We've Got Mail #197 | Shut Your Mouth!

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[SPEAKER_01]: Hello everybody and welcome back to We've Got Mail.
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[SPEAKER_01]: This is the podcast where you control the conversation right here at the critically acclaimed network.
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[SPEAKER_01]: My name is William Bibbiani.
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[SPEAKER_01]: I am a film critic.
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[SPEAKER_01]: I write for the rap everybody calls me Bibbs and that's the end of my introduction and Whitney's can begin now.
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[SPEAKER_00]: Well, thank you for clearing the runway for me.
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[SPEAKER_00]: My name is Whitney Sibold.
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[SPEAKER_00]: I too.
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[SPEAKER_00]: I'm a film critic.
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[SPEAKER_00]: I am a senior staff writer over at slash film for the purposes of this podcast if you must you may call me rock my star McCool.
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[SPEAKER_01]: Yay, that's that's what I've decided upon fun nicknames galore if I'd known I can add a cool one.
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[SPEAKER_01]: I would not have settled for bibs.
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[SPEAKER_01]: That's
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[SPEAKER_01]: That was not that was not good forward thinking in my part, but yeah, this is our letters podcast here's how it works you email us or you send us a piece of physical correspondence our email address is letters at critically claimed that net and our PO box is Whitney
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[SPEAKER_01]: uh... you can send us a physical letter postcard would be a light to the critically acclaimed network p-o-box six four one five six five law sandals california nine double six four go ahead and do that yes and we try to get to as many uh... emails and pieces of correspondence as we can however our longstanding rule is if you went to all the effort to send something to the p-o-box a piece of physical mail like back in the so called day we always read yours and we tried to read it first so within what was in our
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[SPEAKER_00]: Well, we got a letter in our PO box, and I'm going to crinkle it near the mic, so you can get the the visceral sense of it.
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[SPEAKER_01]: That's the big shit, right?
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[SPEAKER_00]: There we go.
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[SPEAKER_00]: Yeah.
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[SPEAKER_00]: And this is a letter that comes from, oh, this comes from Paul.
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[SPEAKER_01]: Oh, hi Paul.
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[SPEAKER_00]: Paul's a long time listener and many time writer and Ogon and luckily he had typed it.
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[SPEAKER_00]: So my bad eyes and inability to read handwriting won't come into play.
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[SPEAKER_00]: So this says deer bibs and porkey.
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[SPEAKER_00]: Paul remembers a story I told once when I was young I wanted to nick them because I was mocked relentlessly because I might because of my first name it was named Whitney and people don't like mountains and kids will choose I suppose I was named after the mountain but it was not not a popular name on the school yard so
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[SPEAKER_00]: I, uh, around the time I was like maybe nine or ten years old, I decided to start going around with a crew cut, and I looked like a bully from a 1950s movie, I just looked really awful.
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[SPEAKER_00]: Uh, but that's what I wanted, I like that having sort of the fuzzy head, and I thought I looked kind of like a porcupine.
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[SPEAKER_00]: So I asked a friend of mine, I think it was in a summer camp to say, hey, you know, I don't really have a nickname.
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[SPEAKER_00]: Could you call me like Porcupine?
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[SPEAKER_00]: And he decided to shorten that already to Porcupine.
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[SPEAKER_00]: And I said, don't, you know what?
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[SPEAKER_00]: Forget Porcupine.
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[SPEAKER_00]: You can call me, you can't.
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[SPEAKER_00]: Don't call me Porcupine.
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[SPEAKER_01]: Honestly, it's amazing.
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[SPEAKER_01]: Rock Maestro McCool has stuck because typically a nickname is a shortened name of some kind, something brief, something simple.
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[SPEAKER_01]: Yeah.
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[SPEAKER_01]: And Porcupine already sounds like it needed to be shortened.
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[SPEAKER_01]: I would have maybe gotten since Porky obviously, uh, you know, it's a looney to character.
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[SPEAKER_01]: You probably can't copyright that.
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[SPEAKER_01]: So you want to avoid that.
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[SPEAKER_01]: I understand your hesitance, uh, but maybe QB.
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[SPEAKER_01]: How's it going?
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[SPEAKER_01]: QB?
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[SPEAKER_00]: Um, no, I don't think I like QPI.
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[SPEAKER_00]: I don't stick with rock.
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[SPEAKER_00]: I'm not on the names are, not on the names are shorting.
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[SPEAKER_00]: Surely you know a couple people and this goes to our listeners as well.
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[SPEAKER_00]: Who go by their full names like their first and last name?
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[SPEAKER_00]: Like, um, a rest in peace, but a friend of mine from, uh, uh, the old Rocky Horror picture show date is, uh, passed away recently, uh, his first name was Derek, but he never went by Derek.
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[SPEAKER_00]: He went by Derek Dooley.
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[SPEAKER_00]: just as full name, Dirk Dooley, hey, how you doing there, Dirk Dooley?
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[SPEAKER_00]: Like, nobody ever just called him Derek.
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[SPEAKER_00]: So I mean, I mean, I'll just kind of get there last time.
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[SPEAKER_01]: I mean, rules are made to be broken.
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[SPEAKER_01]: I just feel like there's a general tendency when giving someone a nickname to just tighten something up a little bit, but you're right.
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[SPEAKER_01]: Yeah, they're absolutely exceptions.
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[SPEAKER_01]: You should have asked him to call you Porky Cyborg.
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[SPEAKER_00]: perfect.
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[SPEAKER_00]: Anyway, here's the letter.
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[SPEAKER_00]: Dear Bibs and Porkey, boy, how do you do I have a lot to talk about?
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[SPEAKER_00]: It's a Saturday night and I finally have time to sit down and write a coherent letter.
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[SPEAKER_00]: First of all, in your discussion of the best opening credit sequences, that was a recent episode of our iron list podcast, did you know that the Pink Panther had his own breakfast cereal?
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[SPEAKER_00]: Pink Panther Flakes.
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[SPEAKER_00]: They made the milk turn panic.
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[SPEAKER_00]: I really liked them, but they were really quickly just continued.
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[SPEAKER_00]: Gee, I can't imagine why.
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[SPEAKER_00]: Drinking pink milk.
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[SPEAKER_00]: So I'm drinking cup to business.
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[SPEAKER_01]: Oh, co-pups made it turn brown.
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[SPEAKER_01]: That's, that, I think that's way grosser.
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[SPEAKER_00]: That's true.
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[SPEAKER_00]: I, I'm proud to say that I didn't eat breakfast cereals that turn the milk anything.
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[SPEAKER_00]: Like the state milk.
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[SPEAKER_01]: I always appreciated that Calvin and Hobbs Calvin had this like mentality towards like breakfast cereal as though like you're being experimented on and the more hardcore the experiment, the better the experience like you need it to have like all kinds of weird chemicals in it
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[SPEAKER_00]: it's the color out of space, the color out of flakes and speaking of when I was a kid yes I did watch Adam 12 religiously in early elementary school because I was on before the fire engine show emergency which was also a jack web joint in the Adam 12 cops made an appearance
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[SPEAKER_00]: Another podcast, but that's part behind our paywall.
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[SPEAKER_01]: Yeah, over at Patreon, that's time on On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On On
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[SPEAKER_01]: So we've already done episodes about Dr. Quinn, medicine woman, Adam 12, the 1970s cop show, the primtham soap opera Dallas, and I think we just released Hannah Montana, or that were about to do.
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[SPEAKER_01]: So yeah, it was very exciting.
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[SPEAKER_01]: Good time.
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[SPEAKER_00]: and speaking of TV crossovers, one of my fave shows that rose out of the cesspool that was 70's TV was the Walton's, which had a crossover with Star Trek.
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[SPEAKER_00]: Jonathan Franks appeared on an episode of the seventh season of the general store as the general store's manager's wife, Ronnie Claire Edwards appeared on an episode of TNG.
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[SPEAKER_01]: Oh, that was easy.
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[SPEAKER_01]: When's the dance I think, huh?
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[SPEAKER_00]: As far as your discussion of the best film starring Star Trek alumni, that's another one of our iron list episodes, I would have put the intruder at number one.
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[SPEAKER_00]: Find some excuse to see it.
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[SPEAKER_00]: It is incredibly relevant to Tale 4 today.
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[SPEAKER_00]: At the time it was only the only picture Roger Corman ever lost money on.
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[SPEAKER_00]: Captain Kirk is a representative of the Patrick Henry Society bent on stopping the upcoming school integration.
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[SPEAKER_00]: He gives an incredible speech where he stirs up the residence of a southern town.
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[SPEAKER_00]: There's a riot and all backfires in the end.
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[SPEAKER_00]: Yeah, I've heard nothing but good things about the intruder and it's just never been one that I have this past into my field of vision.
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[SPEAKER_00]: Uh, also, here are four obscure movies that really left a stamp on my life.
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[SPEAKER_00]: Okay.
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[SPEAKER_00]: All right.
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[SPEAKER_00]: Just great movies.
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[SPEAKER_00]: Bigfoot, mysterious monsters, 1976, scared the living crap out of me.
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[SPEAKER_00]: The abominable snowman, the Loch Ness monster, and of course Bigfoot.
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[SPEAKER_00]: I mean, Sasquatch and the Eddie are scary, but they even they make Nessie seem scary, which is no easy feat.
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[SPEAKER_00]: The scene where Bigfoot smashes his hand through a window, haunts me to this very day, narrated by Peter Graves.
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[SPEAKER_00]: Uh, did they did I Peter Graves this is big fight do like Bigfoot and S.E.
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[SPEAKER_00]: team up Like what is or is it's just like a point of comparison with Chris it's it's like a it's like a I think it's like a fake it's like a mock-a-metary about Dead's Understood
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[SPEAKER_00]: uh... psychomania nineteen seventy-two an amazing biker horror comedy where the premises if you die and just really believe you're going to come back you will i know the sounds bonkers but it actually works i've been clinically dead at least three times and come back well welcome back well i'm curious why that could be a self-exquer movie like that feels like that was a little unrelated to me
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[SPEAKER_00]: Yeah, I suppose so this the movie itself is subtle a bribe British humor with a great folks on writing free
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[SPEAKER_00]: attack of the giant leeches, another corpsman joined only this one produced by Rogers' brother, Jean.
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[SPEAKER_00]: I caught it on a dorm lobby TV late at night in the 80s and was so stark and unintentionally surreal that I just got under my skin and stayed there.
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[SPEAKER_00]: There's actually an early 2000s era of remake
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[SPEAKER_01]: of course it's on TV.
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[SPEAKER_01]: God bless you.
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[SPEAKER_01]: I've seen attack of the giant leeches and I admire attack of the giant leeches because whenever it's not about the giant leeches and this is a monster movie from the 1950s so that's about 95% of the movie.
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[SPEAKER_01]: It is some sweaty
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[SPEAKER_01]: It's easy, extremely cheap attempt to capture like a Tennessee Williams Melodrama that is then attacked by giant leaches and I have to respect that.
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[SPEAKER_00]: I have to respect that.
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[SPEAKER_00]: How big are these leaches?
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[SPEAKER_00]: They're like the size of humans.
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[SPEAKER_01]: There is a dude in a leach costume.
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[SPEAKER_01]: It's a dude in a leach costume.
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[SPEAKER_00]: Anyway, and finally, Shenty Tramp, 1967, sort of a J.D.
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[SPEAKER_00]: kitchen sink drama in a greasy sweaty town in the deep south, gets a lot of it's just over an hour running time.
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[SPEAKER_00]: The trip of the title is an amateur sex worker who also encounters bikers, a sleazy tent revival preacher, and frames a black guy for assaulting her.
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[SPEAKER_00]: Great!
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[SPEAKER_00]: And this is our listeners' words, Tits look so great in black and white.
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[SPEAKER_00]: Um, okay.
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[SPEAKER_00]: No comment.
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[SPEAKER_00]: No comment.
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[SPEAKER_00]: No comment.
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[SPEAKER_01]: I mean, um, okay.
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[SPEAKER_00]: The ad.
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[SPEAKER_00]: My dad said born broke.
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[SPEAKER_00]: She had a way to make money.
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[SPEAKER_00]: She loved them all, dazzling in the purity of its sleeves.
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[SPEAKER_00]: I do love a good sleazy movie.
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[SPEAKER_00]: Oh, yeah, especially when the, especially when that makes me feel a little uncomfortable.
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[SPEAKER_00]: I like the movies like that.
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[SPEAKER_00]: I just started to watch recently, um, um, uh, one of Herschel Gordon Lewis's earlier movies.
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[SPEAKER_00]: uh... i got to the uh... arrow video herhal Gordon Lewis box set for myself uh... a couple years back and it has a film on their call to this stuff will kill you and it's unwatchably bad like it is terrible terrible movie uh... i uh... my association might my belief is that truly sleazy movie not a sexy movie not an erotic movie
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[SPEAKER_01]: not even a point of graphic movie, sleazy.
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[SPEAKER_01]: If you want your movie to feel sleazy before when you're filming it, right before you say action on every take, you have someone come onto the set and just spritz all the actors down with the fine spray of water.
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[SPEAKER_01]: As long as they look sweaty for some reason, that always reads as lazy to me.
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[SPEAKER_01]: If you ever saw Lee Daniels' The Paper Boy, a really just...
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[SPEAKER_01]: alarmingly over the top, you know, southern fried noir type thing, but it's just basically just like, yeah, everyone was really boiling down there and that's what makes it so easy.
