not what they expected, and their stunned
• 1:50:43
  reactions are the real deal, right?
• 1:50:45
  As soon as their eyebrows Yeah. So with Annie and Jack safely
• 1:50:48
  off the bus, all's well that ends well.
• 1:50:51
  Or is it? Finally released from the
• 1:50:56
  clutches. Of a madman.
• 1:50:57
  Jack is on hand to help with the drop, and Annie is close by for
• 1:51:01
  some reason. Yeah, for some reason why she's.
• 1:51:04
  Hanging on, I don't. Know how he's.
• 1:51:05
  Just turned up in the. Exact crime scene wearing his
• 1:51:07
  dress Blues and he's fine. Yes, there's a lot of questions.
• 1:51:11
  To be answered. Here we're in the third act and
• 1:51:13
  Westie, you're starting us off. Yeah, it's just this whole.
• 1:51:15
  Drop sequence. He doesn't know it's exploded.
• 1:51:18
  OK, right. This is mystery.
• 1:51:21
  We get the point where where everyone said, oh, that money's
• 1:51:23
  not moved so well. We've got like 27 eyes on this
• 1:51:27
  bin or whatever, and it's like, well, no.
• 1:51:28
  And then Jack's got to be like, turn it on, turn it on.
• 1:51:31
  That is the most primitive fucking tracking device I've
• 1:51:34
  ever seen. And why isn't it already on?
• 1:51:36
  Exactly. Why noble?
• 1:51:38
  Turn it on now, then. Have you put the money there
• 1:51:40
  yet? Turn it on When you put the
• 1:51:42
  fucking money in there, Dicky. Idiots.
• 1:51:43
  It's ridiculous. And that goes on.
• 1:51:45
  It's like they're in the world. It's like aliens.
• 1:51:47
  It's like the whole thing. It's horrible.
• 1:51:49
  Beep beep. Or it's moving and.
• 1:51:52
  Then Jack's like straight. Over the street.
• 1:51:53
  There's no one else who can deal with this apart from Jack, even
• 1:51:56
  though everyone's around. And then it's the twist of the
• 1:52:00
  whole film, the twist of speed. And it's up there with like
• 1:52:03
  Shawshank Redemption, 6th Sense, Planet of the Apes.
• 1:52:07
  It's Annie with the with The detonator strapped away and as
• 1:52:11
  if he can't fucking tell, turn around like.
• 1:52:15
  Look at that from the back. Yeah.
• 1:52:16
  Amazing. Like you can.
• 1:52:18
  Tell it's. Like it's Yeah, with a bolt
• 1:52:20
  pain, is it? No great figure.
• 1:52:23
  Beautiful like. You can tell it's her just
• 1:52:25
  hunched over. So we're a little bit worried
• 1:52:27
  then, screaming that he should have just been like, I need oh,
• 1:52:29
  Jesus Christ. Right.
• 1:52:30
  OK. The shit.
• 1:52:30
  Annie. Are you OK?
• 1:52:32
  Are you OK? Very good.
• 1:52:41
  Take a. Bow Matt.
• 1:52:44
  PN is a smooth criminal it. Just gets to the point where
• 1:52:50
  it's like, right, OK, And it just starts to just go a little
• 1:52:54
  bit too far now, a little bit. I do.
• 1:52:58
  Like the bit when. Pain makes his escape with Annie
• 1:53:00
  through the door and he says goodbye.
• 1:53:02
  Jack punk, the final hurtful little parting shot.
• 1:53:06
  Punk, That's. It and this builds up to.
• 1:53:10
  The demise of pain, which we've got to talk about this because
• 1:53:13
  it's ludicrous end to ludicrous character.
• 1:53:17
  Like for all this planning and banging on about how smart he
• 1:53:20
  is, he didn't think they'd have a dye pack in the money.
• 1:53:23
  I know, like, for all his insight that he has, absolute
• 1:53:25
  idiot. And remember when, when he's
• 1:53:27
  running off down that train, I'm coming for you, Jagger.
• 1:53:31
  Like. This had to be Hopper's last day
• 1:53:35
  on set. And he.
• 1:53:36
  Doesn't give a shit anymore. Not a bit of scene, probably he.
• 1:53:40
  Doesn't give a shit. Anyway, no, probably not, no.
• 1:53:42
  Scene. We left untoed at this point and
• 1:53:45
  how we get to the top of the train, still holding on to that
• 1:53:49
  trigger, I have no idea. With one thumb, yeah.
• 1:53:53
  With like missing a thumb. But OK, fine.
• 1:53:56
  But then when you get to the decapitation by the light, I
• 1:53:59
  mean, that's ridiculous, you know?
• 1:54:02
  No doubting. Obviously it would shatter his
• 1:54:04
  skull, probably break his neck, but literally chop his head off
• 1:54:07
  in one fell clean swoop. Yeah, like this is speed and
• 1:54:11
  this is probably the most ridiculous thing in the film.
• 1:54:14
  Which says. What makes me laugh was that
• 1:54:17
  originally the shot of paint had been locked off, was a shot from
• 1:54:19
  the front, but the dummy head was apparently too realistic and
• 1:54:23
  looked disgusting. So they went with the rear shot,
• 1:54:26
  which I find very hard to believe.
