Latest / Have You Seen?! The Movie Podcast / Blazing Saddles: The Art of Satire and Roasting of The Classic Western

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Blazing Saddles: The Art of Satire and Roasting of The Classic Western · Have You Seen?! The Movie Podcast

0:16
Dylan: Welcome to Have You Seen the Movie Podcast, where every movie is a premiere.
0:22
Joe: Our month of Westerns continues, and this week we're covering one that takes pretty much everything about the classic Western and sets it on fire.
0:30
Dylan: It's Mel Brooks Blazing Saddles, a movie that's hilarious, ridiculous, wildly inappropriate, and underneath all of that has quite a bit to say.
0:40
Joe: If you're enjoying the show, make sure to follow us on your favorite podcast app and leave us a five-star rating.
0:46
Joe: It really helps us grow.
0:47
Dylan: And we want to hear from you.
0:49
Dylan: Text us your name and a movie suggestion using the link in the description.
0:52
Joe: And a heads up before we get into this one, Blazing Saddles contains frequent racial slurs, racist language, sexual humor, and other material that may not be suitable for younger listeners.
1:04
Joe: We'll be discussing some of that content today.
1:07
Joe: So listener discretion is advised.
1:10
Dylan: All right, let's saddle up.
1:14
Dylan: Man, I did not know what to expect going into this one.
1:20
Dylan: Because honestly, like a lot of what I heard about this movie was just that it was like had a lot of like racial stuff in it.
1:29
Joe: Yeah.
1:30
Dylan: And not knowing anything about it, you know, yeah.
1:35
Dylan: I was like, Joe, are you what are you sure you want to do that for the podcast?
1:43
unknown: Yeah.
1:45
Joe: Yeah.
1:46
Joe: Um, I feel like there's gonna be quite a few Mel Brooks coming up.
1:51
Joe: And for me, this was I felt like this was my introduction of Mel Brooks, even though I didn't know And what an introduction it was.
2:01
Joe: Even though I didn't know he had done uh uh Spaceballs and Men and Tights, and I had kind of seen him before, I really understood it after.
2:11
Joe: I was like, oh, okay.
2:16
Dylan: So before we jump into the movie too much, let's talk about how we watched it.
2:21
Joe: Well, we watched it on Blu-ray.
2:26
Joe: Uh the I I've heard conflicting uh commentary on the 4K recently.
2:35
Joe: Like oh really?
2:36
Joe: Yeah, because there's a 4K out, but I like it.
2:38
Dylan: It the whole did it get the yeah, George Lucas treatment?
2:42
Joe: No, it just wasn't a good transfer from what I heard.
2:46
Joe: Oh I'm trying to wait to see if there's any like other like art houses or maybe a special Warner Brothers release that might come out that might be better.
2:55
Joe: A little cleaner, yeah.
2:56
Joe: So I've been waiting on getting a 4K, but so we watched the Blu-ray uh Dolby Digital 5.1, which for for what it is, it I felt like it still had some good quality to it.
3:07
Dylan: Yeah, it definitely held up.
3:09
Joe: Yeah.
3:10
Dylan: Alright, Joe.
3:11
Dylan: Let's talk blazing saddles.
3:13
Dylan: Yeah.
3:15
Dylan: So when did this movie actually come out?
3:18
Joe: Uh 1974.
3:20
Dylan: Which is honestly a lot later for the language that was used.
3:24
Joe: Right.
3:25
Dylan: So directed by Mel Mel Brooks, obviously.
3:29
Joe: Yeah.
3:31
Dylan: So who was actually one of the writers?
3:35
Joe: So the main writer was Andrew Bergman.
3:39
Joe: Um, he had started it as a treatment called um Tex X.
3:45
Joe: Tex X.
3:46
Joe: So kind of like a you know Western uh John Wayne or you know, whatever uh meets Malcolm X type thing.
4:00
Joe: Okay.
4:00
Joe: So it was Tex X, and that was the original kind of idea behind it.
4:06
Dylan: For those of us who don't know, what is Malcolm X?
4:10
Joe: Oh, Malcolm X uh was a civil rights activist uh in the 60s.
4:17
Joe: Uh him and Martin Luther King were probably the two more most influential uh civil rights activists.
4:26
Joe: Okay.
4:27
Joe: Yeah.
4:27
Joe: So gotcha.
4:29
Joe: So they that was kind of the the kind of imagery they wanted was like a you know, because it was a black sheriff.
4:37
Joe: Yeah.
4:38
Joe: Um Mel Brooks described it as hip talk 1974 talk and expressions happening in 1874 in the old West.
4:49
Joe: He was immediately taken by the story, and despite having not worked with the writing team for some time, hired a group of writers, including Bergman, to expand on the script, uh, reminding them, please do not write a polite script.
5:04
Joe: Um, he was uh out of work at the time, and an agent had called him up and said, you know, I read this Tex X script, and it has a very Mel Brooks Brooksian to it.
5:16
Joe: Yeah.
5:17
Joe: He said it was very Melbroxian, so he was like, Well, you know, I I haven't really done stuff that I haven't written, and I I want to do this, and it sounds great.
5:28
Joe: So um he thought it'd be great to have a bunch of people write in a room, like kind of like the way you know SNL does and a lot of other like comedy shows.
5:40
Joe: Yeah, that's kind of what they you know what the old school was is like you sit around and you write stuff, just see what sticks, yeah, see what the best stuff is and keep it all in, you know.
5:51
Joe: Um, so Richard Pryor was added to the writers, and he was one of the biggest stand-up comedians.
5:59
Joe: Um he wrote a lot of the mango stuff, and Brooks wrote a lot of the Black Bart stuff.
6:05
Joe: Okay, yeah.
6:07
Joe: Huh.
6:08
Joe: Mal Brooks described the writing process as chaotic in an interview with creative writing, recalling that the movie was more or less written in the middle of a drunken fist fight.
6:19
Joe: There were five of us all yelling loudly for our ideas to be put into the movie.
6:25
Joe: Not only was I the loudest, but luckily I also had the rights as director to decide what was in it, what was out.
6:32
Dylan: He said, You get a say, but I get the final say.
6:36
Dylan: Exactly.
6:37
Joe: Yeah.
6:38
Joe: Um, they wanted the title text X, but producers thought it sounded more like a black exploitation movie.
6:44
Joe: And black exploitation movies were like, uh, you know, pretty much strictly just black movies, but they would have like main detective or like they just had these like interesting, kind of this interesting thing.
