Latest / Frightmares / Ep. 392 - The Birds (1963)

Transcript

Ep. 392 - The Birds (1963) · Frightmares

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions podcast network.
• 0:07
  Speaker 2: Hey, this is Jason Kleeberg from the Force five podcast,
• 0:10
  Speaker 2: a show that forces a guest to come up with
• 0:12
  Speaker 2: a movie themed top five list topic, and then we
• 0:15
  Speaker 2: reveal our picks on air. Top five heist Films, top
• 0:18
  Speaker 2: five tier Jerkers, Top five movie dogs. Every show you'll
• 0:22
  Speaker 2: be asking yourself what would be on my list. Guests
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  Speaker 2: include directors, screenwriters, actors, podcasters, musicians, authors, and even a
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  Speaker 2: professional wrestler. Subscribe to the Force five podcast and you
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  Speaker 2: won't just be a listener, You'll be a list nerd
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  Speaker 2: The Force five podcast available wherever you are listening now.
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  Speaker 3: The following podcast will contain spoilers, tangents, hot takes, and
• 0:44
  Speaker 3: excessive foul language. Viewer discretion is advised. Enjoy the show.
• 1:30
  Speaker 4: Welcome back to Friedmar's podcast. I'm your host Austin Proctor,
• 1:33
  Speaker 4: and joining me today for episode three ninety two is
• 1:36
  Speaker 4: my good buddy Michael Yers.
• 1:38
  Speaker 3: How we doing I'm doing I'm doing pretty good.
• 1:42
  Speaker 4: Actually doing today on the first installment of Anima August Attack.
• 1:49
  Speaker 4: I know, not my best, not my best, but this
• 1:51
  Speaker 4: is what it is. We're discussing our essential pick the
• 1:55
  Speaker 4: Birds from nineteen sixty three, where Tippy Hedrin literally got
• 1:59
  Speaker 4: pelted with birds by Alfred Hitchcock. Quiet bit. Yeah, so
• 2:04
  Speaker 4: there's that. Let's see where this one lands on the
• 2:07
  Speaker 4: nightmare index. Haw kydoky, it is Sunday, man, I am
• 2:18
  Speaker 4: still waking up. But let's talk about some things we've
• 2:21
  Speaker 4: recently watched for you. You can go you know, you
• 2:24
  Speaker 4: can go back a little ways. Uh, maybe like two
• 2:28
  Speaker 4: weeks or something. Give me the highlights, give me some
• 2:30
  Speaker 4: guineas the highlights.
• 2:32
  Speaker 3: Okay, say two the nineteenth. So Amanda and I have
• 2:37
  Speaker 3: been watching the new Cape Fear television show on Apple TV.
• 2:40
  Speaker 4: Oh I've heard it's so good. And then it ended
• 2:44
  Speaker 4: and people were mad it.
• 2:46
  Speaker 3: Is deliciously trashy Oh okay, but so in the uh
• 2:52
  Speaker 3: so we'll just celebrate. We went back and watched Martin
• 2:54
  Speaker 3: Scorsese's nineteen ninety one film, and then we're gonna go
• 2:57
  Speaker 3: back further and watch the nineteen sixties one. And so
• 3:01
  Speaker 3: that one's a good fun. Let's see what else has
• 3:05
  Speaker 3: been worth talking about. Raisin Arizona. That's not a horror film.
• 3:08
  Speaker 4: Sorry, no, you're fine, You're fine. It's you can literally
• 3:10
  Speaker 4: mention whatever you want, it's fine.
• 3:12
  Speaker 3: We watched Raisin Arizona for the next episode of Cage
• 3:15
  Speaker 3: is the Rage, which we just recorded. What a delightful
• 3:19
  Speaker 3: fucking movie. Have you seen Raisin Arizona?
• 3:21
  Speaker 4: I have, but it was during the you know, drinking career,
• 3:26
  Speaker 4: so I need to go back with a sober mindset
• 3:28
  Speaker 4: and watch it because I was not a fan. Same
• 3:31
  Speaker 4: thing with Moonstruck. You didn't like Moonstroke, I know, trust me.
• 3:35
  Speaker 4: My wife tried to show me a lot of things
• 3:37
  Speaker 4: when I was in my you know, just deep deep alcoholism,
• 3:41
  Speaker 4: that I was stupid.
• 3:43
  Speaker 3: I said. I said that out loud, and Amanda just
• 3:45
  Speaker 3: like from her computer one, just staring at you, staring
• 3:50
  Speaker 3: at me, stare at you.
• 3:51
  Speaker 4: Yeah, I know. So I need to go back and read.
• 3:53
  Speaker 4: But you covered both of those on that episode, right.
• 3:56
  Speaker 3: Well, we covered three movies. We covered The Boy in
• 3:58
  Speaker 3: bluecause of very underseen uh Canadian movie where Nicolas Cage
• 4:05
  Speaker 3: plays a sculler. You know sculling. Sculling is it's rope.
• 4:08
  Speaker 3: It's when you do the rowboating and the really long boats.
• 4:11
  Speaker 4: Is that what that's called. I thought that was Sculleyton's culling.
• 4:14
  Speaker 3: Okay, so we watched that, and then we had a
• 4:18
  Speaker 3: really interesting double feature of Peggy Sue Got Married and
• 4:21
  Speaker 3: Raising Arizona. Uh so, uh, Moonstruck will be on the
• 4:26
  Speaker 3: next episode. And I just bought the criterion for.
• 4:28
  Speaker 4: That, so that okay, that's what it was. I saw
• 4:31
  Speaker 4: your physical media hall. Yes, that's what it was.
• 4:35
  Speaker 3: So, uh, that's a good one if you guys have.
• 4:37
  Speaker 3: It's also weird to think that it is the second
• 4:40
  Speaker 3: film by the Coen Brothers. They went from Blood Simple,
• 4:43
  Speaker 3: which if if those of you out there have not
• 4:45
  Speaker 3: seen Blood Simple, it's more in line with No Country
• 4:47
  Speaker 3: for Old Men in terms of tone. So they go
• 4:50
  Speaker 3: from that to Raising Arizona, which is somewhere in between
• 4:54
  Speaker 3: Blood Simple and like Hudsucker Proxy in terms of its
• 4:57
  Speaker 3: in zaniness.
• 4:59
  Speaker 4: And and then you know what I would say, like
• 5:01
  Speaker 4: Fargo is almost a mishmash of Blood Simple and Raising Arizona.
• 5:05
  Speaker 3: There's there's like there's like a a chart you could
• 5:10
  Speaker 3: do for the Coen Brothers, like your Blood Simple and
• 5:12
  Speaker 3: No Country for Old Men, Hudsucker Proxy and like Hail Caesar.
• 5:19
  Speaker 3: Over here he likes to jump up on my desk
• 5:24
  Speaker 3: and sometimes and I don't like him doing that when
• 5:25
  Speaker 3: I'm recording the cat Yeah. Yeah, but you have like
• 5:30
  Speaker 3: a chart for the Coen Brothers and you can kind
• 5:31
  Speaker 3: of fit their films in there based on that. Yeah,
• 5:36
  Speaker 3: I don't want to take too much time. I watched
• 5:39
  Speaker 3: The Odyssey, but I feel like that's not surprised everyone's
• 5:42
  Speaker 3: watching the Odyssey. I don't know what else I can
• 5:45
  Speaker 3: say that everyone else probably isn't. But I loved it.
• 5:49
  Speaker 3: You know, fuck the fake bullshit where people are like,
• 5:52
  Speaker 3: you know, historically accurate, you know, show your historical accuracy.
• 5:56
  Speaker 4: Up your ass.
• 5:58
  Speaker 3: A myth, it's a myth.
• 6:00
  Speaker 4: What did I hear about something about the Trojan horse?
• 6:03
  Speaker 4: It wasn't how it was? And oh my god, who cares?
• 6:08
  Speaker 3: You're picking the.
• 6:10
  Speaker 4: Weirdest things to have a problem with. Really.
• 6:14
  Speaker 3: Yeah. I also watched Crime one on one, which I
• 6:17
  Speaker 3: liked quite a bit. Uh. It's like somewhere in between
• 6:21
  Speaker 3: Heat and Drive in terms of like its tone. It
• 6:26
  Speaker 3: also shot by cinematographer Eric Wilson, who shot the Paddington movies,
• 6:29
  Speaker 3: which I think is really funny.
• 6:32
  Speaker 4: I still need to see those because they're like so
• 6:35
  Speaker 4: highly rated. It's unreal.
• 6:38
  Speaker 3: But it's a it's a very solid crime flick and
• 6:41
  Speaker 3: Mark Ruffalo was doing like his best Columbo impression throughout
• 6:44
  Speaker 3: the film, which is also a kind of am It's
• 6:47
  Speaker 3: like Columbo if he's going through a divorce, all right.
• 6:52
  Speaker 3: And then and then the last two things I'm just
• 6:54
  Speaker 3: gonna highlight just because I like to occasionally go back
• 6:58
  Speaker 3: to the earliest point that I can find and on
• 7:00
  Speaker 3: letterbox and try to watch as many of those early
• 7:04
  Speaker 3: short films as you possibly can, just to kind of
• 7:06
  Speaker 3: fill in my knowledge gap. So I watched the earliest
• 7:10
  Speaker 3: short film that is listed on letterbox, the Passage of
• 7:13
  Speaker 3: Venus from eighteen seventy four. It is a photo sequence
• 7:19
  Speaker 3: of that is depicting Venus over the face of the sun.
• 7:23
  Speaker 3: It's just like a it's like six seconds long, but
• 7:26
  Speaker 3: it is considered to be the earliest what we consider
• 7:30
  Speaker 3: to be film in the world. And then I also
• 7:33
  Speaker 3: watched The First Gift from eighteen seventy eight. It's six
• 7:37
  Speaker 3: seconds an animation of these kids, like you know that
• 7:40
  Speaker 3: game where you have like a towel and you have
• 7:42
  Speaker 3: like a person or a thing in the middle of
• 7:44
  Speaker 3: the towel and you guys are like launching it up.
• 7:46
  Speaker 3: Oh yeah, It's an animation of kids doing that with
• 7:48
  Speaker 3: a cat for like six seconds. It's the first ever
• 7:51
  Speaker 3: gift because it just repeats.
• 7:53
  Speaker 4: Interesting.
• 7:54
  Speaker 3: So all right, that's my chaotic watch list.
• 7:57
  Speaker 4: Wow, all right, I can't really mad to that, but I.
• 8:01
  Speaker 3: Yeah, start watching stuff from eighteen seventy four.
• 8:05
  Speaker 4: Get on my level. Uh So, let's see the movie
• 8:10
  Speaker 4: that we forgot to talk about last week, Gabby and
• 8:13
  Speaker 4: I that we watched because we watched like two stinkers
• 8:16
  Speaker 4: in a row were Wolves on Wheels being the second stinker.
• 8:20
  Speaker 4: But listen, I think it's a new movie for this year.
• 8:22
  Speaker 4: Maybe it's a couple of years old. I can't remember.
• 8:24
  Speaker 4: It says twenty twenty four, but we all know how
• 8:27
  Speaker 4: indie movies are and when they actually release it's called
• 8:30
  Speaker 4: stock or Jane. And it was sent over by AVY Entertainment.
• 8:33
  Speaker 4: I say sent over, like I don't pick the movies
• 8:35
  Speaker 4: I want to review.
• 8:37
  Speaker 3: They still sent it to you. Yeah, they mailed it to.
• 8:39
  Speaker 4: You, provided by you know, picked by, but provided by
• 8:43
  Speaker 4: AV Entertainment. And great poster. Love the poster it had,
• 8:50
  Speaker 4: and these these must be it must be a case
• 8:53
  Speaker 4: of people who were in the movie and around the
• 8:55
  Speaker 4: production gassing up the ratings because it's got good ratings
• 8:59
  Speaker 4: and it has you know that happens. It's got a
• 9:02
  Speaker 4: good premise too, And then ultimately I was just like,
• 9:08
  Speaker 4: this is clearly a movie not made by a gen
• 9:11
  Speaker 4: Z but made for gen Z. Like, oh, that's the
• 9:16
  Speaker 4: best way I can describe it. Okay from the Stalker Jane.
• 9:22
  Speaker 3: All right, I'm gonna look it up. Keep talking.
• 9:25
  Speaker 4: Not no filmmaker by any means. You know, I've, like
• 9:28
  Speaker 4: I said, I've made the one show.
• 9:31
  Speaker 3: Give some fucking credit you made. You know how hard
• 9:33
  Speaker 3: it is to make a film.
• 9:35
  Speaker 4: Continue, So yeah, like I said, I'm no filmmaker, I
• 9:39
  Speaker 4: know how hard it is to make them. One piece
• 9:42
  Speaker 4: of advice and this is gonna be in my review
• 9:44
  Speaker 4: for this movie is just because you can have a
• 9:48
  Speaker 4: nine minute scene does not mean you need to do
• 9:52
  Speaker 4: a nine minute scene every.
• 9:54
  Speaker 3: Nine minute uninterrupted.
• 9:56
  Speaker 4: It's just like every scene went on for like a
• 10:00
  Speaker 4: minute too long, Like just like gotcha, every scene was
• 10:04
  Speaker 4: just too long. And I understand that's kind of the
• 10:07
  Speaker 4: creative liberties you can have as an independent filmmaker. You
• 10:10
  Speaker 4: can kind of do whatever you want in a sense.
