Latest / Have You Seen?! The Movie Podcast / Blues Brothers: A Mission From God

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Blues Brothers: A Mission From God · Have You Seen?! The Movie Podcast

• 0:00
  Joe: Dylan, it's 106 miles to Chicago.
• 0:04
  Joe: We got a full tank of gas, half a pack of cigarettes, it's dark, and we're wearing sunglasses.
• 0:10
  Dylan: Hit it.
• 0:27
  Dylan: Welcome to Have You Seen, the movie podcast, where every movie is a premiere.
• 0:32
  Joe: This week we're putting on the sunglasses and black suits as we dive into Men in Black?
• 0:39
  Joe: The Blues Brothers, a comedy packed with unforgettable music, outrageous car chases, and one legendary mission from God.
• 0:48
  Dylan: If you're enjoying the show, make sure to follow us on your favorite podcast app and leave us a five-star rating.
• 0:53
  Dylan: It really helps the show grow.
• 0:57
  Joe: And we want to hear from you.
• 0:59
  Joe: Text us your name and a movie suggestion using the link in the description.
• 1:04
  Dylan: This week's movie, The Blues Brothers, is rated R for language, comedic violence, and some mature content.
• 1:11
  Dylan: If that's not suitable for little ears, we hope you will tune in next week.
• 1:16
  Joe: So we are watching The Blues Brothers, and we watched it in 4K Blu-ray and partially digital at the last end, because my player was too hot.
• 1:29
  Dylan: It's a heat wave here in the state.
• 1:31
  Joe: Yeah.
• 1:32
  Joe: Heat wave, got a heat wave.
• 1:41
  Joe: Yeah.
• 1:45
  Dylan: So originally came out in 1980.
• 1:49
  Dylan: So who directed it?
• 1:52
  Joe: John Landis.
• 1:54
  Joe: He directed Animal House, Trading Places, Spies Like Us, Three Amigos, and Coming to America.
• 2:02
  Joe: Okay, gotcha.
• 2:03
  Joe: Quite a few comedies.
• 2:04
  Dylan: Well, and then co-produced by Dan Aykroy.
• 2:10
  Joe: Yeah, and they kind of co-produced together.
• 2:14
  Joe: And if you don't know John Landis's work, I mentioned this in another w episode, but he did Thriller.
• 2:21
  Joe: He was the director on Thriller.
• 2:23
  Joe: Yeah.
• 2:25
  unknown: Oh.
• 2:28
  Dylan: Yeah, it was good to see another Dan Aykroyd, though.
• 2:32
  Dylan: Because I think the only one other one we've watched so far would be Ghostbusters.
• 2:37
  Joe: Ghostbusters.
• 2:38
  Joe: Yeah.
• 2:38
  Joe: Yeah.
• 2:38
  Joe: I love Dan Aykroyd.
• 2:39
  Joe: He he's just oh, he's hilarious.
• 2:44
  Dylan: Yeah, for sure.
• 2:45
  Dylan: I mean, the comedic timing is there.
• 2:47
  Dylan: He's just got it.
• 2:48
  Dylan: In college, too.
• 2:49
  Joe: It's just crazy.
• 2:50
  Joe: Yeah.
• 2:52
  Joe: Which is not, you know, unlike him to study paranormal psychology and then end up doing ghost listeners.
• 2:59
  Dylan: Alright.
• 3:00
  Joe: So, Dylan, before watching this, did you think it was more of a comedy or more of a musical?
• 3:07
  Dylan: Oh, I definitely thought it was going to be more of the musical route.
• 3:12
  Joe: Uh-huh.
• 3:12
  Dylan: And they definitely did a good job like working the music into it, yeah, without being like, let's stop and have music.
• 3:21
  Dylan: Right.
• 3:22
  Dylan: Right.
• 3:22
  Joe: Yeah.
• 3:24
  Dylan: So it definitely like kind of folded it in really good.
• 3:28
  Joe: Yeah.
• 3:29
  Joe: So yeah, it wasn't strictly just the like musical narrative.
• 3:34
  Joe: It had, you know, had some of that, but also had performance and yeah.
• 3:40
  unknown: Yeah.
• 3:42
  Dylan: So if you haven't seen it in a while, here's a quick setup.
• 3:45
  Dylan: After being released from prison, Jake Blues reunites with his brother Elwood to save the Catholic orphanage where they were raised.
• 3:53
  Dylan: To raise the money, they decided to reunite their old rhythm and blues band for one last concert.
• 3:59
  Dylan: But along the way, they find themselves pursued by the police, country musicians, and a host of people they've managed to upset.
• 4:06
  Joe: To say the least.
• 4:09
  Dylan: So what was your first time watching the Blues Brothers like?
• 4:13
  Joe: It was one of those movies that was always on TV.
• 4:17
  Joe: And I mean any pick a Saturday and and me and my brother would be, you know, uh sitting in front of the TV dancing to, you know, shake a tail feather or something.
• 4:28
  Joe: So it it's, you know, 1980 I was like one.
• 4:33
  Joe: So uh, you know, I don't obviously I don't remember seeing it till later, but it was always playing in the house.
• 4:42
  Dylan: For sure.
• 4:43
  Dylan: I mean the music in it's just really good.
• 4:46
  Dylan: Yeah.
• 4:46
  Dylan: They definitely did a good job of like kind of pulling several stuff from the genre and having kind of still a good like wide array and yeah, it was a good mix of just everything that was happening at the time, too.
• 5:03
  Dylan: Yeah, something that like really surprised me about the whole thing was just the comedic moments in it.
• 5:10
  Dylan: Totally was not like expecting that.
• 5:14
  Joe: Yeah.
• 5:16
  Joe: Yeah.
• 5:16
  Joe: One of the odd comedic moments is, and John Landis did this on purpose, is when they're in the diner and they're doing the dances and stuff.
• 5:26
  Joe: You only see the the legs and feet of the saxophone players.
• 5:30
  Joe: Yeah.
• 5:31
  Joe: It's just random stuff like that.
• 5:34
  Joe: Like it just, yeah.
• 5:36
  Joe: Or the cheese whiz.
• 5:38
  Joe: Yeah, yeah.
• 5:39
  Dylan: The amount of jokes that they had in there that they did oh yeah, they did not explain at all.
• 5:45
  Joe: So they're just like, oh yeah.
• 5:46
  Joe: This guy brings him, you know, Alwood brings him cheese whiz every Tuesday or whatever, you know.
• 5:52
  Joe: Or we was going into the city, and you know, it's left to your own interpretation.