• 1:54:27
  It was too realistic. Do you know what?
• 1:54:29
  Do you know what I. Really don't care about this
• 1:54:30
  film. It's that line.
• 1:54:32
  Last line by Reeves. That last line by Jack.
• 1:54:35
  Yeah, yeah, but I'm taller. Yeah, but doesn't that mean?
• 1:54:39
  That you're more. Likely to get your head cut off,
• 1:54:41
  Yeah, but he's lying down Exactly.
• 1:54:43
  Doesn't call. It makes no sense.
• 1:54:45
  The line should be something like.
• 1:54:46
  Yeah, you're also taller and that's why I've just got your
• 1:54:49
  head knocked off. It's like the something like
• 1:54:51
  that, something like that. They've come to completely
• 1:54:53
  wrong. Way.
• 1:54:53
  So yeah, that line should land. But it doesn't.
• 1:54:56
  And then obviously Jack gets his James Bond moment at the end
• 1:54:59
  with Annie. You know, where's pain?
• 1:55:00
  Well, he lost his head. So ludicrous, ludicrous scene.
• 1:55:04
  Well, after this moment, the runaway.
• 1:55:06
  Train bit I think does pull it back.
• 1:55:08
  Do you think a little bit a? Little bit.
• 1:55:11
  I think there's a nice bit of emotion.
• 1:55:12
  Between Jack and Annie, I think Bullock is the one larger
• 1:55:15
  responsible for this. Because you can't feel the
• 1:55:16
  desperation in her performance. Jack notices there's a curve
• 1:55:20
  ahead. I'm going to speed it up.
• 1:55:22
  Terrible delivery. Terrible.
• 1:55:25
  Why doesn't you? Slow it down, Yeah, she's got a
• 1:55:28
  breakdown. Try that there's.
• 1:55:29
  Not there's not. There's not a bomb on there.
• 1:55:30
  You know, it's bomb on here, it's fine, but this, I think is
• 1:55:33
  a good set. Piece.
• 1:55:34
  It was inspired by Silver Streak from 1976.
• 1:55:37
  If you haven't seen it, it's worth a watch.
• 1:55:39
  What a treat. Yeah, nice.
• 1:55:40
  The footage of the train going out of control and the
• 1:55:42
  construction workers fleeing for their lives.
• 1:55:44
  I do like that. I really like the wheel POV
• 1:55:47
  shots of the sparks coming up from the tracks.
• 1:55:50
  There was never any threat of Jack and Annie not making it out
• 1:55:52
  live, but I think Dubonte does great job of increasing the
• 1:55:55
  Jeopardy levels. Impressively.
• 1:55:57
  The majority of the footage of the out of control train was
• 1:56:00
  completed using a scale model, yeah, but it was still a huge
• 1:56:03
  undertaking. The train weighed 150 lbs and it
• 1:56:07
  didn't have survived the shoot. It was destroyed when the train
• 1:56:09
  derailed into the model construction site.
• 1:56:11
  I really think the footage matches.
• 1:56:14
  Yeah, I don't think. Yeah, I don't.
• 1:56:16
  I don't think you can tell that at all.
• 1:56:18
  So the train footage was shot at a.
• 1:56:19
  High frame rate and then ran through as fast as possible to
• 1:56:22
  create the illusion that the train was real and travelling
• 1:56:24
  faster than the speed and bullet.
• 1:56:26
  He totally biased. Yeah, the.
• 1:56:27
  Amount of construction that would have to go into that, the
• 1:56:30
  money that would have been spent, the time that would have
• 1:56:32
  been spent to get that perfect. I think it's a little shot, it's
• 1:56:34
  it's Yande Bond's experience. Isn't it like no one can do
• 1:56:37
  that, and no one can pull that off by doing?
• 1:56:39
  Doing it that way absolutely captured similar things.
• 1:56:41
  With scale models on die hard and at the end of the.
• 1:56:44
  Line an old bus was dressed up to look like a train carriage
• 1:56:47
  when it crosses on the Hollywood Blvd. right?
• 1:56:49
  Yeah, I mean it's. It's it's.
• 1:56:52
  I mean, it's it's mental. It's mental.
• 1:56:55
  Cheesy, cheesy ending. It did stand out to me that 2001
• 1:56:59
  is playing at the Chinese Theatre in that scene, and De
• 1:57:02
  Bond's a big Stanley Kubrick fan and tries to get a reference in
• 1:57:05
  the role of his films. That's why The Shining's playing
• 1:57:07
  at the Drive in Theatre on Twister as of course, Yes Yeah,
• 1:57:10
  big fan. So by the.
• 1:57:12
  End Jack and Annie are in each other's arms as a crowd gathers
• 1:57:15
  in amazement. A true Hollywood ending?
• 1:57:20
  Reception Underwood Not much was expected from speed.
• 1:57:25
  Upon release, but that all changed after test screenings.
• 1:57:28
  It was a mega hit, and when audience members walked
• 1:57:31
  backwards up the aisle mid film towards the toilet to miss as
• 1:57:34
  little action as possible, Fox decided to move the release from
• 1:57:37
  August to July, right? They were confident in her going
• 1:57:41
  up against city slickers too. This also convinced them to
• 1:57:44
  shell out more money for the finale on the train footage,
• 1:57:46
  which was missing in test screenings because it ran over
• 1:57:49
  budget, right? OK, Yeah, so.