• 10:13
  Speaker 4: But it was to the point where I was like, like,
• 10:15
  Speaker 4: the last scene of the movie I'm like, Yo, this
• 10:18
  Speaker 4: really needed to be a thirty second shot, and it
• 10:21
  Speaker 4: was like a six minute, just uninterrupted shot, and I'm like,
• 10:25
  Speaker 4: this is crazy. The main actress, this is the first
• 10:28
  Speaker 4: movie she's ever done. I can see her like becoming
• 10:33
  Speaker 4: a great actress. But also she is skinning bones in
• 10:37
  Speaker 4: this movie, and I really just wanted to give her
• 10:40
  Speaker 4: a sandwich because I'm like, girl, like, I don't, it's
• 10:42
  Speaker 4: unhealthy how skinny you look. But she does play a
• 10:47
  Speaker 4: really good kind of aloof very oh creepy, I guess
• 10:55
  Speaker 4: in a way. But the movie really isn't about stalking
• 10:57
  Speaker 4: so much as it is. You'll have to watch it
• 10:59
  Speaker 4: to see. The title is very misleading because it's not
• 11:02
  Speaker 4: so much about stocking as it is just invading this
• 11:04
  Speaker 4: person's life. So I gave that one to two out
• 11:08
  Speaker 4: of five just because by all accounts, it is not
• 11:10
  Speaker 4: a good movie. And yeah, like there there is a
• 11:14
  Speaker 4: good movie in there. It's in there somewhere, but it
• 11:17
  Speaker 4: needs to be re edited, you know what I mean.
• 11:20
  Speaker 4: There's if you rework that movie and rework the premise,
• 11:23
  Speaker 4: there's a good movie in there. Also, the biggest issue
• 11:26
  Speaker 4: I had, especially as a musician, as a drummer. When
• 11:29
  Speaker 4: you make a movie that is centered around a band
• 11:33
  Speaker 4: and you don't actually have that band playing for real,
• 11:37
  Speaker 4: that irritates me. The drumming does not sync up with
• 11:41
  Speaker 4: what the drummers doing, the guitarist not really syncing up
• 11:45
  Speaker 4: with what the guitar is doing. I think you see
• 11:47
  Speaker 4: them play one, maybe two songs, and then you see
• 11:51
  Speaker 4: another band in the in the in the movie, I
• 11:54
  Speaker 4: think they are actually playing, So that irritates me. If
• 11:56
  Speaker 4: you're gonna put your movie around musicians, get actual musicians
• 12:00
  Speaker 4: or people that can fake it better than what we got.
• 12:03
  Speaker 4: But that's a whole other conversation.
• 12:05
  Speaker 3: Yeah, yeah, I don't. I don't. I don't need them
• 12:07
  Speaker 3: to be playing. I just need like, I don't need
• 12:09
  Speaker 3: them to actually be musicians. I just need to be
• 12:11
  Speaker 3: whatever they're pantomiming to match up.
• 12:14
  Speaker 4: Yeah. Yeah. And as a drummer, I know when you're
• 12:17
  Speaker 4: hitting the ride, I know when you're hitting the crash,
• 12:19
  Speaker 4: I know when you're hitting the high hat. And it
• 12:20
  Speaker 4: was all mixed up and I was like, ah, it's
• 12:23
  Speaker 4: one of my biggest pet peeves. That's why I like
• 12:25
  Speaker 4: Whiplash so much, because they're genuinely playing. Let's see what else.
• 12:30
  Speaker 4: I watched all the Spider Man movies in preparation for
• 12:33
  Speaker 4: Brand New Day, Homecoming, four Star, Far From Home, four
• 12:38
  Speaker 4: and a half, No Way Home five. I just think
• 12:40
  Speaker 4: this progressively got better. I did like Brand New Day,
• 12:44
  Speaker 4: but I feel like it ultimately suffers what I didn't
• 12:47
  Speaker 4: like about Guardians to the Galaxy three, where it was
• 12:50
  Speaker 4: centered around rock Like it was basically rocket Like that
• 12:54
  Speaker 4: was the whole movie Rockets in that movie Guardians of
• 12:57
  Speaker 4: the Gap. Oh, I thought you were talking about Spider Man. No,
• 13:03
  Speaker 4: So yeah, Like it's not that Guardians and Galaxy three
• 13:05
  Speaker 4: is bad. It's just like, I don't know why we're
• 13:08
  Speaker 4: making him. I don't know. It was very weird, So
• 13:10
  Speaker 4: I have mixed feelings on that one. But this one
• 13:12
  Speaker 4: brings in a character and focuses on that character more
• 13:16
  Speaker 4: than I feel it does Spider Man. It also has
• 13:19
  Speaker 4: just so many other characters. It's almost an Avengers movie
• 13:22
  Speaker 4: with how many people from the MCU are in it. Now,
• 13:27
  Speaker 4: Spider Man's interaction with one of the main characters that
• 13:29
  Speaker 4: is in there, I don't really think it's a spoiler,
• 13:31
  Speaker 4: but I'm not gonna say who. They're fantastic, of course,
• 13:34
  Speaker 4: Zendeia is great. Like it's a good movie, but like
• 13:38
  Speaker 4: it has like a four to two, and I'm like,
• 13:39
  Speaker 4: maybe I'm just not getting something, but I think I'm
• 13:42
  Speaker 4: probably gonna give it a four. I think it's it's
• 13:43
  Speaker 4: probably my least favorite of the four that they've done,
• 13:47
  Speaker 4: but it's still it's still a fantastically done movie. Too
• 13:50
  Speaker 4: much going on, uh for for a.
• 13:52
  Speaker 3: Non Honestly, that's been my problem with them with Marvel
• 13:55
  Speaker 3: Films for a long fucking time.
• 13:58
  Speaker 4: Too much. Yeah, it's just this is this spider Yeah,
• 14:01
  Speaker 4: this is a Spider Man movie that we don't have
• 14:03
  Speaker 4: to have all. I mean, it makes sense because a
• 14:05
  Speaker 4: lot of the people that are using are based in
• 14:07
  Speaker 4: New York, so like I get why they're using them.
• 14:09
  Speaker 4: But you know, anyway, I saw, so I gave that
• 14:14
  Speaker 4: one a four, like it's still still fantastic. And then
• 14:17
  Speaker 4: catching up on my cult movie challenge, I watched a
• 14:19
  Speaker 4: movie called Bloodbath, directed by Stephanie Rothman. It was Stephanie
• 14:23
  Speaker 4: Rothman week. She is a director from the sixties and
• 14:28
  Speaker 4: seventies who got into exploitation filmmaking through Roger Corman. Interestingly enough,
• 14:34
  Speaker 4: and so the interesting thing about Bloodbath is the fact
• 14:39
  Speaker 4: that it was actually directed by Jack Hill and she
• 14:42
  Speaker 4: came in to, I guess finish the movie, and she
• 14:45
  Speaker 4: shot about thirty minutes of new footage and then they
• 14:48
  Speaker 4: kind of mishmashed it together. It's a vampire movie that
• 14:51
  Speaker 4: doesn't follow any vampire lore, and it very feels similarly.
• 14:55
  Speaker 4: It's it feels like similarly akin to Bucket of Blood,
• 14:59
  Speaker 4: because there's Beaten at Cathay, There's these artists, there's a
• 15:02
  Speaker 4: lot of you know, murder.
• 15:04
  Speaker 3: So I missed that time period in film when like
• 15:07
  Speaker 3: beat Nicks were just really a fucking thing.
• 15:09
  Speaker 4: Yeah, you would probably you probably like Bloodbath. It's like,
• 15:12
  Speaker 4: it's really good. It just the vampire element. They could
• 15:15
  Speaker 4: have removed that entirely, and ultimately it would have been
• 15:17
  Speaker 4: a better film, but it was still enjoyable. Three out
• 15:20
  Speaker 4: of five, like I enjoyed it. And then this week's
• 15:23
  Speaker 4: cold Movie Challenge, I haven't done yet, but it is
• 15:26
  Speaker 4: is American International Week, and I will and fill you
• 15:29
  Speaker 4: in on what that is next episode. But I picked
• 15:32
  Speaker 4: a movie called The Undead from nineteen fifty seven. I
• 15:34
  Speaker 4: have like still, let's see I did fifty six.
• 15:38
  Speaker 3: I assume that's American International Pictures AP.
• 15:40
  Speaker 4: I assume, So yeah.
• 15:42
  Speaker 3: Okay, they're they're they're that was Corman, that was Corman's company.
• 15:48
  Speaker 4: Okay, so we're in a Corman era. Then, okay, I
• 15:50
  Speaker 4: get it, because like, so I did a movie from
• 15:52
  Speaker 4: fifty six and then sixty six fifty seven. The next
• 15:55
  Speaker 4: one will be sixty the next one's seventy four. So
• 15:57
  Speaker 4: I'm in the trenches with like all of these older
• 15:59
  Speaker 4: movie and I'm fucking in love with it. So other
• 16:02
  Speaker 4: than that, I don't think I have anything to report
• 16:04
  Speaker 4: on watching outside of oh I did watch American Jigglow.
• 16:09
  Speaker 4: But you can hear my thoughts on the cutting room floor,
• 16:12
  Speaker 4: which is a new segment we're doing for The Shameless
• 16:14
  Speaker 4: Picture Show, and those are those come out every other
• 16:18
  Speaker 4: week as your show does, so basically you get every
• 16:21
  Speaker 4: you get something every week from The Shameless now because
• 16:23
  Speaker 4: I'm doing little mini episodes, so hopefully people like those.
• 16:26
  Speaker 4: Other than that and my love for Franken Hooker that
• 16:29
  Speaker 4: I that I watched again because I love that movie
• 16:32
  Speaker 4: five stars. And yeah, that's it. So I think we're
• 16:36
  Speaker 4: gonna move on to the Cold Open or sorry, the
• 16:39
  Speaker 4: body Count, where my mouths I can never find my there,
• 16:45
  Speaker 4: it is all right. So this is The Birds from
• 16:47
  Speaker 4: nineteen sixty three, released on March twenty ninth of that
• 16:50
  Speaker 4: year in the US, six days seven math after my birthday.
• 16:54
  Speaker 4: So this is where it gets confusing. I'm assuming this
• 16:57
  Speaker 4: was reassessed by the MPAA because it's rated P. But
• 17:01
  Speaker 4: as we all know, that would not come out until
• 17:02
  Speaker 4: like the nineteen eighties.
• 17:04
  Speaker 3: So yeah, it was probably a situation when I got
• 17:07
  Speaker 3: a re release. You can't when a film didn't have
• 17:10
  Speaker 3: a rating, you can't re release it in theaters without
• 17:14
  Speaker 3: a rating, So it got reassessed. Essentially the same thing.
• 17:17
  Speaker 3: When they put it on television, they have to go
• 17:18
  Speaker 3: to a different rating, because television ratings don't work the same.
• 17:21
  Speaker 4: So that's what I'm assuming, especially because it's you know,
• 17:23
  Speaker 4: it's a hitchcock. So it's a big movie. No sex, annudity,
• 17:26
  Speaker 4: moderate violence and gore, no profanity, mild alcohol, drugs and smoking,
• 17:29
  Speaker 4: and my moderate frightening in at ten scenes coming in
• 17:32
  Speaker 4: in an hour and fifty nine minutes. Quite long listed
• 17:35
  Speaker 4: as a drama, horror, mystery thriller. I'm gonna go through
• 17:39
  Speaker 4: each person and then I'm gonna I'm gonna ask you
• 17:42
  Speaker 4: if you have anything to add if I didn't include it,
• 17:44
  Speaker 4: so because I know, I know you like to do that. Yeah, yeah,
• 17:49
  Speaker 4: So directed by Alfred Hitchcock. I don't really think I
• 17:52
  Speaker 4: need to explain this man's career. You know, he's done
• 17:54
  Speaker 4: thing Psycho, Vertigo, north By Northwest, Strangers on a Train.
• 17:57
  Speaker 4: I mean, the list, the list goes on and on
• 17:59
  Speaker 4: and on. You got me, prolific, Yeah, prolific, you got me.
• 18:03
  Speaker 4: His one of his earlier films, The Lodger, which is
• 18:06
  Speaker 4: a silent film, and I'm gonna I'm gonna be watching
• 18:08
  Speaker 4: that very soon because I will definitely be going on
• 18:11
  Speaker 4: a Hitchcock bench here this month, because.
• 18:14
  Speaker 3: Yeah, that's that was a very early one, that one.
• 18:18
  Speaker 3: I think, Yeah, that was his one like fifth technically
• 18:22
  Speaker 3: fifth film, but most of the films before that were
• 18:27
  Speaker 3: either lost or not like not completed. So it's it's
• 18:33
  Speaker 3: it's considered it many consider to be the first film,
• 18:36
  Speaker 3: but it's it's like.
• 18:37
  Speaker 4: His fifth, Okay, gotcha. So yeah, I'm excited to watch
• 18:41
  Speaker 4: that because I think it's crazy that this man worked
• 18:44
  Speaker 4: through so many fucking eras of film that he was
• 18:47
  Speaker 4: doing movies in the twenties, in the silent Era. So
• 18:51
  Speaker 4: we have written by Evan Hunter. He has twenty other
• 18:55
  Speaker 4: credits for movies. I have not heard of anything you
• 18:57
  Speaker 4: got on Evan Hunter.
• 19:00
  Speaker 3: Not really like he does, like nothing that's not to
• 19:04
  Speaker 3: be like, you know, mean or anything he's done. He's
• 19:08
  Speaker 3: had a pretty prolific career. He just is not one
• 19:11
  Speaker 3: that I'm super familiar with.
• 19:14
  Speaker 4: Yeah, mean either. And this is actually based off of
• 19:16
  Speaker 4: a book or a sorry, a story by Daphne du Marier.
• 19:21
  Speaker 4: She is the original author for from the story from
• 19:24
  Speaker 4: nineteen fifty two included in the Apple Tree collection. No
• 19:28
  Speaker 4: composer because there is no score in this movie.
• 19:31
  Speaker 3: Fun fact, I do have some interesting facts about that.
• 19:34
  Speaker 4: Perfect Do you want to do that now? Or do
• 19:35
  Speaker 4: you want to do that when we go into the movie.