6:57
Joe: They're like Malbrooks making a black exploitation movie that's gonna be weird, or you know, and so they they also went with Black Bart as a title, and then they didn't like the sound of that, so they kind of sat on it for a while.
7:13
Joe: And then a day before shooting, Melbrooks was in the shower and just came up with blazing saddles, like it just popped into his head.
7:23
Dylan: I mean, all the best ideas come to you in the shower.
7:26
Dylan: Right?
7:26
Dylan: Yeah.
7:29
Dylan: Interesting.
7:31
Dylan: So if you haven't seen it in a while, here's the quick setup.
7:35
Dylan: When a corrupt politician wants the residents of Rock Ridge driven from their land to make way for a railroad, he deliberately appoints Bart, a black man, as the town's new sheriff, expecting the racist townspeople to reject him and descend into chaos.
7:50
Dylan: Instead, Bart proves for m what?
7:54
Dylan: Far.
7:56
Dylan: Yeah, I know that's why I was like, Wait, what?
8:00
Dylan: Okay.
8:01
Dylan: Instead, Bart proves far more clever than anyone anticipated.
8:05
Dylan: With the help of washed up gunslinger Jim, the Waco kid, he sets out to save Rock Ridge with exposing the stupidity, greed, and prejudice of nearly everyone standing in his way.
8:17
Dylan: Yeah, it was one of those things though.
8:19
Dylan: Going into it, I really did not know what to expect at all.
8:24
Dylan: You know, just from it, you know, kind of what I covered just a little bit ago.
8:32
Dylan: And I was like, okay, so is this just gonna be one of those movies where they spend two hours just like offending everyone?
8:38
Dylan: Yeah, you know.
8:41
Dylan: So what was your first time watching Blazing Saddles like?
8:46
Joe: Man, I can remember really as an adult.
8:52
Joe: I I mean I I think I had seen it before this, but uh as an adult, um maybe about 15 years ago or something like that, a friend invited me over uh for pizza in a movie, and we we we watched Blazing Saddles.
9:10
Joe: Really?
9:10
Joe: Yeah, yeah.
9:11
Joe: We kind of had some movie nights, so there were quite a few movies that I was exposed to through him.
9:20
Joe: So and uh I just remember it was hilarious, like just every joke and every you know, all the yeah just making fun of Westerns in general, yeah, all the stereotypical things and yeah, that was something that I was not expecting as much was like how it really just tried to make fun of the stereotypes, yeah, and like how stupid a lot of stereotypes just are.
9:57
Joe: Yeah.
9:58
Dylan: You know?
9:59
Joe: Yeah, yeah, I think really just how stupid race uh racist people are.
10:10
Joe: Yeah, you know, right.
10:13
Joe: So like what shocked you about it?
10:17
Joe: Like what's the biggest would you say the biggest shock was?
10:25
Dylan: Um I mean, I man, I think a lot of the language, to be quite honest, yeah, because like I don't let people use that kind of language around me.
10:39
Dylan: Yeah, and I put a stop to it if they try.
10:42
Joe: Uh-huh.
10:43
Dylan: And so, like at the beginning of it, there was a lot.
10:48
Dylan: Yeah.
10:48
Dylan: And I was I was kind of grimacing through it, and I was like, I was really questioning it, to be quite frank.
10:58
Dylan: Yeah, yeah.
10:59
Dylan: Um, but it's just one of those things of like I was pleasantly surprised at like how the jokes were done.
11:14
Dylan: Because like how like you know, Bart compared to the townsfolk and how they were just dumber than a box of rocks, you know?
11:27
Dylan: Yeah, stuff like that.
11:30
Dylan: And um it just like how it just makes like just a whole mockery out of all of the racism kind of as a whole, yeah, was surprising.
11:43
Dylan: Yeah.
11:45
Joe: Probably the use of the N-word.
11:49
Joe: Yeah, right.
11:51
Dylan: What parts of this movie though would you say have not aged well?
11:57
Joe: Um it's interesting because that question is kind of generational in some ways.
12:05
Joe: Uh you know, I'm uh what am I, Gen X?
12:09
Joe: I was born in 1979.
12:11
Joe: So the latch keys.
12:13
Joe: Yeah.
12:14
Joe: I grew up with that word in pop music, you know.
12:17
Joe: Yeah.
12:18
Joe: Like whereas kids now are like, you know, triggered by it and stuff.
12:23
Joe: So so like I just it to me, I think it's it's kind of I mean, maybe I think okay, the weird one, which isn't racial or anything, is the bean scene for you, wasn't it?
12:39
Joe: Yes, no, because Beano is a thing and it's been a thing for a while.
12:46
Joe: Uh is the Howard Johnson jokes or the Johnson jokes.
12:50
Joe: Yeah, because it's like, what?
12:51
Joe: What what is that?
12:53
Joe: What's with all the Johnson jokes?
12:55
Joe: Right.
12:56
Joe: You know, yeah.
12:57
Joe: So is there more to that than yeah, because like Howard Johnson was a famous hotel.
13:04
Joe: Okay.
13:06
Joe: And so it was like a it's considered a luxury hotel, but it was like I think it was already facing its demise in the 70s.
13:17
Joe: On the decline, yeah, and like the whole like one flavor thing was that Howard Johnson boasted that they had 30 or 28 flavors of ice cream or something like that.
13:28
Joe: So like that was kind of like one that I I had missed until I looked it up and I was like, oh, okay.
13:34
Joe: That's why because I I knew Howard Johnson, and I'm sure the other Johnson names have some relativity, but like it just to me didn't land.
13:43
Dylan: Yeah.
13:43
Dylan: Well, and that's what like I honestly just thought that the joke itself was that everybody was Johnson.
13:50
Joe: Yeah, well, yeah, that I mean it it definitely has an inbred uh you know, right.
14:00
Dylan: Yeah, it definitely was one of those things that it definitely kind of shows the difference of like you know, depicting prejudice versus like endorsing prejudice.
14:15
Joe: Yeah.
14:16
Dylan: And it's like it did a very good job of depicting that and being like, look how stupid this is.
14:22
Joe: Uh-huh.
14:23
Joe: You know.
14:24
Dylan: So I was appreciative of that for sure.
14:27
Joe: Yeah, the talents people came to love Bert.
14:29
Dylan: Right.
14:30
Dylan: As you should.
14:31
Joe: Yeah, exactly.
14:33
Dylan: So is there anything else you you really want to cover in that?