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[SPEAKER_00]: Anyway, the letter concludes.
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[SPEAKER_00]: Thanks for all the great recommendations and for how great your podcast is.
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[SPEAKER_00]: I absolutely loved the rivals of Omzea King.
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[SPEAKER_00]: And yes, Bibs, you were right on the money.
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[SPEAKER_00]: I did immediately have to acquire the soundtrack album right after I saw it.
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[SPEAKER_00]: OK, I got to go practice with the backward running vomit.
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[SPEAKER_00]: Cheers, Paul.
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[SPEAKER_01]: That's a lot a lot of in jokes.
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[SPEAKER_01]: We're not going to let go.
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[SPEAKER_00]: We have a, no, but the backward running vomit, we have a t-shirt that you can still buy I think on T public, which contains, uh,
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[SPEAKER_00]: Yeah, we did a podcast one where once where we made up a hundred fake bands just for fun, yeah, like rattle them off as if they're like had done the soundtrack to the episode we recall TV series in the like late 90s early 2000s would often conclude with like a picture of whatever compact disc could come out recently.
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[SPEAKER_00]: and a voice-over saying tonight's episode featured music by the world-notz ever and it's a bit screaming trees yeah because that was the range of the band yeah yeah what one of the fake bands because Paul has been listening we through his name and his sort of like a little wink to a fan I was Paul Kenosy in the backward running vomit that was the name of the band yeah
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[SPEAKER_01]: You wrote that on a t-shirt and now he's he's wearing it as a badge and I feel comfortable and like sometimes you know these things happen a long time ago and we must remember you know the creation of something I am 100% confident that because you wrote half of those band names and I wrote half of those band names and if you want to hear through all the right the end I believe of our freaky links episode of canceled too soon on the feed there was a one of the freaky links um uh
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[SPEAKER_01]: There is no way I ever would have written the words backward running vomit.
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[SPEAKER_01]: That is just, those words do not belong together in my head, but I would never have done that.
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[SPEAKER_01]: Not once in a million years.
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[SPEAKER_01]: So that is all.
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[SPEAKER_00]: How long is definitely mine?
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[SPEAKER_00]: Yeah.
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[SPEAKER_00]: Yeah.
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[SPEAKER_00]: I'll take it.
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[SPEAKER_00]: I accept the blame.
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[SPEAKER_01]: Yeah.
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[SPEAKER_00]: But that was the only physical letter we had.
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[SPEAKER_00]: We also have some.
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[SPEAKER_01]: I do love because when we have to record remotely, or when we have to record it,
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[SPEAKER_01]: you can sometimes hear the elevated train outside his window.
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[SPEAKER_01]: And at the time, I think about the movie The Fugitive, let me hear the sound of an elevated train.
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[SPEAKER_01]: I know there was an elevated train.
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[SPEAKER_01]: I know it.
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[SPEAKER_01]: Sorry, go on, we have more emails.
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[SPEAKER_00]: here we have a rather long letter because this is an all-nighter or somebody gave a give their own personal all-nighter from Eric.
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[SPEAKER_00]: We have a feature on our podcast where we've occasionally done like a 12-hour film marathon.
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[SPEAKER_00]: like centered around a theme.
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[SPEAKER_00]: Yeah.
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[SPEAKER_00]: So we've done horror marathons.
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[SPEAKER_00]: We did a bleak week marathon.
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[SPEAKER_00]: That one was really fun.
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[SPEAKER_00]: We did a queer marathon for Pride Month and later.
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[SPEAKER_00]: We came in with their own dear Joe Joe's Bibbiani and a Roach Myster McCool.
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[SPEAKER_00]: Joe's apartment.
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[SPEAKER_00]: I love it.
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[SPEAKER_00]: I love your podcast The All Nighter and the lists contributed by my fellow acclaimers.
16:11.813 --> 16:14.455
[SPEAKER_00]: That's what diehard CA fans call ourselves.
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[SPEAKER_00]: Oh, we got a fan
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[SPEAKER_00]: have attempted, have attempted, attempted knee to contribute one, but with the enormous number of movies available via streaming, most of the lists I came up with didn't seem special enough to warrant a movie theater.
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[SPEAKER_00]: For instance, I was playing with the idea of a all-hounded the Baskerville's all nighter because it's one of the Holmes mysteries I've never seen as satisfactory adaptation, open and suggestions, but I could fill a 12 hour playlist of six to eight hounds on YouTube and watch them all.
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[SPEAKER_00]: Let's give an all the availability of film streaming services online archives, ripped bootlegs, physical media, you look a library.
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[SPEAKER_00]: I'm confident that any movie I can think of could be found for an all-nighter and watched at home.
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[SPEAKER_01]: I mean, that would be right.
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[SPEAKER_00]: What?
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[SPEAKER_00]: But what about movies?
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[SPEAKER_00]: Oh, and this is the spell got bold.
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[SPEAKER_00]: What about movies that do not exist abandoned and unrealized projects from my favorite creators interested.
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[SPEAKER_00]: Okay, buckle up.
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[SPEAKER_01]: That's a real fun idea.
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[SPEAKER_01]: Seriously, Kudos.
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[SPEAKER_01]: That's really clever.
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[SPEAKER_01]: I wish I thought of that.
17:16.381 --> 17:17.221
[SPEAKER_01]: That's really fun.
17:17.282 --> 17:17.602
[SPEAKER_01]: Yeah.
17:17.682 --> 17:18.082
[SPEAKER_01]: Okay.
17:18.322 --> 17:19.683
[SPEAKER_01]: Let's buckle up and buckle in.
17:19.703 --> 17:20.083
[SPEAKER_01]: Let's do it.
17:21.039 --> 17:21.920
[SPEAKER_00]: Alright, here are the rules.
17:22.240 --> 17:28.144
[SPEAKER_00]: There had to be at least a script or an idea must have been pitched.
17:28.504 --> 17:33.548
[SPEAKER_00]: It can't be completely imaginary movie that I made up, like the Bowery Boys don't say anything racist or sexist.
17:34.008 --> 17:37.231
[SPEAKER_00]: Or a Kevin Smith movie where the Star Wars wasn't mentioned.
17:38.432 --> 17:38.852
[SPEAKER_00]: Yeah, fair.
17:38.872 --> 17:39.352
[SPEAKER_00]: There.
17:41.314 --> 17:46.277
[SPEAKER_00]: Since I have never seen these movies, the descriptions are mostly from Wikipedia and other repeatable film sites.
17:46.577 --> 17:47.658
[SPEAKER_00]: And they're not my own work.
17:48.158 --> 17:49.840
[SPEAKER_00]: I'll be at clarified and edited for time.
17:50.927 --> 17:54.329
[SPEAKER_00]: Uh, run times are based on similar movies by the same creator.
17:54.389 --> 17:58.912
[SPEAKER_00]: For instance, if I put Spielberg's big on the list, I'd use the same time as Penny Marshall's film.
17:59.372 --> 18:02.394
[SPEAKER_00]: Or if it's a sequel, I went with the runtime of the original movie, for instance.
18:02.874 --> 18:03.495
[SPEAKER_00]: Okay, so here we go.
18:04.696 --> 18:05.296
[SPEAKER_00]: 8pm.
18:05.776 --> 18:07.958
[SPEAKER_00]: Bucker Robon's I versus the World Crime League.
18:08.238 --> 18:08.778
[SPEAKER_00]: Yes!
18:08.918 --> 18:16.263
[SPEAKER_00]: Promised on the end cards of the Adventures of Booker Robon's I across the eighth dimension, even with the awful oscillation overthrester the sequel never rematerialized.
18:16.980 --> 18:38.193
[SPEAKER_01]: Yeah, that's that's one of the ones that like a lot of sci-fi nerds, especially like our age really complain about Yeah, but because they now he's in a sequel they even gave us a title Yeah, and they just never make the movie At the end of the original masters of the universe movie with Dolph Lungren, Faut Skeletor at the end of the credit Skeletor pop this head up and said I'll be back, but in a very vague way
18:38.733 --> 18:42.975
[SPEAKER_01]: like you could be like, I'll be back and I'll bring a burnt cake.
18:43.195 --> 18:45.075
[SPEAKER_01]: Like, you know, it didn't actually promise to sequel.
18:45.876 --> 18:48.617
[SPEAKER_01]: Buckaroo bonsai literally set at the end.
18:48.697 --> 18:49.897
[SPEAKER_01]: We're making another movie.
18:49.917 --> 18:51.598
[SPEAKER_01]: It's called Buckaroo bonsai.
18:52.078 --> 18:55.279
[SPEAKER_01]: Is it against the world crime league or versus against the world crime league?
18:55.299 --> 18:58.640
[SPEAKER_01]: Yeah, like he's just he's not support the world crime league fully against it.
19:00.571 --> 19:02.757
[SPEAKER_01]: And yeah, we wanted to see that shit.
19:02.797 --> 19:04.281
[SPEAKER_01]: Bucker Rupa on Ty Rulbs.
19:04.582 --> 19:08.252
[SPEAKER_01]: They would such a bummer that they'd never coalesced, but anyway, but that's a great one.
19:08.393 --> 19:08.754
[SPEAKER_01]: That's great one.
19:10.235 --> 19:31.144
[SPEAKER_00]: Um, let's see, uh, according to the synopsis of the 2021 novelization, which I just learned exists, quote, Buckaroo faces his immortal Nemesis, Hanway Xan, and electorate legions sent by planet 10's warrior queen, John M. Doll, Buckaroo at his Hong Kong Cavaliers have to prevent global destruction while still grieving their losses from the first movie.
19:31.904 --> 19:32.324
[SPEAKER_01]: Uh, yeah.
19:32.424 --> 19:32.924
[SPEAKER_01]: I've been sent.
19:32.944 --> 19:33.605
[SPEAKER_00]: That sounds great.
19:35.597 --> 19:35.817
[SPEAKER_01]: Okay.
19:36.418 --> 19:39.360
[SPEAKER_00]: Quick, it's 1987, who do you cast as John M. Doll?
19:40.041 --> 19:42.924
[SPEAKER_00]: Oh gosh, Joan Collins.
19:44.245 --> 19:44.645
[SPEAKER_00]: Sure.
19:44.785 --> 19:46.607
[SPEAKER_00]: Oh cast Joan Collins as John M. Doll.
19:46.627 --> 19:46.907
[SPEAKER_00]: Okay.
19:47.588 --> 19:47.868
[SPEAKER_00]: Okay.
19:48.549 --> 19:50.511
[SPEAKER_00]: Then, uh, 9.50pm.
19:50.831 --> 19:52.893
[SPEAKER_00]: Orson Wells Don Quixote.
19:52.913 --> 19:55.936
[SPEAKER_00]: Hmm.
19:55.956 --> 19:56.816
[SPEAKER_00]: That's tantalizing.
19:56.856 --> 19:58.218
[SPEAKER_01]: I mean, that kind of process.
20:00.187 --> 20:03.269
[SPEAKER_01]: Well, let's see, let's see, let's see what's that in the email.
20:03.749 --> 20:03.909
[SPEAKER_01]: Yeah.
20:04.309 --> 20:04.509
[SPEAKER_00]: Yeah.
20:04.529 --> 20:05.510
[SPEAKER_00]: Yeah.
20:06.050 --> 20:14.975
[SPEAKER_00]: Well, started shooting donkaiote in the 1950s, then spent decades filming, re-filming, editing, re-editing, and generally refusing to admit that maybe this thing was never going to be finished.
20:15.376 --> 20:27.783
[SPEAKER_00]: His donkaiote and Sancho Panzer wandered through modern day Spain with Kyoto treating the 20th century exactly the way you'd expect a medieval night to treat it as a series of monsters and jambments and injustices requiring immediate intervention.
20:28.583 --> 20:37.576
[SPEAKER_00]: The two unrealized Wells projects that spoke to me were Quixote and Heart of Darkness, and I chose Quixote because I know Apocalypse now, so well, it would color my viewing experience.
20:38.016 --> 20:39.198
[SPEAKER_00]: Do you have any movies like that?
20:39.258 --> 20:43.805
[SPEAKER_00]: Another version of the movie Looms is so large that you don't want to watch another take.
20:45.890 --> 20:46.751
[SPEAKER_01]: Um, that's interesting.
20:46.871 --> 20:48.872
[SPEAKER_01]: Honestly, I don't know if I had one of those.
20:49.793 --> 21:01.440
[SPEAKER_01]: I used to have strong feelings like that, and then I did like a lot of research, and I realized that a more movies than most people probably realize already have remakes, so it's not that perverse.
21:02.301 --> 21:07.344
[SPEAKER_01]: Um, like a lot of, they would be perverse to, um, remakes that is in can.
21:07.564 --> 21:07.904
[SPEAKER_01]: They did.
21:07.944 --> 21:09.165
[SPEAKER_01]: It's called Velvet Goldmine.
21:10.013 --> 21:10.533
[SPEAKER_01]: They did that.
21:11.134 --> 21:14.695
[SPEAKER_01]: That citizen came, but with glam rock, great idea, great movies.
21:14.795 --> 21:18.477
[SPEAKER_01]: So really anything can be done And I'm not that precious about it.
21:18.857 --> 21:19.718
[SPEAKER_01]: I might be skeptical.
21:19.738 --> 21:22.279
[SPEAKER_01]: Yeah, I might be like, I don't know how you can do better.
