Latest / Movie Meltdown / Attack of the Killer Soundtrack: Richard Band

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Attack of the Killer Soundtrack: Richard Band · Movie Meltdown

• 0:00
  Speaker 1: Guess who?
• 0:02
  Speaker 2: It's 10 o'clock.
• 0:02
  Speaker 3: Do you care where your parents are?
• 0:04
  Speaker 1: The following feature has been rated R by the Motion
• 0:06
  Speaker 1: Picture Association of America. It is intended for mature audiences
• 0:10
  Speaker 1: and parental discretion is advised.
• 0:22
  Speaker 4: The Coast Guard.
• 0:24
  Speaker 5: And the Navy have been.
• 0:37
  Speaker 6: Alerted and are standing by on the eastern seaboard.
• 0:41
  Speaker 7: And it continues to burn out of control.
• 0:43
  Speaker 2: It has been regular.
• 0:44
  Speaker 8: Every five to ten minutes there has been another convoy
• 0:47
  Speaker 8: of units, fire companies, paramedics.
• 0:50
  Speaker 3: A citywide emergency has been declared.
• 0:52
  Speaker 9: Police officers are still on tactical full alert.
• 0:56
  Speaker 7: 2,000 National Guardsmen are standing by.
• 0:58
  Speaker 3: Air defense warning read.
• 1:01
  Speaker 2: It's time for Movie Meltdown's Attack of the Killers soundtrack.
• 1:08
  Speaker 10: The live transmission has begun, and we're into the final.
• 1:12
  Speaker 4: Hour of hell.
• 1:33
  Speaker 11: What's up and welcome to Movie Meltdown's Attack of the
• 1:36
  Speaker 11: Killers soundtrack. I'm Brian and thank you once again for
• 1:38
  Speaker 11: joining us as we build a Frankenstein-like soundtrack of our
• 1:41
  Speaker 11: own that is both interesting and eclectic.
• 1:44
  Speaker 4: That's a bold statement.
• 1:45
  Speaker 11: And to kick things off, I thought I would start
• 1:47
  Speaker 11: with what is definitely one of my favorite segments of
• 1:49
  Speaker 11: the show.
• 1:58
  Speaker 2: And now it's time for some Blaxploitation Appreciation. You're damn right.
• 2:08
  Speaker 11: Now this week's special guest co-host is composer Richard Band.
• 2:11
  Speaker 11: He's the son of cult film director Albert Band and
• 2:14
  Speaker 11: the brother of director Charles Band. Now obviously they are
• 2:17
  Speaker 11: a very Hollywood-centric family, and I thought we would tie
• 2:20
  Speaker 11: that in with our Blaxploitation Appreciation this week. by finding
• 2:24
  Speaker 11: a blaxploitation movie that is actually set in Los Angeles.
• 2:28
  Speaker 11: Which leads us to our story about a private detective
• 2:31
  Speaker 11: named Mr. T in South Central LA. The movie is
• 2:35
  Speaker 11: Trouble Man. Now as I got to that, it also
• 2:38
  Speaker 11: clicked in my head, this is a perfect tie-in with
• 2:41
  Speaker 11: another more recent movie. I'm sure many of you out
• 2:44
  Speaker 11: there have seen Captain America The Winter Soldier, in which
• 2:47
  Speaker 11: Steve Rogers becomes friends with a man named Sam Wilson,
• 2:50
  Speaker 11: who aside from having his own ties to the government
• 2:52
  Speaker 11: and S.H.I.E.L.D., also seems to have pretty good taste in music.
• 2:56
  Speaker 11: At one point, he tells Steve that the answers to
• 2:58
  Speaker 11: all the questions that he may have about the course
• 3:00
  Speaker 11: of the 20th and 21st centuries can be found in
• 3:03
  Speaker 11: Marvin Gaye's Troubleman soundtrack. Actually, that's not bad advice. So
• 3:08
  Speaker 11: for those of you that aren't all that familiar with it,
• 3:10
  Speaker 11: let's give you an introduction here to Marvin Gaye's Troubleman.
• 3:14
  Speaker 4: ¶ ¶.
• 3:21
  Speaker 12: But now I'm cool I didn't make.
• 3:24
  Speaker 4: It, sure I'm playing.
• 3:26
  Speaker 12: By the rules I come up hard, baby But now
• 3:31
  Speaker 12: I'm fine.
• 3:32
  Speaker 4: I'm taking trouble, sure Moving.
• 3:35
  Speaker 12: Down the line I come up hard, baby But that's
• 3:40
  Speaker 12: okay Cause trouble, man Don't get in my way I
• 3:45
  Speaker 12: come up hard, baby I've been for real, baby. Gonna
• 3:54
  Speaker 12: keep moving.
• 3:57
  Speaker 13: Gonna go to town. I come apart. I come up.
• 4:02
  Speaker 4: Get down. There's only three things that you show. Taxes, debt,
• 4:09
  Speaker 4: and trouble. There's not no blame. There's not no shame. Yeah,
• 4:21
  Speaker 4: ain't gonna let her sweat me.
• 4:22
  Speaker 13: Babe Got me singing.
• 4:29
  Speaker 4: Yeah, yeah.
• 4:31
  Speaker 13: Ooh, ooh, ooh.
• 4:49
  Speaker 12: Come upon me i had to fight took care of
• 4:53
  Speaker 12: my deadness.
• 5:06
  Speaker 7: I come up hard, but that's okay Cause trouble men
• 5:13
  Speaker 7: don't get in my way Hey, hey, I.
• 5:16
  Speaker 4: Know some places and I see some faces.
• 5:18
  Speaker 14: I've got good connections, they dig my directions When people
• 5:21
  Speaker 14: say that's okay, they don't bother me I'm ready to
• 5:26
  Speaker 14: make it, don't care what the weather Don't care if
• 5:28
  Speaker 14: I'm in trouble, got myself together I feel the kind
• 5:30
  Speaker 14: of protection that's.
• 5:31
  Speaker 9: All around I come up hard, baby I've been for real, baby,
• 5:40
  Speaker 9: with the trouble mask I'm moving, going tight I'm coming.
• 5:47
  Speaker 12: Hard, I'm coming getting down There's only.
• 5:52
  Speaker 9: Three things that show Taxes, debt, and trouble Oh, this
• 6:01
  Speaker 9: I know, baby, baby.
• 6:05
  Speaker 4: This I know, baby. Hang a little sweat in the bay. Whoo! Oh, yeah! Whoo!
• 6:27
  Speaker 13: Ooh, I've come up hard, but now I'm cool I didn't.
• 6:32
  Speaker 4: Make it, babe, played by the.
• 6:34
  Speaker 13: Rules I've come up hard.
• 6:37
  Speaker 12: But now I'm fine I've taken control of your head
• 6:40
  Speaker 12: Moving down the line.