• 19:37
  Speaker 3: So I yeah, I can. So the film does not
• 19:40
  Speaker 3: have a traditional score. However, the bird sounds, which I'm
• 19:44
  Speaker 3: sure listeners nowadays will notice, do sound a bit a
• 19:47
  Speaker 3: bit artificial, art artificial. The bird sounds are created by
• 19:52
  Speaker 3: a gentleman by the name Oscar Sala, and he used
• 19:55
  Speaker 3: an early synthesizer called a mixture trantonium. I'm sure I'm
• 19:59
  Speaker 3: pronounced seeing them, and that's what he used to create
• 20:02
  Speaker 3: the sounds, and Hitchcock knew that they weren't going to
• 20:04
  Speaker 3: have a traditional score, but he wanted to make sure
• 20:08
  Speaker 3: that there was a like a musicality to it.
• 20:13
  Speaker 4: So it does.
• 20:13
  Speaker 3: It's not musical, don't get me wrong, but that he
• 20:16
  Speaker 3: actually had Oscar Sala collaborate with Hitchcock's go to composer,
• 20:22
  Speaker 3: Bernard Hermann, and he worked as a consultant on it.
• 20:26
  Speaker 3: So that way, you know, if you're if you're gonna
• 20:29
  Speaker 3: utilize sound effects to replace a traditional score, it makes
• 20:34
  Speaker 3: sense to have a a composer kind of lend his
• 20:39
  Speaker 3: ears to it. So, like I said, they sound a
• 20:42
  Speaker 3: bit artificial, but there is a really interesting vibe to it,
• 20:47
  Speaker 3: and I think it does kind of work beautifully.
• 20:50
  Speaker 4: Yeah, those birds definitely sound very strange. So yeah, no
• 20:54
  Speaker 4: technical score in it. Cinematography by Robert Burkes, who was
• 20:59
  Speaker 4: a frequent collaborator with Hitchcock. He did cinematography a Four
• 21:03
  Speaker 4: Strangers on the Train, Rear Window Vertigo. I know I'm
• 21:07
  Speaker 4: missing a lot of movies, but I usually limited to three.
• 21:09
  Speaker 4: Anything you got for Robert Burks.
• 21:11
  Speaker 3: No, just pretty much going off what you said. Like
• 21:13
  Speaker 3: some of Hitchcock's best looking films. Yeah, he's responsible for
• 21:18
  Speaker 3: I'm kind of mixed. I'm kind of torn on Vertico itself,
• 21:20
  Speaker 3: but it is one of the most stunningly filmed movies
• 21:23
  Speaker 3: I've ever seen, Rear Window, to Catch a Thief, They
• 21:26
  Speaker 3: all are phenomenal films, and he doesn't really get the
• 21:30
  Speaker 3: chance to show it as much on this And we
• 21:32
  Speaker 3: can kind of talk about the gritty look of this movie. But,
• 21:35
  Speaker 3: like Robert Burke, one thing that I really like about him,
• 21:38
  Speaker 3: I'm sorry Robert Burkes is his use of color. If
• 21:41
  Speaker 3: you go back and watch some of Hitchcock's earlier films
• 21:44
  Speaker 3: like Vertigo or To Catch a Thief there, the color
• 21:50
  Speaker 3: work is just phenomenal. And part of that is the
• 21:53
  Speaker 3: film stocks that they well.
• 21:54
  Speaker 4: And Vertigo is one of the first movies, or if
• 21:57
  Speaker 4: not the first movie to have a title sequence that
• 22:02
  Speaker 4: involved something, because the title sequence in Vertigo is like
• 22:06
  Speaker 4: one of the most insane things for the time ever done.
• 22:09
  Speaker 3: Yeah, it's a solid bass title sequence, so it's it's.
• 22:13
  Speaker 4: Yeah, we create, there we go, There we go that
• 22:15
  Speaker 4: that's the name. Uh and the then edited by George
• 22:18
  Speaker 4: thoma Cini, who also is a collaborator with U with Hitchcock.
• 22:22
  Speaker 4: He did Rear Window, Vertigo, and Psycho, so some more
• 22:25
  Speaker 4: just great looking Hitchcock movies. Let's see starring. I know
• 22:31
  Speaker 4: you're gonna have something to say on this because I
• 22:33
  Speaker 4: included a movie that's just silly, so Rod Taylor as
• 22:36
  Speaker 4: Mitch Brennan or Brenner. He was also in a movie
• 22:38
  Speaker 4: called Kaw from two thousand and six as doc and
• 22:41
  Speaker 4: I only I only mentioned this movie because it's another
• 22:45
  Speaker 4: movie about killer birds and it's on my shelf to
• 22:48
  Speaker 4: watch for this month or animal Attack. But why don't
• 22:51
  Speaker 4: you tell the audience something that he's been in that
• 22:53
  Speaker 4: they might have actually seen.
• 22:56
  Speaker 3: Well? He he did. He was the voice of Pongo
• 22:59
  Speaker 3: in one hundred one Dalmatians.
• 23:01
  Speaker 4: Oh that's the there you go see there's one uh.
• 23:04
  Speaker 3: And he played Winston Churchill in Glorious Bastards.
• 23:07
  Speaker 4: That was his last credit. I did see that. I
• 23:09
  Speaker 4: almost included that until I saw Kaw and I was like,
• 23:11
  Speaker 4: oh my god, that'll be a little nugget for Jason Hill.
• 23:15
  Speaker 4: Shout out, Jason Hill. We have Jessica Tandy as Lydia Brinner.
• 23:18
  Speaker 4: I think everyone's probably gonna recognize her from Driving Driving
• 23:21
  Speaker 4: Miss Daisy as Daisy Weren't Worthing, Suzanne plashent Pluschette as
• 23:27
  Speaker 4: Annie Hayworth. She was in one hundred and forty episodes
• 23:32
  Speaker 4: one hundred and forty two episodes of The Bob Newhart
• 23:34
  Speaker 4: Show as Emily Hartley. I would say that was her
• 23:37
  Speaker 4: biggest achievement when I was going through her her credits
• 23:41
  Speaker 4: and not a lot of movies I recognize, but she
• 23:44
  Speaker 4: she definitely worked the hell out of that show. And
• 23:46
  Speaker 4: then we have introducing Tippy Hedron as Melanie Davis. Even
• 23:50
  Speaker 4: though Daniels, even though she was technically doing commercials and
• 23:54
  Speaker 4: has you know, she was doing things before this, but
• 23:57
  Speaker 4: this was her first like.
• 23:58
  Speaker 3: This was her first, This was her first big role,
• 24:00
  Speaker 3: her big role. It was Yeah, she was considered a
• 24:03
  Speaker 3: discovery at the time.
• 24:04
  Speaker 4: And then she would also play Marnie in Marnie from
• 24:07
  Speaker 4: the Next you know, the Next Year by Hitchcock. And
• 24:10
  Speaker 4: then lastly we have Veronica Cartwright as Kathy Brenner because
• 24:13
  Speaker 4: she was also an alien as Lambert and Invasion of
• 24:15
  Speaker 4: the Body Snatchers nineteen seventy eight is Nancy Belichick. Est
• 24:20
  Speaker 4: made a budget of two point five million, only grossing
• 24:22
  Speaker 4: sixty two thousand. According to Box Office Mojo. This was
• 24:25
  Speaker 4: filmed in Universal Studios Stages twenty eight, thirty two, and
• 24:29
  Speaker 4: forty four San Francisco, Bodega Bay, which is actually a
• 24:33
  Speaker 4: real place in some other various cities around California.
• 24:36
  Speaker 3: You can watch I Want to Go There.
• 24:38
  Speaker 4: I do too, now that I know is real. You
• 24:41
  Speaker 4: can watch it on Prime, Apple TV, Fandango YouTube for
• 24:44
  Speaker 4: three ninety nine rental. Listen to the movies that came
• 24:47
  Speaker 4: out around the same time. Pretty good stuff here, The
• 24:49
  Speaker 4: Great Escape, Cleopatra, Jason and the Argonauts, which I haven't
• 24:53
  Speaker 4: seen that Friday, the Thirteenth movie. I off to check
• 24:55
  Speaker 4: that out, The Lord of the Flies, The Nutty Professor,
• 24:59
  Speaker 4: which I didn't rea allies was this? There was an
• 25:02
  Speaker 4: original The Raven King Kong versus Godzilla, Bye Bye Birdie,
• 25:06
  Speaker 4: the terra and Son of Flubber So an interesting year
• 25:10
  Speaker 4: from nineteen sixty three. I am dB summary. A wealthy
• 25:13
  Speaker 4: San Francisco socialite pursues a potential boyfriend to a small
• 25:16
  Speaker 4: northern California town that takes a turn for the bizarre
• 25:19
  Speaker 4: when birds of all kinds suddenly began to attack people.
• 25:23
  Speaker 4: This is the autopsy Whizz all right, Michael so you
• 25:29
  Speaker 4: had it.
• 25:30
  Speaker 3: I didn't hear it. You didn't hear it.
• 25:32
  Speaker 4: Oh that's weird. So Michael, this is actually your first
• 25:37
  Speaker 4: viewing of The Birds overall thoughts? What do you got?
• 25:41
  Speaker 3: So? One thing, I just want to point out that
• 25:43
  Speaker 3: I've I saw the Birds too before I saw the Birds,
• 25:46
  Speaker 3: which I think this is really funny.
• 25:48
  Speaker 4: So you've actually seen the sequel. Yeah, I'll be watching
• 25:52
  Speaker 4: that today.
• 25:54
  Speaker 3: Vinegar Centro sent me a copy of it like a
• 25:57
  Speaker 3: couple of years ago, so I was like, what's this
• 25:59
  Speaker 3: going to blind?
• 26:01
  Speaker 4: Yeah? I don't. I doubt they're gonna be that related.
• 26:05
  Speaker 3: But I don't know. So not really like hippy Heindrad has,
• 26:09
  Speaker 3: like she walks in the movie for a cup of coffee,
• 26:11
  Speaker 3: and that's kind of a lot of it.
• 26:12
  Speaker 4: But girl, why are you still there?
• 26:16
  Speaker 3: Because fucking paychecks Austin God damn. Anyways, So I can
• 26:21
  Speaker 3: I give a little bit of my context behind this
• 26:23
  Speaker 3: film a little bit go for you in my louder
• 26:25
  Speaker 3: do you or me? Just start with my overall thoughts.
• 26:27
  Speaker 4: Let's go overall thoughts and then we'll go into context.
• 26:29
  Speaker 4: I like that.
• 26:30
  Speaker 3: I like the movie. I like the movie more than
• 26:32
  Speaker 3: I thought I was gonna like the movie. Uh, And
• 26:35
  Speaker 3: the reason I say it that way is we'll come
• 26:37
  Speaker 3: down to when I do get to my my history
• 26:40
  Speaker 3: with this film. I actually liked it quite a bit
• 26:43
  Speaker 3: more than I was expected. I think it's extremely effective,
• 26:46
  Speaker 3: especially for its time period.
• 26:47
  Speaker 4: Okay, so I've seen this one time before. I can't
• 26:52
  Speaker 4: tell you when it was. A letterbox could tell me,
• 26:54
  Speaker 4: but it's too late and I don't want to waste time.
• 26:57
  Speaker 4: I really enjoyed it on that watch and this watch
• 27:00
  Speaker 4: for some reason. I am not sure what it is.
• 27:04
  Speaker 4: You know, your environment really does affect how you view
• 27:07
  Speaker 4: a movie. And maybe I just wasn't in the right headspace.
• 27:10
  Speaker 4: It could have been these screaming children outside playing soccer
• 27:13
  Speaker 4: in the streets that were pissing me off to no end.
• 27:16
  Speaker 4: Because our neighborhood kids are the most annoying kids on
• 27:20
  Speaker 4: the planet Earth.
• 27:21
  Speaker 3: I hope they're listening.
• 27:22
  Speaker 4: I really hope they're listening, because we're also on a
• 27:25
  Speaker 4: corner lot, so we just get all the noise.
• 27:27
  Speaker 3: But you can to give those kids one star.
• 27:29
  Speaker 4: Oh yeah, I'm gonna give those kids one out of five,
• 27:32
  Speaker 4: zero out of five.
• 27:33
  Speaker 3: I don't know.
• 27:34
  Speaker 4: It's something. Something just was not working for me, and
• 27:38
  Speaker 4: I'm gonna explain all of that when we get into
• 27:40
  Speaker 4: kind of the flow of this of this movie, because
• 27:43
  Speaker 4: I feel like the you know, obviously, most movies, you know,
• 27:47
  Speaker 4: for the most part, have a three act structure. It's
• 27:49
  Speaker 4: not not a secret. And I felt like the changes
• 27:52
  Speaker 4: into each different act were so painfully jarring to me
• 27:55
  Speaker 4: that I was like, oh, there's it. Just it felt
• 27:58
  Speaker 4: very disconnected, And I will explain further, but I will
• 28:01
  Speaker 4: leave it there in my overall thoughts. So let's go
• 28:03
  Speaker 4: back to your context of this movie, because I don't
• 28:05
  Speaker 4: want to forget and I want to know exactly what
• 28:07
  Speaker 4: you mean by your context, So hit me with that.
• 28:10
  Speaker 3: So this is a movie that I have been very
• 28:13
  Speaker 3: aware of, very very aware of for my pretty much
• 28:18
  Speaker 3: entire life, because my parents are a little bit older,
• 28:22
  Speaker 3: Like my mom was born in the sixties, my dad
• 28:24
  Speaker 3: was born in the fifties. So I just kind of
• 28:26
  Speaker 3: had a steady diet of older movies throughout my life
• 28:29
  Speaker 3: just because that's what they grew up with. And I
• 28:32
  Speaker 3: had always been very aware of who Alfred Hitchcock was
• 28:36
  Speaker 3: because of like I knew he had a television show
• 28:39
  Speaker 3: my mom showed me Psycho at kind of an early age,
• 28:43
  Speaker 3: but The Birds was always a film that was talked
• 28:45
  Speaker 3: about quite a bit, to the point that I think
• 28:47
  Speaker 3: it really traumatized my mother, Like anytime she sees birds
• 28:50
  Speaker 3: gathering and she kind of gets a little freaked out
• 28:52
  Speaker 3: a little bit, So I think this movie just really
• 28:55
  Speaker 3: fucked her up at a young age, which it seemed
• 28:57
  Speaker 3: like this was the Jaws of its time, so I'm
• 28:59
  Speaker 3: not surprise, but I kind of went I was putting
• 29:03
  Speaker 3: this movie off. I'll be completely honest. I like the
• 29:07
  Speaker 3: works of Alfred Hitchcock quite a bit, but for some reason,
• 29:10
  Speaker 3: this one always I thought this one was gonna be
• 29:13
  Speaker 3: a lot sillier than it actually is, because I'd seen
• 29:16
  Speaker 3: some of the effect shots. And it's not to say
• 29:18
  Speaker 3: that I thought effect shots looked silly. I just thought
• 29:20
  Speaker 3: it was gonna be that for the entire runtime, and
• 29:26
  Speaker 3: even though I like animal attack films, for some reason,
• 29:29
  Speaker 3: I just had a certain idea in my mind of
• 29:31
  Speaker 3: what this film was going to be, and I kept
• 29:35
  Speaker 3: putting off and probably didn't help that I saw The
• 29:37
  Speaker 3: Birds Too first, like, because The Birds Too is a
• 29:41
  Speaker 3: lot closer to what I thought The Birds was gonna be,
• 29:44
  Speaker 3: which is kind of insulting to the birds.