14:40
Joe: Um well, I think the biggest thing is that um that Richard Pryor was a writer on it and Cleveland Little, you know, was an actor on it, and they both, you know, approved of everything.
14:58
Joe: Yeah.
14:59
Joe: Yeah.
14:59
Joe: Um, and so they were in on the joke.
15:02
Joe: So it wasn't like uh I think people get offended because it's Mel Brooks, but they don't understand that Richard Pryor was also a writer on it.
15:11
Joe: Yeah.
15:11
Joe: You know, and I mean Richard Pryor in 60s and 70s and Eddie Murphy kind of took the you know, uh baton from there.
15:24
Joe: Yeah.
15:24
Joe: And uh, you know, people wouldn't bat an eye at anything that he had written.
15:29
Joe: So but he's he's not very it's not very publicized that he wrote on this movie.
15:36
Joe: So yeah.
15:38
Dylan: So would you say that like the approach that they took to this still effectively like communicates the same way to a modern audience?
15:50
Joe: I think so.
15:51
Joe: Yeah.
15:51
Joe: I think I think when you know, even as human beings, when we learn to laugh at ourselves and look at the dumb stuff, you know, like because I mean we usually know somebody who's that ignorant, you know.
16:07
Joe: Right.
16:09
Dylan: There's always one person in your mind that you can drum up, yeah.
16:13
Dylan: So so and so.
16:14
Dylan: Right.
16:15
Dylan: So all right, let's talk characters.
16:18
Dylan: Okay.
16:19
Dylan: So starting off, we have Sheriff Bart played by Cleveland Little.
16:29
Dylan: He was such a funny character, yeah, and his responses to the townspeople was just right, just hit the nail on the head.
16:41
Dylan: Because it was great.
16:42
Dylan: He was just like so charming in the way that he did it and like the ways that he would outsmart people.
16:50
Dylan: It like how you drew the lines between that is beyond me, but it worked.
16:56
Joe: Yeah, yeah, the whole like uh holding himself at gunpoint.
17:03
Dylan: Right.
17:06
Dylan: Put your guns down, man.
17:07
Dylan: He'll really do it.
17:08
Dylan: Yeah, yeah.
17:11
Joe: Yeah, the role of Bart was intended for Richard Pryor, but because he was controversial, he was a controversial stand-up uh comic.
17:21
Joe: Uh he struggled with drugs and alcohol.
17:25
Joe: Mel Brooks couldn't secure financing for the project with Pryor and the role.
17:30
Joe: Really?
17:31
Joe: Yeah.
17:31
Joe: And executors were just like just he he he went to every executive in LA and flew to New York and couldn't get anybody to to write off on it.
17:43
Joe: Huh.
17:44
Joe: Yeah.
17:45
Joe: Like, I mean, he he basically by going to New York was going above their heads to try to get really yeah.
17:52
Dylan: Huh.
17:53
Dylan: It's like, well, if you won't.
17:55
Joe: Yeah.
17:56
Joe: So they made him co-writer of this of the script.
18:00
Dylan: Interesting.
18:01
Joe: Yeah.
18:03
Dylan: So then next we have The Waco Kid played by Gene Wilder.
18:08
Dylan: Gene Wilder.
18:10
Dylan: The only other movie I've seen him in is Willy Wonka.
18:13
Joe: Yeah.
18:15
Joe: Well, there's a couple more.
18:17
Dylan: Yeah.
18:18
Dylan: As I found out.
18:19
Joe: Yeah.
18:20
Joe: The cool thing is Gene Wilder and Richard Pryor ended up doing quite a few movies later on.
18:25
Joe: Yeah.
18:25
Joe: So, and I and I always wonder what uh the movie would have been like with Richard Pryor.
18:31
Joe: I'm sure there's probably some AI videos out there.
18:34
Joe: If not, make one.
18:36
Joe: Um, but uh yeah, it would be interesting to see.
18:39
Joe: Um, yeah, like Marmel Brooks was looking for an old Alki, you know, just alcoholic.
18:46
Joe: Um, and so he was discoined the phrase.
18:49
Joe: Yeah, exactly.
18:51
Joe: So uh some people don't know what that means.
18:54
Joe: I didn't.
18:55
Joe: Some people didn't grow up in a house like that.
18:58
Joe: Um so Gene was like, I could do this part, you know.
19:03
Joe: They were already friends, and yeah, he had done uh the producers uh with Mel, and he was like, I can do it.
19:09
Joe: And and Mel's like, no, no, you're you're not like I get it, it's a great part, but you know, I I I think you I don't think you'd be good in this part.
19:21
Joe: I'm looking for an old Alki.
19:23
Dylan: Interesting.
19:24
Joe: So he went to uh an actor named Dan Daly, who was like great on horses, a western actor.
19:31
Joe: Uh he asked him to do it, he said he loved it, but he couldn't do it.
19:35
Joe: He's like physically not able to do movies like that anymore.
19:41
Joe: He saw John Wayne in the commissary at Warner Brothers, and you know, Mel Brooks told him, Hey, I got the script.
19:51
Joe: Would you take a look at it?
19:52
Joe: I wrote I want you to be the Waco kid.
19:55
Joe: Um, and he said, uh John Wayne came back in the morning.
20:02
Joe: He said, I'll meet you back here at 12 o'clock at lunch, um, and I'll give you my answer.
20:08
Joe: So he met him again and he goes, I was rolling, I was laughing, it was hilarious, but I'm John Wayne, and I can't do this.
20:17
Joe: It's too dirty, it's too dirty for John Wayne.
20:22
Dylan: So that's saying something.
20:25
Dylan: Yeah, yeah.
20:27
Joe: Well, it's too dirty for John Wayne.
20:32
Dylan: All right.
20:34
Dylan: Next up, we have our bad guy, Hedy Lamar.
20:39
Dylan: Headley.
20:42
Dylan: Played by Harvey Corman.
20:45
Dylan: Yeah.
20:47
Dylan: That was such a funny part because he just played like just like the a very clean individual, if you will.
20:56
Joe: A clean, dirty person.
20:58
Joe: Right.
20:59
Joe: Uh so originally Mel Brooks wanted Gene Wilder to be really heady, headly.
21:10
Joe: And uh he was like, no, I don't really think I'm cut out for that.
21:15
Joe: Yeah.
21:15
Joe: You know.
21:16
Dylan: So they both kind of have that, you know, dry humor going for them with that.