• 6:54
  Speaker 1: And steal hard he's a healer a fixer my name's
• 6:57
  Speaker 1: t baby wears six hundred dollar suits drives a ten
• 7:00
  Speaker 1: thousand dollar car and he carries two guns one to
• 7:04
  Speaker 1: stop trouble and one to make trouble he was born
• 7:07
  Speaker 1: in the ghetto and raised in the streets he's been
• 7:10
  Speaker 1: a man since he was a kid and trouble is
• 7:13
  Speaker 1: this man's name you're a friend of mr t's you
• 7:19
  Speaker 1: can count on him that's my baby I'm good. But
• 7:23
  Speaker 1: if you're not, you can count yourself out.
• 7:25
  Speaker 2: I couldn't be gonna damn who owns it or what color.
• 7:29
  Speaker 2: Now you see that baby, I'll come back and see
• 7:30
  Speaker 2: the you. You dig it?
• 7:32
  Speaker 1: If you've got trouble, call T and leave a message.
• 7:36
  Speaker 1: Service is prompt, efficient, and deadly. We move in on
• 7:40
  Speaker 1: Big's business and the money comes rolling in like waves
• 7:43
  Speaker 1: on the shore.
• 7:45
  Speaker 2: All we gotta do is get rid of Mr. T.
• 7:47
  Speaker 3: T is on the streets right now! One man, Chuck.
• 7:52
  Speaker 3: He's just one man. Don't make him sound like a
• 7:54
  Speaker 3: goddamn army.
• 7:55
  Speaker 1: He has one edge, and that's his cool, but that's enough, baby,
• 7:58
  Speaker 1: because he's thinking all the time, and if he wants
• 8:00
  Speaker 1: your ass, he gets it.
• 8:02
  Speaker 4: Trouble, man, is mayhem.
• 8:04
  Speaker 1: Rub him wrong, and he'll blow up in your face
• 8:07
  Speaker 1: before you shoot my man, Abby.
• 8:09
  Speaker 4: I didn't.
• 8:10
  Speaker 2: You and Jimmy got to go away for a couple
• 8:12
  Speaker 2: of days.
• 8:12
  Speaker 3: Where do you want to go?
• 8:13
  Speaker 1: For what?
• 8:14
  Speaker 11: What for?
• 8:14
  Speaker 14: I got some trouble to have.
• 8:18
  Speaker 2: This is T.
• 8:20
  Speaker 3: Chuck, he's dead.
• 8:22
  Speaker 2: Now I'm coming to get your honky ass.
• 8:26
  Speaker 1: If you're looking for trouble, look out. Because trouble is here.
• 8:31
  Speaker 1: Trouble Man. You jive him, he'll wash you away.
• 8:41
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• 8:45
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• 9:02
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• 9:05
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• 9:11
  Speaker 11: So now we're going to get to this week's special
• 9:13
  Speaker 11: guest co-host. As I said, composer Richard Band. I recently
• 9:17
  Speaker 11: got to sit down with him, and he's a fascinating guy,
• 9:20
  Speaker 11: and I thought it would be fun to just kind
• 9:22
  Speaker 11: of sit down with him and get his take on
• 9:25
  Speaker 11: how he got into the music business and how he
• 9:28
  Speaker 11: forged his own path in a family like his, and
• 9:32
  Speaker 11: just get a feel for his taste in music as well.
• 9:35
  Speaker 11: So we'll go now to our conversation with Richard Band.
• 9:37
  Speaker 4: Richard Band.
• 9:46
  Speaker 11: All right, so we're here with Richard Band. You come
• 9:50
  Speaker 11: from a musical and Hollywood-related family. I guess a lot
• 9:54
  Speaker 11: of the others were doing more of the filmmaking side.
• 9:57
  Speaker 11: What led you to music?
• 9:59
  Speaker 3: Well.
• 10:00
  Speaker 6: I was always in love with music from a very
• 10:04
  Speaker 6: early age. In fact, when I was about six years old,
• 10:08
  Speaker 6: I was living in Paris at the time, and every
• 10:13
  Speaker 6: night after school I would come home and we had
• 10:18
  Speaker 6: this big Telefunken record player in the living room, and
• 10:23
  Speaker 6: I would put on either Beethoven's 5th or the 9th,
• 10:27
  Speaker 6: and I'd crawl up on the dining room table and
• 10:34
  Speaker 6: air conduct it, so to speak, from beginning to end.
• 10:38
  Speaker 6: And we had a maid at the time and she
• 10:41
  Speaker 6: was so taken with this that after about two months
• 10:44
  Speaker 6: she made me a tuxedo and she bought me a baton.
• 10:47
  Speaker 6: So then I'd come home and I'd put my tuxedo
• 10:50
  Speaker 6: on and get my baton and I'd continue doing my
• 10:55
  Speaker 6: air conducting.
• 10:57
  Speaker 11: Did you actually know? Were you actually doing it right
• 10:59
  Speaker 11: or just sort of waving your hand?
• 11:02
  Speaker 15: I don't have a clue. I was six years old.
• 11:03
  Speaker 11: I didn't know how early you'd picked up on the
• 11:06
  Speaker 11: right way to do it.
• 11:07
  Speaker 15: I don't know.
• 11:09
  Speaker 6: I probably don't even do it right today. Come to
• 11:11
  Speaker 6: think of it, I probably developed a lot of bad habits.
• 11:13
  Speaker 3: Who knows?
• 11:14
  Speaker 11: So it was that early on you were into classical?
• 11:17
  Speaker 11: Had you crossed over into pop and rock and stuff
• 11:19
  Speaker 11: like that?
• 11:21
  Speaker 6: That came a little bit later. That came in the
• 11:24
  Speaker 6: early 60s. And crossed over and began to love rock
• 11:32
  Speaker 6: and roll and, you know, be a... early rock, as
• 11:37
  Speaker 6: well as, you know, when the Beatles came out, and
• 11:39
  Speaker 6: even some stuff before the Beatles, and then ever since
• 11:42
  Speaker 6: the Beatles, I was a major lover of that.
• 11:48
  Speaker 15: Kind of music, and it was not that I lost.
• 11:57
  Speaker 6: My interest in classical, but sort of rock took over at.
• 12:00
  Speaker 15: That point, yeah.
• 12:02
  Speaker 11: I guess what was the first instrument you started playing?
• 12:05
  Speaker 6: The first instrument was guitar. I was on a location
• 12:09
  Speaker 6: shoot with... My father was a producer, director, and writer,
• 12:13
  Speaker 6: as you mentioned, and we were shooting a western in Spain.
• 12:17
  Speaker 6: And my brother and I were... We went on location
• 12:21
  Speaker 6: because it was during the summertime.
• 12:22
  Speaker 15: We weren't in school. And the first night in Madrid....
• 12:30
  Speaker 6: We went out to a nice dinner. In fact, I
• 12:32
  Speaker 6: even remember the name of the restaurant called El Chotis,
• 12:34
  Speaker 6: a great restaurant. And across the square after dinner, we
• 12:39
  Speaker 6: went to a flamenco show. And that's where I fell
• 12:43
  Speaker 6: in love with the guitar. And the next day I
• 12:45
  Speaker 6: went out and bought a guitar and started teaching myself
• 12:48
  Speaker 6: how to play guitar.
• 12:49
  Speaker 11: So at that point, was it just flamenco or were
• 12:52
  Speaker 11: you just starting to get into music overall to like
• 12:55
  Speaker 11: want to play aside from just being a fan of?