• 5:57
  Joe: Right.
• 5:58
  Joe: So did the runtime fly by?
• 6:01
  Dylan: All right, moving right along.
• 6:03
  Joe: Did you find that this was a long movie?
• 6:07
  Dylan: Uh yeah, I was getting he struck at the end of it.
• 6:10
  Dylan: Yeah.
• 6:11
  Joe: Just like now.
• 6:13
  Dylan: So I think it's time we should talk characters.
• 6:16
  Dylan: Yeah.
• 6:17
  Dylan: So you've got Jake Blues, played by John Belushi.
• 6:22
  Dylan: Yeah.
• 6:24
  Joe: Star of SNL Animal House, did a lot of, you know, a couple of different movies.
• 6:30
  Joe: Um, was just a legendary comic, did like one of the best impressions next to mine of The Godfather.
• 6:38
  Joe: Of course, watching John Belushi, I I perfected my godfather.
• 6:45
  Dylan: Right.
• 6:45
  Dylan: It wasn't by watching The Godfather.
• 6:47
  Joe: No, no, no, no.
• 6:49
  Joe: Well, like enough, you can't refuse.
• 6:54
  Dylan: Would you say that's more of a John Belushi impression, or I don't know.
• 6:59
  Joe: I couldn't I couldn't uh put myself on that pedestal.
• 7:02
  Joe: Oh okay.
• 7:05
  Dylan: Yeah, just the whole character of uh you know Jake Blues just the the over-the-top like charismatic was hilarious.
• 7:18
  Joe: You definitely kind of have the the you know firecracker versus the straight lace kind of thing, and I would not entirely straight lace, but he has a different way of of doing things, right?
• 7:31
  Dylan: Yeah his sense of humor is a little more dry.
• 7:34
  Joe: Yeah, like it it would have been you know uh you know Elwood's plan all along to get a police car and pick him up from jail.
• 7:43
  Joe: Yeah.
• 7:46
  Dylan: So speaking of Elwood, you have Elwood Blues played by Dan Ackroyd Dan Aykroyd.
• 7:53
  Dylan: Yeah.
• 7:56
  Dylan: I love his just like kind of monotone delivery of the jokes and stuff.
• 8:03
  Dylan: Yeah.
• 8:03
  Dylan: It just it reminds me so much of kind of like British humor.
• 8:07
  Dylan: Yeah.
• 8:07
  Dylan: Where it's just super dry.
• 8:09
  Dylan: Yeah.
• 8:11
  Dylan: And definitely played the uh, you know, loyal to the end brother.
• 8:15
  Joe: Oh yeah, definitely.
• 8:17
  Joe: He was all about it.
• 8:19
  Dylan: Yeah, I was surprised at how young he was in this, though.
• 8:23
  Joe: Yeah.
• 8:23
  Joe: Young, thin, and you know, full of energy when it came to the dancing and and all that, you know.
• 8:33
  Dylan: So you also meet Sister Mary along the way, the penguin.
• 8:40
  Joe: The penguin.
• 8:42
  Joe: I love that they call her that, and it's not a Batman movie.
• 8:45
  Dylan: Right.
• 8:48
  Dylan: The the whole orphanage like scene, if you will, yeah, is was just so funny.
• 8:59
  Dylan: Walking in, and it has all of like the the crosses with like Jesus on it.
• 9:04
  Joe: Yeah, it is the giant one in the hallway, yeah, staring ominously uh ominously down uh at them, you know, when they walk in.
• 9:12
  Dylan: The automatic doors.
• 9:14
  Joe: Exactly.
• 9:15
  Joe: I was like, I didn't say this, but I was thinking, I don't know that she's on the team that we think she is.
• 9:23
  Dylan: Yeah, that was so funny.
• 9:25
  Dylan: Like it's already ominous, and then the doors closing on their own and slamming, and yeah, the end after they fall down the stairs, uh-huh, and she just like glides backwards into the room.
• 9:40
  Joe: Yeah.
• 9:41
  Joe: Apparently, John Belushi heard his back doing the roll, yeah.
• 9:47
  Dylan: Crazy.
• 9:48
  Dylan: I wondered if that was him doing that.
• 9:50
  Joe: Yeah.
• 9:51
  Joe: So then Curtis was played by Cab Callaway.
• 9:55
  Dylan: And who was that?
• 9:57
  Joe: Uh he was sort of the mentor to them.
• 9:59
  Joe: Oh, that guy kind of dressed like them too.
• 10:01
  Dylan: Gotcha, definitely their clothing inspiration.
• 10:04
  Joe: Yeah, I definitely, you know, if there was a backstory to him, I would think that he was a guy who, you know, maybe hopped around the church or cleaned the church or something and took these boys on to, you know, under his wing kind of thing.
• 10:19
  Joe: And that's why they're all dressed the same.
• 10:21
  Dylan: Then you also are followed around by a mystery woman.
• 10:25
  Joe: Yeah.
• 10:27
  Dylan: I I was so confused by that whole thing.
• 10:33
  Dylan: It's just like, what is happening?
• 10:38
  Joe: She shows up so many times without any explanation.
• 10:41
  Joe: You're like, what is and that's the thing.
• 10:44
  Dylan: I mean, because she tries to, you know, kill him off four times.
• 10:48
  Joe: Yeah, yeah, at least.
• 10:50
  Joe: And then the final time, just like everybody who's watching, I would goes, Who is that?
• 10:57
  Dylan: Yeah, it was definitely one of those running gags that yeah.
• 11:04
  Dylan: It was hilarious.
• 11:07
  Dylan: Yeah, I was because when they were like getting ready to go up to the apartment, and she's got like the you know, the four-barrel grenade launcher.
• 11:17
  Dylan: Yeah.
• 11:17
  Dylan: I'm like, yeah, yeah, don't we all have that in the passenger seat of our cars?
• 11:22
  Dylan: Oh yeah.
• 11:23
  Dylan: Oh yeah, yeah.
• 11:23
  Joe: It's like, you know, two times bigger than her.
• 11:26
  Joe: Right.
• 11:28
  Joe: Like half of those weapons that she's wielding are like right.
• 11:33
  Dylan: And the fact that she was like, you know, sitting in the driver's seat, twisted out the like driver window.
• 11:42
  Joe: Like I think my wife could do that.
• 11:44
  Joe: I think she could pull it off.
• 11:46
  Joe: Okay.
• 11:49
  Dylan: And then the next morning, the police get ready to knock on the door, and he like what shoulders into it right as she pulls the trigger, the whole building just collapses.
• 12:04
  Joe: Yeah.