21:22.339 --> 21:24.720
[SPEAKER_01]: But every time I've said that, you know, not every time.
21:24.740 --> 21:27.141
[SPEAKER_01]: But a lot of times I've said that they made a great movie.
21:28.947 --> 21:33.710
[SPEAKER_00]: Yeah, I mean, Remake's got a bad rap because I mean, frankly, have a bad track record.
21:33.750 --> 21:34.370
[SPEAKER_00]: Yes, they're good.
21:34.410 --> 21:34.791
[SPEAKER_00]: Remakes.
21:35.411 --> 21:38.373
[SPEAKER_00]: Some of the Remakes are just sort of a different take on similar material.
21:38.993 --> 21:43.216
[SPEAKER_00]: I have no issue with sort of ripping apart an original.
21:43.236 --> 21:45.157
[SPEAKER_00]: There's nothing so precious than it can't be.
21:46.418 --> 21:49.479
[SPEAKER_00]: Can't be tried again, although I'll say this.
21:50.000 --> 21:53.402
[SPEAKER_00]: If somebody tried to remake like, I don't know, eraser head.
21:54.897 --> 21:55.877
[SPEAKER_00]: That'd be a little weird to me.
21:56.498 --> 21:59.140
[SPEAKER_00]: Something that's so singularly of a specific artist.
21:59.200 --> 22:02.803
[SPEAKER_01]: But here's the thing, if you have a singularly specific artist doing it.
22:03.304 --> 22:06.266
[SPEAKER_01]: Like if you told me, if you told me, okay?
22:06.286 --> 22:08.468
[SPEAKER_01]: That like Brett Ratner was remaking your race or head.
22:08.488 --> 22:12.892
[SPEAKER_01]: I would be like, if you told me Werner Herzog was remaking your race or head.
22:13.292 --> 22:15.834
[SPEAKER_01]: I would be like, I want to see how that turns out.
22:15.854 --> 22:18.056
[SPEAKER_01]: I don't know if it's going to be good.
22:18.236 --> 22:19.237
[SPEAKER_01]: I want to see how that turns out.
22:20.902 --> 22:21.463
[SPEAKER_00]: I'll say this.
22:21.843 --> 22:27.150
[SPEAKER_00]: I was really skeptical of the remake of Susperia that look what I need day.
22:27.250 --> 22:27.811
[SPEAKER_00]: Yeah.
22:27.931 --> 22:30.634
[SPEAKER_00]: And I ended up really loving that version.
22:30.654 --> 22:33.818
[SPEAKER_00]: I think it's, you know, in many ways superior to the original.
22:33.858 --> 22:38.183
[SPEAKER_00]: So yeah, there's, there's nothing so precious.
22:39.317 --> 22:43.018
[SPEAKER_00]: that we can't look at it again in a certain way.
22:43.199 --> 22:53.503
[SPEAKER_00]: Anyway, coming up next is now we're at 12 o'clock for AM, we're with David Lynch's garden back, which runs 45 minutes.
22:54.043 --> 23:04.607
[SPEAKER_00]: Before E-Racerhead, David Lynch wanted to make a 45-minute movie about a man lusting after his neighbor, except his sexual desire manifest itself as an insect that keeps getting bigger.
23:05.207 --> 23:08.848
[SPEAKER_00]: The AFI basically told him, David, you cannot spend 45 minutes doing this.
23:09.308 --> 23:13.189
[SPEAKER_00]: Imagine a timeline where garden back gets released instead of a razor head.
23:13.509 --> 23:17.230
[SPEAKER_00]: Does the Federation of planets no longer exist?
23:21.592 --> 23:29.014
[SPEAKER_00]: Yeah, I mean, the reason why so many time-travel stories focus on like restoring the
23:34.560 --> 23:42.607
[SPEAKER_01]: Yeah, and I think also it's in a way it's supposed to reassure us that the world as it is now is as good as it gets.
23:43.729 --> 23:45.589
[SPEAKER_00]: So it's kind of that Voltaire thing.
23:45.609 --> 23:47.210
[SPEAKER_00]: This is the best of all possible worlds.
23:47.230 --> 23:48.170
[SPEAKER_00]: Yeah.
23:49.070 --> 23:50.411
[SPEAKER_00]: Who's to say where we would be?
23:51.311 --> 23:53.831
[SPEAKER_00]: If there were no eraser hat, I wouldn't know because I wouldn't have seen it.
23:55.752 --> 24:00.453
[SPEAKER_00]: Those speculative questions you might see on the social media as occasionally.
24:00.993 --> 24:04.734
[SPEAKER_00]: Like, if you could erase one movie from existence, what would it be?
24:04.874 --> 24:06.934
[SPEAKER_00]: Or, well, it literally doesn't matter.
24:06.974 --> 24:09.175
[SPEAKER_00]: If it's erased from existence, I never know.
24:09.235 --> 24:10.255
[SPEAKER_00]: I wouldn't have missed it.
24:10.395 --> 24:11.776
[SPEAKER_00]: Yeah, I wouldn't know what was going on.
24:14.557 --> 24:20.360
[SPEAKER_01]: Before we move on, I was going to say something and then we got distracted because I wanted to read.
24:20.400 --> 24:23.262
[SPEAKER_01]: I wanted the email to go on and then I missed my moment.
24:23.422 --> 24:39.291
[SPEAKER_01]: You can kind of see Orson Wells's Don Quixote because I think it was after he died, it was re-edited and released and it's not very good in that version but you can see a lot of the footage.
24:43.505 --> 24:43.986
[SPEAKER_01]: really.
24:44.166 --> 24:45.167
[SPEAKER_01]: I'll let that out.
24:45.488 --> 24:48.813
[SPEAKER_01]: You'd think, but not necessarily.
24:51.156 --> 24:52.118
[SPEAKER_01]: Anyway, I've go ahead.
24:52.258 --> 24:53.680
[SPEAKER_01]: Sorry, but let's keep moving on.
24:55.595 --> 24:59.677
[SPEAKER_00]: All right, 1249 a.m. Ed Woods, the Google goes west.
24:59.877 --> 25:20.608
[SPEAKER_00]: Ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha
25:21.588 --> 25:31.556
[SPEAKER_00]: Cowboys, small town weirdos, spooky legends, and for some kind of, and some kind of Google terrorizing the frontier, all made for approximately $38, and whatever wood could find lying around the studio.
25:32.457 --> 25:46.228
[SPEAKER_00]: Critically claimed as the podcast that brought the modern reassessment of the transmessage of Glen or Glenda, given the your pitch of what the, what's at the core of the Google, Google goes west plot that could be because positively reassessed today.
25:47.689 --> 25:48.910
[SPEAKER_00]: Well, hmm.
25:50.653 --> 25:59.316
[SPEAKER_01]: I mean, if we consider Google, if we're in, if we consider Google, Google sounds a bit like the word, girl.
26:00.316 --> 26:01.277
[SPEAKER_01]: The girl goes west.
26:01.297 --> 26:06.679
[SPEAKER_01]: That's just about sort of bringing a feminine energy into a masculine genre.
26:07.739 --> 26:10.400
[SPEAKER_01]: And how that would be met with skepticism and even fear.
26:12.112 --> 26:22.121
[SPEAKER_00]: I was going to say that if they're making a horror Western in the 1950s, right when the genre was still pretty like wrote writing high pretty much, this is before Sergio Leone.
26:22.601 --> 26:26.725
[SPEAKER_00]: So it would be kind of a bold deconstruction of what we know of modern westerns.
26:27.786 --> 26:30.549
[SPEAKER_01]: I mean, I have to say, I think it would have been done, I'm trying to remember.
26:32.430 --> 26:38.095
[SPEAKER_01]: trying to remember because there weren't a lot of early Western horror movies.
26:38.135 --> 26:43.239
[SPEAKER_01]: I mean, I think these were independent, but there was like Jesse James meets Frankenstein's daughter.
26:43.259 --> 26:44.961
[SPEAKER_01]: I think was one of them.
26:45.221 --> 26:45.601
[SPEAKER_00]: Oh, yes.
26:45.621 --> 26:47.883
[SPEAKER_01]: Which is incredibly boring.
26:47.903 --> 26:50.005
[SPEAKER_01]: Like with that title, you can't be boring.
26:50.969 --> 26:51.690
[SPEAKER_01]: But what do we even know?
26:51.970 --> 26:53.512
[SPEAKER_01]: How is that possible?
26:54.933 --> 27:02.421
[SPEAKER_01]: But anyway, yeah, no, it's not a common, it's not a common blend even to this day.
27:04.423 --> 27:07.066
[SPEAKER_01]: So yeah, I think I, I mean, I would've been should see what he had.
27:10.368 --> 27:20.212
[SPEAKER_00]: We're up to 209 a.m. and we are going to be watching Jeed Roddenberry's Star Trek The Motion Picture run time 234 Sam is the director's cut of the movie.
27:20.652 --> 27:24.174
[SPEAKER_00]: No, no, I'm not talking about Roddenberry taking another pass at the Vegers story.
27:24.634 --> 27:28.375
[SPEAKER_00]: I want 1,000 percent all capital letters Jeen Roddenberry.
27:28.776 --> 27:30.456
[SPEAKER_00]: Written and directed by Jeen.
27:30.816 --> 27:36.319
[SPEAKER_00]: Major Barrett sings Jeen's lyrics over the theme song just to really stick it to Alexander Courage
27:42.507 --> 27:46.294
[SPEAKER_00]: Nobody watched the animated series and thought, this episode would be better with check-off.
27:49.499 --> 27:51.402
[SPEAKER_01]: I mean, yeah, that's all.
27:52.043 --> 27:52.925
[SPEAKER_01]: Yeah, but all.
27:55.810 --> 27:58.193
[SPEAKER_00]: We've got Zon instead of Spock.
27:58.213 --> 28:06.961
[SPEAKER_00]: That was the character that they originally envisioned for motion picture when Leonard Nemoy said no We've got Decker as the first officer.
28:07.021 --> 28:12.526
[SPEAKER_00]: We've got the celibate Iliere Iliere and her four boob's That was part of the idea
28:15.317 --> 28:20.402
[SPEAKER_00]: Jean also wanted to do that for a counselor Troy at one point, give her like multiple breaths.
28:20.422 --> 28:22.404
[SPEAKER_01]: Yes, a classy guy.
28:22.424 --> 28:23.586
[SPEAKER_01]: Hi, that's Jean Roddenberry.
28:24.266 --> 28:24.607
[SPEAKER_01]: God.
28:24.747 --> 28:26.328
[SPEAKER_00]: Vita letter goes on, held, don't stop there.
28:26.389 --> 28:27.470
[SPEAKER_00]: Make it six boobs.
28:27.690 --> 28:29.011
[SPEAKER_00]: Give another boob to a hurray.
28:29.031 --> 28:30.193
[SPEAKER_00]: Just so she doesn't get jealous.
28:30.253 --> 28:30.633
[SPEAKER_00]: Why not?
28:31.414 --> 28:34.217
[SPEAKER_00]: The story, the enterprise intercepts the god thing.
28:34.277 --> 28:36.899
[SPEAKER_00]: That was the one of the working titles, the god thing.
28:37.600 --> 28:44.862
[SPEAKER_00]: Uh, and immensely powerful alien who reveals that throughout human history it appeared on Earth as Jesus, Buddha, Moses, and a circus clown.
28:44.882 --> 28:45.123
[SPEAKER_00]: Huh!
28:45.503 --> 28:48.264
[SPEAKER_00]: Kirk asks, why would God disguise himself as a circus clown?
28:48.284 --> 28:49.644
[SPEAKER_00]: And the God thing says, see?
28:49.824 --> 28:51.365
[SPEAKER_00]: Nobody cares about religious prophets.
28:51.905 --> 28:55.806
[SPEAKER_00]: Quick, it's 1978. Who do you cast as the voice of the God thing?
28:56.646 --> 28:57.607
[SPEAKER_01]: All right, it's not dissolved.
28:57.627 --> 28:57.867
[SPEAKER_01]: It's 1978.
28:57.887 --> 28:58.387
[SPEAKER_01]: I cast all of a read.
29:03.498 --> 29:25.163
[SPEAKER_00]: he do it and he'd have too much fun and I think that would be great yeah yeah for sure yeah okay uh we're up to four forty three a.m. John Carpenter's creature from the Black Lagoon uh I remember that yeah John Carpenter got his hand on Universal's Gilman and does exactly what you want nineteen ninety's John Carpenter to do with it
29:25.903 --> 29:30.365
[SPEAKER_00]: A scientific expedition disappears into the Amazon looking for evidence of an undiscovered amphibious humanoid.
29:30.706 --> 29:36.469
[SPEAKER_00]: The next team finds the creature and gradually realizes that maybe the monster isn't the biggest problem in the jungle.
29:36.989 --> 29:38.710
[SPEAKER_00]: Starring Adrian Barbot, obviously.
29:39.310 --> 29:40.751
[SPEAKER_00]: This was another tough choice for me.
29:40.771 --> 29:44.053
[SPEAKER_00]: It was a toss-up between this and the third chapter in his escape trilogy.
29:44.373 --> 29:45.293
[SPEAKER_00]: Ah, excuse my tape.
29:45.554 --> 29:49.376
[SPEAKER_00]: His take on the third move is supposed to be escape from Earth.