• 12:57
  Speaker 6: Yeah, no, at that time I was just teaching myself
• 13:00
  Speaker 6: to play. I loved the flamenco. It really sort of
• 13:03
  Speaker 6: really did something to me. But I still loved, you know,
• 13:07
  Speaker 6: rock and classical music. So at that point it was
• 13:10
  Speaker 6: just sort of learning the instruments, so to speak.
• 13:13
  Speaker 11: And I guess at what point did it sort of
• 13:15
  Speaker 11: broaden out to wanting to do something bigger and moving
• 13:18
  Speaker 11: into like the orchestrating and working in other instruments and
• 13:21
  Speaker 11: that level?
• 13:22
  Speaker 6: Well, that didn't happen for a while. Within about 18 months,
• 13:29
  Speaker 6: I got very good on guitar, and I started putting
• 13:32
  Speaker 6: my own bands together at that point. So I toured
• 13:37
  Speaker 6: around Italy with my bands for more than a couple
• 13:41
  Speaker 6: of years, until I was about 17, 17 and a
• 13:42
  Speaker 6: half years old, and then we did a couple of
• 13:44
  Speaker 6: European tours, and So I was a rock and roller
• 13:52
  Speaker 6: back then. It wasn't until I came back to this
• 13:55
  Speaker 6: country in 1970, I can't remember, 70 or 71. I
• 14:03
  Speaker 6: was almost 18. And it wasn't until I started studying
• 14:09
  Speaker 6: music formally a couple years after that that I got
• 14:13
  Speaker 6: really serious about music, different instruments, and so forth.
• 14:19
  Speaker 11: So I guess that was, getting back to that, what
• 14:21
  Speaker 11: separated you into music? Was it just that general interest,
• 14:24
  Speaker 11: or were you just not wanting to get into the
• 14:27
  Speaker 11: film side, knowing that your father and your brother, was
• 14:30
  Speaker 11: it just you trying to carve out your own identity?
• 14:33
  Speaker 6: It wasn't anything real conscious, because it was something I
• 14:37
  Speaker 6: always loved. I always loved music, and I always, by
• 14:41
  Speaker 6: the way, loved films. So it There was a while,
• 14:44
  Speaker 6: especially after I went to school, music school, for a
• 14:51
  Speaker 6: few years.
• 14:51
  Speaker 15: Went back in the States, that I.
• 14:56
  Speaker 6: Kind of got tired, I guess, of academia and studying
• 15:00
  Speaker 6: music formally and all that. And I still really love films.
• 15:05
  Speaker 15: But I.
• 15:08
  Speaker 6: I then took some time off from studying music and
• 15:12
  Speaker 6: continuing in music and got into doing some production work
• 15:17
  Speaker 6: on films as first an assistant director and then production
• 15:21
  Speaker 6: manager and then associate producer and, you know, things all
• 15:28
  Speaker 6: on the production side, which I love.
• 15:30
  Speaker 15: Doing, but it was still... There was a hole in
• 15:33
  Speaker 15: me still and I.
• 15:37
  Speaker 6: Even though I love films and love doing it, something
• 15:39
  Speaker 6: was missing. And that didn't show up until a few
• 15:43
  Speaker 6: years later where I started putting it together. And I
• 15:48
  Speaker 6: had a real dilemma. I was going, well, what am
• 15:49
  Speaker 6: I going to do with my life, man? Am I
• 15:51
  Speaker 6: going to do films or am I going to do music?
• 15:54
  Speaker 6: Am I going to do films or music? And back
• 15:57
  Speaker 6: and forth and back and forth. And then one day
• 15:58
  Speaker 6: that light bulb went on. And I said, well, why not.
• 16:04
  Speaker 15: Do music for films, babe? And that's what happened.
• 16:11
  Speaker 6: I took a vacation for several weeks and went back
• 16:18
  Speaker 6: to Europe. And this is when that light bulb came
• 16:22
  Speaker 6: to me. In fact, I remember to this day sitting
• 16:26
  Speaker 6: on the beach in Monte Carlo on my way from
• 16:31
  Speaker 6: France to Italy.
• 16:32
  Speaker 15: And I was in Monte Carlo.
• 16:34
  Speaker 6: Sitting on the beach and contemplating my life and my
• 16:38
  Speaker 6: navel at the same time. And that's when the light
• 16:42
  Speaker 6: bulb went off. In fact, to this day, visually, I
• 16:46
  Speaker 6: can see in my mind's eye this big rock out
• 16:50
  Speaker 6: in the ocean that I was sort of meditating on.
• 16:53
  Speaker 11: That moment when it all came together. Well, that's what
• 16:57
  Speaker 11: we've tried to do on the show. To me, it
• 17:00
  Speaker 11: as we started focusing on movies and movies, I was like, well,
• 17:03
  Speaker 11: to me, I started noticing how much they sort of
• 17:05
  Speaker 11: are interwoven and like how much one affects the other.
• 17:09
  Speaker 11: And you get like, you know, the music always, always
• 17:11
  Speaker 11: add something to the movies, but at the same way,
• 17:13
  Speaker 11: I think there's so much influence that film has had
• 17:16
  Speaker 11: as you get into the music, like it's now become
• 17:18
  Speaker 11: one big, you know, organism more or less. So it's, yeah, we,
• 17:20
  Speaker 11: we tried to talk to people about how that happened
• 17:23
  Speaker 11: for them and, and what, you know, what, what that
• 17:25
  Speaker 11: whole process means. So I guess with you, what was,
• 17:28
  Speaker 11: When you got into writing them, was there one specific
• 17:31
  Speaker 11: piece or specific soundtrack that kind of just, it all
• 17:33
  Speaker 11: fell together and came working like that for you?
• 17:36
  Speaker 15: You mean one of my soundtracks?
• 17:40
  Speaker 6: Oh, definitely the second film that I did, which was
• 17:44
  Speaker 6: The Day Time Ended. That was the first film that
• 17:48
  Speaker 6: I did that was an orchestral film, and I was
• 17:53
  Speaker 6: beyond lucky because I... I managed to be able to
• 17:57
  Speaker 6: record it in England with part of the London Symphony.
• 18:04
  Speaker 6: And hearing your own music played back by, albeit it
• 18:10
  Speaker 6: wasn't the entire symphony, but it was about 40 pieces,
• 18:13
  Speaker 6: it was something I'll never forget in my life. That
• 18:18
  Speaker 6: was like a major high score. to have that experience.
• 18:23
  Speaker 6: And that's when I knew this is what I'm going
• 18:27
  Speaker 6: to be doing.
• 18:28
  Speaker 15: No question. No ifs, ands, or buts.
• 18:30
  Speaker 11: So it's got to be amazing in your own creation
• 18:33
  Speaker 11: with that many people involved.
• 18:35
  Speaker 15: Absolutely. Yeah, that's what it was.
• 18:37
  Speaker 11: Yes, you have to admit that's a pretty monumental moment
• 18:40
  Speaker 11: for anyone, specifically an artist who's created this thing and
• 18:43
  Speaker 11: then gets to see it come to life before you.