• 12:04
  Joe: And then they're just kind of like they're just like stand up and walk off.
• 12:09
  Joe: Yeah.
• 12:12
  Joe: Oh, I forget what he says right after that, but it's so nonchalant.
• 12:16
  Joe: We talked about it when we when we were watching it.
• 12:19
  Joe: Yeah.
• 12:22
  Dylan: Mondays, am I right?
• 12:23
  Joe: Oh, yeah.
• 12:24
  Joe: He was kind of like, it's nine o'clock, we better go to work.
• 12:28
  Dylan: So we should probably cover the music in this one.
• 12:31
  Dylan: Yeah.
• 12:32
  Joe: Yeah.
• 12:32
  Joe: Just a little bit.
• 12:33
  Joe: We're gonna cover it a lot.
• 12:37
  Joe: So the way they got things together was Paul Schaefer of The Tonight Show, which is he's known most for, but he was the band leader at on SNL.
• 12:47
  Joe: He helped to form the regular band, and some of the musicians were from the SNL band, and other musicians were from Booker T and the MGs, which is a Stax Records backing band, blues uh label.
• 13:03
  Joe: Yeah.
• 13:04
  Joe: Um, so altogether, this band with everybody combined had already played for artists like Aretha Franklin, Ray Charles, Otis Redding, Sam and Dave.
• 13:17
  Joe: Sam and Dave sings the original version of Soul Man, um, and other soul artists.
• 13:24
  Joe: So essentially they had a Memphis Stacks Records soul band with a New York horn section.
• 13:33
  Joe: So if you're gonna get a blues band together, these are the guys to get.
• 13:38
  Joe: That's the one to do it, yeah.
• 13:40
  Joe: Um, but when it came to filming, Paul Schaeffer was unable to do the movie because of contractual obligations that he was already filming another movie.
• 13:50
  Joe: So they got another guy to kind of sit in and be the piano player.
• 13:54
  Joe: I forget where he was from, but he was another famous musician.
• 13:57
  Joe: It was like they had their pick.
• 14:01
  Joe: The same guy who sings quando.
• 14:07
  Dylan: I can't say I'm familiar.
• 14:09
  Joe: Yeah.
• 14:10
  Joe: No, no.
• 14:12
  Joe: The featured artists here are Retha Franklin.
• 14:16
  Joe: She sings Think in the Diner, Ray Charles, owner of Ray's music shop.
• 14:23
  Joe: Not so subtle.
• 14:25
  Joe: James Brown, he he's the reverend of the church.
• 14:29
  Joe: And also in the choir is Chaka Khan, who is a famous artist.
• 14:35
  Joe: Yeah.
• 14:36
  Joe: Yeah.
• 14:36
  Joe: Uh, and then Cab Callaway, he was a you know, what is it, 40s artist who originally sang Minnie the Mooch in like multiple different genres.
• 14:47
  Joe: Okay.
• 14:47
  Joe: And then John Lee Hooker, who's a you know straight up blues, old school blues musician.
• 14:54
  Joe: Nice.
• 14:56
  Joe: Most of the lead artists, you know, Aretha, James Brown, and Ray Charles weren't as popular anymore.
• 15:04
  Joe: So it made it easy for them to recruit them to be in the movie.
• 15:09
  Joe: Yeah.
• 15:10
  Joe: Uh, and there are a lot of takes that they had to do because some of the old school school musicians weren't used to lip syncing.
• 15:18
  Joe: Oh, yeah.
• 15:19
  Joe: Yeah.
• 15:19
  Joe: So they had to like pretty much with Aretha film multiple angles and then choose the right angles where she would sync up to the music.
• 15:30
  Joe: Huh.
• 15:30
  Joe: Because they kind of were from a genre where you didn't sing the same thing twice.
• 15:37
  Joe: And so they just you know, they had to work with that.
• 15:40
  Joe: Interesting.
• 15:41
  Joe: And then like James Brown and John Lee Hooker, they just did their stuff live.
• 15:48
  Joe: So they like played to a backing track and sang live.
• 15:51
  Dylan: Yeah.
• 15:52
  Joe: Yeah.
• 15:52
  Joe: So which is amazing because if you think about James Brown's performance in that, you know, it just uh we'll talk more about that scene later.
• 16:02
  Joe: But uh when they brought in Cab Callaway, he was expecting to record a disco version of his song because that was like the most recent version.
• 16:10
  Dylan: Oh yeah.
• 16:11
  Joe: And uh it made him so mad because he was like, What is this?
• 16:15
  Joe: This is old music, you know, because it was original tracks and stuff.
• 16:19
  Joe: And uh so the first take he didn't do it really well.
• 16:22
  Joe: And John Landis went to him and said, Cab, you know, pull yourself together.
• 16:27
  Joe: Yeah, he's like, he's like, What did you think?
• 16:29
  Joe: And he's like, Well, it wasn't great, you know.
• 16:32
  Joe: Wow, and he goes, Oh, great, you're looking for great.
• 16:35
  Joe: Okay, well, let me try it again.
• 16:37
  Joe: Yeah, and so he did it again, and and then I think he just walked out once he was done.
• 16:44
  Joe: Oh wow, and he was like, Oh, great.
• 16:47
  Joe: And this was like the first like impression he had of Cap Calloway.
• 16:51
  Joe: Yeah, but he said once they got on set and everything came together, like he was just a great dude to hang out with.
• 16:58
  Joe: Oh, well, that's good.
• 16:59
  Joe: Yeah, yeah.
• 17:02
  Dylan: Expect the worst.
• 17:03
  Dylan: Yeah.
• 17:06
  Dylan: Yeah, I really felt like the music in this just really helps drive the story along.
• 17:12
  Joe: Yeah, yeah.
• 17:13
  Joe: They there's just a sense of like there is that narrative, but there's also the performance.
• 17:19
  Joe: Right.
• 17:19
  Joe: And it just and even where are they driving to?
• 17:23
  Joe: I forget, but they're playing Peter Gunn in the background, you know.
• 17:31
  Joe: Yeah, we're gonna get copyrights, right?
• 17:34
  Joe: Because that was perfect singing.
• 17:35
  Joe: Right.
• 17:36
  Joe: Totally know what you want you're talking about.
• 17:38
  Joe: Yeah.
• 17:40
  Joe: Yeah, you know, even little things like that where you know it just takes over the scene, you know.
• 17:47
  Joe: Really drives it.
• 17:49
  Dylan: Yeah.
• 17:50
  Dylan: All right.
• 17:50
  Dylan: So speaking of driving it, I think we should talk about how this movie was made.