• 1:57:51
  Despite going up against. The film, with an established
• 1:57:53
  fan base speed, hugely outperformed City Slickers 2,
• 1:57:56
  earning $350 million just from a $30 million budget.
• 1:58:01
  And that made it the highest gross in film of the year.
• 1:58:04
  Massive. We don't necessarily.
• 1:58:05
  Always talk about the highest gross in films of the year, so
• 1:58:08
  it's it's quite a feat, isn't it?
• 1:58:10
  Coincidentally, Beth Grant, who plays Helen in this, she's also
• 1:58:14
  in City Slickers 2. She is.
• 1:58:17
  I. Like City Slickers 2, by the
• 1:58:18
  way. Are you the one?
• 1:58:21
  I am Are you the established fan?
• 1:58:23
  Base. The legend of Curly's gold,
• 1:58:25
  yeah. That is like from a.
• 1:58:28
  Critical point of view. Speed knocked it out of the
• 1:58:30
  park, Roland Stone said. Speed works like a charm.
• 1:58:33
  It's a reminder of how much movie escape is and can stir us
• 1:58:36
  when it's dished out with this kind of dazzle.
• 1:58:39
  Entertainment Weekly gave it an A and said it's a pleasure to be
• 1:58:42
  in the hands of an action filmmaker who respects the
• 1:58:44
  audience. De Bond's craftsmanship is so
• 1:58:46
  supple that even the triple ending field justified like the
• 1:58:50
  cataclysmic final stage of a Sega Death Match.
• 1:58:52
  Wow, that's very 1994. The New Scientist.
• 1:58:59
  Gave it a five star review, Another New Scientist review.
• 1:59:03
  Not really, I. Fell for that who claimed Singer
• 1:59:10
  as well? Shit.
• 1:59:12
  And finally. Roger Ebert, What do you think?
• 1:59:15
  The Big RE gave it out of four I reckon he would love.
• 1:59:19
  This, you know, I reckon, yeah, I reckon.
• 1:59:21
  He's all in on the concept. I reckon he gave the four right?
• 1:59:24
  OK, OK, based on the concept. 3 for me, 3 for you, 4 for you,
• 1:59:27
  Matt. Matthew Wright's 4/4 Yes,
• 1:59:31
  Massive he. Said films like Speed.
• 1:59:33
  Belong to the genre I call bruised forearm movies, because
• 1:59:37
  you're always grabbing the arm of the person sitting next to
• 1:59:39
  you, he says. Done wrong.
• 1:59:41
  They seem like tired replays of all Cheers cliches.
• 1:59:44
  Done well, they're fun. Done as well as speed, they
• 1:59:47
  generate a kind of manic exhilaration.
• 1:59:50
  Yeah, exactly. And now speed has an.
• 1:59:53
  Outrageous. 95% on Rottnam autos and an IMDb score of 7.3 out of
• 1:59:59
  10. It's great film.
• 2:00:00
  Oh, it. Is it's wonderful?
• 2:00:02
  It made a number of critics end. Of the year top ten lists and
• 2:00:06
  they picked up an impressive haul at award season.
• 2:00:08
  Bullock won Best Actress at the Saturn Awards.
• 2:00:11
  The film won Best Sound at the Baftas and Best Sound and Best
• 2:00:14
  Sound Effects Editing at the Oscars.
• 2:00:17
  I mean, you wouldn't pin. This as a kind of an award
• 2:00:20
  style, an Oscar winning film. Yeah, yeah, Mental crazy.
• 2:00:25
  Brilliant what I find. Quite surprising is that it was
• 2:00:28
  also nominated for Best Film, Best Actress and Best Actor at
• 2:00:31
  the Nickelodeon Kids Choice Award.
• 2:00:34
  I believe that. I just don't think it's
• 2:00:36
  appropriate. Speed was so popular with one
• 2:00:39
  fan who set up a Kickstarter campaign around 10 years ago,
• 2:00:42
  and his goal was to own as many copies of the Speed VHS as
• 2:00:45
  possible. I've seen that, yeah.
• 2:00:46
  To me, ultimately. To own every.
• 2:00:48
  Copy in the world, right? And what he would do with them
• 2:00:51
  is is really unclear, but it concerns decorating his bus in
• 2:00:54
  the VHS and Tour in the world like a really strange man.
• 2:00:58
  I don't think he was successful in his Kickstarter bid, but
• 2:01:01
  check him out if you want to. Yeah, I'd love to send him that
• 2:01:03
  shit. Copy we had the blurry. 1 So a
• 2:01:09
  huge hit on all fronts for speed and I'm going to sign off with a
• 2:01:12
  quote from Sandra Bullock who said I don't think anyone had
• 2:01:15
  any idea what was going to happen.
• 2:01:17
  I certainly didn't feel it. I think we sort of were
• 2:01:19
  ridiculed for being the low budget bomb on a bus movie.
• 2:01:22
  Not that I cared. I was just so happy to have a
• 2:01:24
  job and that I got to work with Keanu.