29:50.336 --> 30:13.688
[SPEAKER_00]: uh let's see uh here my take is uh John Carpenters take on the thing is one of the best movies ever escape from LA is a misunderstanding experiment therefore creature is the safer bat unlike uh heart and apocalypse hurt of darkness and apocalypse even though I'm I love the original creature I'm excited about the prospect of carpenter bringing his spin to it do you have similar examples of dream directors humming a remake?
30:14.272 --> 30:32.438
[SPEAKER_00]: Oh, I mean, here I don't know, here's our, here's our, here's our, here's our, here's our, here's our, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no, there's no,
30:34.046 --> 30:36.287
[SPEAKER_01]: I feel like I used to have a go-to for this.
30:36.367 --> 30:40.090
[SPEAKER_01]: It was like, what if Tim Burton did this?
30:41.050 --> 30:47.514
[SPEAKER_01]: And it's not coming to me, so...
30:48.115 --> 30:49.555
[SPEAKER_01]: Trying to think of like, what I can just pull.
30:49.896 --> 30:52.337
[SPEAKER_01]: What I can pull when I get like, give me the loose goes Hawaiian.
30:52.357 --> 30:52.857
[SPEAKER_00]: I got this.
30:52.897 --> 30:53.298
[SPEAKER_01]: I got this.
30:53.758 --> 30:59.562
[SPEAKER_01]: Give me a director, and I will tell you what movie they should remake, and then I'll do the same for you.
31:01.224 --> 31:09.564
[SPEAKER_00]: Okay, I would like you to give me Jane Shunbrim.
31:11.033 --> 31:11.913
[SPEAKER_01]: Oh, okay.
31:12.353 --> 31:17.495
[SPEAKER_01]: Um, well, I would have said sleep away camp, but teenage sex and death that can't me as my kind of what they're already.
31:18.235 --> 31:20.996
[SPEAKER_01]: Uh, so not that kind of already covered not that.
31:21.376 --> 31:22.356
[SPEAKER_01]: Um, hmm.
31:23.216 --> 31:24.297
[SPEAKER_01]: Hmm.
31:25.837 --> 31:33.279
[SPEAKER_01]: I would like to see James Schundren direct a remake.
31:35.648 --> 31:37.569
[SPEAKER_01]: Oh, no, that's too obvious.
31:37.589 --> 31:40.450
[SPEAKER_01]: I was going to say video drum and I feel like that's too obvious as well.
31:40.490 --> 31:41.371
[SPEAKER_01]: That's that's just right.
31:41.391 --> 31:47.014
[SPEAKER_01]: Apparently that is interesting.
31:47.034 --> 31:51.317
[SPEAKER_01]: That is a that is a that is a head scratcher right there.
31:51.677 --> 31:56.700
[SPEAKER_01]: I would like to see Jane Schumbrin direct a remake of modesty blaze.
31:58.481 --> 31:59.202
[SPEAKER_01]: Oh, that'd be good.
31:59.302 --> 31:59.602
[SPEAKER_00]: Yeah.
31:59.642 --> 32:00.483
[SPEAKER_01]: Yeah, that'd be a fun one.
32:00.663 --> 32:01.924
[SPEAKER_00]: Yeah.
32:01.964 --> 32:02.224
[SPEAKER_01]: OK.
32:02.264 --> 32:10.551
[SPEAKER_01]: Which is a sort of a James Bond type, super-spive story, but with a hot lady.
32:12.112 --> 32:12.353
[SPEAKER_01]: Yeah.
32:12.373 --> 32:15.395
[SPEAKER_00]: They were very over-sex, hot lady character.
32:15.435 --> 32:19.379
[SPEAKER_01]: I think it was a series of hit books and they made a movie and the movie was just OK.
32:20.479 --> 32:20.860
[SPEAKER_01]: But yeah.
32:20.900 --> 32:22.081
[SPEAKER_00]: And that was like way back in the 60s.
32:22.141 --> 32:22.461
[SPEAKER_00]: Oh, yeah.
32:22.481 --> 32:23.362
[SPEAKER_01]: Nobody talks about it anymore.
32:25.540 --> 32:28.321
[SPEAKER_01]: Oh, yeah, yeah, yeah, yeah, yeah.
32:28.341 --> 32:45.668
[SPEAKER_01]: Okay, I'm going to give you Who would be interesting who would be fun for whittney cybald to pick a thingy.
32:45.948 --> 32:50.270
[SPEAKER_01]: Okay, I'm going to give you Christopher Nolan
32:52.178 --> 32:53.419
[SPEAKER_00]: Because he's very particular.
32:54.299 --> 32:56.041
[SPEAKER_00]: He's very particular.
32:56.521 --> 32:57.442
[SPEAKER_00]: He's very particular.
32:57.502 --> 33:01.244
[SPEAKER_00]: He's kind of a cerebral director.
33:01.284 --> 33:08.990
[SPEAKER_00]: You need kind of like a movie that has like interesting ideas that weren't explored really well the first time.
33:09.010 --> 33:10.691
[SPEAKER_00]: It's really kind of technical.
33:10.831 --> 33:11.271
[SPEAKER_01]: Yeah.
33:12.973 --> 33:15.274
[SPEAKER_00]: I'd say Solaris, but that one was remade already.
33:15.334 --> 33:16.795
[SPEAKER_01]: I mean, that was 20 years ago, dude.
33:16.835 --> 33:17.636
[SPEAKER_01]: I think it's fair again.
33:19.063 --> 33:25.931
[SPEAKER_01]: uh... another re-makeup solar why not does anyone really remember the sodaberg film that well i mean new i think you're fine yes not
33:28.280 --> 33:31.541
[SPEAKER_00]: Yeah, something like what's really like, scientifically accurate.
33:32.702 --> 33:33.902
[SPEAKER_00]: Oh, the human centipede.
33:33.922 --> 33:34.602
[SPEAKER_00]: Yeah, you go, yeah.
33:34.682 --> 33:35.423
[SPEAKER_00]: Oh, human centipede.
33:35.443 --> 33:36.023
[SPEAKER_01]: It's good joke.
33:36.043 --> 33:37.763
[SPEAKER_01]: Yeah, yeah, yeah, yeah, yeah.
33:37.863 --> 33:38.324
[SPEAKER_01]: Christ.
33:38.364 --> 33:44.606
[SPEAKER_01]: That was what they said on the human centipede advertising was 100% medically accurate, like, sure.
33:44.666 --> 33:45.566
[SPEAKER_00]: Medically accurate.
33:45.666 --> 33:45.986
[SPEAKER_00]: Sure.
33:46.006 --> 33:48.807
[SPEAKER_00]: Because that's what I wanted my horror movies.
33:48.827 --> 33:54.770
[SPEAKER_00]: Yeah, let's see.
33:56.795 --> 33:59.697
[SPEAKER_00]: something that's really, you know what, forgive me for this.
34:00.457 --> 34:01.058
[SPEAKER_00]: Thunderbirds.
34:02.478 --> 34:04.740
[SPEAKER_00]: I don't even love to see.
34:04.900 --> 34:15.506
[SPEAKER_00]: I'm totally serious about this because I think Christopher Nolan, he's from England, he probably grew up seeing some of those Jerry Anderson pictures.
34:18.788 --> 34:38.687
[SPEAKER_00]: I think he do well with Thunderbirds because he'd get good on the vehicle fetish that those those films are all about yeah he really understands sort of these groups of stallor heroes but rather than being these fresh-faced brothers they'd be kind of like tortured characters but he'd be able to kind of
34:39.765 --> 34:46.507
[SPEAKER_00]: start contemplating like that these people are the only reason that humanity still exists because they're so busy rescuing everybody.
34:46.547 --> 34:47.207
[SPEAKER_00]: I love to see that.
34:47.467 --> 35:00.371
[SPEAKER_01]: When he was a headier, when analysis, when he was like really like high tech, like completely 100% to scale puppets for all of it because you know how much he loves that shit.
35:02.172 --> 35:05.473
[SPEAKER_01]: Yes, because the Cyclops and the Odyssey was a puppet for a big chunk of it.
35:06.600 --> 35:22.407
[SPEAKER_00]: Yeah, I know they filmed a pop it and then I think they use like some CGI to sort of smooth it over a little bit, but yeah, yeah, yeah, and So yeah, that's what I'm going to say.
35:22.507 --> 35:25.108
[SPEAKER_00]: Okay, birds are our letters and done yet, by the way.
35:25.128 --> 35:26.269
[SPEAKER_00]: Okay, they'll go.
35:26.709 --> 35:34.792
[SPEAKER_00]: Yeah, so So we're on 6.33 am Martin Scorsacy's gangs of New York run time one hour and 27 minutes.
35:39.237 --> 35:43.338
[SPEAKER_00]: uh Scorsese wanted to make games of New York decades before the 2002 version.
35:43.618 --> 35:48.460
[SPEAKER_00]: This is the 1980 version, cheap nasty raw and shot on 16 millimeter.
35:48.880 --> 35:50.400
[SPEAKER_00]: John Boulouchey is billed a butcher.
35:50.940 --> 35:59.923
[SPEAKER_00]: Dan Acro had his Amsterdam valen, members of the clash, populate the five points because apparently Scorsese looked at 19th century New York street gangs and thought, you know who understands this?
36:00.183 --> 36:00.843
[SPEAKER_00]: Joe Strummer.
36:03.291 --> 36:05.333
[SPEAKER_00]: I bet the soundtrack would have been amazing.
36:05.454 --> 36:09.398
[SPEAKER_00]: What cool actor or actresses do you cast alongside the clash and the blues brothers?
36:09.698 --> 36:11.721
[SPEAKER_00]: I'm going to say Mary Warren often pull Bertel.
36:11.741 --> 36:13.903
[SPEAKER_00]: I mean, I'm not sure if your fix or low-hanging fruit.
36:14.484 --> 36:15.986
[SPEAKER_00]: I mean, I mean, I can't beat that.
36:20.670 --> 36:23.111
[SPEAKER_00]: And then finally 8 a.m. Go home.
36:23.192 --> 36:29.414
[SPEAKER_00]: Thanks for the public forum to share my fantasy film fast and my quiz suggestions eliciting exciting answers.
36:29.434 --> 36:36.557
[SPEAKER_00]: I'm digging both new podcasts episode p and the five movies with because more time with bids and witty is just more time They'll probably be bigger about Star Trek.
36:36.998 --> 36:42.600
[SPEAKER_00]: I sign off sign off to both hosts by saying see your next Tuesday your humble supporter Eric
36:42.680 --> 36:43.140
[SPEAKER_00]: Well, thank you.
36:43.160 --> 36:43.761
[SPEAKER_00]: Thank you.
36:43.781 --> 36:44.361
[SPEAKER_01]: That's great.
36:44.382 --> 36:48.165
[SPEAKER_01]: Thank you for the shout out to Kate Stamon London's book.
36:48.185 --> 36:49.046
[SPEAKER_01]: See you next Tuesday.
36:49.106 --> 36:52.529
[SPEAKER_01]: Kate Stamon London was the first guest on five movies with.
36:52.709 --> 36:59.014
[SPEAKER_01]: And then we were going to have an episode out sooner, but I kept getting delayed, but I'm very happy to say that in a couple of days.
36:59.915 --> 37:07.922
[SPEAKER_01]: The next five movies with is going to be with filmmaker Georgia Oakley, who directed the new All-Star remake of Sense and Sensibility.
37:09.220 --> 37:09.640
[SPEAKER_00]: Nice.
37:10.041 --> 37:13.523
[SPEAKER_01]: Oh, my, I'll start, but like, you know, it's big names, you know, it's a big film.
37:13.603 --> 37:15.804
[SPEAKER_01]: So like it's, and I really like that movie a lot.
37:15.924 --> 37:22.889
[SPEAKER_01]: So you're going to hear a lot about the films that she, you know, really influenced her career and sensibility.
37:23.169 --> 37:24.930
[SPEAKER_01]: And I'm really excited to share that with you.
37:24.950 --> 37:31.334
[SPEAKER_01]: And hopefully future installments will not be quite so delayed, but we are very committed to that show.
37:31.354 --> 37:32.495
[SPEAKER_01]: And I really love the format.
37:33.355 --> 37:34.035
[SPEAKER_01]: So that's how I can.
37:34.136 --> 37:37.738
[SPEAKER_01]: And I, and incidentally, after hearing that, that email,
37:39.103 --> 37:41.824
[SPEAKER_01]: I know what our next almighty is going to be.
37:43.644 --> 37:45.124
[SPEAKER_01]: Oh, I know it, I know it.
37:45.164 --> 37:46.244
[SPEAKER_01]: It is such a good idea.
37:47.025 --> 37:51.165
[SPEAKER_01]: It is such a good idea and I don't know if I should say it on the show now.
37:52.646 --> 37:57.787
[SPEAKER_01]: Do you think I should just because not saying it is kind of a dick move to all of our listeners?
37:59.187 --> 38:03.528
[SPEAKER_00]: I think you have a great idea and you need to discuss it with me before you start running your mouth.
38:06.765 --> 38:07.245
[SPEAKER_01]: Fair enough.
38:07.325 --> 38:10.166
[SPEAKER_01]: If we do in all night or in the next few weeks, you'll know that that was the one.
38:10.727 --> 38:11.047
[SPEAKER_01]: Okay.
38:11.367 --> 38:14.048
[SPEAKER_01]: Okay.
38:14.608 --> 38:18.050
[SPEAKER_01]: That's the name of this episode.
38:18.070 --> 38:19.050
[SPEAKER_01]: Stop running your mouth.