• 29:50
  Speaker 4: Oh my god.
• 29:51
  Speaker 3: But so I I legitimately held uh you know, I
• 29:56
  Speaker 3: can't think of the word. I legitimately put it off. Uh.
• 29:59
  Speaker 3: But I'm glad I finally I finally had an excuse
• 30:02
  Speaker 3: and not to say I always had an excuse to watch,
• 30:04
  Speaker 3: but I'm glad I had something that was finally pushing
• 30:06
  Speaker 3: me to watch it. And yeah, so it's not a
• 30:10
  Speaker 3: it's not a huge history.
• 30:12
  Speaker 4: But you know, no, I like that because I last
• 30:15
  Speaker 4: night when we were talking, or maybe two days ago,
• 30:18
  Speaker 4: You're like, yeah, I'd actually never seen it. I was like,
• 30:19
  Speaker 4: oh shit, so we're keeping the spirit of the Shameless
• 30:22
  Speaker 4: Picture Show alive over here, because that happens more often
• 30:25
  Speaker 4: than not when you you know, you you're a part
• 30:27
  Speaker 4: of the show either like Frostbinder Wrath of the Wind
• 30:30
  Speaker 4: to Go. I had never seen that, you know, and
• 30:32
  Speaker 4: that was when you recommend it, and it's like one
• 30:34
  Speaker 4: of my all time faves now. So okay, So it's
• 30:38
  Speaker 4: it's interesting you've known about it. It's that I have
• 30:41
  Speaker 4: movies like that too, Like I know about this movie. Uh,
• 30:44
  Speaker 4: the Godfather obviously is probably my example of the birds.
• 30:47
  Speaker 4: You know, I knew about this movie forever and then
• 30:49
  Speaker 4: finally watched it, you know, for your show. So it's
• 30:52
  Speaker 4: it's funny how that happens. But let's break this down, right,
• 30:56
  Speaker 4: So I think I want to start with because really
• 30:59
  Speaker 4: where the movie starts is the weirdest meet cute in
• 31:03
  Speaker 4: cinematic history. Because so you got a guy walking into
• 31:07
  Speaker 4: a pet shop looking for lovebirds. Okay, woman who doesn't
• 31:10
  Speaker 4: even work there, decides she's gonna pretend to be an
• 31:12
  Speaker 4: employee just to mess with them because she's a little
• 31:14
  Speaker 4: sneaky prankster, and he immediately realizes she's bluffing and spends
• 31:19
  Speaker 4: the next few minutes teasing her instead of calling her out.
• 31:22
  Speaker 4: And then, rather than being embarrassed, she's kind of fascinated
• 31:25
  Speaker 4: by him, so she writes down his license plate, tracks
• 31:28
  Speaker 4: him out to where he lives, only to discover that
• 31:30
  Speaker 4: he's out of town, then drives two to three hours
• 31:34
  Speaker 4: to Botaca Bay, rents a boat she doesn't know how
• 31:37
  Speaker 4: to operate well, barely sneaks onto the property, breaks into
• 31:41
  Speaker 4: his house, leaving a pair of lovebirds.
• 31:44
  Speaker 3: While wearing a fucking fur coat and heels.
• 31:48
  Speaker 4: Gabby pointed that out she was like all of this
• 31:51
  Speaker 4: in a fur coat. Now let's reverse those roles and
• 31:55
  Speaker 4: have this be a guy doing this to a girl.
• 31:58
  Speaker 4: And the tone immediately changes, right like, it's not it's
• 32:02
  Speaker 4: not cute anymore. So it's so strange that Tippy Hedron
• 32:06
  Speaker 4: wasn't even supposed to fucking be in this town, and
• 32:09
  Speaker 4: ultimately she's there because of a prank she wanted to
• 32:12
  Speaker 4: play on this guy, because like they're attracted to each other.
• 32:16
  Speaker 4: Today that would be like an episode of Dateline, but
• 32:19
  Speaker 4: in nineteen sixty three, it's like for play. I guess.
• 32:22
  Speaker 4: I don't know, but it is an interesting introduction to
• 32:26
  Speaker 4: the movie because I think The Birds has one of
• 32:30
  Speaker 4: the strangest tonal evolutions I've seen him quite some time.
• 32:34
  Speaker 4: The first act is this breezy, romantic comedy. The second
• 32:37
  Speaker 4: act suddenly becomes a full blown disaster movie with birds,
• 32:42
  Speaker 4: and then the third act morphs into this claustrophobic, almost
• 32:45
  Speaker 4: home invasion movie. And then it's like there's this epilogue
• 32:49
  Speaker 4: at the end that feels very post apocalyptic. Anything to
• 32:52
  Speaker 4: say about what all that? Do you agree? Disagree? What
• 32:56
  Speaker 4: do we got iant to know?
• 32:59
  Speaker 3: If I'm off no, no, no, no, I will say
• 33:03
  Speaker 3: I definitely agree in that there is a level of
• 33:12
  Speaker 3: suspending disbelief to really get behind the plot point. So
• 33:18
  Speaker 3: what I think is happening is I believe that Alfred
• 33:23
  Speaker 3: Hitchcock is trying to lull the audience into like this,
• 33:27
  Speaker 3: this false sense of security because romantic subplots had always
• 33:32
  Speaker 3: been kind of not always, but had been a thing
• 33:36
  Speaker 3: in his in his filmmaking career, and it was just
• 33:39
  Speaker 3: a really popular thing in the world of film and
• 33:42
  Speaker 3: filmmaking at that time. So he thought, it's, okay, we
• 33:46
  Speaker 3: have these two attractive people, let's let's start the film
• 33:51
  Speaker 3: off with them and you know, show that they're kind
• 33:55
  Speaker 3: of charming that you know, and kind of just want
• 33:58
  Speaker 3: to make these people. Make the audience like hanging out
• 34:02
  Speaker 3: with these people and want to see where this goes. Now,
• 34:05
  Speaker 3: the plot convenience of her going to Bodega Bay to
• 34:10
  Speaker 3: play a prank slash give this gift to his sister
• 34:16
  Speaker 3: is really far fetched, but it just it. They just
• 34:21
  Speaker 3: they had to get Tippy Hedron to Boldega Bay and
• 34:25
  Speaker 3: this is how they're doing it, and it's very much
• 34:28
  Speaker 3: I truly believe it was. You know, this doesn't work,
• 34:33
  Speaker 3: but if we if we make her if we make
• 34:36
  Speaker 3: everything in Badega Bay fucking sing, this will all be forgiven.
• 34:42
  Speaker 3: And Hitchcock takes his time with this film, and I think,
• 34:45
  Speaker 3: don't think that's necessarily a bad thing. I think he
• 34:48
  Speaker 3: is trying to establish the tone and the pace of
• 34:51
  Speaker 3: what this town is like, so that way when he
• 34:54
  Speaker 3: eventually does get to the upside down world. U. I
• 35:00
  Speaker 3: like that the upside down world. Then it matters because
• 35:04
  Speaker 3: you have to before you can really do much else,
• 35:07
  Speaker 3: you have to establish what the world is like, so
• 35:11
  Speaker 3: that way you can show what its opposite is. So
• 35:15
  Speaker 3: if you think about it, everything in Bodega Bay is,
• 35:19
  Speaker 3: you know, kind of taking its time, and it's kind
• 35:21
  Speaker 3: of sweet and nice and slow. But then the back
• 35:25
  Speaker 3: half of the film is chaos, quick cuts and insanity.
• 35:29
  Speaker 4: Yeah, like you know, and that's that's Those are some
• 35:32
  Speaker 4: good points. I He's definitely taking his time, and in
• 35:37
  Speaker 4: my opinion, I feel it's a little I just feel like,
• 35:41
  Speaker 4: I don't mind taking your time at all. But it's
• 35:43
  Speaker 4: not until about fifty two minutes because, like you like,
• 35:47
  Speaker 4: about the first forty five minutes is establishing Melanie Daniels
• 35:50
  Speaker 4: Mitch Brenner, his younger sister Kathy and the fiercely protective
• 35:55
  Speaker 4: mother Lydia. So he is laying the emotional groundwork before
• 35:59
  Speaker 4: pulling the out from underneath everyone. But at about fifty
• 36:04
  Speaker 4: two minutes that's when it just it's like a violent shift,
• 36:07
  Speaker 4: and I don't, I don't was it intentional. I assume
• 36:11
  Speaker 4: it was a Titchcock. Everything has to be intentional with him.
• 36:13
  Speaker 4: But it was just so jowering that we go from
• 36:16
  Speaker 4: focusing on these two people to all of a sudden,
• 36:18
  Speaker 4: birds are just attacking this party. I was like, this
• 36:21
  Speaker 4: is the start of act too, So it was like
• 36:24
  Speaker 4: very easy the pinpoint the acts rather than it kind
• 36:27
  Speaker 4: of feeling like a natural progression. You do have Tippy
• 36:31
  Speaker 4: getting attacked by that bird in the beginning, kind of
• 36:34
  Speaker 4: hinting at what's to come, but there's no real natural
• 36:40
  Speaker 4: progression in terms of the birds attacking. It's just all
• 36:43
  Speaker 4: of a sudden, boom, they're attacking. So I guess I
• 36:46
  Speaker 4: just struggle to that tonal shift.
• 36:48
  Speaker 3: I think that's the point. I think that's not the
• 36:50
  Speaker 3: point all right, Like you know, they're kind of way
• 36:53
  Speaker 3: in the groundwork that the birds are gathering that things
• 36:56
  Speaker 3: are just kind of unsettling, Like I said, get the
• 37:01
  Speaker 3: you get the moment of tippying the boats, you get
• 37:03
  Speaker 3: the bird that kind of comic causes itself at Anne's house.
• 37:07
  Speaker 3: They're showing that they are acting out of the ordinary,
• 37:13
  Speaker 3: and I feel like the point of this film is
• 37:15
  Speaker 3: to show that one at some point, nature can just
• 37:19
  Speaker 3: turn against you.
• 37:21
  Speaker 4: Okay, see, And this is this is exactly why I
• 37:23
  Speaker 4: love this discussing movies. This is exactly the reason because
• 37:27
  Speaker 4: all of the things that I've had issues with, You're
• 37:29
  Speaker 4: You're giving me reasons to look at it from a
• 37:31
  Speaker 4: different perspective. And I can see that I'm not.
• 37:34
  Speaker 3: Saying I'm right. I'm not saying I'm right. I'm just
• 37:36
  Speaker 3: giving a different perspective.
• 37:37
  Speaker 4: No, And that's what I love. You're giving a different
• 37:38
  Speaker 4: perspective because you are right, I think. And that's why
• 37:41
  Speaker 4: I you know, everyone's gonna say Jaws is the essential
• 37:44
  Speaker 4: animal attack movie, but you know, I wanted to do
• 37:46
  Speaker 4: something pre Jaws, because really, before the Birds, we have
• 37:51
  Speaker 4: animal attack movies, but it's like the Giant Tarantula or
• 37:54
  Speaker 4: like the Beasts from a Thousand Fouls or whatever. So
• 37:57
  Speaker 4: this is really one of the first movies to take
• 38:00
  Speaker 4: an animal that's not typically just gonna attack you. I mean, yes,
• 38:04
  Speaker 4: birds have been known to attack, but not in the
• 38:06
  Speaker 4: masses like this. So I picked the Birds for that
• 38:09
  Speaker 4: reason because it's from sixty three. He's coming off the
• 38:12
  Speaker 4: heels of Psycho, which is, you know, obviously, in my opinion,
• 38:15
  Speaker 4: one of the greatest horror movies that has ever been made,
• 38:18
  Speaker 4: and so that's why I picked this one because it
• 38:21
  Speaker 4: really is kind of one of the first movies to
• 38:24
  Speaker 4: do this. And then you know, in the seventies you'd
• 38:26
  Speaker 4: get a lot of disaster movies with like Empire of
• 38:28
  Speaker 4: the Ants and Phase four and all of that stuff.
• 38:31
  Speaker 4: So I feel like Hitchcock laid the groundwork on the sixties,
• 38:34
  Speaker 4: and then the seventies is really where they started rolling
• 38:36
  Speaker 4: in with like animal attack movies. And you also have Orca,
• 38:40
  Speaker 4: the Killer Whale, You've got Jaws, You've got all these animals.
• 38:42
  Speaker 4: So that's why I picked this one. But going back
• 38:44
  Speaker 4: to the movie here, and I think that you know,
• 38:47
  Speaker 4: that might be exactly what it is. It was it
• 38:50
  Speaker 4: was kind of to establish that this can happen at
• 38:52
  Speaker 4: any time. Birds can just go fucking nuts, you know,
• 38:56
  Speaker 4: I mean, you're not.