21:27
Joe: Yeah, yeah.
21:28
Joe: And Harvey Corman, I mean, I know him mostly from the Carol Burnett show.
21:32
Dylan: Okay.
21:33
Joe: And he's a great improv actor.
21:35
Joe: Yeah.
21:36
Joe: And so, like, apparently the set was.
21:38
Dylan: Came in handy with the rest of the movie.
21:40
Joe: Yeah, it did.
21:41
Joe: It did.
21:42
Joe: I mean, I love that part where they're like talking and like, you know, they both kind of come in sync and like yeah, they just have this like they like Mel Brooks and and um Harvey Corman are just playing off of each other in the scenes, you know.
21:58
Joe: So
22:00
Dylan: Then the governor is played by you could tell by the nose.
22:06
Joe: Yeah.
22:07
Joe: He also plays one of the natives, the Jewish native.
22:11
Joe: And he also plays one of the German guys in the Von Stipp.
22:15
Joe: Oh really?
22:19
Joe: Funny.
22:20
Joe: Yeah.
22:21
Dylan: Okay, who was the the girl?
22:25
Dylan: Um Lily?
22:27
Joe: Lily von Stipp.
22:28
Joe: Uh Madeline Kahn.
22:31
Joe: Okay.
22:32
Dylan: And is she like what was what was her role there?
22:40
Dylan: Because she was kind of the like cabaret dancer.
22:45
Dylan: Yeah.
22:46
Joe: Is that what they're called?
22:46
Joe: Pretty much.
22:47
Joe: Is that what they used to call them?
22:48
Joe: Yeah, pretty much cabaret.
22:49
Joe: Yeah.
22:50
Joe: Give it a tuppety name or whatever.
22:55
Dylan: But yeah, and then I thought it was so funny.
22:59
Dylan: Her song about how she's just tired.
23:02
Dylan: Yeah.
23:02
Dylan: You know, it's like it's like all of the the cowboys, like just, you know, the lights are flashing, the gates are down, but the train's not coming.
23:13
Dylan: She's like, I'm tired.
23:14
Joe: That's it.
23:15
Joe: Right.
23:15
Joe: Yeah.
23:16
Joe: I love how she's like, you know, she gets up there and she asks the cowboy, like, are you in show business?
23:21
Joe: He's like, no.
23:22
Joe: And why are your feet on my stakes?
23:25
Joe: Yeah.
23:26
Dylan: Uh so great.
23:29
Dylan: So then next you have Mongo.
23:32
Joe: Yeah, Mongo.
23:34
Joe: Yeah.
23:35
Joe: It it's funny because you know, I this movie was made in the 70s.
23:39
Joe: I was born after that.
23:40
Joe: And oh, were you?
23:42
Joe: Yeah, I was.
23:43
Dylan: Um you look like you're born in the six, didn't know.
23:49
Joe: Um Alex Karas, uh apparently he was a football player, so he went into acting.
23:57
Joe: Uh, but I knew him from a TV show called Webster.
24:01
Joe: And Webster was like a, you know, like I think they basically just adopted a kid, and you know, and that was the whole premise.
24:08
Dylan: And chaos ensues.
24:10
Joe: Yeah, it was supposed to originally be about a couple, and then they added the kid, and then it became more about the kid and stuff.
24:18
Joe: But like I like when I first saw him, I'm like, hey, that's the guy from Webster.
24:25
Joe: But now I know him as Mongo.
24:28
Dylan: Funny.
24:29
Dylan: Yeah.
24:30
Dylan: So who out of all of these would you say would steal the movie the most?
24:36
Joe: Man.
24:38
Joe: That's a hard one.
24:40
Joe: Um man, it's between Bart and Gene Wilder because they both like they both have their own, you know.
24:48
Joe: Yeah.
24:49
Joe: Yeah.
24:49
Dylan: They got they definitely brought their own style to it.
24:52
Joe: Yeah.
24:52
Joe: I mean, there's you know, with the cast of of like Slim Pickens and, you know, like just the Western guys that they brought in to be in there, it's like Yeah.
25:11
Joe: Um come back to it later.
25:14
Joe: Um yeah, okay.
25:16
Joe: So who steals the movie?
25:18
Joe: Who would you say steals the movie?
25:20
Dylan: I s I would say Gene Wilder.
25:24
Dylan: I mean, I just love in you know, both of the movies I've seen him in now.
25:32
Dylan: I just love like just the dry way he his comedy is.
25:38
Dylan: Yes, it cracks me up so much.
25:41
Dylan: And I am a big fan of like British humor, and because they're also like very dry in their comedy, and I think that's hilarious.
25:49
Dylan: Yeah.
25:49
Joe: So I mean, just from that first scene, you know, like, are we awake?
25:55
Joe: I don't know.
25:56
Joe: Are we black?
25:58
Joe: Yeah, yes.
26:00
Joe: Then we're awake.
26:02
Joe: Yes, but puzzled.
26:04
Joe: I mean, that's why he commands that, you know, the Willy Wonka movie, because it just yeah yeah.
26:14
Dylan: All right, Joe.
26:15
Dylan: I think we should talk about the music because I loved how serious those Western music was.
26:26
Joe: Yeah.
26:27
Joe: Uh so John Morris was the uh composer of the music.
26:34
Joe: Um I believe Mel Brooks was the lyricist for the majority of the songs, though.
26:41
Dylan: Okay.
26:41
Joe: Yeah.
26:43
Joe: So they came up with the lines for all of that.
26:46
Joe: Um what I loved, and especially, you know, my wife's reaction, was the appearance by Count Basie.
26:58
Dylan: Yes.
26:59
Dylan: When he's in the desert and you just hear like the music, you're like, okay, nice.
27:04
Dylan: And then he rides by the bandstand or whatever.
27:08
Dylan: You're like, wait, what?
27:09
Dylan: Yeah.
27:10
Dylan: Let's double back to that for a minute.
27:14
Joe: Yeah.
27:16
Joe: Um, yeah, he just pictured this music for Black Bart, and then he he thought, wouldn't it be funny if we just got him and you've got Count Bessie on there?
27:27
Joe: And and as he's writing, they just appear.
27:30
Joe: Yeah.
27:31
Joe: And it's it's hilarious.
27:32
Joe: It's kind of like the Blues Brothers, you know, where they turn into that big band.
27:36
Joe: Right.
27:36
Joe: And then all of a sudden in the middle of the desert, there's this big band.