• 2:01:27
  Yeah, yeah, of course, I'm sure. We'd all feel the same.
• 2:01:29
  Yeah, definitely. Sequels and influence based on
• 2:01:38
  the positive test scored. For Speed, a sequel was
• 2:01:40
  discussed prior to release and announced a week after.
• 2:01:44
  Oh really? Wow, yes.
• 2:01:46
  Yeah, massive. Yeah, there were, reportedly.
• 2:01:48
  Hundreds of IDs for the sequel include one from Graham Yost,
• 2:01:51
  who pitched a plane flying through the Andes, but it can't
• 2:01:54
  go above 10,000 feet in. The end, though?
• 2:02:03
  He wasn't even. Consulted for the sequel and de
• 2:02:05
  Bond went with his own idea and he based that on a recurring
• 2:02:08
  nightmare he was having about a ship crashing into an island.
• 2:02:12
  And if all things had gone to plan with the casting, the film
• 2:02:14
  would have seen Jack and Annie married and it takes place on
• 2:02:17
  their honeymoon. Unfortunately for everyone
• 2:02:19
  involved, Keanu. Who's decided to jump ship, no
• 2:02:21
  pun intended, and didn't return to the single decided again
• 2:02:26
  instead to play Hamlet, which is probably why he's he's reading
• 2:02:28
  it in Winnipeg before filming The Devil's Advocate.
• 2:02:31
  He wasn't contractually obliged to.
• 2:02:33
  Return for cruise control, The only person who was was Yan De
• 2:02:36
  Bond, right? Reeves passed because he had
• 2:02:38
  issues with the script and the fact that the boat goes slower
• 2:02:41
  than the boss in the original, I mean.
• 2:02:44
  It's in the title, it's a. Speed board is.
• 2:02:47
  It, yeah, I imagine that. Subtitle was added to manage
• 2:02:51
  audience expectations after execs in the film.
• 2:02:54
  They said shit, it's really slow.
• 2:02:56
  This isn't Speed board a better. Title Speed Board Much about me.
• 2:03:00
  It is. It is speed board.
• 2:03:02
  You're absolutely, yeah. It's better than minimum.
• 2:03:04
  Speed. It certainly is.
• 2:03:08
  Yeah, and Fox was so angry that. Reeves didn't return that.
• 2:03:11
  They blamed him for the film's poor box office return and to
• 2:03:15
  the extent that they blacklisted him from any future Fox
• 2:03:17
  productions, and that lasted until 2008, when he started in
• 2:03:21
  the remake of The Day The Earth Stood Still.
• 2:03:23
  You know, that's absolute bullshit.
• 2:03:25
  You're not in this, so it's your fault?
• 2:03:27
  Yeah, that's fucking. Ridiculous.
• 2:03:29
  It's absolutely ridiculous. You've got nothing.
• 2:03:32
  To do with it and it's your fault.
• 2:03:33
  It failed like that's a new Christmas.
• 2:03:35
  But Sandra Bullock was paid around 12 million to return and
• 2:03:38
  took it as a trade off with Fox so they would fund her passion
• 2:03:41
  project Hope Float adding Keanu's Place We.
• 2:03:44
  Got Jason, Patrick. Now there's a trade.
• 2:03:49
  And so Speed 2 Cruise Control was released in theaters in June
• 2:03:52
  97, and their reviews were not kind New York Daily.
• 2:03:56
  News. Said that it was an ear
• 2:03:58
  splitting amusement park attraction, pausing as a movie
• 2:04:02
  right on Rotten Tomatoes it has 4% and a wincing juice and 3.9
• 2:04:07
  out of 10 on IMDb. Good.
• 2:04:09
  Yeah, 4. Percent that.
• 2:04:11
  Is, despite Siskel and eBay given a two thumbs up saying it
• 2:04:14
  was a truly rousing ocean liner adventure story, really well,
• 2:04:17
  those bastards. Cannot be trusted.
• 2:04:19
  No, they can't be trusted. Jesus Christ, what they're
• 2:04:21
  talking about, I mean to force great and everybody's just
• 2:04:25
  wildly defo. Isn't he ludicrous?
• 2:04:28
  Yeah, more. Importantly.
• 2:04:30
  What is the ATRM verdict on the sequel, Matt?
• 2:04:33
  Do you know what? Even at the time?
• 2:04:34
  The reviews? Were so bad, I didn't bother
• 2:04:36
  going to see it. I just had knowing that, and
• 2:04:38
  quite honestly, I've only seen, I think the first half of it
• 2:04:41
  since, yeah, got a halfway through, I was like, Nah, this
• 2:04:44
  is not good. No, it's terrible.
• 2:04:45
  I did the same. Thing Terrible.
• 2:04:47
  I remember got terrible reviews, and I only watched it last week.
• 2:04:51
  All of them, Yeah. Yeah, yeah.
• 2:04:54
  I mean, generally considered one of the worst sequels ever made.
• 2:04:57
  And I really don't think that's a stretch.
• 2:04:59
  It is. I mean, to be fair to it, it's a
• 2:05:01
  huge spectacle. The budget was over $100
• 2:05:05
  million. Crazy. 100.
• 2:05:08
  To 160, according to reports, you can see where the majority
• 2:05:11
  of it spent, but it is just very boring with no attention.