• 18:46
  Speaker 11: It's pretty amazing. So I thought with that, we'd take
• 18:48
  Speaker 11: a minute here to listen to the theme from The
• 18:51
  Speaker 11: Day Time Ended.
• 19:39
  Speaker 13: Thank you.
• 20:39
  Speaker 4: Amen. Thank you.
• 23:56
  Speaker 11: This is Roger Corman and you're listening to Movie Meltdown.
• 24:15
  Speaker 2: It's time for the Kill of Five.
• 24:21
  Speaker 11: We've got to do our segment here where we have
• 24:23
  Speaker 11: people pick out different ones that they've loved or have
• 24:26
  Speaker 11: influenced them in some way. So I guess if you
• 24:28
  Speaker 11: can pick five different pieces of music, or it can
• 24:31
  Speaker 11: be pop music that has worked its way into film,
• 24:34
  Speaker 11: just something that's a song in a film that really
• 24:37
  Speaker 11: kind of works for you.
• 24:40
  Speaker 15: One group that I always listen to.
• 24:44
  Speaker 6: That was a very visual band, if you can think
• 24:47
  Speaker 6: of music as being visual, but for me it sort
• 24:50
  Speaker 6: of was Pink Floyd. I mean, they did some things,
• 24:54
  Speaker 6: especially in the early days, that really, really stuck with me.
• 25:00
  Speaker 6: If I had to name one, like the song they
• 25:06
  Speaker 6: did called Be Careful With That Axe, Eugene.
• 25:09
  Speaker 11: I actually love that. I'm not a big fan of
• 25:12
  Speaker 11: the Sid Barrett ears, but that may be the best
• 25:15
  Speaker 11: song on that album.
• 25:16
  Speaker 6: I think it probably is, yeah. And that's definitely one
• 25:22
  Speaker 6: of them.
• 25:22
  Speaker 11: Yes, okay. Pink Floyd. They're a huge name in the
• 25:27
  Speaker 11: music business, obviously. But they're also one of those that
• 25:30
  Speaker 11: you're kind of hit or miss on. You're either a
• 25:32
  Speaker 11: Pink Floyd fan or a lot of people just kind
• 25:35
  Speaker 11: of don't like them in general. So it's one of those,
• 25:38
  Speaker 11: you kind of have to figure out where you stand
• 25:40
  Speaker 11: on that. But on top of that, if you are
• 25:43
  Speaker 11: a fan, you start to realize that it's not like
• 25:45
  Speaker 11: they're just one band. There's, I mean, there's definitely three
• 25:49
  Speaker 11: distinct periods in Pink Floyd history. And then there's all
• 25:52
  Speaker 11: these little middle areas where things are crossing over and
• 25:55
  Speaker 11: in the process of changing. And then later you get
• 25:58
  Speaker 11: into like reunion stuff. So it becomes a huge ordeal
• 26:02
  Speaker 11: of trying to figure out where you stand on the
• 26:04
  Speaker 11: Pink Floyd situation, even if you are a fan. But
• 26:07
  Speaker 11: as I said to Richard, I think this may be
• 26:09
  Speaker 11: one of the greatest moments in Pink Floyd history. And
• 26:13
  Speaker 11: it took me a while to realize that. I came
• 26:16
  Speaker 11: on board much later, like the rest of humanity, and
• 26:19
  Speaker 11: you hear Dark Side of the Moon, and I guess
• 26:21
  Speaker 11: you get the wall or whatever. But to me, as
• 26:23
  Speaker 11: I went into it more and started to look at
• 26:25
  Speaker 11: the whole history of the band and how they worked
• 26:28
  Speaker 11: together and didn't, as the case may be, you get
• 26:32
  Speaker 11: to that point where you realize once you get Sid
• 26:35
  Speaker 11: Barrett out of the way, which is a good thing
• 26:37
  Speaker 11: in my mind. But whatever. I know he has a
• 26:39
  Speaker 11: lot of fans. People love his older stuff sometimes. But
• 26:42
  Speaker 11: for me, you know, the bulk of what becomes Pink
• 26:45
  Speaker 11: Floyd that people know is the Gilmore Waters years. And
• 26:49
  Speaker 11: you get to that point where you realize, like, to me,
• 26:51
  Speaker 11: I always liked David Gilmore. I think he's an amazing guitarist.
• 26:55
  Speaker 11: I mean, he's phenomenal. But he's also very measured and
• 27:00
  Speaker 11: seemingly kind of level-headed in his approach to music. And
• 27:04
  Speaker 11: then on the opposite end, you have Roger Waters, who
• 27:07
  Speaker 11: is certainly not the best singer ever. He's hit and
• 27:12
  Speaker 11: miss on his lyrics as time goes on. But he
• 27:15
  Speaker 11: also has this sort of passion and chaos that he
• 27:19
  Speaker 11: brings with it. So you get to things later down
• 27:21
  Speaker 11: the line where it just becomes all about that and
• 27:24
  Speaker 11: it starts to unravel and you get things that nobody
• 27:26
  Speaker 11: cares about, like the final cut. Or you get further
• 27:29
  Speaker 11: out when Waters had left the band and you get
• 27:31
  Speaker 11: mostly Gilmore just kind of running the show and you
• 27:34
  Speaker 11: get a very, as I said, measured, level-headed approach to music.
• 27:38
  Speaker 11: And it's amazing. And I actually like a lot of
• 27:42
  Speaker 11: that stuff. But listening to it objectively, I'm like, it
• 27:45
  Speaker 11: is very calm and sedate, which sometimes is what you're
• 27:48
  Speaker 11: looking for. But at the same time, to be honest,
• 27:52
  Speaker 11: when they're at their best is when it's a mixture
• 27:54
  Speaker 11: of both of those. Is when you've got this this
• 27:57
  Speaker 11: amazing musician that's sort of holding things down, you know,
• 28:00
  Speaker 11: artistically and is bringing this very distinctive guitar sound into
• 28:04
  Speaker 11: the music. And Gilmore just adds so much musically to it.
• 28:07
  Speaker 11: But then you've got this edge that Waters brings to it.
• 28:11
  Speaker 11: And he definitely throws something in there to kind of
• 28:14
  Speaker 11: give it that rock and roll feel that it doesn't
• 28:17
  Speaker 11: become a little too sedated. It still just gives it
• 28:19
  Speaker 11: that edge that it needs. And this to me, is
• 28:22
  Speaker 11: one of those moments when they're still kind of in
• 28:25
  Speaker 11: those early hippie years when they were doing psychedelic rock,
• 28:29
  Speaker 11: more so than the more polished stuff that's coming an
• 28:33
  Speaker 11: album or two later. But you get them in the
• 28:35
  Speaker 11: middle of this huge double album, which is completely overdone
• 28:40
  Speaker 11: and overproduced and so experimental that, again, this is all
• 28:44
  Speaker 11: my opinion. So plenty of people like that album, but
• 28:48
  Speaker 11: I feel like the middle of that album which is
• 28:50
  Speaker 11: so overblown and is so unfocused in so many other
• 28:54
  Speaker 11: songs you get this one moment that it just hits
• 28:58
  Speaker 11: this perfect balance of it's this artistic musical groove that
• 29:03
  Speaker 11: kind of takes over and then you get these weird
• 29:07
  Speaker 11: elements that come in and specifically a couple minutes in
• 29:11
  Speaker 11: when you get to that scream That moment from that
• 29:14
  Speaker 11: point on in the song makes this one of the
• 29:16
  Speaker 11: most amazing points in Pink Floyd history.