• 38:58
  Speaker 3: Wrong about it this way. Those early bird attacks, you know,
• 39:04
  Speaker 3: the one of Tippy in the boat and the one
• 39:08
  Speaker 3: at Anne's house, and I feel like we are getting more,
• 39:11
  Speaker 3: We're getting shots throughout that of the birds kind of
• 39:14
  Speaker 3: gathering and just acting unusual. How is that any different
• 39:20
  Speaker 3: than when the Little Boys killed in Jaws?
• 39:23
  Speaker 4: Mmmmm hmm.
• 39:25
  Speaker 3: Okay, and actually Jaws, if we're gonna use Jaws an example,
• 39:28
  Speaker 3: Jaw starts even sooner. The movie begins with a bird
• 39:30
  Speaker 3: attack that bird, but begins with a shark attack and
• 39:35
  Speaker 3: then kind of makes you wait for anything else, So
• 39:39
  Speaker 3: you know, I if you know, if I'm gonna continue
• 39:44
  Speaker 3: with this comparison, I feel like, if anything, the Birds
• 39:47
  Speaker 3: kind of eases us into it a little more slowly
• 39:50
  Speaker 3: than Jaws did, because Jaws opens up with a brutal attack.
• 39:53
  Speaker 4: That's sor right, and the woman on the beach who
• 39:54
  Speaker 4: just gets yanked down under the water, and then it's about,
• 39:58
  Speaker 4: you know, an hour before you actually the shark, but
• 40:00
  Speaker 4: you do have the boy that gets attacked. So yeah,
• 40:04
  Speaker 4: the first act, in my opinion, I think it is
• 40:07
  Speaker 4: where it meanders the most because a lot of the dialogue, a.
• 40:12
  Speaker 3: Lot of characters set up, a lot of characters setup you're.
• 40:15
  Speaker 4: Right, it's a lot of character set up. You know,
• 40:18
  Speaker 4: it's it's at its center. It is a romance kind
• 40:22
  Speaker 4: of comedy thing going on. It does meander a little bit.
• 40:25
  Speaker 4: I feel like there could have been some stuff cut out,
• 40:27
  Speaker 4: but this is exactly where I mean. The audience can
• 40:30
  Speaker 4: see where the relationship is heading within about five minutes
• 40:33
  Speaker 4: of the movies. But you know, like the characters kind
• 40:36
  Speaker 4: of insist on pretending otherwise. Like I said, for fifty
• 40:39
  Speaker 4: two minutes is when the birds start attacking, like it's
• 40:42
  Speaker 4: all incredibly cute and playful, but you can you can
• 40:46
  Speaker 4: clearly tell that Hitchcock is in no hurry to get
• 40:49
  Speaker 4: the move to get to the movie that you know,
• 40:51
  Speaker 4: we quote unquote bought a ticket for.
• 40:54
  Speaker 3: So yeah that that that's called the promise of That's
• 40:57
  Speaker 3: called the promise of the premise or like if you
• 41:01
  Speaker 3: if you're a Save the Cat devotee like I am,
• 41:04
  Speaker 3: they call it the fun in Games a section of
• 41:07
  Speaker 3: the film, and yeah, it is pushed back a little
• 41:10
  Speaker 3: bit in this film. But I do feel like Hitchcock,
• 41:15
  Speaker 3: or more so Evan Hunter. I don't want to belittle
• 41:18
  Speaker 3: the work that Evin Hunter did on this. I do
• 41:20
  Speaker 3: believe he is like he he is hitting the beach,
• 41:24
  Speaker 3: just at a slightly different time period, and I've sorted
• 41:28
  Speaker 3: a different spot in the film, and I think some
• 41:30
  Speaker 3: of that is from what I've read online and just
• 41:33
  Speaker 3: in one of the books that I have for Hitchcock. Hitchcock,
• 41:36
  Speaker 3: while he didn't improvise the script at all, he allowed
• 41:40
  Speaker 3: for improvisation while making the film, so I wouldn't be
• 41:44
  Speaker 3: surprised if he slowed some things down and kind of
• 41:47
  Speaker 3: took a little bit, because like, you know, the catalyst,
• 41:50
  Speaker 3: which is you know, once again going back to save
• 41:54
  Speaker 3: the cat If you're looking at the how a film begins,
• 41:56
  Speaker 3: you have the open, you have the opening image of
• 41:58
  Speaker 3: the film, you have the theme stay, you have this setup,
• 42:02
  Speaker 3: which is that's all within the first ten pages, and
• 42:05
  Speaker 3: about page twelve would be the catalyst, which in this case,
• 42:09
  Speaker 3: I think about the catalyst is like Neo meets Trinity
• 42:14
  Speaker 3: at the club. That's what kind of like tricks his
• 42:18
  Speaker 3: brain and like, oh, there's maybe more to this world.
• 42:20
  Speaker 3: It's your inciting incident. In this movie, the inciting incident
• 42:24
  Speaker 3: is her going to Bodega Bay. So it gets pushed
• 42:26
  Speaker 3: back a little bit because they have an extended setup
• 42:31
  Speaker 3: but and I wasn't keeping track of time, so I'm
• 42:34
  Speaker 3: just assuming it's pushed back a little bit. You know,
• 42:37
  Speaker 3: I think he's they're hitting all the the the beats,
• 42:41
  Speaker 3: you know, everything you need in the hero's journey.
• 42:43
  Speaker 4: Yeah, I was unintentionally keeping track of time because I
• 42:47
  Speaker 4: hit the time to see it was nineteen because I
• 42:50
  Speaker 4: just wanted to see when she got to Bodega Bay's
• 42:51
  Speaker 4: about nineteen minutes when she got to Bodega Bay.
• 42:54
  Speaker 3: Funny enough, I broke this movie up into two perfect
• 42:56
  Speaker 3: halves because I was originally watching it on Friday and
• 43:00
  Speaker 3: had to leave the house for something. Uh, and I
• 43:02
  Speaker 3: stopped it in an hour mark, So then I finished
• 43:04
  Speaker 3: the last hour the next day, and it's it's it's
• 43:08
  Speaker 3: very interesting because at the I'm trying to remember what
• 43:11
  Speaker 3: where the hour mark ends. It's definitely after the first
• 43:16
  Speaker 3: bird attack at that point, yet are they no, No,
• 43:21
  Speaker 3: they haven't gotten to the school. So it's the party.
• 43:23
  Speaker 3: It's the party. It ends after the party. So then
• 43:27
  Speaker 3: it's it's kind of like a beautiful place to end
• 43:30
  Speaker 3: the film, like put an intermission or like a two
• 43:33
  Speaker 3: episode type of thing where it's you you get this, uh,
• 43:37
  Speaker 3: you get this insanity, and then the second half of
• 43:39
  Speaker 3: it just really books.
• 43:41
  Speaker 4: The second half of it does really book. And I
• 43:43
  Speaker 4: think there is almost kind of a comparison for me
• 43:49
  Speaker 4: to Psycho in a sense, right, So, because like I said,
• 43:53
  Speaker 4: you know, he's Hitchcock is lowlling you into believe you
• 43:56
  Speaker 4: settled into a conventional romantic comedy at first, and that's
• 44:00
  Speaker 4: what makes the kind of genre shift feel so aggressive, because,
• 44:05
  Speaker 4: like I said, around fifty two minutes, the birds start attacking.
• 44:08
  Speaker 4: So the comparison to Psycho to me is that, you know,
• 44:11
  Speaker 4: Hitchcock's shocks audience by killing off our protagonist early on
• 44:15
  Speaker 4: in the movie, forcing viewers to kind of recalibrate everything
• 44:18
  Speaker 4: we we thought we were watching. Here, he does this
• 44:21
  Speaker 4: similar trick, but instead of removing the main character, he
• 44:24
  Speaker 4: removes the entire genre. He takes the romantic comedy and
• 44:29
  Speaker 4: just pulls that out and throws us into a horror
• 44:32
  Speaker 4: movie with the same characters. Does that make sense?
• 44:36
  Speaker 3: Yeah? Okay, no, no, it absolutely does. Like I truly
• 44:39
  Speaker 3: believe this is intentional to subvert the expectations.
• 44:45
  Speaker 4: Of the viewer, Okay, And maybe I'm just looking at
• 44:47
  Speaker 4: it from a completely different lens, and that's what again,
• 44:50
  Speaker 4: that's what I love about talking about this movie. But yeah,
• 44:52
  Speaker 4: once we get to you know, I say, act too.
• 44:55
  Speaker 4: The romance is kind of over, kind of an afterthought.
• 44:58
  Speaker 4: The playful banter disappears without warning. We're watching people desperately
• 45:02
  Speaker 4: try to survive relentless bird attacks by either goal. At first,
• 45:06
  Speaker 4: it starts as goals, and then for some reason they
• 45:09
  Speaker 4: switched to ravens or crows, two birds that I don't
• 45:13
  Speaker 4: think would be together. But I'm not a fuck it.
• 45:17
  Speaker 4: I don't know shit about bird like there are people
• 45:19
  Speaker 4: out there who don't even think birds are real, So
• 45:22
  Speaker 4: I don't know if those types of birds would be
• 45:24
  Speaker 4: really that close to each other. I don't know. It
• 45:26
  Speaker 4: is a coastal town, so I'd like to think it
• 45:29
  Speaker 4: only really be those seagulls. But again, I don't know
• 45:32
  Speaker 4: enough about birds to know if they would even be
• 45:35
  Speaker 4: around the same place. But I think it's an incredibly
• 45:39
  Speaker 4: bold decision to do that. But for me, it was
• 45:40
  Speaker 4: a little jarring just because I wasn't expecting it. But
• 45:43
  Speaker 4: that's I have to remember. It's Hitchcock. It had to
• 45:47
  Speaker 4: have been an intentional move because he's very much like Kubrick,
• 45:50
  Speaker 4: where everything happens for a reason. He's not just doing
• 45:54
  Speaker 4: stuff to blow smoke out of his ass, you know.
• 45:58
  Speaker 4: I feel I feel Hitchcock is very very precise on
• 46:02
  Speaker 4: what he's doing. I mean, at this point, he's been
• 46:05
  Speaker 4: making movies for over forty years, so I'd like to
• 46:08
  Speaker 4: think he knows what he's doing when it came down
• 46:11
  Speaker 4: to the birds.
• 46:11
  Speaker 3: But you know, he's a bit of a he's a
• 46:13
  Speaker 3: bit of an obsessive, uh right, or better for worse for.
• 46:17
  Speaker 4: Better for worse exactly. Uh So, kind of moving down
• 46:22
  Speaker 4: my notes here. So you took it as an intentional
• 46:27
  Speaker 4: thing that he did. I took it as kind of
• 46:29
  Speaker 4: a whiplash thing. But at the same time, I guess
• 46:33
  Speaker 4: those can go hand in hand. If he's n if
• 46:35
  Speaker 4: he's intentionally trying to give you that whiplash, then I
• 46:39
  Speaker 4: guess that that works for me. It was just so
• 46:42
  Speaker 4: jowring that I was like, did he mean to do this?
• 46:44
  Speaker 4: Or was this poor?
• 46:45
  Speaker 3: Right?
• 46:46
  Speaker 4: You know, I just had a lot of questions that
• 46:47
  Speaker 4: were going on in my head and I didn't.
• 46:49
  Speaker 3: And it's interesting that you felt it was like a whiplash,
• 46:52
  Speaker 3: and I felt like it was progressing at at a
• 46:55
  Speaker 3: natural pace.
• 46:56
  Speaker 4: Interesting yeah, that's and that's again I'm a harken back then.
• 47:00
  Speaker 4: That's what I love about talking to movies. Uh so
• 47:04
  Speaker 4: talking about the birthday party, right, because Wed we meant
• 47:07
  Speaker 4: to that a second ago, what's birthday party? Attack begins?
• 47:10
  Speaker 4: You are again you're not watching the same movie. Uh,
• 47:13
  Speaker 4: people are being attacked. I mean this is long before
• 47:16
  Speaker 4: the disaster movies of the modern age.
• 47:19
  Speaker 3: Obviously, scene scared the ship out of my dog, by
• 47:23
  Speaker 3: the way. Really yeah, Well it's Vinnie was laying on
• 47:27
  Speaker 3: the couch with us, and I paused it at a
• 47:29
  Speaker 3: certain point and came back to it, and a man
• 47:33
  Speaker 3: I pressed play and the volume was up a little
• 47:35
  Speaker 3: too loud, and Amanda was trying to move a blanket
• 47:38
  Speaker 3: from underneath of him right when that was happening, and
• 47:41
  Speaker 3: he flipped the fuck out. I think it was the
• 47:43
  Speaker 3: combination of the the sound of the birds and the blanket.
• 47:47
  Speaker 3: He didn't have a good rest of his night. So
• 47:49
  Speaker 3: this is not the scariest movie that he's ever seen.
• 47:51
  Speaker 4: Okay, was that, Bubby? Yeah, poor puppy. But I want
• 47:56
  Speaker 4: to talk about something that that you mentioned, because, like
• 47:59
  Speaker 4: you had mentioned it, just the concept of this movie
• 48:02
  Speaker 4: seems so ridiculous, especially after watching the birds too, because
• 48:05
  Speaker 4: on paper, the idea of being terrorized by crows and
• 48:08
  Speaker 4: gulls does feel like it borders on parody, right, Like,
• 48:12
  Speaker 4: it's creatures we see every single day, we feed them
• 48:14
  Speaker 4: in parks, like we complain when they steal our fries
• 48:17
  Speaker 4: at the beach. They're ordinary animals that Hitchcock turns into
• 48:20
  Speaker 4: these horrifying monsters, and not just like one or two,
• 48:23
  Speaker 4: like there's hundreds upon maybe even thousands of these birds.
• 48:27
  Speaker 4: At some points, I know Hitchcock said, oh no.
• 48:31
  Speaker 3: No, I was gonna say, I think. I think that's
• 48:32
  Speaker 3: one thing that makes it so scary is it's such
• 48:34
  Speaker 3: an ordinary creature. It's not like we are predisposed to
• 48:39
  Speaker 3: be afraid of sharks. We are predisposed to be afraid
• 48:42
  Speaker 3: of lions. But birds are something that we encounter, like
• 48:45
  Speaker 3: you said, we encounter every day, and we're not normally
• 48:48
  Speaker 3: afraid of them.