• 2:05:16
  And that's on pretty much everything.
• 2:05:18
  Screenplay. Direction.
• 2:05:19
  Runtime. Slow moving board.
• 2:05:21
  The cast. Oh no.
• 2:05:23
  Chemistry. In this cast, no.
• 2:05:25
  Chemistry. No.
• 2:05:26
  There's no sense of threats, and when the concept of the original
• 2:05:30
  starts to feel believable, you know you're in real trouble.
• 2:05:34
  Yeah, yeah, yeah. The four is, I think, a pale
• 2:05:37
  imitation of Dennis Hopper's maniacal bad guy, and he is
• 2:05:41
  annoying at the start of the film and is relegated to nothing
• 2:05:43
  more than half a sidekick. And I think it starts off really
• 2:05:47
  bafflingly and doesn't recover because part of the opening
• 2:05:50
  scene is Annie taking her driving test.
• 2:05:52
  Yeah, and she's worryingly incompetent behind the wheel
• 2:05:54
  despite just driving a bus in the first one very competently.
• 2:05:58
  Yeah, Jason Patrick Bland as Bland can be.
• 2:06:02
  And if it couldn't get any worse, you be 40 show up.
• 2:06:05
  Do, don't they? God not.
• 2:06:07
  Just in the soundtrack, Yeah, in.
• 2:06:08
  Person on the board, yeah. Unforgivable.
• 2:06:13
  No? Yeah, So not.
• 2:06:16
  Not good. What about you, West?
• 2:06:17
  I mean, no. Just now.
• 2:06:21
  I was excited about seeing it. I was excited about revisiting
• 2:06:24
  it, but I think it just now that I've thought about it, it's like
• 2:06:28
  this is what Yanda Bond is as a director when real director
• 2:06:32
  would get something out of this. He needs a lot of building
• 2:06:35
  blocks to become a director. He needs a lot of peril, needs a
• 2:06:38
  lot of visual excitement. He needs a twister in the air.
• 2:06:42
  He needs the bus to be going there.
• 2:06:44
  Once he's got character and development and relationship,
• 2:06:46
  he's just like oh don't know what I'm doing.
• 2:06:50
  Is there an elevator shaft on on this cruise liner?
• 2:06:52
  Because I'm fucked and. That's kind of how it seems.
• 2:06:55
  He's just, he's not a director of actors, he's a director of
• 2:06:58
  set pieces. He's very visual director and
• 2:07:00
  Speed and Twister are wonderful films, but very, very lucky to
• 2:07:06
  exist naturally. The balance was tipped back.
• 2:07:09
  Into the positive with a classic Father Ted episode and speed 3A
• 2:07:14
  billion times better than cruise control.
• 2:07:15
  I've seen that. Oh wow.
• 2:07:16
  It's incredible. In it of milk.
• 2:07:18
  Float is rigged with a bomb that will go off if the float goes
• 2:07:20
  below 4 miles an hour. A nice little ribbon of the
• 2:07:23
  premise of the sequel, I think, and in the year since its
• 2:07:26
  release, I'm sure that you'll agree that it has been an
• 2:07:29
  influential film. Where do we see speeds?
• 2:07:32
  Influence. And I mean, where do you start
• 2:07:35
  with it? We mentioned Imitate as the list
• 2:07:38
  goes on. Under Siege, sudden death,
• 2:07:40
  cliffhanger, Passenger 57, Conair.
• 2:07:42
  But I think if you don't have Reeves in speed, you don't have
• 2:07:45
  Reeves in The Matrix. True, one of the most
• 2:07:47
  influential films the last 25 years.
• 2:07:49
  And if you don't get that, then the ripple effect would be huge
• 2:07:52
  and the drone landscape would look quite different.
• 2:07:54
  Yeah, exactly. No drone work, Yeah.
• 2:07:56
  No, John Wick, absolutely. Yeah, and so I think he gets a
• 2:07:59
  bad rap, but even by even us. But huge influence on the action
• 2:08:03
  genre, Wick Point Break this and the sci-fi genre with The
• 2:08:06
  Matrix. So I think it's had a huge
• 2:08:09
  impact on Keanu Reeves and the landscape of cinema over the
• 2:08:12
  last 25 years. Absolutely, without a shadow of
• 2:08:14
  a doubt. And I.
• 2:08:14
  Think he gets a bad rap, but I think he only gets a bad rap
• 2:08:17
  from us on a textbook level of like, this is what you should be
• 2:08:20
  like as an actor. And maybe Keanu Reeves has got
• 2:08:22
  it right and we've got it so wrong.
• 2:08:24
  Absolutely, Because he's. Living it for.
• 2:08:26
  Quite large of. Course, he's living it.
• 2:08:28
  Large and we're the idiot and. It massively and.
• 2:08:30
  We're sitting going. I don't really think he should
• 2:08:32
  have been. Able to do that because his line
• 2:08:34
  delivery is not very good and we're sitting here on a Sunday.
• 2:08:36
  Night Doing a fucking podcast on someone who's absolutely
• 2:08:39
  lapping. They don't want a millionaire.
• 2:08:41
  Yeah, I think it's like, see, I disagree.