38:19.750 --> 38:23.452
[SPEAKER_00]: Anyway, this next email comes from Moses.
38:23.472 --> 38:25.053
[SPEAKER_00]: Hello, Moses.
38:25.373 --> 38:28.394
[SPEAKER_00]: Hi, Bibbs and sponge, Myster McLuke warm.
38:29.335 --> 38:29.675
[SPEAKER_00]: Okay.
38:30.735 --> 38:36.017
[SPEAKER_00]: Uh, as always, I very much enjoy that your latest Iron List episode, best movie starring Star Trek alumni.
38:37.038 --> 38:40.880
[SPEAKER_00]: Uh, some thoughts occurred to me about this one, one, and Robinson.
38:41.000 --> 38:48.723
[SPEAKER_00]: He has a staunch pacifist and found it extremely difficult to play the Scorpio Killer, because he found the violence of any kind to be incredibly distasteful.
38:49.103 --> 38:52.725
[SPEAKER_00]: Also, when you brought up Robert Piccardo in Inner Space, I had to laugh.
38:53.065 --> 38:57.507
[SPEAKER_00]: The scene you mentioned where Martin Short disguises himself as the cowboy was a favorite for my sister and I,
38:57.807 --> 39:01.990
[SPEAKER_00]: because the accent speaking style and then the overall vibe was almost exactly like my father.
39:02.350 --> 39:06.513
[SPEAKER_00]: Ah, Dad was in his really about Martin Short's height, but athletic build.
39:06.773 --> 39:10.155
[SPEAKER_00]: He'll take a cross between Eli Wallick Rod's stiger and Lee Majors.
39:10.415 --> 39:12.076
[SPEAKER_00]: Jesus, he's a walking bicep.
39:14.235 --> 39:20.478
[SPEAKER_00]: He taught himself English by watching old westerns because he hated subtitles, so he had an Israeli accent with a slight Texas Droll.
39:21.319 --> 39:26.602
[SPEAKER_00]: He always wore cowboy boots to accentuate his height after watching inner space, and that scene in particular.
39:26.662 --> 39:30.764
[SPEAKER_00]: My sister and I referred to our father as the outlaw, yo-z veils for years.
39:30.844 --> 39:31.304
[SPEAKER_00]: What a play!
39:31.324 --> 39:32.245
[SPEAKER_00]: Anyway, thanks again.
39:33.826 --> 39:42.891
[SPEAKER_01]: When I'm curious, have you ever watched a movie and seen some actor playing somebody and thought they're playing my dad or they're playing my mom?
39:45.517 --> 40:02.286
[SPEAKER_00]: No, no, no, I've never gotten that vibe, even though my mom spent a lot of her youth in theaters, she was a very, she was a, not a professional, but she was, you know, an aspiring actress and aspiring dancer for many years, so she did a lot of stage productions, but yeah,
40:03.447 --> 40:04.448
[SPEAKER_00]: I didn't get that fine.
40:04.488 --> 40:15.616
[SPEAKER_01]: It's happened to me, I guess three times, when I was a kid, I knew that my mom, I guess my mom kind of had an Emma Thompson vibe.
40:16.476 --> 40:19.138
[SPEAKER_01]: And as Emma Thompson is going older, my mom has grown older.
40:19.198 --> 40:22.160
[SPEAKER_01]: It's very, very much like, yeah, Emma Thompson vibes.
40:23.081 --> 40:24.722
[SPEAKER_01]: I've seen my dad twice in a movie.
40:24.882 --> 40:31.027
[SPEAKER_01]: Once very recently, there's an upcoming movie directed by Jesse Eisenberg, called The Day View,
40:31.647 --> 40:39.251
[SPEAKER_01]: which I caught a couple of weeks ago and Paul Giamati is in that movie and he does not play my dad.
40:39.271 --> 40:45.094
[SPEAKER_01]: The voices are on, the characters are all different, but he wears the exact same clothes and has the same beard.
40:45.969 --> 40:49.111
[SPEAKER_01]: so like it is kind of uncanny to watch him just walking around.
40:49.412 --> 40:57.217
[SPEAKER_01]: But the one that was weird of my dad saw it first was, um, I was at my parents house and my dad yelled to me to run into the liver.
40:57.277 --> 41:01.220
[SPEAKER_01]: I was before we had the TV or anything where we could pause a movie.
41:02.081 --> 41:07.865
[SPEAKER_01]: Um, because he was watching a movie on cable and someone was him very specifically.
41:08.505 --> 41:10.707
[SPEAKER_01]: And it was in home in the movie
41:13.827 --> 41:25.942
[SPEAKER_01]: He looks like my dad, he sounded like my dad, he talked like my dad, the stuff he said wasn't something my dad would say, but like, it's like his note was your playing Williams' dad.
41:27.143 --> 41:30.668
[SPEAKER_01]: And I was like, shit, yeah, no, really uncanny, super weird.
41:32.407 --> 41:34.308
[SPEAKER_01]: Anyway, fun part of the film letter.
41:34.828 --> 41:36.009
[SPEAKER_00]: Yeah, thank you.
41:36.389 --> 41:37.090
[SPEAKER_00]: Here's another letter.
41:37.110 --> 41:38.911
[SPEAKER_00]: This one comes from David, hello, David.
41:38.931 --> 41:39.331
[SPEAKER_00]: Hi, David.
41:40.051 --> 41:45.874
[SPEAKER_00]: And dear William and Rockmeister, I've been thinking about the recent new live phenomenon.
41:46.535 --> 41:53.399
[SPEAKER_00]: And it made me wonder whether film fans may have celebrated the success of movies like obsession and backgrounds a little too quickly.
41:53.419 --> 41:55.540
[SPEAKER_00]: New live, do you remember this?
41:56.160 --> 41:59.822
[SPEAKER_00]: It's a recent animated film from China
42:02.388 --> 42:14.899
[SPEAKER_00]: If you have your computer in front of you, look it up, like look up some visuals from this thing and it's just Like it has like really shoddy animation, but it was one of those things that was made for like five dollars and was like a bit of a hit.
42:15.439 --> 42:17.361
[SPEAKER_00]: How do you spell it?
42:17.561 --> 42:19.483
[SPEAKER_00]: And are you L-A-I?
42:19.963 --> 42:23.766
[SPEAKER_00]: New line.
42:24.467 --> 42:30.312
[SPEAKER_01]: Oh, yeah, I've seen clips of this, but I don't really know anything about it other than it's like, yeah, that's a phenomenon.
42:31.885 --> 42:35.427
[SPEAKER_00]: But the letter goes on, the optimistic reading was obvious and I shared it.
42:35.467 --> 42:44.273
[SPEAKER_00]: Here were young filmmakers who developed outside the traditional Hollywood system, drawing young people back into theaters while major studios kept trying to sell us familiar IP and nostalgia.
42:44.713 --> 42:47.374
[SPEAKER_00]: It seemed like evidence that audiences really did want something new.
42:47.915 --> 42:52.517
[SPEAKER_00]: But I'm starting to wonder whether the source of familiarity has simply changed.
42:52.557 --> 42:53.398
[SPEAKER_00]: Here we get into it.
42:53.938 --> 43:10.988
[SPEAKER_00]: Uh, for an older audience, no style germite mean Star Wars superheroes are a sequel to something they love 20 or 30 years ago for someone in their 20s familiarity can mean a youtuber they followed since they were a teenager and internet born property like the backrooms or something that already carries years of online associations.
43:11.208 --> 43:11.408
[SPEAKER_01]: Hmm.
43:11.689 --> 43:15.391
[SPEAKER_00]: What worries me is that the no style just cycle seems to be getting younger.
43:15.851 --> 43:17.593
[SPEAKER_00]: It should worry you that's just sort of the cycle.
43:17.653 --> 43:19.475
[SPEAKER_01]: I think that I think it's pretty natural, but go on.
43:19.495 --> 43:20.636
[SPEAKER_01]: That's the thing to put them.
43:20.696 --> 43:24.540
[SPEAKER_00]: We normally, we normally think of nostalgia, something that requires distance.
43:24.580 --> 43:28.664
[SPEAKER_00]: You grow up enough time passes and eventually someone sells you your childhood back.
43:29.084 --> 43:32.227
[SPEAKER_00]: But internet culture seems capable of shortening that distance dramatically.
43:32.287 --> 43:38.554
[SPEAKER_00]: People can now be in their 20s and already be marketed to through no style of stuff for things that they watched as teenagers.
43:39.074 --> 43:43.358
[SPEAKER_00]: So maybe young audiences are escaping Hollywood's familiarity economy at all.
43:43.698 --> 43:48.682
[SPEAKER_00]: Maybe the cycle is simply compressing instead of waiting until someone is 40 to sell them their childhood back to you.
43:48.902 --> 43:50.183
[SPEAKER_00]: You can start doing it at 25.
43:51.524 --> 43:59.191
[SPEAKER_00]: And if you push that logic, if you push that logic to its absurd conclusion, how young can no-stallige get?
43:59.571 --> 44:05.456
[SPEAKER_00]: Are we eventually going to have 12-year-olds going to see Ms. Rachel movies because they remember watching her when they were five?
44:06.295 --> 44:06.716
[SPEAKER_00]: maybe.
44:07.517 --> 44:17.848
[SPEAKER_00]: Obviously, I don't literally expect that to happen, but that's what makes me uneasy about treating every internet native theatrical success as evidence that young audiences have rejected how they would subsession with familiar narrative.
44:18.228 --> 44:19.469
[SPEAKER_00]: Maybe they haven't rejected it at all.
44:19.790 --> 44:23.314
[SPEAKER_00]: Maybe we're just watching the nostalgia machine learn how to reach them earlier.
44:23.894 --> 44:24.535
[SPEAKER_00]: Sign David.
44:24.755 --> 44:25.035
[SPEAKER_01]: Okay.
44:26.657 --> 44:30.340
[SPEAKER_00]: Please answer this email so I can hit free three for three for you guys answering.
44:30.380 --> 44:30.660
[SPEAKER_01]: Nice.
44:30.801 --> 44:31.061
[SPEAKER_01]: Okay.
44:31.141 --> 44:34.504
[SPEAKER_01]: Well first off I want to work my way backwards.
44:34.664 --> 44:36.685
[SPEAKER_01]: It regards to how young can you be?
44:37.586 --> 44:49.136
[SPEAKER_01]: I'll tell you how young you can be Moana young Disney decided to remake Moana as a live action movie to capture the nostalgia of the kids who grow up with Moana.
44:49.436 --> 44:51.718
[SPEAKER_01]: Many of whom are still children
44:53.098 --> 45:01.041
[SPEAKER_01]: Yes, and not only that, but they're not starred for Moana, you would just release like a blockbuster Moana sequel a year, year and a half before.
45:01.061 --> 45:03.903
[SPEAKER_01]: And it did not work again, I think one.
45:03.943 --> 45:05.483
[SPEAKER_01]: A bit of live action, one didn't work.
45:05.963 --> 45:07.084
[SPEAKER_01]: People weren't interested.
45:07.124 --> 45:12.106
[SPEAKER_01]: I mean, like, there's a lot of Disney live action movies that I thought were crap, but people wanted them.
45:12.206 --> 45:14.047
[SPEAKER_01]: Clearly, they went to see the movie.
45:14.887 --> 45:17.348
[SPEAKER_01]: Moana was a dud financially.
45:17.548 --> 45:20.950
[SPEAKER_01]: So I think we are discovering that there is a cut off.
45:21.762 --> 45:29.027
[SPEAKER_01]: where at some point it just like you're you're not catering to my nostalgia, you're just trying to sell me something twice in rapid succession.
45:30.032 --> 45:40.179
[SPEAKER_01]: And I don't think that's a successful play, but regarding the other things that we're said in that email, I think there's two things that I think are worth noting.
45:42.460 --> 45:52.707
[SPEAKER_01]: One is that I don't think Hollywood thinks of itself as pitching or selling familiarity.
45:52.767 --> 45:53.188
[SPEAKER_01]: They are.
45:54.068 --> 45:56.269
[SPEAKER_01]: that is absolutely something that they're interested in doing.
45:56.289 --> 46:10.137
[SPEAKER_01]: And that goes back to every time they do another Shakespeare movie, every time they remake sense and sensibility, every time they do a biopic about someone who was famous a long time ago or not that long ago, even.
46:10.197 --> 46:16.181
[SPEAKER_01]: Their familiarity does sell because they're catering to a pre-existing interest.
46:16.201 --> 46:18.082
[SPEAKER_01]: I don't think that's inherently nostalgia.
46:18.882 --> 46:22.544
[SPEAKER_01]: So I conflating those I think is a bit of a trap, but it often is.
46:22.564 --> 46:23.405
[SPEAKER_01]: You're correct about that.
46:24.348 --> 46:24.929
[SPEAKER_00]: Yeah.
46:25.790 --> 46:37.084
[SPEAKER_00]: I think we've started referred to all of these adaptations of preexisting IP as specifically no stalgia because of the types of things they were adapting.
46:37.144 --> 46:37.304
[SPEAKER_00]: Yeah.
46:37.685 --> 46:42.651
[SPEAKER_00]: They were there was a lot of remakes of not just sort of things from a cross,
46:43.932 --> 46:57.482
[SPEAKER_00]: the filmmaking spectrum, but from a lot of things that were very specifically originally sold to essentially gen Xers, guys might at a little bit older.