• 29:19
  Speaker 16: Settle down, sweetheart.
• 29:21
  Speaker 1: Settle down now.
• 29:21
  Speaker 11: But again, Richard was just sort of talking about them
• 29:24
  Speaker 11: as a band being influential to him musically. But now
• 29:27
  Speaker 11: to bring in the film end of it, this, you know, yes,
• 29:31
  Speaker 11: it appeared on their album beforehand, but shortly thereafter, Careful
• 29:36
  Speaker 11: With That Axe, Eugene, was actually put into a soundtrack
• 29:39
  Speaker 11: and then re-released. an alternate version of it and retitled
• 29:43
  Speaker 11: Come In Number 51, Your Time Is Up. And it
• 29:46
  Speaker 11: was that version that is featured on Antonioni's 1970 film
• 29:50
  Speaker 11: Zabriskie Point. And it is sort of the big finale song.
• 29:54
  Speaker 2: If you will.
• 29:56
  Speaker 11: So yeah, we're going to go with that. This is
• 29:58
  Speaker 11: actually from that soundtrack, and this is the re-recorded alternate
• 30:02
  Speaker 11: version that is actually still pretty similar to the version
• 30:06
  Speaker 11: they came to do like at the live at Pompeii.
• 30:08
  Speaker 11: It's a pretty similar version to that, but here's what
• 30:11
  Speaker 11: is probably a lesser known version of Pink Floyd.
• 31:14
  Speaker 4: Thank you. Thank you. Thank you.
• 34:03
  Speaker 10: Thank you.
• 34:46
  Speaker 3: Bendy Floyd.
• 34:47
  Speaker 6: Before next fall, you're in need of a serious attitude adjustment,
• 34:50
  Speaker 6: young man.
• 34:51
  Speaker 15: You better get your priorities straight.
• 34:53
  Speaker 6: That and, of course, the Beatles were always a huge influence,
• 35:00
  Speaker 6: not with me musically, but just their... their variety and
• 35:05
  Speaker 6: the level of their creativity and how far they would
• 35:10
  Speaker 6: veer off in different musical directions, I always was astounded by.
• 35:16
  Speaker 15: They were phenomenal.
• 35:18
  Speaker 6: And then on the other side of the coin, also phenomenal,
• 35:23
  Speaker 6: I was always a big Frank Zappa fan.
• 35:27
  Speaker 15: Definitely a genius.
• 35:30
  Speaker 11: He liked to work in a lot of film stuff
• 35:32
  Speaker 11: as well.
• 35:33
  Speaker 15: Absolutely.
• 35:34
  Speaker 6: And he was a very, very schooled composer. So while
• 35:38
  Speaker 6: lots of people might know him from the Mothers of
• 35:40
  Speaker 6: Invention or crazy stuff like that, or when he toured
• 35:44
  Speaker 6: around with his band and brought on the Turtles guys,
• 35:48
  Speaker 6: you know, were so happy together. The fact is he
• 35:52
  Speaker 6: also did a lot of incredible... call it classical 20th
• 35:56
  Speaker 6: century classical music which was uh really out there but
• 36:01
  Speaker 6: really really cool so he was also a big influence.
• 36:05
  Speaker 11: And that having been said this is very obviously from
• 36:08
  Speaker 11: frank zappa's 1979 movie baby snakes baby snakes.
• 36:23
  Speaker 4: Sure you know what I'm talking about.
• 36:26
  Speaker 9: He can win.
• 36:28
  Speaker 4: They make the best kind of bed.
• 36:30
  Speaker 7: Baby.
• 36:30
  Speaker 11: Baby.
• 36:32
  Speaker 4: Snakes.
• 36:34
  Speaker 17: I look around and there's a couple right near me.
• 36:37
  Speaker 4: Baby snakes.
• 36:39
  Speaker 18: Maybe I think they can probably hear me.
• 36:41
  Speaker 4: He can win. I'll take all I can get.
• 36:45
  Speaker 10: Baby.
• 36:47
  Speaker 3: Baby.
• 36:47
  Speaker 4: Baby. Snakes. Snakes.
• 36:52
  Speaker 2: We live in a ho-ho, a ho-ho-ho.
• 36:54
  Speaker 4: That is usually empty Usually empty Tiny tube We live
• 37:02
  Speaker 4: by a ho-ho, a ho-ho-ho That is usually empty.
• 37:08
  Speaker 18: Which stands for Sighted motion picture and television engineer.
• 37:13
  Speaker 4: Baby, I think That is what keeps them.
• 37:21
  Speaker 18: Insane I think I'll give them a, give them.
• 37:26
  Speaker 4: A, give them a drink.
• 37:58
  Speaker 6: Then to veer off of like the five most influential
• 38:03
  Speaker 6: things or close to that, getting back to film music,
• 38:09
  Speaker 6: to Maurice Jarre's music for Dr. Zhivago was something that
• 38:19
  Speaker 6: just opened up a whole other area in my brain
• 38:25
  Speaker 6: and my soul.
• 39:57
  Speaker 4: Oh, my God.
• 40:59
  Speaker 15: Not to mention Lawrence of Arabia.
• 41:02
  Speaker 6: Those two, other than being great, great classic films, the
• 41:07
  Speaker 6: music and the themes were just laser printed into my
• 41:13
  Speaker 6: brain for life.
• 43:38
  Speaker 4: Thank you.
• 43:59
  Speaker 13: So so.
• 45:04
  Speaker 4: Thank you.
• 45:48
  Speaker 11: He did so much over the years. He just continued
• 45:51
  Speaker 11: to work up until the end. He got into even
• 45:54
  Speaker 11: more almost new wave kind of stuff towards the 80s
• 45:57
  Speaker 11: and 90s.
• 45:58
  Speaker 6: Absolutely. The guy was just fantastic. He kept going and developing.
• 46:06
  Speaker 6: That's all you can say. If one manages to do that,
• 46:11
  Speaker 6: that's a pretty damn exemplary career. So he was definitely
• 46:18
  Speaker 6: a big influence. And also, without question, another huge influence
• 46:28
  Speaker 6: was West Side Story. Elmer Bernstein doing that was just
• 46:35
  Speaker 6: beyond belief. Probably the best music put to film ever,
• 46:43
  Speaker 6: in my opinion.
• 46:45
  Speaker 12: You're the only thing I'll see forever. In my eyes,
• 46:52
  Speaker 12: in my words, and in everything I do, nothing is
• 46:56
  Speaker 12: but you ever.
• 46:59
  Speaker 4: And there's nothing for me but Maria.
• 47:03
  Speaker 10: Every sight that I see is Maria.
• 47:07
  Speaker 4: Tony, Tony. Tonight, tonight, it all began tonight.
• 47:33
  Speaker 12: I saw you and the world went away.