• 2:08:43
  With everything you guys have said, all the films that have
• 2:08:45
  come after. I think what's interested me
• 2:08:47
  though, is that it's one of those properties.
• 2:08:48
  And we'll, in an age where nothing is sacred, there hasn't
• 2:08:51
  been any further sequels, There's not been a reboot,
• 2:08:53
  there's not been a remake, because I think it's legacy is
• 2:08:56
  that I think everyone looks at it and goes, you just can't
• 2:08:58
  improve that concept. You wouldn't be able to do what
• 2:09:01
  it does better. What's the point?
• 2:09:03
  So yeah, yeah. That.
• 2:09:05
  Establishing Reeves is a bona fide action start, really
• 2:09:07
  launching Sandra Bullock's career and also gave one of the
• 2:09:10
  all time great Simpsons jokes when Homer tries to explain the
• 2:09:14
  plot and goes. I think it was called The Bus
• 2:09:16
  that couldn't slow down. Yeah, brilliant.
• 2:09:19
  Brilliant We must be. Thankful for that.
• 2:09:21
  Got to be so. Avoid the.
• 2:09:23
  Sequel and most of the knockoffs, They don't hold a
• 2:09:26
  candle to speed, which still sits as one of the best action
• 2:09:29
  movies of the era, or any era for that.
• 2:09:31
  It's the OG. All the right movies ranking.
• 2:09:38
  We finally made it to safety. But there is still time for the
• 2:09:41
  All the right movies ranking, where we summarize and score
• 2:09:44
  speed out of 10. Sure.
• 2:09:45
  So Matt, it's over to you. OK, loads of fun.
• 2:09:49
  And I've thoroughly enjoyed talking about this for you, too.
• 2:09:51
  It's been an absolute, this one Very.
• 2:09:55
  Very 90s you can't imagine. 90s Action Cinema without this, and
• 2:09:58
  it deserves its reputation that it has, quite frankly, because
• 2:10:01
  it stands up so well. And I think the reason it stands
• 2:10:04
  up so well is that middle third, because that's where that
• 2:10:06
  amazing concept just comes to life.
• 2:10:08
  He can tell Dubonte loves that idea, he runs with it and he's
• 2:10:12
  got Reeves and Bullock, who were both so watchable.
• 2:10:14
  But it is only the middle third. The build up to it is really
• 2:10:17
  good and I do like that. But at some point the characters
• 2:10:20
  have to get off the bus. We have to get off the bus, the
• 2:10:22
  film has to get off the bus and there's an undeniable dip in
• 2:10:25
  quality. When it does happen, it's fine,
• 2:10:28
  but it's just nowhere near as good as what's come before.
• 2:10:31
  And Hopper's performance is a lot to take, at times
• 2:10:34
  entertaining, but a lot. So if I could rank everything on
• 2:10:38
  the bus by itself, it'd be an easy 10.
• 2:10:40
  But I have to take everything into consideration so it evens
• 2:10:43
  out at an 8.58 point 5 out of 10.
• 2:10:46
  Still a damn good score. Really good score.
• 2:10:48
  Yeah, well, I won't. Argue that it's.
• 2:10:50
  Not a no holds barred adrenaline, fuel, thrill ride.
• 2:10:54
  Obviously white knuckle stuff never lets up and on a surface
• 2:10:57
  level I think it is pretty amazing.
• 2:10:59
  Great work by De Bond, great editing and bollocks
• 2:11:02
  Irresistible. Yeah, absolutely.
• 2:11:04
  I don't think the writing is up to much apart.
• 2:11:06
  From that killer concept, and I think it's a miracle that the
• 2:11:09
  film exists at all, considering the changes that were made
• 2:11:13
  leading up to the shoot, and Juran for that matter.
• 2:11:16
  I have to compare it to other movies in the genre.
• 2:11:19
  And obviously it's nowhere near as good as the big boys like Die
• 2:11:23
  Hard, Lethal Weapon, even Predator.
• 2:11:25
  I think the dialogue is clunky in parts and there's no real
• 2:11:29
  emotion or threat running. Yeah, get that.
• 2:11:32
  Yeah, look at the emotion. In Lethal Weapon, look at the.
• 2:11:34
  Emotion in Die Hard? Yeah.
• 2:11:35
  So a great film, but to a point. So I'm giving it an 8 out of 10.
• 2:11:39
  OK, safe. Safe as houses.
• 2:11:42
  And West Yeah, your summary in score for Speed.
• 2:11:45
  I didn't want to take the nostalgia out of.
• 2:11:46
  It because that's such an important part about films.
• 2:11:49
  It's such an important part about movies and it's such an
• 2:11:52
  important part about what we talk about and how we've bonded
• 2:11:56
  on something. This film for me, like, really
• 2:11:58
  hit home when I was a kid, when I was 13 years old, and it
• 2:12:01
  really hits home with my kid who's 7 and he watches this and
• 2:12:05
  he gets so excited about it because it's not boring in his
• 2:12:08
  words. Dad, can you make sure?
• 2:12:10
  Your friends don't. Swear on the episode because I
• 2:12:12
  want to listen to it. I can't promise that.
• 2:12:15
  I can't promise that because I see anyone else.
• 2:12:18
  Exactly, I swear, more than anyone else.