• 48:49
  Speaker 4: And that's what this whole month is. This whole month
• 48:52
  Speaker 4: is animals that were not predisposed to ultimate like to
• 48:56
  Speaker 4: initially be afraid of right out of the gate like that.
• 48:59
  Speaker 4: We're I mean, okay, you know one of the movies
• 49:01
  Speaker 4: is Snake, so it's really a hit or miss, you know.
• 49:03
  Speaker 4: But a lot of the movies this month are movies that,
• 49:06
  Speaker 4: you know, animals typically like birds, aren't just gonna start
• 49:09
  Speaker 4: attacking you for no reason. That's why I wanted to
• 49:11
  Speaker 4: start here. And what I like about the birds though,
• 49:15
  Speaker 4: is they they aren't really organized. They're chaotic, they're explosive,
• 49:18
  Speaker 4: they're random, and you never know who they're gonna target. Uh.
• 49:22
  Speaker 4: The birthday party sequence, to me, is especially affected because
• 49:25
  Speaker 4: the victims are children. Hitchcock really was like, fuck them kids.
• 49:30
  Speaker 3: A lot of a lot of ti a bird to
• 49:32
  Speaker 3: that child, tie a bird to.
• 49:33
  Speaker 4: That child, and have them run on a treadmill in
• 49:35
  Speaker 4: front of a fucking backdrop of Bodega bay Uh. But
• 49:39
  Speaker 4: and it's you know, it's also happening in the daylight too,
• 49:42
  Speaker 4: So there's a lot of things that don't traditionally happen
• 49:44
  Speaker 4: in horror movies that's going on here that you're like,
• 49:47
  Speaker 4: this is fucking horrifying.
• 49:48
  Speaker 3: And I also, as someone who've seen a lot of
• 49:50
  Speaker 3: Hitchcock's films, I really appreciate the setting the Podaga bay Uh.
• 49:54
  Speaker 3: The town has kind of got a run down, gritty
• 49:56
  Speaker 3: feeling to it. It doesn't feel like the glossy world
• 50:00
  Speaker 3: that Hitchcock normally resided. You know, it's closer to that
• 50:04
  Speaker 3: of the Bates Motel in Psycho. Uh. It's a little
• 50:08
  Speaker 3: more run down, it's you know, it's not glitzy. It's
• 50:11
  Speaker 3: even just comparing that to the world of San Francisco
• 50:14
  Speaker 3: at the beginning of this film, to Bodega Bay, it
• 50:17
  Speaker 3: feels more in line of something like Texas Chainsaw Mascer,
• 50:20
  Speaker 3: which would come later on, than much else of what
• 50:24
  Speaker 3: we've seen in Hitchcock's career leading up to this. And
• 50:28
  Speaker 3: I appreciate that, even at his old age at this time,
• 50:32
  Speaker 3: that he's still playing and experimenting and trying different things.
• 50:36
  Speaker 4: Well, yeah, and he's he's very much known to not
• 50:39
  Speaker 4: like shooting on locations, so for him to do a
• 50:42
  Speaker 4: movie that is a lot of it was done in
• 50:46
  Speaker 4: Bodega Bay, but I know there's a lot of Yeah,
• 50:48
  Speaker 4: there is a lot.
• 50:49
  Speaker 3: There's a fair amount of rear screen projection being used,
• 50:53
  Speaker 3: which you know, some people can look at that and
• 50:55
  Speaker 3: think it's kind of silly looking at the time, like
• 50:59
  Speaker 3: the way that he Chcock used rerist cream projection was
• 51:01
  Speaker 3: always really clever, And there are there is like this
• 51:06
  Speaker 3: scene of Mitch and Melanie, why are walking up a
• 51:09
  Speaker 3: hill at during the during the birthday party, and that
• 51:12
  Speaker 3: that's a set like they do mix the two in.
• 51:15
  Speaker 3: But there is a fair amount of vocation shooting for
• 51:17
  Speaker 3: for a man who didn't like.
• 51:19
  Speaker 4: It, Yeah, he does not didn't like right, because ultimately,
• 51:23
  Speaker 4: in a studio you have a lot more control of
• 51:25
  Speaker 4: what's happening. And uh, but I will say I do
• 51:29
  Speaker 4: think this is one of the earliest examples of horror
• 51:33
  Speaker 4: stripping away the illusion that everyone is safe because in
• 51:35
  Speaker 4: the town where you know, it's just this little town,
• 51:37
  Speaker 4: everyone seems to know each other, and then everything completely
• 51:41
  Speaker 4: goes off the rails, like you know, there's no It's
• 51:46
  Speaker 4: like one of those movies where it's like there's no
• 51:48
  Speaker 4: supernatural curse, no government conspiracy. It's just like the birds
• 51:52
  Speaker 4: are like today is the day everyone fucking dies? Uh
• 51:56
  Speaker 4: in this small town where and there's no explanation either.
• 52:00
  Speaker 4: That's what I love about this movie. Typically, I'm like,
• 52:02
  Speaker 4: I need to know why this is happening.
• 52:04
  Speaker 3: No explanation, no resolutions. I would not be surprised if
• 52:10
  Speaker 3: George Romero took some influence from this for Knight of
• 52:14
  Speaker 3: the Living Dead because if you look at the way
• 52:15
  Speaker 3: that Knight of the Living Dead plays out what people
• 52:18
  Speaker 3: hold up in a house as these creatures are trying
• 52:20
  Speaker 3: to break their way in, it's very similar to the Birds.
• 52:25
  Speaker 3: And I know you have more you want to say,
• 52:26
  Speaker 3: but I want I cannot let this con I know
• 52:29
  Speaker 3: we were on a little bit of a time crunch,
• 52:30
  Speaker 3: but we cannot discuss the birds without me bringing up
• 52:33
  Speaker 3: ub Eworks. Sure, I don't know if you have him
• 52:36
  Speaker 3: in your notes. Ub e Works is who is responsible
• 52:39
  Speaker 3: for the visual effects in this film. I believe he
• 52:43
  Speaker 3: won an Academy Award for his work on this film.
• 52:46
  Speaker 3: But ub Eworks is an iconic name, especially if you
• 52:51
  Speaker 3: were invested in the world of Walt Disney Productions, because
• 52:55
  Speaker 3: he was He helped create Mickey mouson Oswald, The Lucky Rabbit,
• 53:01
  Speaker 3: uh and was the director, was the actual original director
• 53:05
  Speaker 3: of Steamboat Willie. Walt was uncredited on there, but Eworks
• 53:10
  Speaker 3: did the heavy lifting on Steamboat Willie uh and a
• 53:14
  Speaker 3: lot of those early cartoons, and after him and Walt
• 53:17
  Speaker 3: never quite got along, and he eventually ended up believing
• 53:23
  Speaker 3: Walt Disney Studios to then go work in visual effects.
• 53:27
  Speaker 3: So he is one of the icons of special effects, sorry,
• 53:32
  Speaker 3: icons of cartoon animation and what we know, and like,
• 53:35
  Speaker 3: we wouldn't have Chuck Jones, we wouldn't have Wilford Jackson
• 53:39
  Speaker 3: and those guys without the work up eworks did. But
• 53:42
  Speaker 3: then I even loved that he eventually was like, you know,
• 53:44
  Speaker 3: fuck this and would go on to do visual effects
• 53:48
  Speaker 3: and would eventually come back to Disney and he created
• 53:51
  Speaker 3: the visual effects for the original Parent Trap, which that
• 53:54
  Speaker 3: split screen photography was unheard of back when he did it.
• 53:59
  Speaker 3: You know, it's kind of a movie we look down
• 54:02
  Speaker 3: upon because of its racist iconography, but like he did.
• 54:05
  Speaker 3: He was the one who mixed the animation. No, no, no,
• 54:08
  Speaker 3: I'm getting to it. Uh, he's the one who He's
• 54:11
  Speaker 3: the one who mixed the animation with live action for
• 54:15
  Speaker 3: Song of the South, which is the movie I'm referenceding. Yeah, uh,
• 54:20
  Speaker 3: and he is. He is a genius. He also worked
• 54:23
  Speaker 3: on Mary Poppins and a bunch of other visual effects.
• 54:26
  Speaker 3: And we have to bring him up because you can
• 54:29
  Speaker 3: look at these visual effects and be like, hey, maybe
• 54:31
  Speaker 3: these don't hold up, but the back in nineteen sixty three,
• 54:34
  Speaker 3: these fucked people's minds.
• 54:36
  Speaker 4: Well yeah, and I mean even watching it on the
• 54:38
  Speaker 4: four K, uh, because I got the four K for
• 54:41
  Speaker 4: this squad to four K looks fantastic, And yeah, do
• 54:44
  Speaker 4: the effects hold up?
• 54:46
  Speaker 3: Yes?
• 54:46
  Speaker 4: And no, uh there are some scenes where that look great.
• 54:50
  Speaker 4: There are some scenes that don't look the best. But
• 54:52
  Speaker 4: I mean, at the end of the day, for nineteen
• 54:54
  Speaker 4: sixty three, superimposing all of the fucking birds flying around,
• 54:59
  Speaker 4: I mean I can't even imagine having to do all
• 55:03
  Speaker 4: of that. And yes, in nineteen sixty three, this would
• 55:06
  Speaker 4: have blown everybody away, like holy shit.
• 55:10
  Speaker 3: Yeah, I had I had to bring him up.
• 55:12
  Speaker 4: No, that's perfect. Yeah, I mean we have to mention
• 55:15
  Speaker 4: the effects that you absolutely have to for the.
• 55:18
  Speaker 3: He also did the skeleton He also did the skeleton
• 55:21
  Speaker 3: dance for Disney, you know, the spooky, scary skeletons like animation.
• 55:25
  Speaker 4: Yeah, yeah, yeah, yeah. Wow. This man is a man.
• 55:29
  Speaker 4: This man has done everything. Yeah, and I still I
• 55:33
  Speaker 4: still think you, Like I said, I still think the
• 55:34
  Speaker 4: effects hold up. There's also a lot of practical use too. Yeah,
• 55:38
  Speaker 4: and there's there's some practical use of puppets. There are
• 55:41
  Speaker 4: real birds in there as well, and there's.
• 55:43
  Speaker 3: There's some poor treatment of real birds in this.
• 55:45
  Speaker 4: There are definitely some poor treatment of real birds. You know,
• 55:47
  Speaker 4: I think this was probably back before we had really
• 55:49
  Speaker 4: established animal safety practices and stuff like that.
• 55:53
  Speaker 3: You know, but gets a little squirrely, and you know
• 55:57
  Speaker 3: a lot of people got hurt, Like twelve people including
• 55:59
  Speaker 3: Tippy Hedron, got severely injured on this movie. Because as
• 56:03
  Speaker 3: much as I will compliment him as a filmmaker, Hill
• 56:05
  Speaker 3: for Hitchcock was kind of a maniac and did not
• 56:09
  Speaker 3: treat his specifically his actresses very well. Yeah, some actresses
• 56:14
  Speaker 3: had a lot of good things to say about him.
• 56:15
  Speaker 3: Other ones like Tippy Hedron, did not. But she came
• 56:19
  Speaker 3: back and did Marnie because she wanted to stick it
• 56:20
  Speaker 3: to him and show that she can act.
• 56:22
  Speaker 4: Yeah, that she could. That was gonna be My next
• 56:25
  Speaker 4: comment is like, it's interesting that she wanted to work
• 56:28
  Speaker 4: with him again after having such a terrible experience on
• 56:30
  Speaker 4: the birds. But that what you just said makes a
• 56:33
  Speaker 4: lot of sense. So the last thing I'll mention here
• 56:37
  Speaker 4: is kind of the last act. It's around ninety three
• 56:39
  Speaker 4: minutes we get another transformation yet again. Sun goes down, windows,
• 56:44
  Speaker 4: boarded up, furniture shived against doors, and the Brennan home
• 56:47
  Speaker 4: becomes this fortress, and now we're into like this kind
• 56:52
  Speaker 4: of home invasion movie where the birds are outside and
• 56:55
  Speaker 4: they're obviously trying to get in. I want to know
• 56:58
  Speaker 4: what that door was made out of that they were
• 57:00
  Speaker 4: pecking through, because either the door was paper mache or
• 57:03
  Speaker 4: the birds beaks were made out of some sort of vibranium,
• 57:06
  Speaker 4: because how are they poking through that fucking door? But
• 57:10
  Speaker 4: that one wasn't so much of a jarring tonal shift
• 57:12
  Speaker 4: as the birthday party was. That one makes sense they
• 57:14
  Speaker 4: were taking refuge, they were boarding up that they were
• 57:16
  Speaker 4: boarding up the door. So I enjoy that one because
• 57:19
  Speaker 4: what we're losing in spectacle of all of these birds attacking.
• 57:23
  Speaker 4: I think we gain this suffocating tension, this suspense through restraint.
• 57:30
  Speaker 4: There's again there's no score. Outside of the weird bird noises,
• 57:34
  Speaker 4: it's just silence. You know, you'll get fluttering wings of
• 57:37
  Speaker 4: pecking outside. Hitchcock forces us to become like hyper aware
• 57:41
  Speaker 4: of every sound because the characters are doing the same thing.
• 57:45
  Speaker 4: They're also reacting to those sounds, and I think not
• 57:47
  Speaker 4: having a score in this movie ultimately enhanced the tension,
• 57:52
  Speaker 4: the drama, and making us feel like we were a
• 57:55
  Speaker 4: part of the movie rather than just watching the movie.
• 58:00
  Speaker 4: That's just me though, how you feel.
• 58:01
  Speaker 3: I completely agree, and I watched The four K and
• 58:05
  Speaker 3: I have to say, like the mono soundtrack is quite impressive.
• 58:07
  Speaker 3: And I don't normally believe in doing surround mixes for
• 58:13
  Speaker 3: movies that don't need it, but this is one where
• 58:15
  Speaker 3: I feel like you could have potentially done some really
• 58:18
  Speaker 3: creative like at most mixing, if you had the elements
• 58:22
  Speaker 3: to do so.