• 47:39
  Speaker 13: Tonight, tonight, there's only you tonight. What you are, what
• 47:47
  Speaker 13: you do, what you say.
• 47:51
  Speaker 19: Today, all day, I had the feeling a miracle would happen.
• 47:59
  Speaker 4: I know now I was right. For here you are.
• 48:06
  Speaker 17: And what was just a world is a.
• 48:09
  Speaker 13: Start to life. Tonight, tonight The world is full of.
• 48:35
  Speaker 20: Light With suns and moons all over.
• 48:40
  Speaker 9: The place.
• 48:43
  Speaker 20: Tonight, tonight The world is wild and bright, going mad,
• 48:50
  Speaker 20: shooting sparks into space.
• 48:54
  Speaker 19: Today the world was just a madness, a place for
• 49:00
  Speaker 19: me to live in, no better than all right.
• 49:06
  Speaker 20: But here you are, and what was just a world
• 49:11
  Speaker 20: is a start.
• 49:10
  Speaker 7: I cannot stay.
• 49:12
  Speaker 4: Go quickly.
• 49:14
  Speaker 13: I'm not afraid.
• 49:23
  Speaker 7: Please.
• 49:23
  Speaker 20: Please.
• 49:32
  Speaker 4: Good night.
• 50:07
  Speaker 3: Yes.
• 50:10
  Speaker 1: Yes, hurry.
• 50:15
  Speaker 7: Tony?
• 50:17
  Speaker 11: When will I see you?
• 50:18
  Speaker 4: Tomorrow. I work at the bridal shop across.
• 50:21
  Speaker 17: The street, Madame Lucia's.
• 50:23
  Speaker 2: I'll come there.
• 50:24
  Speaker 4: At closing time, six o'clock.
• 50:25
  Speaker 3: Yeah.
• 50:29
  Speaker 4: Good night. Good night. Tony! Shh! When you come, use
• 50:43
  Speaker 4: the back door.
• 50:44
  Speaker 2: Si.
• 50:59
  Speaker 4: Tony? What does Tony stand for? Anton. Te adoro, Anton.
• 51:14
  Speaker 2: Te adoro, Maria.
• 51:17
  Speaker 13: Good night, good night.
• 51:24
  Speaker 4: Sleep well.
• 51:26
  Speaker 21: When will dream dream of me?
• 51:38
  Speaker 4: Don't know.
• 51:59
  Speaker 2: Want some music for your ears? Doo-Wop Shop makes it
• 52:02
  Speaker 2: easy to rent for any event, business meeting, or special occasion.
• 52:05
  Speaker 2: From PA systems to karaoke machines to just about anything
• 52:08
  Speaker 2: that makes noise, you can rent it from the Doo-Wop Shop.
• 52:11
  Speaker 2: In Louisville, find them either at their Highland Store at
• 52:13
  Speaker 2: 1587 Bardstown Road or in the East End at 2915
• 52:17
  Speaker 2: South Hurstburn Parkway. And look for them online at DooWopShop.com.
• 52:22
  Speaker 2: Doo-Wop Shop. We're serious about music.
• 52:27
  Speaker 4: Hey guys, it's.
• 52:29
  Speaker 6: The repeater from the Tower of Technobabble, and we're getting
• 52:32
  Speaker 6: ready to do our next show, and I thought it
• 52:35
  Speaker 6: might be cool for you to look behind the scenes.
• 52:37
  Speaker 2: And see how the magic happens.
• 52:39
  Speaker 1: In fact, Conduit is getting Towerbot ready.
• 52:42
  Speaker 3: Right now as we speak.
• 53:01
  Speaker 1: That.
• 53:01
  Speaker 3: Religions. Need it. Science. Got it. Sci-fi.
• 53:03
  Speaker 15: Do you mean sci-fi?
• 53:04
  Speaker 3: Space probes.
• 53:05
  Speaker 2: Got it.
• 53:05
  Speaker 14: Sports.
• 53:06
  Speaker 11: Screw that.
• 53:06
  Speaker 3: Star Wars. Got it.
• 53:07
  Speaker 15: Star Wars prequels.
• 53:08
  Speaker 4: Oh, God, no.
• 53:09
  Speaker 3: Superman.
• 53:10
  Speaker 2: Got it.
• 53:10
  Speaker 3: Transformers.
• 53:10
  Speaker 15: Got it.
• 53:11
  Speaker 11: Troll Hunter.
• 53:11
  Speaker 15: Got it.
• 53:12
  Speaker 3: Twilight.
• 53:12
  Speaker 2: That.
• 53:13
  Speaker 3: UFOs.
• 53:13
  Speaker 2: Got it.
• 53:14
  Speaker 11: Urban legends.
• 53:14
  Speaker 4: Got it.
• 53:15
  Speaker 3: Weird tales. Got it.
• 53:16
  Speaker 4: Weirdos.
• 53:16
  Speaker 3: Got it.
• 53:17
  Speaker 5: Tune in at www.toweroftechnobattle.com and see what happens.
• 53:32
  Speaker 22: He was the wizard of a thousand kings. And I
• 53:40
  Speaker 22: chanced to meet him one night wandering.
• 53:44
  Speaker 11: So as I said, we've been to the Chicago Wizard
• 53:48
  Speaker 11: World before, so they've got quite a few. Since we're
• 53:51
  Speaker 11: hanging out here... They've got a lot. They're all over
• 53:53
  Speaker 11: the country. That's what I was going to say. Since
• 53:55
  Speaker 11: they're inviting us to hang around here, I thought we
• 53:58
  Speaker 11: would go ahead and give the rundown. That's the difference
• 54:01
  Speaker 11: with this one, is it's not just in one city.
• 54:03
  Speaker 11: It's something they've done kind of everywhere now. They've sort
• 54:06
  Speaker 11: of taken over, so... You can go to wizardworld.com and
• 54:09
  Speaker 11: find out where they are in the near future. The
• 54:12
  Speaker 11: rundown of the upcoming ones, Minneapolis in May. The end
• 54:16
  Speaker 11: of May into June is Atlanta. You've got Philadelphia after that,
• 54:19
  Speaker 11: San Antonio, back to Chicago, Richmond. So it's like anywhere
• 54:23
  Speaker 11: in this general part of the country, you know, the
• 54:26
  Speaker 11: United States. Are you stopping at Richmond because we've got
• 54:28
  Speaker 11: more to go? Oh, there's plenty. That's what I'm saying. Nashville, Austin, Ohio.
• 54:33
  Speaker 11: I thought Ohio was just generalized. You know, that state.
• 54:36
  Speaker 11: But anyway, yes, you can go to wizardworld.com and find
• 54:39
  Speaker 11: out where the next show will be near you. You
• 54:41
  Speaker 11: should definitely go. Come hang out. That's what we're doing.
• 54:45
  Speaker 11: Definitely check out wizardworld.com for all of your wizard world
• 54:49
  Speaker 11: type needs. I think that's five. Any other major influential?
• 54:57
  Speaker 11: I mean, was there somebody like as far as the
• 55:00
  Speaker 11: in the film music before you really got into that
• 55:03
  Speaker 11: that was just like kind of led you down that
• 55:05
  Speaker 11: road that you were like oh yeah that guy i
• 55:07
  Speaker 11: want to do something other than the one you mentioned.