• 2:12:21
  So you can't listen to it. But he's so excited that we're
• 2:12:23
  going to talk about this film. He's really, really.
• 2:12:25
  Excited about it and he loves. The film.
• 2:12:27
  And I love the film. You're right, the middle third
• 2:12:30
  is perfect. That's what the film was.
• 2:12:32
  Yeah, it's great. It's let down at the start for
• 2:12:34
  me and it's let down at the end for me because it kind of comes
• 2:12:37
  and goes and doesn't quite know where it is.
• 2:12:39
  So I can't give it a top score. I'm never ever going to give it
• 2:12:41
  a perfect score, but it's always something.
• 2:12:44
  I'll come back. To it's always.
• 2:12:45
  Something I enjoy. For me it's a very, very honest
• 2:12:48
  8.5 as a film, but in me heart. It's a 10.
• 2:12:53
  But it's an 8.5 that I've got on the podcast, definitely.
• 2:12:58
  Well, very honest. Yes.
• 2:12:59
  Yeah, fair enough. We have our scores, but we have
• 2:13:02
  a 4th score for speed and that comes from our ever faithful,
• 2:13:06
  ever growing, ever dependable Twitter faithful.
• 2:13:09
  Yes. Ex faithful now.
• 2:13:11
  Oh yeah, I have the score, but I've got some choice comments
• 2:13:14
  before we reveal that big score. OK, first review comes from
• 2:13:17
  Thomas Millman at 7 Times Storm. Who said is it just an action
• 2:13:21
  thriller? Well, yes, obviously.
• 2:13:23
  But Keanu Reeves, Sandra Bullock, Dennis Hopper and Jeff
• 2:13:27
  Daniels show that when actors take a thriller seriously,
• 2:13:30
  glorious things happen. This is a great thriller.
• 2:13:33
  Is it high art? Maybe not, but it made for great
• 2:13:36
  drama. OK, very nice indeed from Wire
• 2:13:39
  Blue at Kiss Peru. Wow.
• 2:13:42
  OK, don't get dead 10 out of 10. We should have just read that
• 2:13:46
  out. See it was like.
• 2:13:47
  Two hours, short and sweet. Lovely, all right, from Hugh
• 2:13:51
  Parker at Hugh HP 1970, he said. I give it an 8, dropping a point
• 2:13:56
  for cliche, closing scene of Reeves and Bullock going at it
• 2:13:59
  in a train wreck on the streets. For God's sake, get a room.
• 2:14:02
  Other than that, it's a brilliantly tense 2 hours where
• 2:14:05
  every actor does exactly what they need to to keep it skipping
• 2:14:08
  along. OK.
• 2:14:09
  Yeah. Skip them along.
• 2:14:11
  Yeah, OK. And finally.
• 2:14:13
  A negative coming from Alex at Alex. under score B under score
• 2:14:17
  83 Who said at the time 9 Now four.
• 2:14:21
  It is not age well at all. That's a shame.
• 2:14:24
  Harsh. From Alex That is a shame.
• 2:14:25
  Wow. But you've got to have your
• 2:14:26
  critics. Oh, you've.
• 2:14:27
  Got to have, did he? Get the the copy that we first
• 2:14:30
  saw and he's watched that now. Yeah, that hasn't age well.
• 2:14:34
  Yeah, exactly. He's got the.
• 2:14:36
  Pirated version still on for. You just imagine I'd love to
• 2:14:40
  still have. That so out of 10, what do you
• 2:14:42
  think Speed got? On Twitter, I think you got an
• 2:14:44
  E/X89. I'll go 9. 9.
• 2:14:47
  Oh, you're both wrong, Westies. Closer.
• 2:14:49
  It was a slightly disappointing 7.5 out of 10.
• 2:14:53
  Really. Wow.
• 2:14:54
  OK, surprise back I. Think similar to.
• 2:14:57
  Us that maybe compare it to others in the genre and kind of
• 2:15:01
  taking it down a few notches because of that.
• 2:15:03
  It's a hard film to admit that. You like because people think
• 2:15:06
  you're a fucking moron. Yeah, it's.
• 2:15:09
  Yeah, but you know, we we, we can go high brows, we can go low
• 2:15:12
  brow as well, exactly. We've said, we've admitted like.
• 2:15:14
  And worse, let's face. It.
• 2:15:15
  I love it for what it is. I.
• 2:15:17
  Love it for what it is. It's a beautiful thing.
• 2:15:19
  Yeah. So that means.
• 2:15:20
  That overall speed scored 32.5 out of 40, I suppose.
• 2:15:26
  I'm not surprised by that. It's a decent score for a film
• 2:15:30
  that is not necessarily elite level in the genre.
• 2:15:33
  Yeah, you can see. How speed fares?
• 2:15:36
  Against all the other films that we've talked about on our
• 2:15:38
  classic podcasts, you go to alltherightmovies.com/leaderboard.
• 2:15:43
  Yeah, join us again on all the right movies when we'll be taken
• 2:15:46
  to the open seas on Peter Weir's Master and Commander.
• 2:15:49
  A surprise but worthy winner of the poor.
• 2:15:52
  Excited for that one, fellas? Very, I don't think.