• 58:23
  Speaker 4: Yeah, I agree, I know, of course I watched it.
• 58:25
  Speaker 4: I don't know if the four K has any full.
• 58:28
  Speaker 3: Surround, but it's it's just it's just mono.
• 58:30
  Speaker 4: Yeah, it's just mono. And h yeah it does sound actually,
• 58:33
  Speaker 4: it sounds sounds pretty good honestly, and like the picture
• 58:37
  Speaker 4: looks great. The picture is incredibly sharp. Uh man, that
• 58:41
  Speaker 4: four K looks really good. And then really the ending too,
• 58:45
  Speaker 4: after after they have all the stuff going on inside
• 58:48
  Speaker 4: of the house, I can't remember where the fucking school
• 58:54
  Speaker 4: scene happens. Is that before they get to the house.
• 58:57
  Speaker 3: Yeah, oh yeah, it's way before.
• 58:58
  Speaker 4: Okay, so yeah you have that mean where everyone's at
• 59:02
  Speaker 4: the school and I don't know why they left, why
• 59:06
  Speaker 4: did they leave this? Y'all were safe? And then you're like,
• 59:08
  Speaker 4: we're gonna take all these kids down into the streets,
• 59:10
  Speaker 4: and the birds were like the fuck you are and started.
• 59:14
  Speaker 4: I found that so bizarre that they just left.
• 59:17
  Speaker 3: The only thing I can think of is you have
• 59:18
  Speaker 3: to kind of think about like what information they truly
• 59:21
  Speaker 3: had at that time, Like, yeah, there was there was
• 59:24
  Speaker 3: a isolated case of these birds attacking, and they're all
• 59:27
  Speaker 3: kind of like weirded out by it, but you know,
• 59:30
  Speaker 3: it's I think it's this human nature thing where like
• 59:32
  Speaker 3: you don't think it's gonna happen twice, like once again,
• 59:35
  Speaker 3: look at Jaws. You know, like what one guy was
• 59:38
  Speaker 3: attacked by a shark, But you know it's not gonna
• 59:41
  Speaker 3: happen again, trust me, you know. And then you you
• 59:46
  Speaker 3: they also and this came much before too. You had
• 59:48
  Speaker 3: that phenomenal scene in like the bar restaurant where they're
• 59:53
  Speaker 3: kind of having the debate about what's going on. And
• 59:59
  Speaker 3: by the way, beginning you talked about how there's mild
• 1:00:02
  Speaker 3: alcohol and cigarette usage. I love that the woman comes
• 1:00:04
  Speaker 3: in and gets changes so she can feed the cigarette machine.
• 1:00:07
  Speaker 3: I just thought that was so of its time and
• 1:00:09
  Speaker 3: kind of beautiful.
• 1:00:12
  Speaker 4: Uh, just the utter fucking like I wasn't sure if
• 1:00:15
  Speaker 4: this was a liquor store or a bar because the
• 1:00:18
  Speaker 4: back wall had so much liquor. I was like, good lord,
• 1:00:22
  Speaker 4: it's both. Yeah, it's like a package store and a bar.
• 1:00:26
  Speaker 3: But no, it's like you know that that final sequence
• 1:00:29
  Speaker 3: in or not final, it's actually a couple. It's a
• 1:00:31
  Speaker 3: big chunk of the film when they're actually locked up
• 1:00:34
  Speaker 3: in the house. It's got a little once again using
• 1:00:36
  Speaker 3: the save the cat, you know, mentality. It's got everything
• 1:00:39
  Speaker 3: that's got the bad guys closing in, which is clear
• 1:00:41
  Speaker 3: with the birds. It's got the all is lost moment
• 1:00:43
  Speaker 3: where like, how the fuck are we gonna get out
• 1:00:46
  Speaker 3: of this? What are we gonna do? They should have
• 1:00:48
  Speaker 3: just dipped when they had the chance, right, It's got
• 1:00:51
  Speaker 3: the you know, the dark Knight of the Soul, which
• 1:00:53
  Speaker 3: is the moment where you know they're at their most
• 1:00:57
  Speaker 3: dire circumstances and then they're break into Act three is
• 1:01:02
  Speaker 3: when shit, let's let's try to get through this. And
• 1:01:06
  Speaker 3: that's probably roughly when Mitch has to sneak out to
• 1:01:11
  Speaker 3: the car, which is a really incredible sequence.
• 1:01:15
  Speaker 4: Are you talking about when he opens the garage?
• 1:01:17
  Speaker 3: Yep? Oh yeah, all of that that's all great. You know,
• 1:01:20
  Speaker 3: we didn't talk about it, but the oh another thing
• 1:01:24
  Speaker 3: kind of going towards how I think they kind of
• 1:01:27
  Speaker 3: pieced this out perfectly. We didn't even talk about the
• 1:01:29
  Speaker 3: old guy who had his eyes pecked out.
• 1:01:31
  Speaker 4: Oh god, that's right. Yeah, there are some genuinely.
• 1:01:35
  Speaker 3: Uh a shocking moment. And then just see the birds
• 1:01:38
  Speaker 3: mangled in the windows who were trying to get it.
• 1:01:40
  Speaker 3: Oh fuck that. To have no music and to have
• 1:01:45
  Speaker 3: that sequence work as well as it did, uh, just
• 1:01:48
  Speaker 3: because this movie builds dread in a way that is
• 1:01:51
  Speaker 3: actually impressive for having no music. It's it's it's quite astonishing.
• 1:01:54
  Speaker 4: Yeah, there are some really really good shots. The guy
• 1:01:57
  Speaker 4: got his eyes poked out. I think his name was Don.
• 1:02:00
  Speaker 4: And then at the restaurant, bar, package store, whatever you
• 1:02:05
  Speaker 4: want to call it, when for some reason, you know,
• 1:02:07
  Speaker 4: Tippy Hedron decides to just go to the phone booth.
• 1:02:09
  Speaker 4: I don't know why. There's a great moment where, well,
• 1:02:13
  Speaker 4: I guess it's right before that, where there's a guy
• 1:02:15
  Speaker 4: outside lighting a cigarette and a cigar. They're like, don't
• 1:02:19
  Speaker 4: do that, don't do that, and then we get a
• 1:02:21
  Speaker 4: big explosion and as Tippy's in the in the phone booth.
• 1:02:25
  Speaker 4: You have a guy barreling down the road who hits
• 1:02:27
  Speaker 4: the stop sign, fucking skirts into the other car, and
• 1:02:31
  Speaker 4: I was like, this is like full full blown panic
• 1:02:35
  Speaker 4: right now. And then of course, you know, Rod comes
• 1:02:38
  Speaker 4: in and puts her back into the to the restaurant. Yeah,
• 1:02:42
  Speaker 4: but so yeah that.
• 1:02:43
  Speaker 3: I only only got like fifteen minutes before we got
• 1:02:45
  Speaker 3: to wrap this up. So I don't want to. I
• 1:02:46
  Speaker 3: don't want to keep yapping too much.
• 1:02:48
  Speaker 4: No, yeah, I want to. I just wanted to mention
• 1:02:52
  Speaker 4: the last kind of like I say, I'm calling it
• 1:02:55
  Speaker 4: like the epilogue in a way where he opens the door.
• 1:02:59
  Speaker 4: The birds have so suddenly become quiet. The attack stop.
• 1:03:04
  Speaker 3: Not knowing when they're gonna attack is what's really just unsettling.
• 1:03:07
  Speaker 4: Right, And Rod is just kind of stepping through the birds,
• 1:03:12
  Speaker 4: you know, he gets in his car, he moves it
• 1:03:15
  Speaker 4: up tippy heddron at this point is in like some
• 1:03:18
  Speaker 4: sort of psychosis. And then she sees all the birds
• 1:03:21
  Speaker 4: and she's like no, no, and they're.
• 1:03:23
  Speaker 3: Like, just get to the car.
• 1:03:25
  Speaker 4: But this that scene I think was the most impactful
• 1:03:29
  Speaker 4: because you have all the birds, you have all the goals,
• 1:03:31
  Speaker 4: you have all the ravens that they're using, just sitting
• 1:03:34
  Speaker 4: there and it's like they could attack at any moment,
• 1:03:37
  Speaker 4: but they don't. And then they drive off into.
• 1:03:39
  Speaker 3: The sunress slow driving in that final image, just like
• 1:03:46
  Speaker 3: the sun, like the sun, the sun coming through the clouds,
• 1:03:49
  Speaker 3: which should be a hopeful image, but everything is just
• 1:03:52
  Speaker 3: covered in birds. You don't know what they're driving off to.
• 1:03:55
  Speaker 3: Because they made reference in the film that there had
• 1:03:58
  Speaker 3: been some attacks in nearby towns, but not as bad
• 1:04:02
  Speaker 3: as Bodega Base, so we don't know if this is
• 1:04:04
  Speaker 3: gonna spread.
• 1:04:04
  Speaker 4: Yeah, and there's roadblocks that have been put up too,
• 1:04:07
  Speaker 4: and that's why I feel like it's all it almost
• 1:04:09
  Speaker 4: air blocks, Yeah, air blocks. It almost feels post apocalyptic,
• 1:04:13
  Speaker 4: right because it seems like civilization is collapsing, normal life
• 1:04:18
  Speaker 4: has ended. These survivors, survivors are cautiously navigating the ruins
• 1:04:23
  Speaker 4: of this town as they exit and going back to
• 1:04:28
  Speaker 4: what you said. You know, Films like Night A Living Dead,
• 1:04:30
  Speaker 4: The Road, A Quiet Place Other, you know, and countless
• 1:04:33
  Speaker 4: other movies would later build entire stories around this exact feeling.
• 1:04:36
  Speaker 4: So I think Hitchcock gets less than like ten minutes
• 1:04:41
  Speaker 4: of that moment, and it really is one of the
• 1:04:44
  Speaker 4: boldest decisions I think of the movie. It ends no explanation,
• 1:04:48
  Speaker 4: no breakthrough, no military intervention, just no narration telling us
• 1:04:52
  Speaker 4: what happens next. The birds remain humanity leaves roll credits
• 1:04:57
  Speaker 4: or you know, roll the Universal pictures because they've already
• 1:05:00
  Speaker 4: done the credit at the beginning. So the mystery of
• 1:05:02
  Speaker 4: this movie really lingers kind of forever. You have no
• 1:05:04
  Speaker 4: idea what's happening, and a lot of the times I
• 1:05:06
  Speaker 4: need my explanation. But in this case, I like not knowing.
• 1:05:09
  Speaker 4: You're like, what happens after? I guess I'll have to
• 1:05:12
  Speaker 4: watch the Birds too. The land.
• 1:05:15
  Speaker 3: I'm always surprised. I'm always surprised that you crave explanation
• 1:05:21
  Speaker 3: as much as you do, only just because I feel
• 1:05:23
  Speaker 3: like horror works so much better without it.
• 1:05:25
  Speaker 4: Sometimes I feel like, I do you know? But you're right.
• 1:05:28
  Speaker 4: A lot of the times, an answer I've learned this
• 1:05:31
  Speaker 4: over time. A lot of the times an answer to
• 1:05:33
  Speaker 4: things weakens the story. Now my only combat to this
• 1:05:39
  Speaker 4: is just as Michael Myers, like, he snaps as a
• 1:05:42
  Speaker 4: kid and then he's a serial killer. That's where I
• 1:05:44
  Speaker 4: need explanation. Something happened to him. Usually you don't just
• 1:05:48
  Speaker 4: go crazy something changes in your DNA or something. But
• 1:05:51
  Speaker 4: like in an instance like this, like yeah, like they're
• 1:05:54
  Speaker 4: going somewhere, who knows what's happening, because an explanation of
• 1:05:58
  Speaker 4: what happens is ultimately go doull the effect of not knowing.
• 1:06:02
  Speaker 4: So yeah, I'm very hit or missing up and down
• 1:06:05
  Speaker 4: with that. But I think that's all I have on
• 1:06:07
  Speaker 4: the birds. Anything else you'd like to add before we
• 1:06:10
  Speaker 4: move on? Here?
• 1:06:11
  Speaker 3: E works is the man.
• 1:06:12
  Speaker 4: I'll be works. I will agree. All right, let's move
• 1:06:16
  Speaker 4: into the final cut here. Taglines. These are some of
• 1:06:19
  Speaker 4: the worst taglines I've seen. Please do not see the
• 1:06:24
  Speaker 4: end first, see it from the beginning.
• 1:06:27
  Speaker 3: Oh well, you know, so Hitchcock had this whole fucking thing.
• 1:06:30
  Speaker 3: So this started in Psycho. So fun fact for the
• 1:06:32
  Speaker 3: listeners out there, there was a period of time where
• 1:06:37
  Speaker 3: start times for movies didn't matter. People just showed up
• 1:06:40
  Speaker 3: at the movies. They watched wherever the movie was at,
• 1:06:42
  Speaker 3: and then it ended and then they would, you know,
• 1:06:45
  Speaker 3: it would play again and they would just watch up
• 1:06:47
  Speaker 3: until wherever they left off. Oh and Hitchcock started this
• 1:06:53
  Speaker 3: with Psycho where he didn't like that because he thought
• 1:06:56
  Speaker 3: if you came at the wrong time of Psycho, You're
• 1:06:59
  Speaker 3: gonna miss out on some really important shit.
• 1:07:01
  Speaker 4: Yeah, so.
• 1:07:03
  Speaker 3: He had very strict times. And there's actually great standis
• 1:07:07
  Speaker 3: of Hitchcock with his watch and it's like, this movie
• 1:07:09
  Speaker 3: starts promptly at this time, and no one after a
• 1:07:12
  Speaker 3: certain point will be admitted. Okay, So that kind of
• 1:07:17
  Speaker 3: ties into that because Hitchcock was trying to change cinema culture.
• 1:07:22
  Speaker 3: So it's kind of crazy to think that up till
• 1:07:23
  Speaker 3: like nineteen sixty three, that's how movies worked.