• 55:09
  Speaker 6: Yeah well i mean a little bit later on you
• 55:13
  Speaker 6: know of course with like marie char and you know
• 55:15
  Speaker 6: dr safari were talking about the the you know the
• 55:17
  Speaker 6: 60s and same thing with west side story now a
• 55:21
  Speaker 6: little bit later after i started studying music and getting
• 55:24
  Speaker 6: more and more into into film music uh I have
• 55:29
  Speaker 6: to say that Jerry Goldsmith was a huge influence. Also,
• 55:34
  Speaker 6: I knew Jerry because my close friend Joel Goldsmith and
• 55:38
  Speaker 6: I actually did our first score together for a brilliant,
• 55:44
  Speaker 6: crazy movie called Laser Blast.
• 55:48
  Speaker 15: Which we co-wrote. And because of that, I knew Jerry for.
• 55:54
  Speaker 6: Whatever, for 30 odd years, through Joel, and Joel and
• 55:59
  Speaker 6: I collaborated on a lot of different projects over the years,
• 56:02
  Speaker 6: and unfortunately Joel died a couple years ago, a couple
• 56:05
  Speaker 6: years after his.
• 56:06
  Speaker 15: Dad, in fact. But definitely Jerry was up there.
• 56:10
  Speaker 11: Now with the mention of Jerry Goldsmith, that brings me
• 56:13
  Speaker 11: to a segment that I've actually been planning for quite
• 56:16
  Speaker 11: a while now. It was funny thinking back on all
• 56:18
  Speaker 11: the soundtrack songs when I started to put these episodes together,
• 56:22
  Speaker 11: There was this little sub-genre of music. And the more
• 56:25
  Speaker 11: I thought about it, I was like, I really do
• 56:27
  Speaker 11: need to make a feature out of this. Just all
• 56:29
  Speaker 11: those weird 80s movies that most of.
• 56:32
  Speaker 8: Them were very manly, action, epic movies. But they had
• 56:38
  Speaker 8: these weird songs that, in a way, I guess fit.
• 56:42
  Speaker 8: They certainly fit the time period, but still seem kind
• 56:45
  Speaker 8: of weird when you think about the type of movies
• 56:47
  Speaker 8: that they are and the type of audience they were
• 56:49
  Speaker 8: appealing to. Sometimes they just get these odd choices for
• 56:53
  Speaker 8: songs that go with them. And one of the ones
• 56:55
  Speaker 8: that I was thinking of was actually the entire score
• 56:59
  Speaker 8: is written by Jerry Goldsmith. So we're going to kick
• 57:02
  Speaker 8: off this new epic 80s feature with a song entitled
• 57:05
  Speaker 8: It's a Long Road, which is the theme from First Blood. Now,
• 57:10
  Speaker 8: there's actually an instrumental version of this that is completely
• 57:13
  Speaker 8: composed by Jerry Goldsmith. Now, this song is the same
• 57:17
  Speaker 8: basic song still composed by Jerry Goldsmith. but it then
• 57:20
  Speaker 8: had lyrics added to it by Hal Shaper and was
• 57:23
  Speaker 8: then sung by Dan Hill, which you may know if
• 57:27
  Speaker 8: you know your 70s AM rock, the Sometimes When We
• 57:30
  Speaker 8: Touch guy. Yeah, it sounds just like, that's just his
• 57:33
  Speaker 8: style of singing. So it's even more fun to kind
• 57:36
  Speaker 8: of listen to him try to do this song. It's
• 57:39
  Speaker 8: sort of a different mode, but yeah, it's very familiar
• 57:42
  Speaker 8: in his style of singing. So once again, this is
• 57:45
  Speaker 8: It's a Long Road, the theme from First Blood. with
• 57:48
  Speaker 8: music composed by Jerry Goldsmith.
• 57:51
  Speaker 2: 80s epic.
• 57:53
  Speaker 4: It's a long road.
• 57:57
  Speaker 17: When you're on your own And it hurts when They
• 58:04
  Speaker 17: tear your dreams apart And every new town Just seems
• 58:14
  Speaker 17: to bring you down Trying to find a peace of
• 58:20
  Speaker 17: mind Can break your heart.
• 58:25
  Speaker 10: It's a real war Right outside your front door I
• 58:32
  Speaker 10: tell ya Out where they'll kill.
• 58:37
  Speaker 4: Ya You could use a friend.
• 58:41
  Speaker 10: Where the road ends That's the place for me.
• 58:49
  Speaker 4: Where I'm me in my own space. Where I'm free.
• 58:55
  Speaker 4: That's the place I want to be.
• 58:58
  Speaker 13: Because the road is.
• 59:04
  Speaker 4: Long. Each step is only the beginning.
• 59:10
  Speaker 16: No place just heartaches Oh man, is anybody winning? It's
• 59:22
  Speaker 16: a long road And it's hard as hell.
• 59:29
  Speaker 4: Tell me what.
• 59:31
  Speaker 10: Do you do to survive When they draw.
• 59:38
  Speaker 17: First blood That's just the start of it Day and night.
• 59:47
  Speaker 4: You gotta fight to keep.
• 59:50
  Speaker 10: Alive Right outside your front door I'll tell you Out
• 1:00:03
  Speaker 10: where they'll kill you You could use a.
• 1:00:06
  Speaker 4: Friend Cause the road is long.
• 1:00:11
  Speaker 13: Yeah.
• 1:00:17
  Speaker 18: Each step is only the beginning. No breaks, just heartaches.
• 1:00:26
  Speaker 18: Oh man, does anybody win?
• 1:00:28
  Speaker 13: The road is long, yeah. Each step.
• 1:00:38
  Speaker 18: I don't think you understand.
• 1:01:06
  Speaker 1: I didn't come here to rescue Rambo from you.
• 1:01:09
  Speaker 2: I came here to rescue you from him.
• 1:01:11
  Speaker 6: And definitely some of John Williams. There's so many wonderful composers.
• 1:01:18
  Speaker 11: Is there ones working now that you like? Philip Glass
• 1:01:22
  Speaker 11: kind of stuff? Or do you like that?
• 1:01:23
  Speaker 15: Well, I like some of Philip Glass's stuff. Not all
• 1:01:28
  Speaker 15: of it.
• 1:01:28
  Speaker 6: Initially, I was kind of bored by it. But I
• 1:01:32
  Speaker 6: hadn't been exposed to some of his better stuff. And recently,
• 1:01:37
  Speaker 6: let's say the last 10 years or so, he's done
• 1:01:40
  Speaker 6: some other stuff that's.
• 1:01:42
  Speaker 15: Really, really good.
• 1:01:43
  Speaker 11: He's gotten a lot more experimental. He's trying new things,
• 1:01:46
  Speaker 11: it seems.
• 1:01:47
  Speaker 3: Yeah, yeah.