46:57.802 --> 47:00.123
[SPEAKER_01]: Yeah, and like early millennials, yeah.
47:01.304 --> 47:01.965
[SPEAKER_00]: Yeah, yeah.
47:03.575 --> 47:19.190
[SPEAKER_00]: So when they came out with a remake of a nightmare in all street that film came out in 1984 and you'll find that a lot of you like the bulk of the remakes that sort of came throughout the mid 2000s through the mid 2010s like when things were most highly saturated.
47:20.411 --> 47:21.792
[SPEAKER_00]: We're all catering to.
47:23.288 --> 47:24.369
[SPEAKER_00]: jacks, specifically.
47:24.769 --> 47:30.654
[SPEAKER_01]: Well, essentially because a lot of them, a lot of them try to like grow up with gen X, like it can't just be transformers.
47:30.714 --> 47:33.136
[SPEAKER_01]: It's got to be badass transformers, that kind of thing.
47:33.456 --> 47:35.838
[SPEAKER_01]: It can't just be, we're doing nightmare in Elm Street again.
47:35.898 --> 47:38.440
[SPEAKER_01]: It has to be more hardcore than ever before.
47:38.781 --> 47:48.629
[SPEAKER_01]: And ironically, I think the ones that were most successful with young audiences, specifically, not necessarily good, but the ones that catered to young audiences were the ones that didn't
47:53.113 --> 47:55.830
[SPEAKER_01]: into the live action album and the chipmunks movies.
47:56.452 --> 47:58.433
[SPEAKER_00]: because they were made for children.
47:58.493 --> 48:01.434
[SPEAKER_01]: They didn't pretend that we're trying to like, keep adults interested in this.
48:01.474 --> 48:02.934
[SPEAKER_01]: They're still out, but in the chipmunks.
48:03.274 --> 48:09.517
[SPEAKER_01]: There's only the most you will do is listen to one of their novelty songs that go, that was a cute cover of uptown girl.
48:09.757 --> 48:11.617
[SPEAKER_01]: Like, that's it, that's all we've got.
48:11.677 --> 48:13.598
[SPEAKER_01]: That and the Christmas song, those are still sacred.
48:14.218 --> 48:18.440
[SPEAKER_01]: And the first animated movie was weirdly well animated, but still not a good movie.
48:18.820 --> 48:21.381
[SPEAKER_01]: But like, yeah, that wasn't catering to nostalgia.
48:21.401 --> 48:24.922
[SPEAKER_01]: That was just reintroducing something for kids to new kids.
48:25.926 --> 48:37.233
[SPEAKER_01]: but when you try to cater to people who grew up with it and say, hey, we grew up along with you, you're alienating young people because they don't have this necessarily like huge connection to it.
48:37.733 --> 48:42.016
[SPEAKER_01]: And I don't mean that alienating this, that might be a bit extreme.
48:42.036 --> 48:47.119
[SPEAKER_01]: I think their kids watch to transformers, but I think they inherently knew that this is for their dad.
48:48.784 --> 48:48.964
[SPEAKER_01]: Yeah.
48:49.064 --> 48:54.188
[SPEAKER_01]: You know, and I think the thing that we're seeing now with these YouTubers is you're right.
48:54.248 --> 49:01.893
[SPEAKER_01]: You know, a Markiplier, Kane Parsons, Gooseworks, these are people who are huge in the YouTube space.
49:02.894 --> 49:03.334
[SPEAKER_01]: They're huge.
49:03.434 --> 49:06.256
[SPEAKER_01]: They have gigantic following billions of views.
49:07.037 --> 49:11.340
[SPEAKER_01]: They're a big deal, but I don't think that that's necessarily selling nostalgia.
49:11.380 --> 49:14.382
[SPEAKER_01]: That's just, here's someone who is popular right now.
49:15.842 --> 49:22.124
[SPEAKER_01]: they're doing something, but they are doing it for the most part, at least in terms of Markiplier and GooseWorks.
49:22.144 --> 49:24.024
[SPEAKER_01]: They're doing it outside the studio system.
49:25.204 --> 49:30.806
[SPEAKER_01]: And they are making stories that they want to tell in the case of Markiplier.
49:30.826 --> 49:35.747
[SPEAKER_01]: He made Iron Long, which was based on a video game, but it's an obscure video game that most people haven't played.
49:36.912 --> 49:38.714
[SPEAKER_01]: and it's something that it's not very commercial.
49:38.754 --> 49:52.988
[SPEAKER_01]: It is very dark and strange and people were really responding to that because although yes, these filmmakers are known quantities to young people and in some cases they're following up in case of backgrounds and amazing digital circus.
49:53.008 --> 49:59.474
[SPEAKER_01]: They're following up on things that are already popular, but they're this generation's thing.
50:00.615 --> 50:07.097
[SPEAKER_00]: Yeah, that's what I was going to get into as cycles of nostalgia are real and they could they tend to come in 20 year waves.
50:07.518 --> 50:16.581
[SPEAKER_00]: I'm old enough to remember in the 80s, this is actually like a 30 year wave, but I remember in the 80s, you'll notice there are a lot of films about the 1950s.
50:16.741 --> 50:18.462
[SPEAKER_00]: Yeah.
50:19.182 --> 50:26.345
[SPEAKER_00]: In the 1990s, we had the sudden wave of nostalgia for the 1970s to the point where people were making fun of 70s nostalgia by the end of the 90s.
50:27.545 --> 50:33.668
[SPEAKER_00]: Uh, we had in the mid 2000s, all of these remakes of 80s and 90s films, just sort of coming out.
50:34.348 --> 50:45.373
[SPEAKER_00]: Um, and even though, you know, we did have these nostalgia cycles, I think what we're seeing now is much different from that.
50:45.393 --> 50:45.654
[SPEAKER_01]: Mm-hmm.
50:46.054 --> 50:47.615
[SPEAKER_00]: I think what we're seeing now is,
50:50.651 --> 50:55.356
[SPEAKER_00]: a new generation of filmmakers starting from a different place than we were used to seeing them.
50:56.176 --> 51:03.504
[SPEAKER_00]: And the idea that, and it is scrapping something that Hollywood has been frustratingly attached to for many years.
51:04.004 --> 51:09.870
[SPEAKER_00]: And that's this idea that if something is successful once, it will be successful in perpetuity.
51:11.892 --> 51:33.886
[SPEAKER_00]: There's this very swift move to take anything that's remotely successful in the popular consciousness and immediately shift it into sort of this permanent fixture in the popular consciousness, make it into a theme park ride, keep re-releasing, keep it in the consciousness, keep making sequels, and I feel like
51:34.887 --> 51:42.994
[SPEAKER_00]: Hollywood got so used to doing that and they were so successful for a full decade with transformers remakes and superhero films.
51:43.014 --> 51:44.615
[SPEAKER_00]: I think it was closer to 20 years.
51:45.476 --> 51:47.137
[SPEAKER_00]: Yeah, it was a long, long time.
51:47.197 --> 51:51.501
[SPEAKER_00]: So I last year, I said that it was officially done.
51:52.202 --> 51:54.143
[SPEAKER_00]: We were, it was all over and done with.
51:54.183 --> 51:56.545
[SPEAKER_00]: We didn't meet anymore of the IP.
51:56.605 --> 52:02.971
[SPEAKER_00]: We lived in a world where obsession and backgrounds were huge hits and the new Star Wars film was doing nothing.
52:03.491 --> 52:27.316
[SPEAKER_00]: So, uh, well, that was a mess here, that was a summer, but yeah, or less summer, but yeah, this this was a pretty clear indicator of what was going on in Hollywood, uh, the old ways were dying, and that of course Spider-Man came out, made a kill and dollars and kind of challenge their was like, oh, no, we're going to we're back man, and they were going to rework and we're going to do we're going to keep on doing the same old shit, uh, no, that is no, that's an aberration though.
52:28.334 --> 52:30.976
[SPEAKER_01]: most of the other superhero stuff isn't doing that huge.
52:31.456 --> 52:35.559
[SPEAKER_01]: Spider-Man is something, and again, I think it's also that it's this generation Spider-Man.
52:36.540 --> 52:51.150
[SPEAKER_01]: This generation is very attached to Tom Holland, the very attached to Zendaya, and I think that those movies have done a very good job of consistently making Spider-Man stories for young people at young points in their lives to varying degrees of success, but still.
52:52.091 --> 52:55.754
[SPEAKER_01]: And so I think when we say that like it feels like superhero
52:57.893 --> 52:59.335
[SPEAKER_01]: We mean the ubiquity.
52:59.716 --> 53:03.261
[SPEAKER_01]: We mean the idea that they are guaranteed instant successes.
53:04.002 --> 53:10.250
[SPEAKER_01]: That seems to be dying out, but there are some of those that have a lot of people genuinely interested still to this day.
53:10.551 --> 53:12.473
[SPEAKER_01]: They haven't ruined everyone's good will yet.
53:13.695 --> 53:14.636
[SPEAKER_01]: And maybe that day will come.
53:15.423 --> 53:23.387
[SPEAKER_01]: but there's still a few that are doing okay and enough of them are doing okay that they're never gonna go away, I think, entirely.
53:23.907 --> 53:31.031
[SPEAKER_01]: But when you look at this year, the most fascinating success stories were things that 10 years ago would have been tough cells.
53:32.391 --> 53:38.214
[SPEAKER_01]: You know, like the back rooms or like hell, even no one's the Odyssey.
53:38.875 --> 53:42.977
[SPEAKER_01]: And yeah, no one did it, it would probably still do good but the idea that the Odyssey,
53:43.965 --> 53:51.153
[SPEAKER_01]: is like this really depressing three-hour Greek epic without all of the really fun fanciful stuff.
53:53.115 --> 53:56.939
[SPEAKER_01]: That that would be one of the biggest movies of the year and for what was the biggest movie of the year?
53:58.000 --> 53:58.841
[SPEAKER_01]: That would be unthinkable.
54:00.978 --> 54:09.282
[SPEAKER_01]: So we are in a position of change, but I think that some of us are a little eager to say, we've completely moved on.
54:09.323 --> 54:14.065
[SPEAKER_01]: And I don't think we'll ever completely move on, but the paradigm will shift, and that's the thing.
54:14.085 --> 54:15.226
[SPEAKER_01]: They're looking for a new paradigm.
54:15.246 --> 54:26.832
[SPEAKER_01]: They're looking for a new formula, that they can repeat over and over again, and then just sort of bury that deep in the ground, and then they'll be desperate to find the next formula, and they will learn nothing after.
54:29.099 --> 54:31.549
[SPEAKER_00]: Hollywood doesn't learn stuff, not a fact of it.
54:32.493 --> 54:33.296
[SPEAKER_00]: No, uh...
54:34.975 --> 54:41.940
[SPEAKER_00]: But I do think that the paradigm is definitely shifting, but a lot of people still aren't getting the message.
54:42.740 --> 55:00.613
[SPEAKER_00]: Oh, we're recording this podcast just a few days after the birth of Skydance, which is the new, the new Kathulu-like Supermonster that has formed between the merging of Paramount and Warner Brothers, and you'll
55:01.970 --> 55:12.735
[SPEAKER_00]: Mark my words, there is going to be a big press release at some point where they're going to be talking about how they're going to be tripling down on all of the IP.
55:13.156 --> 55:16.717
[SPEAKER_01]: I think they're going to be doing already said that as if they haven't announced a lot of it.
55:17.318 --> 55:21.440
[SPEAKER_01]: But they know, I mean, that's why you, that's why you buy that shit so that you can exploit it.
55:22.080 --> 55:26.964
[SPEAKER_00]: Yeah, they they want the property so we're going to have you know Batman versus Star Trek whether they're going to do.
55:26.984 --> 55:32.169
[SPEAKER_00]: Yeah, whatever they get that's what they're going to start leaning into not knowing that that.
55:33.490 --> 55:35.750
[SPEAKER_00]: that giant is dead.
55:35.991 --> 55:39.011
[SPEAKER_00]: Like we're still picking meat off of it, but it's dead.
55:39.691 --> 55:45.392
[SPEAKER_00]: And I feel like those giant soldiers are leaning into bad ideas all the time.
55:45.512 --> 55:46.053
[SPEAKER_00]: Yeah.
55:46.353 --> 55:53.894
[SPEAKER_00]: Some of the biggest hits of the year are these zero budget films, a lot of horror movies, from new filmmakers, what we want is new voices.
55:54.034 --> 55:54.214
[SPEAKER_00]: Yeah.
55:54.554 --> 55:56.635
[SPEAKER_00]: And Hollywood hasn't gotten the memo yet.
55:56.675 --> 55:57.835
[SPEAKER_00]: And that's really frustrating.
55:57.875 --> 56:18.129
[SPEAKER_01]: It's extremely frustrating and the instinct is always to take whoever is new and put them on whatever is old in order to make what is old and what is reliable What they've already invested a lot of money in still lucrative and prevent and I don't I don't know how conscious this is, but and also prevent these new filmmakers from shaking things up too much.
56:19.863 --> 56:23.565
[SPEAKER_01]: you know, so that the old ways won't work entirely.
56:23.725 --> 56:32.209
[SPEAKER_01]: Now, it is possible that Skydance will not like fuck everything up, at least maybe not initially.
56:32.229 --> 56:35.051
[SPEAKER_01]: It is possible that they'll release some big movies.