• 2:15:55
  I can think of a film more different to speed in terms of
• 2:15:57
  tone, execution, the master and. Commander.
• 2:16:01
  Yeah, yeah. I mean it's.
• 2:16:03
  One I still. Have not seen, so I'm going to
• 2:16:05
  check that out in blind, yeah. I'm going to.
• 2:16:08
  Really get involved in this. I've heard very good things
• 2:16:10
  about it. Matt likes it, John likes it.
• 2:16:12
  It's got a further fanbase. Let's do something.
• 2:16:15
  It's just. It's one that's slipped by me,
• 2:16:17
  but I will definitely get involved in and see what all the
• 2:16:19
  forces about. I'm looking forward to it.
• 2:16:21
  Can't wait to hear it and for. Our directors chair to your
• 2:16:24
  patrons. The three of us here will be
• 2:16:26
  talking about Anne Hathaway in The Dark Knight Rises and
• 2:16:29
  Interstellar which will be available next Friday.
• 2:16:32
  So sign up to become an ATRM patron for that and everything
• 2:16:36
  mentioned at the top. That will be fireworks.
• 2:16:38
  I'm so it could be a beautiful episode.
• 2:16:40
  It's going. To be coming on that, it's.
• 2:16:42
  Going to be. Great.
• 2:16:43
  It's going to be two. Big films, yeah.
• 2:16:45
  That is patreon.com/all the Right Movies.
• 2:16:49
  You can also buy our podcast individually on our website
• 2:16:52
  alltherightmovies.com and you can subscribe to us on Apple
• 2:16:55
  Podcasts for the classic podcast archive.
• 2:16:58
  We are all over the place. We are, definitely, yeah.
• 2:17:02
  Just like Harry after he gets blown.
• 2:17:03
  Up. Mopping them up with a sponge
• 2:17:09
  and please. Keep up to date with us on.
• 2:17:10
  Social media as well. On X, we are at AT Right Movies.
• 2:17:15
  We've got behind the scenes stories, behind the scenes
• 2:17:18
  pictures, behind the scenes interviews.
• 2:17:21
  We've got it all. And we obviously have our
• 2:17:23
  amazing movie threads, making of movie threads, Just like the
• 2:17:28
  podcast and the things that you've heard today.
• 2:17:30
  All the information comes directly from the cast and crew
• 2:17:32
  or is corroborated by at least three sources, So keep checking
• 2:17:36
  back regularly for more verified information.
• 2:17:39
  No, definitely. Yeah.
• 2:17:41
  The. More the people check that out.
• 2:17:42
  The better. Absolutely.
• 2:17:43
  Please devour them. On Instagram and threads, we are
• 2:17:47
  at all the under score, right movies.
• 2:17:48
  On TikTok, we are at all the right movies.
• 2:17:51
  We have our Facebook group, which, I mean, if you're not
• 2:17:54
  there, I don't know why. If you're if you're on Facebook
• 2:17:56
  and you're not in our group, there's something seriously gone
• 2:17:59
  wrong. Yeah, exactly.
• 2:18:01
  We are on YouTube. As well.
• 2:18:02
  If you could watch our videos, like our videos, comment on our
• 2:18:05
  videos, that would be much appreciated.
• 2:18:08
  Definitely that is YouTube. Dot com forward slash.
• 2:18:10
  All the right movies. And if you did enjoy this show
• 2:18:13
  and you do love our podcast, it would be wonderful if you could
• 2:18:16
  spare some time and give us a rating on Apple Podcasts and
• 2:18:19
  Spotify. Five stars all the way, would
• 2:18:21
  you say? What's the point in anything?
• 2:18:23
  What? Is the point a waste?
• 2:18:25
  Of time A. Waste of effort if you want to
• 2:18:27
  go on there and check out the reviews.
• 2:18:29
  We've got a lot of people who are very, very happy with the
• 2:18:32
  content, so why not just be one? Exactly, Why not join the?
• 2:18:35
  You know, just join. In.
• 2:18:37
  Ignore the one. Well, you don't.
• 2:18:38
  Need to ignore the one that's is Slapper, the parental guidance
• 2:18:42
  warning on us. We're not Prince.
• 2:18:43
  No, we're not Public Enemy. We're definitely not Prince.
• 2:18:48
  I can say about us and if you've got this far, then.
• 2:18:52
  I think you'll be fine with the way that we talk, yes, Yes.
• 2:18:56
  At our website. The.
• 2:18:58
  Atrm Hub is all the right movies.com, lots of all the
• 2:19:01
  right movies stuff to get into there, so please enjoy it.
• 2:19:05
  And that is a wrap. Hopefully we'll get more than a
• 2:19:08
  cheap goal. Watch for our efforts on this
• 2:19:09
  one. Well, we'll see.
• 2:19:11
  Kind of cheesy. We'll offer a coffee.
• 2:19:13
  And a muffin. It is 5 minutes past eight, OK.
• 2:19:18
  Come back in two. Weeks for Master and Commander.
• 2:19:19
  Everyone, thank you so much for listening.
• 2:19:21
  Thanks guys. Thank you guys.
• 2:19:23
  Thank you very much. Bye, bye.
• 2:19:24
  Have a good one, Bob. I'm.
• 2:19:48
  Coming for you, Jack?