• 1:01:48
  Speaker 6: It used to be sort of the same thing for
• 1:01:50
  Speaker 6: too long. Let's just put it that way. There are
• 1:01:53
  Speaker 6: a lot of really good composers today. I mean, you
• 1:01:57
  Speaker 6: can't escape the fact of the Newman dynasty. You know,
• 1:02:01
  Speaker 6: starting back with Alfred Newman, Lionel Newman, Randy Newman, David Newman,
• 1:02:09
  Speaker 6: Tommy Newman now. I mean, Tommy is a great, really
• 1:02:16
  Speaker 6: fantastic composer today. Not to take anything away from David.
• 1:02:21
  Speaker 6: David is a very good composer as well. So the
• 1:02:25
  Speaker 6: Newmans live on. That dynasty lives on. There's no question.
• 1:02:30
  Speaker 6: and there's so many good people today. Maybe too many, but, you.
• 1:02:38
  Speaker 18: Know, no.
• 1:02:38
  Speaker 11: There's a lot more working now, probably.
• 1:02:40
  Speaker 15: Yeah, no, it's all good. A lot of good people.
• 1:02:45
  Speaker 11: All right, so with all this talk about the Newman clan,
• 1:02:48
  Speaker 11: I thought we had to work in something from a Newman.
• 1:02:51
  Speaker 11: So I thought we would go, I mean, there is
• 1:02:54
  Speaker 11: a whole lot to work with there if you're going
• 1:02:56
  Speaker 11: with different people, and And even, I picked Thomas Newman,
• 1:02:59
  Speaker 11: and actually even he's been doing stuff for years and years,
• 1:03:03
  Speaker 11: but I thought we would go with something a little
• 1:03:05
  Speaker 11: more recent. So this is actually from the Skyfall soundtrack,
• 1:03:09
  Speaker 11: and it's called The Bloody Shot, composed by Thomas Newman.
• 1:03:15
  Speaker 4: The Bloody Shot Thank you. Thank you.
• 1:06:11
  Speaker 13: So so Thank you.
• 1:06:56
  Speaker 4: Thank you. Thank you.
• 1:08:05
  Speaker 3: Hi, I'm Richard Keel, Jaws from the James Bond movies,
• 1:08:09
  Speaker 3: and you're listening to Movie Meltdown.
• 1:08:26
  Speaker 11: I was going to see what you had going on.
• 1:08:28
  Speaker 11: If you had stuff you wanted to tell people in
• 1:08:30
  Speaker 11: the works or stuff to look for from you or.
• 1:08:33
  Speaker 6: Um well when i get back uh i'm doing a
• 1:08:36
  Speaker 6: five-part uh series that's that's going to be streaming and
• 1:08:43
  Speaker 6: uh in in the genre here uh that's all i
• 1:08:47
  Speaker 6: can tell you about it right now it'll be it'll
• 1:08:48
  Speaker 6: be an interesting experiment to see how it flies the
• 1:08:52
  Speaker 6: business is changing a lot and uh so we'll see
• 1:08:56
  Speaker 6: if that.
• 1:08:56
  Speaker 11: Works out all right well thank you for talking with
• 1:08:59
  Speaker 11: us and uh it's it's really good. So, yeah, definitely
• 1:09:01
  Speaker 11: tell people to come check out your work and look
• 1:09:03
  Speaker 11: for you on future projects.
• 1:09:04
  Speaker 15: Fantastic, man.
• 1:09:05
  Speaker 11: Thank you. So we're about wrapping up here, but I
• 1:09:14
  Speaker 11: wanted to say once again a big thank you to
• 1:09:16
  Speaker 11: Richard Bann for sitting in with us and giving us
• 1:09:19
  Speaker 11: some insight on his life, and his, you know, career choices,
• 1:09:22
  Speaker 11: and some music picks along the way as well. So
• 1:09:26
  Speaker 11: I thought, once again, we've worked in a little of
• 1:09:28
  Speaker 11: him along the way, but I thought we would go
• 1:09:30
  Speaker 11: out with one of his songs, and it's actually from
• 1:09:32
  Speaker 11: one of the movies that I enjoy quite a bit,
• 1:09:35
  Speaker 11: obviously because it's one of the ones we've covered on
• 1:09:37
  Speaker 11: this show previously. You have to go back several years,
• 1:09:39
  Speaker 11: but it's when we kicked off the whole Poe section,
• 1:09:42
  Speaker 11: that whole sub-series of Edgar Allan Poe movies that we
• 1:09:45
  Speaker 11: were doing, and still are doing technically, we're just It's
• 1:09:48
  Speaker 11: taking a while to get them all in. There's a
• 1:09:50
  Speaker 11: lot of Poe movies. But the one that we started
• 1:09:52
  Speaker 11: all with was 1991's The Pit and the Pendulum, directed
• 1:09:55
  Speaker 11: by Stuart Gordon, and starring everyone's favorite guy ever, Lance Hendrickson.
• 1:09:59
  Speaker 11: It really is a very fun movie. There's several layers
• 1:10:04
  Speaker 11: going on there of who's taking stuff very seriously and
• 1:10:08
  Speaker 11: who's being kind of campy with it. It still makes
• 1:10:11
  Speaker 11: for a really entertaining movie, and I just like it
• 1:10:14
  Speaker 11: as a film anyway. But in particular, one of the
• 1:10:16
  Speaker 11: things that's really well done is the score.
• 1:10:18
  Speaker 2: By, of course, Richard Band.
• 1:10:20
  Speaker 11: So we're going to go out with the finale and
• 1:10:22
  Speaker 11: end credits to The Pit in the Pendulum, which I
• 1:10:24
  Speaker 11: think is one of Richard's more impressive pieces. So we're
• 1:10:27
  Speaker 11: going to round things out with that, and I will
• 1:10:28
  Speaker 11: once again remind you, Get a Life will provide the soundtrack.
• 1:10:34
  Speaker 13: Thank you.
• 1:10:34
  Speaker 19: Thank you.
• 1:12:58
  Speaker 3: Thank you.
• 1:14:07
  Speaker 4: We'll be right back.
• 1:14:27
  Speaker 13: Thank you for watching. Thank you.
• 1:14:59
  Speaker 4: Thank you. So you basically, did you make the dolls,
• 1:16:07
  Speaker 4: or did you.
• 1:16:07
  Speaker 11: No, I don't.
• 1:16:07
  Speaker 4: My brother's more involved than I am.
• 1:16:09
  Speaker 3: This is me, here.
• 1:16:18
  Speaker 11: I thought the dolls were creepy.
• 1:16:19
  Speaker 15: The guy with the drill on his head.
• 1:16:22
  Speaker 22: Yeah, he got right in the bed.
• 1:16:24
  Speaker 4: The girl with the leeches, the big man.
• 1:16:29
  Speaker 15: Oh, yeah.
• 1:16:30
  Speaker 4: The leech woman.
• 1:16:32
  Speaker 10: The leech woman.
• 1:16:33
  Speaker 13: Giant.
• 1:16:35
  Speaker 2: This episode is a production of Movie Meltdown, produced and
• 1:16:38
  Speaker 2: edited by The Oddity Studios. For more on how to
• 1:16:40
  Speaker 2: sponsor or support the show, email producer at moviemeltdown.com.
• 1:16:46
  Speaker 4: Talk hard!