56:35.091 --> 56:36.992
[SPEAKER_01]: It is possible that there will be some good movies.
56:38.072 --> 56:41.014
[SPEAKER_01]: Certainly there are people who are working for them who want to make good stuff.
56:41.454 --> 56:43.275
[SPEAKER_01]: TV movies, whatever they want to do it.
56:44.235 --> 56:58.705
[SPEAKER_01]: And if considering that, it is an increasingly monopolized system, especially with any sort of money behind it, the options of where to go for a lot of those shows and movies are dwindling dramatically, unless you can do them for no budget.
56:59.986 --> 57:00.146
[SPEAKER_00]: Yeah.
57:01.107 --> 57:06.410
[SPEAKER_01]: But it is also worth remembering that they are in a very precarious place financially.
57:14.255 --> 57:20.117
[SPEAKER_01]: uh, they're come in like right out of the gate digger lost like a quarter of a billion dollars.
57:21.517 --> 57:40.041
[SPEAKER_01]: So the the number of mistakes they can make early on without torpedoing everything that they were working for this whole monopolized system vertically integrated, frankly anti-democratic because you're putting all the decisions for the majority of the entertainment people can have in
57:43.002 --> 57:51.931
[SPEAKER_01]: in the hands of a very small number of people who don't answer to anybody because there's not a competition to make them change their mind or to incentivize anyone to go anywhere else with anything.
57:54.393 --> 58:02.160
[SPEAKER_01]: That could go bust and on one hand it would be good if it did.
58:02.461 --> 58:03.261
[SPEAKER_01]: On the other hand
58:04.621 --> 58:06.123
[SPEAKER_01]: where the jobs gonna go.
58:06.423 --> 58:13.929
[SPEAKER_01]: It was, we're already gonna lose a bunch because of consolidation and also just the usual, we need to cut money so we're gonna cut people.
58:14.029 --> 58:17.212
[SPEAKER_01]: They're, they haven't announced a lot of that yet, but I guarantee you that's coming.
58:18.473 --> 58:19.334
[SPEAKER_01]: Because it always does.
58:21.115 --> 58:23.437
[SPEAKER_01]: But like, yeah, that's the other thing.
58:23.517 --> 58:25.159
[SPEAKER_01]: People don't have places to work.
58:25.339 --> 58:31.945
[SPEAKER_01]: And these are skilled crafts persons whose work takes time and takes money.
58:33.462 --> 58:59.181
[SPEAKER_00]: the need that they need to play the rent before on the table yeah, it just it feels more and more and more just throughout my whole life this weird arc toward ruin and I know a lot of older people say that not an old guy now you know I'm pushing 50 at this point but you know it does feel like we're at a particularly dark period when it comes to the big mainstream studios yeah
58:59.581 --> 59:23.172
[SPEAKER_00]: that said when these dark periods for the big studios happen it's actually when we get the most exciting art from outside of the studio because this is when we're going to be seeing a lot of really interesting new filmmakers right up we talk to Louise Ward I you what you were talking about about trying to hire new filmmakers to resurrect the old properties that exact conversation was
59:28.454 --> 59:45.913
[SPEAKER_00]: a lot of these young filmmakers know what they're doing uh... at the same time we have uh... someone like uh... i think it was curie barker is he's he's he the one who's going to do it to uh... another Texas chains on massacres he is going to do another Texas chains on massacres yeah yeah it's like okay i mean i mean we just said earlier in this podcast
59:50.118 --> 01:00:09.786
[SPEAKER_01]: that remakes are not inherently bad, but it is frustrating when what we really want from new filmmakers is to see what they can do like what can you introduce to us and the instinct or even maybe the safe bet for them is to work on IP and maybe they'll do something really interesting with that.
01:00:10.775 --> 01:00:11.155
[SPEAKER_01]: They might.
01:00:11.175 --> 01:00:11.315
[SPEAKER_01]: Yeah.
01:00:11.335 --> 01:00:11.436
[SPEAKER_00]: Yeah.
01:00:11.456 --> 01:00:12.316
[SPEAKER_00]: There's a, you know, Kronenburns records.
01:00:12.336 --> 01:00:12.797
[SPEAKER_00]: Kronenburns records.
01:00:12.817 --> 01:00:13.217
[SPEAKER_00]: Kronenburns records.
01:00:13.237 --> 01:00:13.677
[SPEAKER_00]: Kronenburns records.
01:00:13.697 --> 01:00:14.098
[SPEAKER_00]: Kronenburns records.
01:00:14.118 --> 01:00:14.518
[SPEAKER_01]: Kronenburns records.
01:00:14.538 --> 01:00:15.119
[SPEAKER_01]: Kronenburns records.
01:00:15.139 --> 01:00:15.579
[SPEAKER_01]: Kronenburns records.
01:00:15.599 --> 01:00:16.079
[SPEAKER_01]: Kronenburns records.
01:00:16.099 --> 01:00:16.580
[SPEAKER_01]: Kronenburns records.
01:00:16.600 --> 01:00:17.140
[SPEAKER_01]: Kronenburns records.
01:00:17.160 --> 01:00:17.561
[SPEAKER_01]: Kronenburns records.
01:00:17.581 --> 01:00:17.981
[SPEAKER_01]: Kronenburns records.
01:00:18.001 --> 01:00:18.421
[SPEAKER_01]: Kronenburns records.
01:00:18.441 --> 01:00:19.042
[SPEAKER_01]: Kronenburns records.
01:00:19.062 --> 01:00:19.923
[SPEAKER_01]: Kronenburns records.
01:00:19.943 --> 01:00:20.403
[SPEAKER_01]: Kronenburns records.
01:00:20.443 --> 01:00:21.084
[SPEAKER_01]: Kronenburns records.
01:00:21.104 --> 01:00:21.604
[SPEAKER_01]: Kronenburns records.
01:00:21.624 --> 01:00:22.064
[SPEAKER_01]: Kronenburns records.
01:00:22.325 --> 01:00:22.885
[SPEAKER_01]: Kronenburns records.
01:00:22.905 --> 01:00:23.485
[SPEAKER_01]: Kronenburns records.
01:00:23.506 --> 01:00:24.066
[SPEAKER_01]: Kronenburns
01:00:24.392 --> 01:00:34.419
[SPEAKER_00]: Well, I love the differences, the remakes of the thing and of the fly were for movies that are 30 years old and those movies themselves are now over 30 years old.
01:00:34.939 --> 01:00:43.725
[SPEAKER_00]: So and they came out in times when those types of horror remakes weren't common and the original's weren't really well known.
01:00:44.165 --> 01:00:45.826
[SPEAKER_00]: So it really, it is different.
01:00:46.006 --> 01:00:46.867
[SPEAKER_00]: No, that's a fair point.
01:00:46.947 --> 01:00:47.547
[SPEAKER_01]: That's a fair point.
01:00:47.707 --> 01:00:48.047
[SPEAKER_01]: Yeah.
01:00:48.428 --> 01:00:48.888
[SPEAKER_01]: You got me there.
01:00:50.005 --> 01:00:56.271
[SPEAKER_00]: Yeah, but yes, I agree exactly with your point that I want to see what a new filmmaker has to say for themselves, not just to
01:01:04.423 --> 01:01:06.624
[SPEAKER_00]: Anyway, here's a letter from Brandon, hello Brandon.
01:01:06.724 --> 01:01:07.044
[SPEAKER_00]: Hi, Brandon.
01:01:07.065 --> 01:01:10.667
[SPEAKER_00]: And this is movies that start with the letter M. Okay.
01:01:11.047 --> 01:01:16.630
[SPEAKER_00]: Dear Rock Maister and William, there was a surprising amount of overlap between your lists and mine this time around.
01:01:16.830 --> 01:01:22.013
[SPEAKER_00]: We did an iron list just the best films to start with the letter M. Yeah, it's part of our ongoing alphabet series, yeah.
01:01:22.473 --> 01:01:22.713
[SPEAKER_01]: Yeah.
01:01:23.614 --> 01:01:30.077
[SPEAKER_00]: Still, there are some other movies starting with the letter M that I want to highlight and recommend, such as the man who knew too much, 1956.
01:01:31.786 --> 01:01:49.844
[SPEAKER_00]: million black nineteen ninety-seven uh... the music man sixty-two lots of nice uh... mule mule and ninety-eight yeah that's all right uh... it was a little after my time when i was really getting into Disney movies but it is really good movie yeah
01:01:50.934 --> 01:01:55.779
[SPEAKER_00]: Yeah, I remind me to tell you the story of the first time I saw him alone.
01:01:55.979 --> 01:01:58.121
[SPEAKER_00]: Let's see, Mary Poppins, 1964.
01:01:59.082 --> 01:02:01.204
[SPEAKER_00]: The many adventures of Winnie the Poone, 1977.
01:02:01.764 --> 01:02:02.785
[SPEAKER_00]: Oh, that one's great.
01:02:02.805 --> 01:02:05.668
[SPEAKER_01]: I'm not the hugeest Mary Poppins, Sam, but that's a great Winnie the Pooh, yeah.
01:02:06.252 --> 01:02:10.156
[SPEAKER_00]: Yeah, uh, let's see here, uh, last month.
01:02:10.176 --> 01:02:18.585
[SPEAKER_00]: Okay, we're mission impossible, 1996, uh, Maverick, 1994, uh, Maverick is... That's a very enjoyable film.
01:02:18.705 --> 01:02:20.927
[SPEAKER_01]: I would not have made my list, but that's a very enjoyable film.
01:02:21.428 --> 01:02:22.328
[SPEAKER_00]: Yeah, I mean...
01:02:23.642 --> 01:02:48.371
[SPEAKER_00]: say what you will about Mel Gibson please I will but uh and we all do there's a reason he's a movie star and yeah that's one of like sort of this underrated charmer comedy that I think it's just really fantastic I mean you just have to look at Mel Gibson well you know well your own tolerance is good but you also have James Garner and Jodie Foster and they're having the time of their like Jodie Foster doesn't get to play funny very often in her career and she was
01:02:54.068 --> 01:02:59.412
[SPEAKER_00]: Let's see, Maverick Monsters Inc. from 2001 and Moana from 2016.
01:03:01.213 --> 01:03:04.595
[SPEAKER_00]: Muppet Treasure Island was at the top of my pick over all for the list.
01:03:04.935 --> 01:03:11.499
[SPEAKER_00]: I remember that the wait for it to come to home video was over a year and it was in heavy rotation at my house when he finally got a copy.
01:03:11.839 --> 01:03:16.281
[SPEAKER_00]: I still adore Tim Curry as long as on silver, upstage lads, this is my only number.
01:03:18.363 --> 01:03:22.065
[SPEAKER_00]: I also really appreciate the Spider-Man brand new day episode you did recently.
01:03:22.145 --> 01:03:23.966
[SPEAKER_00]: Keep on talking about movies and I'll keep listening.
01:03:24.026 --> 01:03:26.287
[SPEAKER_00]: Stay well, gentlemen, Brandon, well, thank you, Brandon.
01:03:26.327 --> 01:03:27.707
[SPEAKER_01]: Thank you very much, really appreciate it.
01:03:27.767 --> 01:03:29.688
[SPEAKER_01]: Yeah, um, yeah.
01:03:29.728 --> 01:03:33.710
[SPEAKER_01]: Yeah, every time we do one of those, it feels like we're being as thorough as we can, especially with their runners up.
01:03:34.070 --> 01:03:35.371
[SPEAKER_01]: And then someone says, what about this?
01:03:35.431 --> 01:03:37.592
[SPEAKER_01]: And I was like, fuck, I'm such a hack.
01:03:38.613 --> 01:03:40.293
[SPEAKER_01]: I can't believe I forgot that movie.
01:03:40.554 --> 01:03:40.934
[SPEAKER_01]: Oh, no.
01:03:43.135 --> 01:03:49.420
[SPEAKER_00]: I've been going back and reading some of my articles, and I'm just like, I mean, one of those mine states where it's just like, oh, this is terrible.
01:03:49.680 --> 01:03:51.201
[SPEAKER_00]: Oh, this is also terrible.
01:03:51.241 --> 01:03:52.902
[SPEAKER_00]: Oh, I'm just not a good author.
01:03:53.283 --> 01:03:57.146
[SPEAKER_00]: No, I'm trying to do good and just do nothing good.
01:03:57.166 --> 01:03:58.987
[SPEAKER_00]: It's all feels so bad.
01:03:59.347 --> 01:04:01.709
[SPEAKER_01]: Well, we're both critics and we're both around worst critics.
01:04:02.910 --> 01:04:03.570
[SPEAKER_00]: Yeah, I guess so.
01:04:03.590 --> 01:04:04.471
[SPEAKER_01]: Yeah.
01:04:04.491 --> 01:04:07.453
[SPEAKER_01]: So be kind to yourself, man.
01:04:07.473 --> 01:04:08.234
[SPEAKER_01]: Let's do one or two more.
01:04:08.394 --> 01:04:08.554
[SPEAKER_01]: Okay.
01:04:09.958 --> 01:04:10.538
[SPEAKER_00]: Uh, okay.
01:04:10.558 --> 01:04:11.298
[SPEAKER_00]: I can do one more.
01:04:11.318 --> 01:04:12.139
[SPEAKER_00]: Let's see here.
01:04:12.239 --> 01:04:13.859
[SPEAKER_00]: This one is from Andrew.
01:04:13.939 --> 01:04:14.599
[SPEAKER_00]: Hello Andrew.