• 17:56
  Joe: Yeah.
• 17:58
  Joe: Ooh, what a tangled web we weave.
• 18:01
  Joe: No, you kidding.
• 18:03
  Joe: So Dan Aykroyd, it kind of, and I'm trying to bookmark this story.
• 18:09
  Joe: Dan Aykroyd and John Belushi were listening to blues one night, and Dan Aykroyd just turns on his favorite music, which was blues at the time.
• 18:18
  Joe: And John Belushi was just like, What is this music?
• 18:22
  Joe: You know, really, because he was a metal head, and that's all he wanted to listen to.
• 18:26
  Joe: And you know, uh, he had to uh Dan Aykroyd had to compare, well, what kind of bands do you like?
• 18:32
  Joe: And he's like, Well, those are kind of blues, and these are kind of blues, and so he explained to him the blues, and it became this whole conversation to where John Belushi started listening to the blues and embracing it more.
• 18:45
  Joe: And they started that conversation, and then one of the music directors at SNL kind of decided on the name the Blues Brothers.
• 18:54
  Joe: Yeah, and so that's kind of how it was born, and then they came up with Jake and Elwood, and they started off wanting to play for the crowd on SNL, like as a and so you know, when you do audience participation, you're sitting there for a long time waiting for sets to change and like you know, dialogue, and if somebody messes up, usually on SNL, that's they don't really do that, but there's just a lot of kind of wait time, and so they would come out with the SNL band and then just sing together and do blues songs, and so that that kind of you know sparked the interest, and then John Belushi, he would do a B skit where he would sing blues and he got tired of wearing the B suit, and then they did uh a skit where they would played bodyguards for Chevy Chase and they but had the black suit on and the glasses, and so we're like, let's just do that all the time when we're doing blues.
• 19:50
  Joe: They dress up like bees.
• 19:53
  Joe: But Dan Ackrid wanted to get people familiar with the blues, and the the SNL band at the time was like the backing band for Willie Nelson, yeah, yeah.
• 20:03
  Joe: So like it's just I mean, just the level of musicians that they got to work with.
• 20:09
  Joe: They did a couple shows outside of SNL, so they just did some live performances, did did like a few with SNL, and then did some episodes on SNL, and then one of the final episodes was with Carrie Fisher and the Blues Brothers.
• 20:25
  Joe: Oh wow before the movie was even there.
• 20:29
  Joe: Yeah, Steve Martin saw them on that particular episode and booked them on his tour, and so you kind of had you know the audience would probably be taken back because they're expecting Dan Ackrid and John Belushi to do comedy when they're opening for a con comedian, you know, and they'd open up full-on blues, and you know, Steve Martin did a comedy thing, and they ended up recording some of those performances and put it out as an album, and that album just blew up, and so it was just like, okay, we gotta do something with this.
• 21:09
  Dylan: It's a sign, yeah.
• 21:11
  Joe: So, and their their whole thing was they didn't want to appropriate the music, but they wanted to pay faithful tribute to the music, yeah.
• 21:18
  Joe: Totally.
• 21:18
  Dylan: Well, did they film a lot of it in Chicago?
• 21:23
  Joe: Yeah, the majority of it was filmed in Chicago, but they had to do like the church scene was in LA, and you know, some of the sets where you had a lot of cameras they they did in LA.
• 21:35
  Joe: Yeah.
• 21:36
  Joe: So John, you know, we talked about John Landis directing, and he said the script, the the script that he got, he said was a little incoherent.
• 21:46
  Joe: Oh really?
• 21:47
  Joe: Yeah, like like there was there there was pages and pages of each character.
• 21:53
  Joe: So like the way you know Jake and Al Alwood, you know, go to each place, like there were Way more backstory to each person.
• 22:03
  Joe: Really?
• 22:04
  Joe: Yeah.
• 22:05
  Joe: So, like, yeah, it just would have been long, and it was like a 300-page script.
• 22:10
  Joe: And so he got he whittled it down to a working kind of script.
• 22:15
  Joe: And they still hadn't finished everything, so there is a lot of improv in it.
• 22:19
  Joe: He said John Landis felt like it had more music than musicals.
• 22:25
  Joe: So he directed the movie as if it was a musical and tried to do every kind of number you could do in a musical.
• 22:31
  Dylan: Yeah, yeah.
• 22:32
  Dylan: They definitely do well with balancing the comedy and the music all together.
• 22:37
  Joe: Right.
• 22:38
  Joe: Yeah.
• 22:40
  Joe: So then like the um so the mall where they, you know, kind of did everything.
• 22:49
  Joe: So it was an abandoned mall, and they basically took over this abandoned mall.
• 22:56
  Joe: And you know, when you do movies, you can you can get sponsors and and all that, like Pixie or whatever.
• 23:02
  Joe: So they approached as many, you know, franchises as they they could to see if they would, you know, like basically they were like, hey, if you Hey, can we drive through your Dillards?
• 23:13
  Dylan: So they were serious were still popular back then, right?
• 23:15
  Joe: There were certain people, certain franchises who allowed it and did it.
• 23:19
  Joe: You know, some people thought it was funny, some people thought it wasn't.
• 23:22
  Joe: And so, you know, obviously everybody who got you know, whatever store got crashed into, they had a sense of humor.
• 23:29
  Joe: Right.
• 23:31
  Joe: So they set up they set up the mall and they had all the franchises come in and decorate their stores to the T like with actual merchandise.
• 23:41
  Joe: Oh wow, which is crazy.
• 23:43
  Joe: Not getting that back.
• 23:44
  Joe: They did it with the agreement that if it wasn't salvageable, they would pay for it.
• 23:48
  Joe: Yeah.
• 23:50
  Joe: So they hired security to protect the millions of dollars of merchandise that was in the mall, and it's somebody drove right through it.
• 23:59
  Joe: Stuff still got stolen.
• 24:00
  Joe: Really?
• 24:00
  Joe: And it ended up being the guards that stole it.
• 24:04
  Joe: Cool figure.
• 24:05
  Joe: Yeah.
• 24:06
  Joe: So, like, with all the stunts, there were multiple blues mobiles.
• 24:11
  Joe: The stunt, there's like stunt cars and hero cars and all that kind of stuff.
• 24:16
  Joe: And they would they decorate it with gum wrappers and cigarette butts, you know.
• 24:22
  Joe: But just before the mall, well, just before the chase scene, a customer holds up a stuffed grover doll and asks if the cashier has a Miss Piggy.
• 24:31
  Dylan: Yeah.