27:40
Dylan: Hey, for no particular reason, what is the symptoms of a heat stroke?
27:44
Joe: Yeah.
27:45
Joe: First you see a big band, then you realize it's led by Cowboy.
27:51
Joe: Yeah.
27:52
Dylan: Buddy.
27:53
Dylan: Yeah.
27:54
Dylan: Yeah.
27:54
Dylan: Just the serious tone that they took with the music.
28:00
SPEAKER_00: Yeah.
28:00
Dylan: Especially compared to what the movie actually is.
28:03
Dylan: Right.
28:04
Dylan: Like, it just throws all of the comedy like to another level.
28:08
Dylan: It does.
28:09
Dylan: It does.
28:09
Joe: Because it's not, it's not like um self-aware or anything, you know.
28:14
Dylan: Yeah.
28:15
Dylan: And especially like the intro, and it has like the the blazing saddles song.
28:20
Dylan: Yeah.
28:21
Dylan: I don't know what it's called, but yeah, blazing saddles.
28:23
SPEAKER_00: Oh, yeah.
28:24
SPEAKER_00: Right on the first track.
28:25
Dylan: But yeah, it has the blazing saddle song, and you're like, oh, they think a lot of themselves.
28:31
Dylan: Okay.
28:31
Joe: Yeah.
28:32
Joe: Yeah.
28:33
Joe: When he uh he advertised uh in show business papers for a Frankie Lane type voice to sing for the title, he was hoping for a good imitator, and instead, Frankie Lane himself showed up at Brooks's office two days later and was like, I'm ready for the job kind of thing.
28:54
Joe: Nobody told him the movie was a parody, and Mel Brooks never told Frankie Lane that the theme song Blazing Saddles was for a comedy because he thought it um, you know, Lane thought it was a dramatic western, so Brooks was worried that Lane wouldn't sing it with conviction if he knew the truth.
29:13
Joe: Um, and apparently Lane didn't wasn't offended by it.
29:17
Joe: Um and and he reportedly was very pleased with the film.
29:21
Dylan: Well that's good because I was like, ooh, is he gonna you know be upset that it's not yeah, yeah.
29:30
Joe: Yeah, it's you know it, yeah, because he's so serious, you know.
29:35
Joe: Um but yeah, so like French Mistake, uh, I get a kick out of you.
29:41
Joe: Well, French Mistake was Mel Brooks, I get a kick out of you was Cole Porter, um, Swing Low Sweet Chariot, um, Camtown Races, that whole scene, they cover like you know, three different songs, right genres.
29:57
Joe: Um Bell the ballad of Rock Ridge was Mel Brooks, um April and Paris, Count Bassie, um I'm tired was Mel Brooks, um, let's see, Merrill we roll along, uh Charles Tobias, Eddie Cantor, Hail to the Chief, obviously.
30:16
Joe: Yeah, and there is a throwback to uh his first movie, the producers, when von Stipp comes up, they they do a little bit of springtime for Hitler, which is a hilarious song.
30:34
Dylan: Man, how would you even begin to direct something like this?
30:40
Joe: Yeah, I think uh they had it in their minds that they were gonna basically stick it in the face of racist people, yeah.
30:52
Joe: And laugh at humanity in a sense, you know.
30:58
Joe: Um so Mel Brooks had repeated conflicts over content with Warner Brothers executives, yeah.
31:08
Joe: Um in what way?
31:11
Joe: Well, there's a little word that starts with N in there.
31:17
Joe: And uh they didn't like that.
31:20
Joe: Uh the Von Stipp scene with Bart they didn't like.
31:24
Joe: Um the um campfire scene they didn't like, and Mongo punch punching out the horse they didn't like.
31:36
Dylan: So those are like the huge Wait, wait.
31:40
Dylan: What parts of this movie did they like?
31:43
Joe: I don't know.
31:45
Joe: Probably everything that showed who they were when they started breaking through all the different studios, yeah.
31:52
Dylan: Pretty much.
31:54
Dylan: Man, that was a turn.
31:58
Dylan: I was totally prepared for this movie to just kind of wrap with that, yeah.
32:06
Dylan: And then the camera just panned across.
32:09
Dylan: Yeah, and I'm like, what is happening?
32:13
Dylan: Because I'm like, now that's like studio buildings, yeah.
32:18
Dylan: And I was like, oh, okay.
32:23
Dylan: I don't know what they were on, but it must have been good.
32:27
Joe: Yeah.
32:28
Joe: When we when one day when we plan our visit to California, we will see those buildings.
32:34
Joe: Yeah.
32:37
Joe: Yeah.
32:38
Joe: I I've been there and it's glorious.
32:42
Dylan: Yeah, but like all the stuff like that where they like would break the fourth wall.
32:48
Dylan: Just like so funny.
32:50
Dylan: Oh, yeah.
32:50
Dylan: Because that's like, oh hey, that's the one thing you don't do.
32:54
Joe: Yeah, and they just constantly right.
32:59
Joe: Yeah, it's played, it's almost played like a sitcom, too, you know.
33:03
Joe: Yeah, it's just it has its own like way about it, you know.
33:08
Dylan: Um yeah, it just the whole movie just goes so far off the rails, no pun intended.
33:16
Joe: Yeah.
33:18
Dylan: Just right into the quicksand.
33:20
Joe: Yeah.
33:21
Joe: What's not water, but not solid, but quicksand man.
33:29
Dylan: I don't know about you, but I thought growing up quicksand would be a bigger issue than it is in day-to-day life.
33:35
Joe: I thought they were gonna lose that hand cart.
33:39
Dylan: That's the only thing that got pulled out.
33:44
Joe: I love when they're they're singing and he comes.
33:47
Joe: He's like, what in the wild world of sports is going on here?
33:52
Dylan: It's so funny though, because watching it, you get to the point where you're like, okay, at what point did this movie just stop being a Western?
34:00
Dylan: Yeah.
34:01
Dylan: Because it does.
34:02
Dylan: Like at the end, it's just like, oh, okay, what genre is this movie now?
34:07
Joe: Yeah, yeah.
34:10
Dylan: I loved the cows.
34:12
Dylan: Um the cows kept making appearances.
34:15
Joe: Just random cows, yeah.
34:17
Dylan: The the movie theater scene at the end, and there's like in the background, there's just like the red carpet and just cows.
34:25
Joe: Yeah, they're back in there, like, yeah.
34:30
Joe: But yeah, it it's it was uh interesting put together, and uh when they finally put it together, he showed the movie to 12 executives and they laughed, but then there was silence for like 10 minutes.