01:04:14.680 --> 01:04:15.100
[SPEAKER_00]: Hi Andrew.
01:04:15.620 --> 01:04:16.660
[SPEAKER_00]: Um, Andrew.
01:04:16.780 --> 01:04:19.521
[SPEAKER_00]: This is another list of, uh, and letter M movies.
01:04:20.801 --> 01:04:21.842
[SPEAKER_00]: Uh, hi, Bibl's in Rock-Wise.
01:04:21.862 --> 01:04:22.222
[SPEAKER_00]: I'm a cool.
01:04:22.442 --> 01:04:28.284
[SPEAKER_00]: I felt compelled to contribute my personal top 10 films that start with the letter M after listening to the iron list.
01:04:28.704 --> 01:04:33.285
[SPEAKER_00]: I'm always excited to hear you both wax, wax, repsotic about movies that you absolutely love.
01:04:33.545 --> 01:04:35.266
[SPEAKER_00]: It brings a bit of joy into my life.
01:04:35.846 --> 01:04:41.509
[SPEAKER_00]: I think about the lists and in my head often make my own personal ones but really feel the need to share this time however.
01:04:41.869 --> 01:04:46.451
[SPEAKER_00]: A couple of films that you mentioned in a couple that were omitted make me think about the list more than usual.
01:04:46.471 --> 01:04:54.995
[SPEAKER_00]: There are some great films that I am sure would make the list if I'd ever seen them at Metropolis come to mind and some classics that I love but are somewhat overshadowed by other films.
01:04:55.356 --> 01:04:58.857
[SPEAKER_00]: I'm sure they are glaring omissions from my own list, cough, the Matrix, cough.
01:04:59.017 --> 01:04:59.978
[SPEAKER_00]: But here are my choices.
01:05:02.127 --> 01:05:16.604
[SPEAKER_00]: uh... mad max fury road for all of the reasons bids said in that episode great movie uh... see here uh... matinee a movie i saw when i first premiered and can still envision it i left left a lasting impression on my teenage brain
01:05:18.017 --> 01:05:23.179
[SPEAKER_01]: I only just saw that for the first time and it is very cute.
01:05:23.819 --> 01:05:24.900
[SPEAKER_01]: It is very very good.
01:05:25.440 --> 01:05:28.741
[SPEAKER_00]: It has a great ending.
01:05:28.881 --> 01:05:33.383
[SPEAKER_00]: I like the kind of the no style actually like the no style just stuff in that.
01:05:33.643 --> 01:05:36.884
[SPEAKER_00]: Yeah, um, if no one knows what we're talking about capture the time.
01:05:37.024 --> 01:05:39.485
[SPEAKER_01]: No, I don't it's not very it's not very well known movie.
01:05:39.505 --> 01:05:46.628
[SPEAKER_01]: Matt Nays of film Joe Dante directed in the 1990s that was like one of those like growing up in the 50s Fear of the nuclear bomb.
01:05:46.668 --> 01:05:48.529
[SPEAKER_01]: Am I gonna kiss a girl that kind of thing?
01:05:49.013 --> 01:06:10.343
[SPEAKER_01]: except it's about a small town where a filmmaker based explicitly on William Castle is about to have a preview screening of his latest gimmick movie and the last half of the movie is just everyone in town is at the theater and the gimmicks are going wrong and it leads to like this horrible disaster and the second half is incredibly good.
01:06:11.023 --> 01:06:14.065
[SPEAKER_01]: I think the first half is a little
01:06:15.622 --> 01:06:18.483
[SPEAKER_01]: I'm not gonna say lazy but it feels like a lazy summer day.
01:06:18.643 --> 01:06:21.324
[SPEAKER_01]: It feels like we are in no rush to get to the movie part of this movie.
01:06:21.404 --> 01:06:22.084
[SPEAKER_00]: Yeah.
01:06:22.124 --> 01:06:22.284
[SPEAKER_00]: Yeah.
01:06:22.464 --> 01:06:27.066
[SPEAKER_01]: So I think that which I wish that had been tightened up a little but if it was I think that meant they would be damn your perfect.
01:06:28.166 --> 01:06:31.828
[SPEAKER_00]: That's what I remember about it is like kind of how loose it was and I kind of appreciate it that.
01:06:31.908 --> 01:06:32.648
[SPEAKER_00]: Yeah.
01:06:33.128 --> 01:06:37.810
[SPEAKER_00]: But yeah, I kind of wish you just made it William Castle instead of this fictional version of William Castle.
01:06:37.830 --> 01:06:40.091
[SPEAKER_01]: Maybe he tried and they didn't want him to.
01:06:40.331 --> 01:06:40.411
[SPEAKER_00]: Who
01:06:41.907 --> 01:06:44.671
[SPEAKER_01]: Well, I think also, it also gives him freedom to make something up, though.
01:06:44.731 --> 01:06:49.157
[SPEAKER_01]: They got to make up his own gimmicks, so maybe that was the deal.
01:06:49.197 --> 01:06:49.418
[SPEAKER_01]: Yeah.
01:06:51.394 --> 01:06:58.400
[SPEAKER_00]: Uh, let's see, also on this list, Memento, I feel I feel it showed early on the potential of no, no one end is really well acted.
01:06:59.160 --> 01:06:59.781
[SPEAKER_00]: Monsters Inc.
01:07:00.061 --> 01:07:02.763
[SPEAKER_00]: The movie that should have won the first Oscar for Best Animated Picture.
01:07:02.983 --> 01:07:03.103
[SPEAKER_00]: Yeah.
01:07:03.123 --> 01:07:03.984
[SPEAKER_00]: I love Shrek for all.
01:07:04.024 --> 01:07:07.287
[SPEAKER_00]: It's silliness, but Monsters Inc was so much better than Mulan Rouge.
01:07:08.988 --> 01:07:13.131
[SPEAKER_00]: I love, I love this movie from the beginning to the closing and I can hear the soundtrack in my head to this day.
01:07:13.471 --> 01:07:16.354
[SPEAKER_00]: I will never be able to hear like a virgin quite the same way.
01:07:21.597 --> 01:07:25.519
[SPEAKER_00]: What I'm sorry.
01:07:25.539 --> 01:07:26.920
[SPEAKER_00]: I just ran those two things together.
01:07:26.940 --> 01:07:27.781
[SPEAKER_00]: You totally did.
01:07:27.821 --> 01:07:28.901
[SPEAKER_01]: I was very confused.
01:07:28.921 --> 01:07:32.583
[SPEAKER_00]: It's like where was like a virgin in monster's ink?
01:07:33.064 --> 01:07:36.025
[SPEAKER_00]: I like I like monsters ink better than trek period.
01:07:36.065 --> 01:07:37.646
[SPEAKER_00]: There's actually no period in the email.
01:07:37.706 --> 01:07:39.187
[SPEAKER_00]: So that's that's in my defense.
01:07:39.327 --> 01:07:41.789
[SPEAKER_00]: Okay, but it monsters ink was so much better period.
01:07:42.009 --> 01:07:43.290
[SPEAKER_00]: Next up, Mula Rouge.
01:07:43.510 --> 01:07:46.431
[SPEAKER_00]: I love this film for the opening to close.
01:07:47.652 --> 01:07:49.232
[SPEAKER_00]: I thought we were still talking about Monsters Inc.
01:07:49.412 --> 01:07:52.173
[SPEAKER_01]: Okay, that's not me, that's very, very funny.
01:07:52.793 --> 01:08:07.537
[SPEAKER_01]: I was recently, the rap is my publication and they frequently post my reviews and such to Instagram with the headline and a picture and then maybe one quote on another slide.
01:08:07.957 --> 01:08:15.579
[SPEAKER_01]: And one time, and it was really funny, I guess they'd been putting up a couple of things at the same time and they got kind of mixed a little bit.
01:08:16.079 --> 01:08:27.777
[SPEAKER_01]: So it was like, I don't remember what it was, it was like me saying something like, you know, I think the Odyssey is arguably Christopher Nolan's best film and then I got on a plane wearing my X-Men uniform.
01:08:29.778 --> 01:08:30.498
[SPEAKER_01]: And I was like, what?
01:08:31.619 --> 01:08:41.205
[SPEAKER_01]: And apparently, they were also posting something about Holly Berry talking about something she remembered doing on the X-Men movies and ended up getting on a plane bearing her uniform, which is a funny anecdote.
01:08:41.465 --> 01:08:52.912
[SPEAKER_01]: And it was just for like a minute that was up there as if I had the biggest fucking brain fart and said the silliest thing imaginable and it made me laugh so hard.
01:08:52.932 --> 01:08:53.673
[SPEAKER_01]: It was so great.
01:08:54.013 --> 01:08:54.233
[SPEAKER_00]: All right.
01:08:54.474 --> 01:08:54.674
[SPEAKER_01]: Yeah.
01:08:54.774 --> 01:08:56.196
[SPEAKER_00]: But Moulin Rouge is on the list.
01:08:56.236 --> 01:08:59.161
[SPEAKER_00]: Not this person didn't like monsters and better than Moulin Rouge.
01:08:59.201 --> 01:09:01.324
[SPEAKER_00]: Guys, that was just an absurd little non-tech winner.
01:09:01.384 --> 01:09:01.945
[SPEAKER_00]: Anyway, okay.
01:09:02.586 --> 01:09:04.569
[SPEAKER_00]: Onto the next film, much to do about nothing.
01:09:04.669 --> 01:09:07.233
[SPEAKER_00]: Notwithstanding the counter-reuse performance a masterpiece.
01:09:07.373 --> 01:09:07.593
[SPEAKER_00]: Yes.
01:09:07.793 --> 01:09:08.274
[SPEAKER_00]: Agreed there.
01:09:09.215 --> 01:09:13.518
[SPEAKER_00]: Um, the mummy, 1999, I'm one of those gen X slash millennials.
01:09:13.558 --> 01:09:16.600
[SPEAKER_00]: I saw the film and just the right mindset and I love it for all of those.
01:09:16.620 --> 01:09:19.122
[SPEAKER_00]: She's I guess, but did it make you bisexual.
01:09:19.762 --> 01:09:25.166
[SPEAKER_00]: Um, that, that, that's one of those films that like, you'll talk to like, young bisexuals.
01:09:25.186 --> 01:09:30.529
[SPEAKER_00]: It's like, yeah, I had my, my awakening watching the mummy, just because the entire cast is so attractive.
01:09:30.729 --> 01:09:30.909
[SPEAKER_01]: Yeah.
01:09:31.370 --> 01:09:34.772
[SPEAKER_00]: Um, see, uh, my cousin Vinny, what's up?
01:09:35.854 --> 01:09:38.036
[SPEAKER_00]: That's another movie that lives rent free in my head.
01:09:38.056 --> 01:09:39.417
[SPEAKER_00]: One of the best comedies, period.
01:09:39.937 --> 01:09:40.998
[SPEAKER_01]: Yeah, that's so good.
01:09:41.338 --> 01:09:43.240
[SPEAKER_00]: Uh, my, my neighbor, Totoro.
01:09:43.480 --> 01:09:44.120
[SPEAKER_01]: Yeah.
01:09:44.221 --> 01:09:50.105
[SPEAKER_00]: I almost cheated and was going to put a monornook a humet on here, but since that's not the title, it's known best as I will do it.
01:09:51.086 --> 01:09:52.247
[SPEAKER_00]: This will do for me is hockey.
01:09:52.447 --> 01:09:54.689
[SPEAKER_00]: We used to delight to watch magical in every sense.
01:09:54.849 --> 01:09:56.190
[SPEAKER_01]: I would have given I'd say it would have been fine.
01:09:57.285 --> 01:09:57.545
[SPEAKER_00]: Yes.
01:09:58.687 --> 01:10:01.511
[SPEAKER_00]: Princess Monorneke was known as Monorneke Hime and in Japanese.
01:10:01.711 --> 01:10:02.572
[SPEAKER_00]: Yes.
01:10:03.293 --> 01:10:06.959
[SPEAKER_00]: But then it doesn't start with an M. It starts with a mole, which is the Japanese letter.
01:10:07.439 --> 01:10:08.260
[SPEAKER_00]: Oh, just saying.
01:10:08.461 --> 01:10:09.262
[SPEAKER_00]: Okay, let's flip one.
01:10:11.627 --> 01:10:35.442
[SPEAKER_00]: uh... let's see and finally mystery man admittedly a flawed movie but uh... such a delight i will i was always disappointed it was not a bigger thing i had more rats here before replacing it with monsters ink and i'm sure i'll think of something else later that will probably supplant something else but these are the ones that speak to me at this moment all the best andrew thank you very much andrew really really appreciate it um... yeah
01:10:37.480 --> 01:10:38.000
[SPEAKER_00]: Good times.
01:10:39.001 --> 01:10:39.401
[SPEAKER_00]: Good times.
01:10:40.582 --> 01:10:41.442
[SPEAKER_00]: Well, thanks for writing in.
01:10:41.482 --> 01:10:42.883
[SPEAKER_01]: Thank you everybody.
01:10:42.903 --> 01:10:44.083
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01:10:44.904 --> 01:10:47.385
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01:10:47.465 --> 01:10:48.025
[SPEAKER_01]: So thank you.
01:10:49.146 --> 01:10:52.467
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01:10:53.028 --> 01:10:53.808
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01:11:01.151 --> 01:11:02.312
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01:11:03.138 --> 01:11:24.007
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