• 24:32
  Joe: That guy was the main stunt coordinator.
• 24:34
  Dylan: Oh, really?
• 24:35
  Dylan: Yeah.
• 24:36
  Joe: And then the all the dolls around, like there was, you know, Miss Piggy, Grover, and some other ones were voiced by Frank Oz.
• 24:47
  Joe: And Frank Oz was the guy who gives Jake back his stuff when he leaves jail.
• 24:52
  Joe: Oh yeah.
• 24:53
  Joe: But he he's a Jim Henson voice actor.
• 24:56
  Joe: Wow.
• 24:58
  Joe: Funny.
• 24:59
  Joe: Yeah.
• 25:00
  Joe: And then as far as sponsors for that, you know, car chasing, all the cars in the parking lot were brand new cars that they got from some lot, you know.
• 25:10
  Joe: Wow.
• 25:11
  Joe: They had to make sure like they didn't touch those cars when they were weaving in and out.
• 25:15
  Joe: Yeah.
• 25:16
  Joe: That would be oh, so nerve-wracking.
• 25:19
  Joe: Pricey, pricey.
• 25:21
  Joe: Yeah.
• 25:23
  Joe: And then the first car chase scene where they're kind of blowing through well, the the mall, the next car chase scene in the day when they're kind of blowing through the streets.
• 25:33
  Joe: Sure.
• 25:33
  Joe: There's a movie called The French Connection, and it kind of is reminiscent of that.
• 25:38
  Joe: Yeah.
• 25:38
  Joe: Because up until then, it was the fastest car scene shot, you know, on film.
• 25:44
  Joe: And so they were only like I think they went basically the Blues brothers were were filming at 100 miles per hour.
• 25:53
  Dylan: Oh wow.
• 25:55
  Joe: So like that scene where even where like the the windshield is all muddy and he, you know, uh, it's like the running car door.
• 26:04
  Joe: Yeah, yeah.
• 26:04
  Joe: And then he's like, you know, trying to that they were still at 100 miles per hour at that point is crazy.
• 26:12
  Joe: And then they they when they first shot it, it didn't look realistic, it looked sped up because there was nobody, you know, in there.
• 26:19
  Joe: Really?
• 26:19
  Joe: So like whether it was the mall scene or that scene, anytime there was like, you know, chaos, it was always stunt people.
• 26:27
  Joe: So the extras were stunt people, trained stunt people, because if anything happened, they would know how to so and then when the when they went to jump the blues mobile and they had like tested it, they planned it out, they would drive up the bridge and kind of back down and make sure that they were getting up to speed, and if they didn't feel like it was close enough, they would stop and go back.
• 26:55
  Joe: But then when they finally got to filming it, um they uh so the drivers were Eddie Dono and Tommy Huff.
• 27:07
  Joe: They hit they went and the bridge operator went too high.
• 27:10
  Dylan: Yeah.
• 27:11
  Joe: So they were like midway and they they had to decide like, are we gonna jump or not?
• 27:16
  Joe: And so they just hit the gas, went up in the air, and one of them thought that they had had lost it because all they could see was blue sky.
• 27:26
  Joe: And they were like, We're dead, and then the car like it made it to the other side, yeah, it kind of overshot, and then the whole thing fell apart.
• 27:37
  Dylan: Kind of like in that scene where they was gonna say, so the last thing was real, yeah, yeah, yeah.
• 27:42
  Joe: They filmed it right after.
• 27:46
  Joe: So they had to go back and refilm the whole thing on the other side to make sure they got a smooth landing.
• 27:53
  Dylan: Yeah, yeah.
• 27:54
  Dylan: That was so funny because like right after he jumps the bridge, they did not say anything about it.
• 28:02
  Dylan: They just kept right on like chatting.
• 28:05
  Joe: Yeah.
• 28:07
  Joe: But yeah, they were thinking of using miniatures for for some of it because they were just like these things on paper just sound crazy.
• 28:16
  Joe: It keeps the bills, keep racking up.
• 28:18
  Joe: Yeah, the piles of cars that just you know how many cars did they go through?
• 28:23
  Joe: So I have a list.
• 28:26
  Joe: I'll I'll jump ahead.
• 28:28
  Joe: Okay, so they had sixty Illinois.
• 28:33
  Joe: I'll list everything they had for the last scene.
• 28:35
  Joe: Okay.
• 28:36
  Joe: So sixty Illinois police cars, 42 Chicago City cop cars, 17 ambulances, 150 National Guardsmen, 50 Chicago cops, 350 guns, 150 batons, four Sherman tanks, three helicopters, and a partridge in a pear tree.
• 28:57
  Joe: 400 troops plus the SWAT.
• 29:00
  Joe: Yeah, which they didn't have a number for.
• 29:03
  Joe: And uh, so they had to, when um they originally went to do that scene where the car is up in the air, you know, they were they were just gonna get a helicopter and drop it, but like the FF8, so in order to do the the the pinto in the sky thing, it caught wind of what they were doing, and they had to make sure that they did a flight test that it was unflyable.
• 29:32
  Joe: And so they went into this open area and took up one of the pentos and dropped it as high as they were expecting to, yeah, so that it would land in the exact spot, and so then the FFA wrote it off and said, Okay, this this car isn't because they didn't want it to drift off or to go, you know because they were shooting in the city, and so that final shot that you see is actually I think the test shot was from above, and then when they go to the side, that's the shot that they did.
• 30:02
  Joe: Yeah.
• 30:04
  Joe: And when when it hit when it hit the ground, it just you know became a pancake, instant pancake.
• 30:11
  Dylan: Because it was so high.
• 30:12
  Dylan: Yeah.
• 30:17
  Joe: Can you tell I like this movie?
• 30:21
  Dylan: Favorite scene?
• 30:22
  Dylan: Yeah.
• 30:24
  Dylan: Alright, Joe.
• 30:25
  Dylan: So since you think you like this movie, can you pick out a favorite scene?
• 30:32
  Joe: Man.
• 30:33
  Joe: Um The think one is always you know, think like and when when everybody's dancing at Ray's, yeah, the whole shake a tail feather.
• 30:48
  Joe: That's that's one of my favorite songs, you know, in the movie.
• 30:53
  Joe: And Ray Charles, you know, just kind of you know, kind of using his blindness to for comedy, yeah, you know, and the funniest part is when he shoots at the child.
• 31:05
  Joe: Yes, yes.
• 31:07
  Joe: Like he senses the child going for the strat and then he just shoots at him.
• 31:15
  Dylan: Yeah, mine was probably the massive police chase at the end.