34:45
Dylan: Like, was this was that for real?
34:47
Dylan: Yeah, yeah.
34:48
Joe: He's like, what?
34:49
Joe: So they thought uh they were like, well, maybe we can open it in New York and LA, and you know, maybe a couple art houses or something, or you know, whatever, and they said, Well, let's take a night and think it over.
35:04
Joe: And when they came back, they're like, Well, maybe we could eat it and just take a tax write-off, yeah, and all that stuff.
35:10
Joe: The irony is that that's what the plot of the producers is about, his first movie.
35:14
Joe: Oh, yeah.
35:16
Joe: Um, and uh, so he's like, Okay, well, I have nothing to lose.
35:22
Joe: Um, they don't like it.
35:24
Joe: I'm gonna show it to everybody I can.
35:26
Joe: So they contacted secretaries on the lot, friends, like people, people on the lot.
35:32
Joe: They just told people on the lot, we're showing this movie tonight, come and come and see it.
35:37
Joe: And they just like, I mean, they were there were screams, yelling, laughter, and then the whole lot, like the the whole the news of the movie went throughout the whole lot, and everybody was excited to talk about that.
35:51
Joe: Yeah, and so like they could have to now, yeah.
35:54
Joe: They couldn't say no.
35:55
Joe: It was just like and then he ran into uh an executive and he's like, you know, I I like the movie and blah blah blah, but you need to take out the N-word, you need to take out the bean scene and punching the horse and and all that, and and he had final cut, so a director who has final cut basically has final say when the movie is done, yeah.
36:22
Joe: And so he had final cut, so he didn't change a thing, and he never heard anything from anybody else, yeah.
36:31
Joe: So, and they eventually got like letters from animal rights activists about the horse being hit because they really believed that he hit the horse, yeah.
36:45
Joe: And then he said white people rode in to complain about the n-word.
36:50
Dylan: All right, Joe.
36:51
Dylan: So what would you say is some of your favorite scenes from this movie?
36:56
Joe: Hmm.
36:57
Joe: I don't know.
36:58
Joe: I I don't have very many.
36:59
Dylan: Great.
37:00
Dylan: Then I think one of mine I love like Bart's arrival into Rock Ridge because they're so gung-ho about a new sheriff, and then he's like trying to yell, and they're ringing the bell.
37:24
Dylan: What did you say?
37:25
Dylan: He said the sheriff's near.
37:27
Joe: Yeah.
37:29
Dylan: And then the sheriff like gets into town and they're just like staring.
37:37
Dylan: Yeah.
37:38
Dylan: Just oh, it was just funny.
37:41
Dylan: Yeah.
37:42
Dylan: And then you, you know, at the end of that scene, you have Bart taking himself hostage.
37:47
Joe: Yes.
37:48
Joe: Like, yeah.
37:49
Joe: What?
37:49
Joe: Yeah.
37:49
Joe: And then only to meet Gene Wilder, who's like a drunk off his knee.
37:54
Dylan: I love that Gene Wilder pulls the bottle out from like the jail cell, too.
38:00
Joe: Yeah.
38:01
unknown: Yeah.
38:02
Joe: He has it with him.
38:04
unknown: Right.
38:05
Joe: I like how like they, you know, talk about each other and they tell each other stories and stuff.
38:12
Joe: And after Waco Kid's done with his story, Bart's like, here, take a drink.
38:18
unknown: Right.
38:19
Joe: You need this.
38:20
Joe: Yeah, you need this more than me.
38:26
Joe: Yeah.
38:26
Joe: You know, I could have done more with because there were some deleted scenes, but the whole candy gram for uh candy gram for Mongo.
38:34
Joe: Mongo's demise.
38:36
Joe: Yeah.
38:36
Joe: There were a couple of deleted scenes and like uh scenes that were put in for TV that were more like like Warner Brothers-esque.
38:46
Joe: Oh yeah.
38:48
Joe: Which I love that like how they just kind of went into that little like you know.
38:53
Joe: Um yeah, one of the scenes that I like that I just like to quote is the uh you know, when all the they're you know doing um interviews for the villains, yeah, you know.
39:10
Dylan: They're all in a line.
39:11
Joe: Yeah, and the gum chewer comes up and he's like, you know, gum chewer, you're chewing gum.
39:17
Joe: Did you bring enough for everybody?
39:18
Joe: It's like, well, I don't know there'd be so many.
39:21
Joe: And he just shoots them.
39:24
Joe: And then the you know, hey, where are all the white women at?
39:30
Dylan: When they're wearing the you know, the white outfits.
39:34
Joe: Uh-huh.
39:35
Dylan: The white pointy hat outfits.
39:37
Dylan: And and you know, get up there and they're like, Yeah, sign here.
39:42
Dylan: Takes his glove off, and he's it's just Bart's hand, and they're like, Hey, wait a minute.
39:51
Joe: And he's like, Oh, he's he's just a little dirty here.
39:54
Dylan: I told him to wash off.
39:55
Dylan: Yeah.
39:56
Joe: Uh the other one is like right in the beginning, is just the singing scene, you know.
40:02
Joe: Sing me up song.
40:06
Joe: You know, like the camptown ladies.
40:09
Dylan: And I I just love how they're.
40:11
Dylan: I think it's a white person going more.
40:13
Dylan: Yeah, yeah.
40:14
Dylan: You start playing Sweet Caroline in any bar, uh-huh.
40:18
Dylan: The white person can come out.
40:19
Dylan: Yeah.
40:20
Dylan: You cannot possibly forget about the campfire scene.
40:23
Joe: Oh, yeah.
40:24
Joe: Yeah, yep.
40:26
Joe: I I think uh the it was something like Warner Brothers was not doing great at the time.
40:34
Dylan: Yeah.
40:35
Joe: And um, and they ended up being called the the house that Fart built because when this movie came out, it brought everything back up.
40:48
Joe: Funny.
40:48
Joe: Yeah.
40:50
Joe: Hey, do what you have to.
40:52
Joe: Yeah.
40:52
Joe: And Mel Brooks was like, you know, I was watching Westerns, and all they would do is eat beans and coffee, and I'm like, that's not a great that's not a great combination.
41:03
Dylan: That's a recipe for disaster.
41:05
Joe: Yeah, yeah.
41:06
Joe: Surprised they didn't, there was no blue flames in there.
41:11
Joe: Hopefully they packed their dude wipes, not sponsored.