• 1:07:27
  Speaker 4: Oh my, okay, we've come a long way.
• 1:07:30
  Speaker 3: Some history.
• 1:07:31
  Speaker 4: Uh Suspenson shock beyond anything you've ever seen or imagined.
• 1:07:36
  Speaker 4: Nothing you have ever witnessed before has prepared has prepared
• 1:07:40
  Speaker 4: you for such sheer stabbing shock and the Birds is
• 1:07:45
  Speaker 4: coming and not the greatest fun trivia though here I
• 1:07:50
  Speaker 4: like this because this is fucked up. When audience has
• 1:07:52
  Speaker 4: left the UK premiere at the Odeon Leicester Square, London,
• 1:07:57
  Speaker 4: they were greeted by the sound of screeching and fled
• 1:08:00
  Speaker 4: birds from a loud speaker hidden in the trees to
• 1:08:02
  Speaker 4: scare them further. That's fucked up, but kind.
• 1:08:06
  Speaker 3: It's so fucking good though, kind of funny.
• 1:08:09
  Speaker 4: Alfred Hitchcock revealed on the Dick Cavot Show that nineteen
• 1:08:12
  Speaker 4: sixty eight that thirty two hundred birds were trained for
• 1:08:14
  Speaker 4: the movie. He said the ravens were the cleverest and
• 1:08:17
  Speaker 4: the seagulls were the most vicious. Accurate Rod Taylor claims
• 1:08:22
  Speaker 4: that the seagulls were fed a mixture of wheat and whiskey.
• 1:08:25
  Speaker 4: It was the only way to get them to stand
• 1:08:26
  Speaker 4: around so much. One bird, name Our Kind, really seemed
• 1:08:32
  Speaker 4: to dislike Taylor, who played Mitch Brenner. The feathered Star,
• 1:08:35
  Speaker 4: went out of his way to attack the actor, even
• 1:08:38
  Speaker 4: when the cameras weren't rolling. Every morning, if we were
• 1:08:41
  Speaker 4: on the set together, he'd come over and bite me.
• 1:08:44
  Speaker 4: Taylor revealed, I hated him, and he had me.
• 1:08:48
  Speaker 3: I hate that fucking bird.
• 1:08:49
  Speaker 4: A fucking gull. And lastly, here the classic scene in
• 1:08:52
  Speaker 4: which Tippy Hedron watches birds attacking the townsfolk was filmed
• 1:08:56
  Speaker 4: in the studio from a phone booth. When Melanie opens
• 1:08:58
  Speaker 4: the phone booth door, a bird trainer had trained goals
• 1:09:01
  Speaker 4: that were taught to fly at it. Surviving photos of
• 1:09:04
  Speaker 4: the shooting of the scene we're published in the book
• 1:09:07
  Speaker 4: Hitchcock at work by Bill cron no goose that I
• 1:09:10
  Speaker 4: could find a value rated at seven point six out
• 1:09:13
  Speaker 4: of ten on IMDb, which equivalates to a three point
• 1:09:16
  Speaker 4: eight out of five on Letterbox, or for our purposes
• 1:09:20
  Speaker 4: of the Nightmare Index, three point seven out of five
• 1:09:23
  Speaker 4: on Letterbox, ninety five percent on the Tomato Meter, and
• 1:09:27
  Speaker 4: an eighty three percent audience score. I know, Michael, it's
• 1:09:30
  Speaker 4: considering not giving ratings anymore, which is fine. But if
• 1:09:33
  Speaker 4: you were to rate this, what do you think you'd
• 1:09:35
  Speaker 4: give it?
• 1:09:36
  Speaker 3: So you're that is accurate? I have the least for
• 1:09:38
  Speaker 3: the time being, have decided to just do away with
• 1:09:40
  Speaker 3: ratings for a little while. But for sake of this podcast,
• 1:09:47
  Speaker 3: I have thought about this, and instead of stars, I'm
• 1:09:51
  Speaker 3: going to give it there is a gentleman in this
• 1:09:53
  Speaker 3: movie who plays a fisherman and his name is Doodles Weaver.
• 1:09:57
  Speaker 3: So I'm gonna give it four doodle Doodles Weaver out
• 1:09:59
  Speaker 3: of five.
• 1:10:00
  Speaker 4: Okay, So for I'm gonna actually stick to my three
• 1:10:04
  Speaker 4: and a half now that we've discussed it, so that
• 1:10:07
  Speaker 4: gives us a Nightmare Index of a three point seven five,
• 1:10:13
  Speaker 4: which is going to sit right in between. We are
• 1:10:17
  Speaker 4: still here at a three point six y nine and
• 1:10:20
  Speaker 4: Ginger Snaps at a three point seven eight. Also from
• 1:10:23
  Speaker 4: the Corrections Department regarding the nightmare index, Werewolves on Wheels
• 1:10:29
  Speaker 4: did fall above Monster Seafood Wars having a one point
• 1:10:32
  Speaker 4: set nine to seven out of five, Monster Seafood Wars
• 1:10:35
  Speaker 4: having a one point nine to zero out of five.
• 1:10:37
  Speaker 4: I don't think anything is gonna go lower than that.
• 1:10:40
  Speaker 4: Similar movies. According to IMDb, we're gonna have a lot
• 1:10:43
  Speaker 4: of Hitchcock movies because usually they go by director Vertigo, Psycho,
• 1:10:48
  Speaker 4: Marnie Rope, and North by Northwest. Similar movies. According to Letterbox,
• 1:10:53
  Speaker 4: we have Jaws, The Happening, Psycho Kujo, and bird Box.
• 1:10:58
  Speaker 4: I assume because the name bird in the title, because
• 1:11:01
  Speaker 4: I don't remember there being actual birds in Burden. Yeah.
• 1:11:04
  Speaker 3: I think it feels like it was kind of post
• 1:11:06
  Speaker 3: apocalyptic though, so maybe.
• 1:11:07
  Speaker 4: Oh true true. Let's do some funny reviews and then
• 1:11:10
  Speaker 4: we'll get the hell out of here.
• 1:11:11
  Speaker 3: Okay, I grabbed a couple. It was a little harder
• 1:11:15
  Speaker 3: to do because this movie is so well liked, So
• 1:11:19
  Speaker 3: I went for people who didn't like the movies. Oh, perfectly.
• 1:11:23
  Speaker 3: If you want to start a.
• 1:11:24
  Speaker 4: King, if you went for people that didn't like it.
• 1:11:27
  Speaker 4: I have a lot of people who did like it,
• 1:11:29
  Speaker 4: so I'll go four stars from Maya. Everyone, Mitch, what's happening, Mitch?
• 1:11:34
  Speaker 4: How the fuck would I know? I kept saying that.
• 1:11:38
  Speaker 4: I'm like, why would he know? Stop asking me again.
• 1:11:42
  Speaker 3: I thought it was weird that Mitch referred to as
• 1:11:43
  Speaker 3: his mom's deer.
• 1:11:45
  Speaker 4: Yeah, that was that was strange. That was definitely strange.
• 1:11:48
  Speaker 3: As I got Zach gave a star and a half.
• 1:11:51
  Speaker 3: He says, what a snoozer. My friends and I put
• 1:11:53
  Speaker 3: on two hours of silence, occasionally broken by fart noises,
• 1:11:56
  Speaker 3: just to keep us invested. The gen Z attention spans
• 1:12:00
  Speaker 3: couldn't handle.
• 1:12:00
  Speaker 4: This, so that's the problem. It's gen Z. Three and
• 1:12:05
  Speaker 4: a half stars from Maria the og Angry Birds movie.
• 1:12:11
  Speaker 3: This one is from a buddy of mine, Brandan Klein.
• 1:12:13
  Speaker 3: He actually does love this movie. He gave it four
• 1:12:15
  Speaker 3: and a half stars. He says, I relate to Tippy
• 1:12:17
  Speaker 3: Hedron so much because my hair also gets messire to
• 1:12:21
  Speaker 3: reflect my emotional state.
• 1:12:25
  Speaker 4: Let's see here, I've got uh oh. I love this
• 1:12:29
  Speaker 4: one because of the conspiracy theory. Four stars from Abigail
• 1:12:32
  Speaker 4: good Thing. Birds aren't really actually real, because there's a
• 1:12:35
  Speaker 4: whole conspiracy about birds not being real and it is
• 1:12:40
  Speaker 4: just some silly shit.
• 1:12:42
  Speaker 3: This is from Grace, you gave it a half star,
• 1:12:44
  Speaker 3: says By. Why was she Amazon one day Delivery before
• 1:12:48
  Speaker 3: Amazon one Day Delivery was a thing?
• 1:12:52
  Speaker 4: She was there pretty quick. Uh no rating, but just
• 1:12:56
  Speaker 4: a heart from Demi at a jiu yeb g drop
• 1:13:01
  Speaker 4: some bread and run girl. Damn. I think that might
• 1:13:04
  Speaker 4: have helped.
• 1:13:05
  Speaker 3: Wait, what was the name on that one?
• 1:13:07
  Speaker 4: Uh, Demi ade juyib Ge.
• 1:13:12
  Speaker 3: Oh he's on Uh he's on Game Changer and a lout.
• 1:13:15
  Speaker 4: Of those Oh okay, hell yeah.
• 1:13:19
  Speaker 3: Okay, I got another one. This one is from Osti
• 1:13:22
  Speaker 3: Underscore zero nine, half star. I would have beat the
• 1:13:24
  Speaker 3: fuck out of those birds. Movie would be over in
• 1:13:26
  Speaker 3: ten minutes. Okay.
• 1:13:29
  Speaker 4: Three stars from marsh Boy, don't let your birds watch
• 1:13:32
  Speaker 4: this alright?
• 1:13:34
  Speaker 3: And then my last one is from brock Fama half star.
• 1:13:39
  Speaker 3: Holy hell, just don't Hitchcock's stinkiest slopfest. I hate that
• 1:13:43
  Speaker 3: people told me this movie is scary. I despise that
• 1:13:46
  Speaker 3: this is considered a must watch to people. I refuse
• 1:13:49
  Speaker 3: to watch the sequel because if it's any worse, it
• 1:13:51
  Speaker 3: could be considered MK ultra level torture.
• 1:13:54
  Speaker 4: It's gonna be worse. So it did, uh last one.
• 1:14:01
  Speaker 4: Let's see here two and a half stars from No
• 1:14:04
  Speaker 4: End rooting for the birds because they deserved better. And
• 1:14:07
  Speaker 4: you know what, even though they were attacking people, they
• 1:14:10
  Speaker 4: definitely deserve better. All right, So, Michael, where can people
• 1:14:14
  Speaker 4: hear the sultry sound of your book voice on your podcast?
• 1:14:18
  Speaker 3: All right? You can find my podcast, the Shame List
• 1:14:21
  Speaker 3: Picture Show at all everywhere you find podcasts around the
• 1:14:23
  Speaker 3: someone's favorite productions network, along with Austin's show and a
• 1:14:28
  Speaker 3: lot of other fantastic stuff. I'm on Letterboxed Buyers ten,
• 1:14:31
  Speaker 3: two thousand and eight, and you can find me on
• 1:14:33
  Speaker 3: all forms of social medias either Michael Underscore Buyers or
• 1:14:37
  Speaker 3: Shame List Picture Show. Find me on Instagram, fuck TikTok.
• 1:14:42
  Speaker 3: I don't know why I still post there. They suck.
• 1:14:44
  Speaker 3: If I'm an Instagram, that's where I post on my
• 1:14:46
  Speaker 3: shit and I do physical vide reviews, I post monthly
• 1:14:50
  Speaker 3: film pics, an occasionally picture of my dogs.
• 1:14:53
  Speaker 4: And he talks about aspect ratios more than anybody on
• 1:14:56
  Speaker 4: that app. If you'd like to, If you you enjoy
• 1:15:00
  Speaker 4: the show, please rate and review on your favorite podcast
• 1:15:02
  Speaker 4: app of choice. Someone gave Michael's show a one star
• 1:15:05
  Speaker 4: and then didn't even fucking comment. Why you coward, I'm
• 1:15:09
  Speaker 4: calling you out. Boo to who that? Whoever did that?
• 1:15:13
  Speaker 4: I'm so fine booth this man, boo this man. Anyways,
• 1:15:16
  Speaker 4: follow us on Facebook, Instagram, TikTok, slasher threads, and YouTube
• 1:15:20
  Speaker 4: at Brightmar's podcast. This is how I get my one
• 1:15:22
  Speaker 4: star now. Our email is stay Spooky at outlook dot com.
• 1:15:26
  Speaker 4: Check me out on letterbox at doctor Proctor. If you
• 1:15:29
  Speaker 4: would like to expand your movie podcast listening, be sure
• 1:15:31
  Speaker 4: to check out The Shameless Picture Show, The Dead Eyed
• 1:15:34
  Speaker 4: Millennial Film Club, and one Week Rental as well also
• 1:15:37
  Speaker 4: the vast library of someone's favorite productions. There is a
• 1:15:41
  Speaker 4: podcast for you. Next week, Corey and I will be
• 1:15:45
  Speaker 4: doing The Bay from twenty twelve is our deep cut pick.
• 1:15:48
  Speaker 4: It is streaming on Pluto to Be and YouTube TV.
• 1:15:51
  Speaker 4: And I know if anybody's heard or hasn't heard about
• 1:15:53
  Speaker 4: The Bay and you read the synopsis, you're like, how
• 1:15:55
  Speaker 4: is this an animal attack movie? Oh? Just wait, you'll
• 1:15:58
  Speaker 4: see that's kind of like the whole twist of this movie.
• 1:16:01
  Speaker 4: It's great. So it might not seem like an animal
• 1:16:04
  Speaker 4: attack on the surface, because didn't things take place underwater anyways?
• 1:16:11
  Speaker 4: Until next week, I stay tuned and stays oooky.
• 1:16:55
  Speaker 1: Thank you for listening to hear more shows from the
• 1:16:58
  Speaker 1: Someone's Favorite Productions podcast Now Network. Please select the link
• 1:17:01
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