• 31:19
  Dylan: Because it's just so ludicrously funny.
• 31:22
  Joe: It's hilarious when they just show these army, you know, like just all these guys, and they're just they're going up and down the you know, side of the building, you know.
• 31:35
  Joe: It's like all this stuff, like half the stuff they're doing is like pointless.
• 31:40
  Joe: Like they're they're up on the roof crawling, you know.
• 31:46
  Joe: Yeah, I think, you know, John Candy, the oh just showstopper.
• 31:54
  Joe: Yeah.
• 31:55
  Joe: Any scene he's in, like, it seems like any movie we've seen with him in it, he just instills it.
• 32:01
  Joe: Yeah, and for being such a minor character in this movie, it's just like he takes it over.
• 32:08
  Joe: My favorite favorite one is like you know, they land in the truck and and he smiles.
• 32:16
  Joe: He's like, Hey, yeah, can you hand me the mic?
• 32:18
  Joe: Thank you.
• 32:19
  Joe: Yeah, yeah.
• 32:20
  Joe: Hey, we're in car what number is this?
• 32:24
  Joe: Five five.
• 32:25
  Joe: Yeah, we're in car 55, and uh we're stuck in a truck.
• 32:29
  Joe: Yeah, he's like smiling the whole time.
• 32:33
  Joe: The delivery is just yeah, it's just classic.
• 32:37
  Joe: Yeah, yeah.
• 32:40
  Joe: The apparently like the three orange whips thing wasn't in the script and it was just improvised.
• 32:46
  Joe: Yeah, little thirsty, yeah.
• 32:48
  Joe: Go for a little mixed back, and you could see it on their faces, like it was a genuine reaction that the cops were like, What?
• 32:55
  Joe: Orange whip, orange whip, three orange whips.
• 32:58
  Dylan: All right, Joe.
• 32:59
  Dylan: Well, it sounds like you have some more behind the scenes nuggets.
• 33:02
  Joe: I do.
• 33:04
  Dylan: You don't?
• 33:05
  Joe: Well, you said the time.
• 33:07
  Joe: Well, since you asked Dylan, they they did the street dancing with a lot of amateurs, and so the Rays scene, you know, they they kind of used you know, amateurs in the sense of local, you know, dance schools or something like that.
• 33:25
  Joe: So so not professional, you know.
• 33:28
  Joe: Um, and uh so with that scene, one of the assistant directors pointed over to the producers and said, you know, there was like over like 500 people or something, and he goes, Oh, if you're expecting to get paid, go see that guy.
• 33:45
  Joe: So they had to figure out like some people thought you know knew it was a joke, but they had to figure out how to pay the people who wanted to get paid after that because it was supposed to be a freebie thing, like oh, yeah.
• 33:58
  Joe: So when they did John Landis scene, kind of the you know, he seen the fact that the Blues brothers couldn't dance, like you know, they they were not trained professionals, you know.
• 34:08
  Joe: So they kind of like I you know, and I love that scene with Think where they they do the improv dancing with you know the scene and then they just go sit down, yeah.
• 34:18
  Joe: But he decided that he was gonna hire professional dancers and acrobatic experts to do the church scene.
• 34:26
  Joe: Oh yeah.
• 34:28
  Joe: I mean, I that that church scene for me is just hilarious too.
• 34:32
  Joe: Yeah, just oh the band, the band, the band, the band.
• 34:42
  Joe: Um they had made like a war room setup of the past that they would take and stage for the big scene.
• 34:50
  Joe: So they had a little like miniature diorama of the whole like square and all that, and where the tanks would come in and trucks, and you know, they just kind of would move them and go at this point we're gonna be here and they're gonna like back to the future.
• 35:04
  Joe: Yeah, exactly.
• 35:05
  Joe: Little diorama.
• 35:05
  Joe: Uh-huh.
• 35:06
  Joe: Yeah.
• 35:07
  Joe: Excuse the cruidity of um, so there was a world record of 103 cars that were wrecked during the filming.
• 35:18
  Dylan: Wow.
• 35:19
  Dylan: Which you that's crazy.
• 35:20
  Joe: Which after all the carnage, you would think it was more.
• 35:25
  Joe: But they also had a body shop set up to fix some of the cars that were still running and stuff.
• 35:32
  Joe: So they would just, you know.
• 35:34
  Joe: This was not completely totaled.
• 35:36
  Joe: Yeah, take that to the garage.
• 35:39
  Joe: And then, you know, so you know, we would be amiss if we didn't bring up the German bad guys in the movie.
• 35:47
  Joe: Ugh.
• 35:49
  Dylan: Why even have that in there?
• 35:51
  Dylan: Like, that's so out of left field, yeah.
• 35:55
  Dylan: Yeah that I was like, what even is the point?
• 36:00
  Dylan: I mean, I know that the the flying pinto was hilarious, yeah, but like, I mean, I don't feel like you needed all that to get that kind of payoff.
• 36:12
  Joe: Yeah.
• 36:13
  Joe: Because I guess recently when they were filming, there actually were some Illinois German bad guys.
• 36:20
  Joe: Really?
• 36:20
  Joe: And that whole thing kind of like the it was kind of like uh up yours to them in in a sense.
• 36:28
  Joe: And so the the main you know, German bad guy, he felt like he had to make a speech to the extras, and he was like, I'm going to say a bunch of terrible things, but I don't believe it, and I'm Jewish.
• 36:44
  Joe: I'm getting paid to do this.
• 36:46
  Dylan: Yes, yeah.
• 36:55
  Joe: Yeah, it was random, and you know, because you didn't know what was going on at the time, but that was a big thing that that happened.
• 37:02
  Joe: Interesting, yeah, and that's why there's the line, like, I hate Illinois, you know.
• 37:09
  Joe: But uh, yeah, so then so there's a lot of extras and cameos that I want to run through, like that I just wrote down as we watched the movie.
• 37:20
  Joe: So apparently Mr.
• 37:21
  Joe: T plays a guard in one of the scenes, and this was like his first thing.
• 37:27
  Joe: Oh, really?
• 37:28
  Joe: But they had he had been a guard like on set and they met him and they threw him in the movie, and then and then he just you know blew up to you know Paul Rubens is the waiter, and that's Pee Wee Herman.
• 37:41
  Joe: So that was like one of his first things.
• 37:44
  Joe: I mentioned Frank Oz, and the funny thing is for some reason, and this isn't planned out, but our podcast seemed to gravitate towards Steven Spielberg.
• 37:55
  Dylan: What do you mean it's not planned out?