41:14
Joe: Right.
41:16
Joe: Dude wipes, not sponsored.
41:17
Joe: Have you seen the movie podcast?
41:20
Dylan: Oh man.
41:21
Dylan: Just the the fake rock ridge was hilarious too.
41:27
Dylan: And them just like you know, up and down the street while all of like the cutouts were just standing there on the bobbleheads.
41:35
Joe: Yeah, it was hilarious.
41:37
Joe: Like they had a night to do it.
41:39
Joe: Right.
41:40
Dylan: I totally was expecting one of the cutouts to like just get whacked or something, and just to like fall down and spring right back up and like whack them back.
41:51
Joe: Yeah.
41:53
Joe: I love the fact that they're like, I have an idea to to bring them to a slow crawl, and they're like, oh dang, we gotta go get a bunch of change.
42:03
SPEAKER_00: Gotta go get a bunch of dimes.
42:08
SPEAKER_00: And they're all going, we're never gonna get there in time.
42:14
Dylan: Oh man.
42:16
Dylan: It's like being back in Florida.
42:18
SPEAKER_00: Yeah.
42:21
Dylan: Oh, the tolls.
42:23
Dylan: All right, Joe.
42:24
Dylan: So what's some other behind-the-scenes nuggets you have?
42:28
Joe: Well, the funny thing was they originally, you know, tried out we're we're looking for a different um, you know, Waco Kid.
42:39
Joe: Yeah.
42:40
Joe: They uh Mel Brooks hired an actor named Gig Young, and he had been in all kinds of different movies, and he was a real Alkie.
42:49
Joe: So he was like, Okay, I have an authentic Alkie.
42:52
Joe: And they started shooting the scene uh the when they first started shooting, it was the jail scene, right?
42:59
Joe: So they put him upside down, and they start the is he awake, you know, are we black stuff?
43:07
Joe: And he was being hung off the bed for the scene, and he started shaking and screaming, and he said he was spitting out green stuff, and he was like, What the heck?
43:18
Joe: So he ended up getting carted off uh on an ambulance that day, hauled off, and they stopped production, and it was on a Friday, and then Mal just called Gene and said, Hey, uh, we we need we need you to come out here.
43:34
Joe: Really?
43:35
Joe: And he checked and he's like, I'll be out there tomorrow.
43:37
Joe: So they got him fitted over the weekend.
43:40
Joe: Um, they got him on a horse on Sunday, and then um Monday morning they started filming again.
43:47
Joe: So they didn't really lose any time.
43:49
Joe: They they lost one day basically, uh, because you know, the other actor.
43:56
Joe: Wow.
43:57
Joe: Yeah.
43:57
Joe: So he's like, I learned that.
44:00
Joe: I shouldn't uh hire somebody, you know, in that role if they're that way, because they're gonna be that way, you know.
44:07
Joe: Right.
44:08
Joe: So it's too a little too real.
44:12
Dylan: I don't know what else you have for like behind the scenes nuggets, but yeah, it's gonna be a long episode.
44:18
Dylan: Yeah, yeah.
44:18
Joe: Well, we it'll probably cut it down.
44:20
Joe: It's fine.
44:22
Joe: Um, so the real Hedy Lamarr sued Mel Brooks over the use of the name Hedley Lamar and settled out of court.
44:33
Joe: Brooks said he was flattered by this attention.
44:36
Joe: The reference to suing Hetty Lamar was from Harvey Cormann's first day on the set, and ironically made a comedic reference to what was at that point non-existent lawsuit.
44:47
Joe: So he was like, It's 1874, you could sue her.
44:53
Joe: And uh the when the lawsuit came, he was just like, just pay her, you know.
44:57
Joe: Yeah.
45:00
Joe: So um Gene Wilder said, They they've smashed racism in the face, but they're doing it while you laugh.
45:09
Joe: That that was his quote for the movie.
45:12
Dylan: That's a good way to put it.
45:13
Joe: Yeah.
45:15
Joe: Um while filming, uh, Burton Gilliam was having a difficult time saying the the N-word, especially to Cleavon Little.
45:27
Joe: Uh he's the he's the one who's like, you know, the camp down ladies.
45:32
Joe: Yeah.
45:32
Joe: And uh because he really liked them, and so finally after several takes, Little took Gilliam uh off to the side and told him it was okay.
45:42
Joe: The uh he said, these weren't these weren't your, you know, these weren't these aren't your words.
45:48
Joe: Um and Little jokingly added, if I thought you would say those words to me in any other situation, we go to we'd go to Fifth Fist City, but this is all fun, so don't worry about it.
46:02
SPEAKER_00: Fist City.
46:06
Joe: Oh, during a speech honoring Mel Brooks as at as a Kennedy Center honoree, former President Barack Obama mentioned going to see this film at age 12.
46:18
Dylan: Really?
46:19
Joe: Yeah.
46:20
Joe: Uh when Brooks asked how he got in with the ratings restriction, Obama said, I think I had a fake ID that I got with my faith fake birth certificate before adding the Statue of Limitations had passed.
46:34
Joe: So see, everybody's in on the joke.
46:38
Joe: Everybody could laugh.
46:40
Joe: It's okay.
46:42
Joe: Um I don't know.
46:44
Joe: And for me, that's the point of the movie.
46:47
Joe: Um yeah.
46:50
Joe: Here's a weird fact Hedy Lamar.
46:54
Joe: Uh, if you look back in history, so she's she was an actress, and they kind of wanted to pay tribute to her because he was he he really liked her as an actress.
47:03
Joe: Okay.
47:05
Joe: She essentially invented what we now know as Wi-Fi and Bluetooth technology.
47:11
SPEAKER_00: What?
47:12
Joe: Yeah.
47:13
Joe: Yeah.
47:15
Joe: So uh I'll read this real quick.
47:17
Joe: So inspired by an early Philco wireless radio remote and player piano rules, she worked with composer George uh Athnil, who created a symphony played by eight synchronized player pianos.
47:32
Joe: She invented a frequency hopping system for remotely controlling torpedoes during World War II.
47:39
Joe: The frequency hopping concept appeared as early as 1903 in a U.S.
47:45
Joe: patent by Nikola Tesla.
47:47
Joe: The invention was examined superficially and filed away.
47:51
Joe: At the time, Allied torpedoes, as well as those of the access powers, were unguided.
47:57
Joe: Um, input for depth, speed, and direction were made moments before launch, but once leaving the submarine, the torpedo received no further input.
48:06
Joe: In 1959, it was developed for controlling drones that would later be used in Vietnam.
48:11
Joe: Frequency hopping radios became a Navy standard by 1960.
48:16
Joe: Due to the expiration of the patent and Lamar's unawareness of time limits for filing claims, she was never compensated.
48:25
Joe: Her invention is used today for Wi-Fi, Bluetooth, and even top secret military defense satellites.
48:31
Joe: While the current estimation of the value of the invention is approximately 30 billion, during the final years she was getting by on SAG and Social Security checks totaling only$300 a month.
48:45
SPEAKER_00: Wow.
48:46
Joe: Which, hey, I understand now that if she was suing Mel Brooks, Mel Brooks was like, yeah, she needs the money.
48:51
Joe: Right.
48:52
Joe: You know.
48:53
Joe: But yeah, that how you're probably listening to this right now is that's crazy.
49:01
Dylan: So where would you say that Blazing Saddles fits into our Western month?
49:07
Joe: Hmm.
49:09
Joe: Pure comedy.
49:11
Joe: Pure comedy.
49:12
Dylan: I mean, because Tombstone just gave off just the very serious Western, you know, and then this one just drops a stick of dynamite on the whole thing.
49:27
Joe: Yeah, yeah.
49:28
Joe: We should have capped it with it, but it's okay.
49:30
Joe: Um yeah, Tombstone, sort of a biopic and sort of a you know, story of these guys.
49:37
Joe: Yeah.
49:38
Joe: You know, and then you you have this story of Black Bart, you know, who's not real, you know, who goes off riding to the sunset in a Cadillac limo.
49:50
unknown: Right.
49:51
Dylan: Yeah, it and it's one of those things that if something like this was made today, like do you think that people would actually understand the satire of the movie?
50:06
Joe: I don't think so.
50:08
Joe: Um, I know there's been attempts at it, uh, but I just don't think that uh you could make it today.
50:17
Dylan: Yeah.
50:18
Joe: Yeah.
50:18
Joe: I don't think there would be enough people behind it to let it to get it going.
50:24
Dylan: Yeah.
50:25
Dylan: Well, and it also kind of asks the question of like, would you actually want somebody to, you know, like remake this movie?
50:35
Dylan: It's like it definitely was of its time.
50:41
Joe: Yeah.
50:42
Dylan: And there's a lot of stuff that can be appreciated about the movie.
50:50
Dylan: And that's definitely kind of just what you have to take it for.
50:53
Dylan: Yeah.
50:54
Dylan: You know, even then it was meant to be satirical.
50:57
Joe: Yeah, satirical, um really putting a a spin on racism and and bigotry and and all those things.
51:08
Joe: Right.
51:08
Joe: And then just throwing everybody under the bus.
51:11
Joe: So you went in expecting Mel Brooks to spend two hours trying to offend everybody.
51:16
Joe: Now that you've seen it, did Blazing Saddles actually have more to say than you expected?
51:21
Dylan: Yeah, for sure.
51:23
Dylan: I mean, it's one of those things that from what I had heard about the movie to what the movie really actually ended up being was pretty different.
51:36
SPEAKER_00: Yeah.
51:37
Dylan: I mean, it definitely had the you know the racist tones to it, for sure.
51:42
Dylan: Oh, yeah.
51:42
Dylan: But then once you kind of realize that it's, you know, purely making fun of it all, yeah, then you're like, oh, okay.
51:54
Dylan: You know, that everything kind of clicks into place.
51:58
Dylan: Yeah.
51:58
Joe: I mean, going back to the the singing uh part, you know, Bart and the rest of the guys basically turn the tables on those guys and make them look like complete idiots.
52:09
Joe: Right.
52:12
SPEAKER_00: Morons.
52:14
Dylan: Yeah.
52:14
Dylan: I think for an overall ranking, I would probably give it a five out of ten.
52:21
Dylan: Definitely not one of my favorites.
52:25
Dylan: Wow.
52:26
Dylan: I think it was too much of its time.
52:29
Dylan: Uh-huh.
52:30
Dylan: And I definitely don't feel like it can really hold its own today.
52:38
Joe: Wow.
52:42
Joe: Well, yeah, I'm more in um seven.
52:46
Joe: Yeah.
52:46
Joe: Yeah.
52:47
Joe: Okay.
52:47
Joe: Yeah.
52:49
Joe: Yeah.
52:51
Joe: Yeah.
52:52
Joe: It's probably because, you know, part of it is just knowing that it's I mean Yeah, don't get me wrong, like I'm not down with a lot of the cussing and stuff, but the comedy and other things, you know, for me are I I'm not offended by it.
53:12
Joe: Yeah.
53:12
Joe: Yeah.
53:13
Dylan: Well, and I think you said earlier too, of it's just generational thing.
53:19
Dylan: You know, definitely did not grow up around any of that.
53:25
Dylan: And just the ending of the movie, like when it switched to like going through the film studios, hilarious, yes.
53:34
Dylan: Yeah.
53:35
Dylan: But it was also kind of like, okay, what's happening?
53:40
Joe: Like, just we lost the plot.
53:44
Joe: Like, we don't know how to end it, so we're just gonna do this.
53:47
Joe: Yeah, yeah.
53:48
Dylan: That's really what it felt like.
53:50
Dylan: Yeah.
53:50
Dylan: And I don't know if that's really I doubt that's what the intention was.
53:55
Dylan: Yeah.
53:55
Dylan: But it's that's really what it felt like, though.
53:59
Dylan: Yeah.
54:00
Dylan: Anything else to add?
54:01
Joe: I don't think so.
54:03
Joe: Are we gonna do Western voices?
54:05
Dylan: I don't think I can.
54:07
Joe: We're gonna is that final question?
54:11
Dylan: I'd say we wrapped up.
54:12
Joe: Yeah, okay.
54:13
Joe: I think we're good.
54:16
Dylan: So, thanks for listening to Have You Seen the Movie Podcast.
54:20
Joe: Make sure to follow the show on your favorite podcast app.
54:24
Joe: And if you're enjoying it, leave us a five-star rating.
54:26
Joe: It really helps us grow.
54:28
Dylan: And we want to hear from you.
54:30
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54:34
Joe: You can follow all our socials in the descriptions as well.
54:38
Joe: Everything you need is right there.
54:40
Joe: Keep the faith, brother.
54:55
Dylan: This is a roll credit studio production.