• 37:57
  Dylan: Did you notice his cameo?
• 37:59
  Dylan: Steven Spielberg?
• 38:00
  Joe: Yeah, no, he was the Cook County Assessor's office clerk at the end.
• 38:06
  Dylan: No way.
• 38:10
  Joe: Yeah, totally straight lays, totally that's funny.
• 38:14
  Joe: Yeah.
• 38:15
  Joe: And then I mentioned John Candy.
• 38:17
  Joe: So the kid who who who got shot at, basically, his name Devereau White.
• 38:22
  Joe: And do you did you recognize him at all?
• 38:26
  Joe: Can't say I did.
• 38:27
  Joe: Played Argyle in Die Hard.
• 38:31
  Joe: Okay.
• 38:32
  Joe: Twiggy was a famous model.
• 38:34
  Joe: She was the one that went to meet Alwood at midnight.
• 38:39
  Joe: At the end in the in the jail scene, Joel Walsh, who's a solo artist and guitarist for Eagles, is one of the prisoners who gets up.
• 38:46
  Joe: He's the first one that gets up on the table and starts dancing.
• 38:51
  Joe: James Avery, who's Uncle Phil in Fresh Prince, is a dancer on the outside of Ray's shop.
• 38:57
  Joe: Um, okay, so this one I I pointed out to you, but I don't know if you picked up who it was.
• 39:04
  Joe: Um, did you recognize who the police dispatcher?
• 39:08
  Dylan: I did not.
• 39:09
  Dylan: Because you're like, okay, you know, pay attention to him, and I'm like, okay.
• 39:14
  Joe: Use of unnecessary violence against the blues brothers is allowed.
• 39:21
  Joe: So he's in another movie we've covered.
• 39:26
  Joe: That we've covered, he's the main guy in the movie in Home Alone, where they have angels with filthy souls.
• 39:32
  Dylan: Oh that's hilarious.
• 39:38
  Joe: And then he is used to violence, and then some of the more famous, you know, musicians were Steve Cropper and Donald Duck Dunn.
• 39:46
  Joe: Like all those names in the movie, those were real.
• 39:48
  Joe: Those were their nicknames, and those were theirs.
• 39:51
  Joe: And of course, you know, we mentioned all the musicians and stuff, but yeah, that that's my short list.
• 39:59
  Dylan: So, what would you say like the cultural impact of the blues brothers had?
• 40:05
  Joe: Yeah, I mean, the biggest thing at the time was blues, yeah, blues, punk rock, new wave, and the blues.
• 40:17
  Joe: The movie revitalized a lot of the musicians' careers.
• 40:21
  Joe: Yeah.
• 40:21
  Joe: Yeah.
• 40:22
  Joe: They were, you know, like I said, it was it was easy for them to get on the movie because they were just kind of all in a lull, you know.
• 40:29
  Joe: And you know, John Landis said that Akyroyd and Belushi were at the height of their celebrity and used their influence to focus the spotlight on other artists.
• 40:39
  Joe: Yeah.
• 40:40
  Joe: And these were the artists who made them.
• 40:42
  Joe: So how could they not?
• 40:44
  Joe: Yeah.
• 40:45
  Joe: And then uh one of the famous quotes from John Belushi was Um They asked him, you know, because they spent$30 million on the Blues Brothers movie.
• 40:56
  Joe: And John Belushi was on the Today show, and they asked if they thought it was ridiculous to spend, you know,$30 million on a movie, you know, kind of like, you know, how can you spend that much?
• 41:09
  Joe: You know.
• 41:10
  Joe: And he said, well, they spend$30 million on nuclear missiles, and that gets no laughs in that.
• 41:16
  Joe: So he's got a point.
• 41:20
  Joe: And we would be, you know, amiss if we didn't talk about the fact that the Blues brothers are always at Universal Orlando.
• 41:27
  Dylan: Yeah.
• 41:30
  Dylan: Oh, the first time that you and I and your wife.
• 41:37
  Dylan: The first time that I met up with with you and your wife at Universal, yeah, like totally one of those things that like I was living in Florida and just wanted somebody to go to Universal with because I would always just go by myself.
• 41:55
  Dylan: Um my dad was like, hey, you know, I know this guy.
• 42:01
  Dylan: So yeah, like met up.
• 42:04
  Dylan: Yeah.
• 42:05
  Dylan: And um like really no idea like who you guys were at the time.
• 42:12
  Dylan: Yeah, you know, and and so, you know, we walk walk around a little bit like past the mummy, just as like the blues brothers were jumping up.
• 42:23
  Dylan: Yeah.
• 42:24
  Dylan: And you're like, oh, I gotta go.
• 42:26
  Dylan: And so like you kind of scurried over, and so your wife and I kind of hung out in the shade then, and we just like watched you like just rock out in the middle of the street.
• 42:34
  Joe: Yeah, it's like the blues brothers' music and dancing and all that is such a core memory for me that I just have to respond.
• 42:46
  Joe: Like, it's just yeah, it's like Christmas.
• 42:50
  Joe: It's like yeah, I I grew up, you know, like I said, dancing with my brother in front of the TV and my mom watching us, and you know, so whenever I see them, I have to dance.
• 43:07
  Dylan: Yep, and then so that's Universal Studios Orlando, uh-huh, and then parts of this was filmed at Universal Studios Hollywood.
• 43:18
  Dylan: Hollywood.
• 43:19
  Dylan: Yeah.
• 43:20
  Joe: Yeah.
• 43:21
  Joe: Ask for Babs.
• 43:23
  Joe: What does that even mean?
• 43:25
  Joe: I guess there's a character which I haven't seen Animal House.
• 43:28
  Joe: There's a character in Animal House named Babs.
• 43:31
  Joe: Okay.
• 43:32
  Joe: So since they filmed the majority of those movies there, some of the stunts, like when the RV goes through that, like I don't know what it is, but they end up in the pond.
• 43:41
  Joe: Yeah.
• 43:42
  Joe: That was a universal shot.
• 43:44
  Joe: Wow.
• 43:45
  Joe: Yeah, there's some things you can totally tell.
• 43:48
  Joe: Like that's so good.
• 43:49
  Joe: The bar was universal.
• 43:52
  Joe: Oh funny.
• 43:54
  Joe: Yeah.
• 43:55
  Joe: And there were elaborate sets too.
• 43:58
  Dylan: So it's just crazy.
• 44:00
  Dylan: So, what would you say that like your favorite like musical performance in the movie was?
• 44:08
  Joe: Man.
• 44:09
  Dylan: I'm gonna say mine first in case you take it.
• 44:11
  Joe: Go for it.
• 44:12
  Dylan: The final concert, like the big concert, just cracked me up.
• 44:19
  Dylan: When they're all, you know, hanging out waiting for the blues brothers to wait for the gas truck to get to he was like, I got an idea.
• 44:30
  Dylan: And the curtains open up and it's just completely different set.
• 44:34
  Dylan: Yeah.
• 44:34
  Dylan: And they're all in like tuxes.
• 44:37
  Dylan: Yeah.
• 44:37
  Dylan: And it's all like the brass band, like staging and stuff.
• 44:41
  Dylan: It's perfect.
• 44:41
  Dylan: Oh my gosh.
• 44:43
  Dylan: I just was howling.
• 44:45
  Joe: They even got like the what do you call it?
• 44:47
  Joe: The little kiosk things with the lettering on them, you know, like a band would have and like a big band would have.
• 44:54
  Joe: And yeah, it just and then as soon as they're done, they transform back.
• 44:59
  Joe: Right.
• 44:59
  Joe: Yeah.
• 45:00
  Joe: Right.
• 45:00
  Joe: Like if you were to say like musical of all musicals, like that was a musical scene.
• 45:07
  Joe: Yeah.
• 45:08
  Dylan: Absolutely.
• 45:08
  Joe: Almost Disney like.
• 45:10
  Dylan: I totally was waiting for like the curtains to close and them kind of like commingling afterwards and being like, so good we found these costumes.
• 45:20
  Dylan: Yeah.
• 45:21
  Dylan: Yeah.
• 45:21
  Joe: Yeah.
• 45:22
  Joe: That probably would be too practical for the humor in this movie.
• 45:25
  Joe: Right.
• 45:26
  Joe: Right.
• 45:27
  Joe: I guess part of the 300 pages of the script was Dan Ackery trying to explain everything.
• 45:34
  Dylan: Oh yeah.
• 45:35
  Dylan: Because like he had more notes than script.
• 45:37
  Dylan: Yeah.
• 45:38
  Joe: There's a point where they park the car underneath this bridge and you can hear like a, you know, like a low rumble.
• 45:45
  Joe: And supposedly that was how the car would charge itself so that it would do all the magic stuff that it did.
• 45:52
  Joe: Oh yeah.
• 45:54
  Joe: Like getting towards the edge of a bridge and then just doing a backflip.
• 45:59
  Joe: John Landis was like, how about we just assume it's a magic car and not have to show its superpowers?
• 46:07
  Joe: Herbie.
• 46:08
  Joe: Yeah, exactly.
• 46:13
  Dylan: Your musical performance?
• 46:16
  Joe: Man.
• 46:18
  Joe: Those are hard to choose.
• 46:20
  Joe: Um I know for me as a kid, it was like the Raves thing because how many people are ridiculously, you know, dancing in the street.
• 46:30
  Joe: And apparently, as they shot, more people showed up.
• 46:33
  Joe: Oh, yeah.
• 46:34
  Joe: So most of the people on the bridge in the back who are all there were bystanders.
• 46:38
  Joe: Yeah, they're just bystanders who showed up to watch.
• 46:41
  Joe: And they started dancing too.
• 46:43
  Joe: That's awesome.
• 46:44
  Joe: You know, and you can see some, you know, after seeing this movie, you could kind of see some of that with the the scene in Ferris Bheeler's Day Off.
• 46:53
  Joe: Yeah.
• 46:53
  Joe: Yeah, there's that.
• 46:55
  Joe: It's just, oh, it's so great.
• 46:58
  Joe: Think is great.
• 46:59
  Joe: I love the fact that they end with uh, you know, Elvis song too.
• 47:04
  Joe: Gotta throw some Elvis in there.
• 47:06
  Dylan: So what would you rate this movie?
• 47:10
  Joe: Man.
• 47:13
  Joe: It's so fresh, I'd say eight.
• 47:16
  Dylan: Yeah, I think I would probably go with seven.
• 47:20
  Joe: Okay.
• 47:20
  Dylan: There's just some stuff that aged with it.
• 47:23
  Dylan: Don't blaspheme here.
• 47:24
  Dylan: Do not blaspheme.
• 47:28
  Dylan: I definitely appreciated just how much was done practically.
• 47:34
  Dylan: And that's definitely a a lost art.
• 47:37
  Joe: Yeah, it definitely is.
• 47:39
  Joe: I mean, they just put so much into this movie.
• 47:42
  Joe: Like, and even if there's random things, there's some payoff at the end with some of it.
• 47:46
  Joe: Yeah.
• 47:47
  Joe: Like the the Carrie Fisher thing.
• 47:49
  Joe: The mysterious woman.
• 47:50
  Joe: Yeah.
• 47:50
  Joe: Yeah.
• 47:51
  Joe: You know, like what's going on?
• 47:54
  Joe: And who is that woman?
• 47:56
  Joe: Yeah.
• 47:57
  Joe: So I mean so was this more of a comedy or a musical that you expected?
• 48:04
  Dylan: I would definitely have to say more comedy than I expected.
• 48:08
  Dylan: Yeah.
• 48:10
  Joe: Yeah.
• 48:11
  Joe: It it's the expectations of you know not seeing it's hearing of a movie that you haven't seen.
• 48:18
  Dylan: Right.
• 48:18
  Joe: Yeah.
• 48:20
  Dylan: Yeah, just going off of the blues brothers title, just not expecting any of what happened.
• 48:29
  Dylan: Yeah.
• 48:30
  Dylan: Yeah.
• 48:30
  Dylan: Yeah.
• 48:32
  Joe: Yep.
• 48:32
  Joe: They were on emissions from God.
• 48:34
  Joe: That's true.
• 48:36
  Joe: Well, thanks for listening to Have You Seen the Movie Podcast.
• 48:39
  Dylan: Make sure to follow the show on your favorite podcast app.
• 48:42
  Dylan: And if you're enjoying it, leave us a five-star rating.
• 48:44
  Dylan: It really helps the show grow.
• 48:46
  Joe: And we want to hear from you.
• 48:47
  Joe: Text us your name and movie suggestion using the link in the description.
• 48:52
  Dylan: You can follow all of our socials in the description as well.
• 48:55
  Dylan: Everything you need is right there.
• 48:57
  Joe: We'll be back next week with another movie premiere.
• 49:02
  Joe: So, Dylan, if somebody told you they were on a mission from God, would you get in the car?
• 49:08
  Dylan: We're on a mission from God.
• 49:38
  Dylan: This is a little quite a studio product.