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Speaker 1: Hey, welcome to Weird House Cinema. Rewind because it is

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Speaker 1: a holiday week for us here. This is an episode

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Speaker 1: that originally published seven thirty, twenty twenty one. It is

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Speaker 1: our episode on the nineteen ninety nine shark film Deep

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Speaker 1: Blue Sea. This one, I think is a lot of

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Speaker 1: people's favorite from back in the day, so let's jump

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Speaker 1: right into it.

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Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 1: Hey, welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 3: And I'm Joe McCormick, and today we're going to be

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Speaker 3: talking about the movie that delivers on the promise when

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Speaker 3: your Titanic sinks. This is the movie you're going to meet.

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Speaker 3: It is Deep Blue Sea, which I feel like we're

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Speaker 3: getting into what you might call slightly dangerous waters here

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Speaker 3: because it's definitely going to be one of the most

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Speaker 3: mainstream films we've ever done.

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Speaker 1: Yeah, it's also as dangerously close as we've come to

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Speaker 1: covering a movie from this century. It's from nineteen ninety nine.

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Speaker 1: It's also the most expensive film we've ever watched, more

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Speaker 1: than doubling the thirty million dollar budget of Free Jack.

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Speaker 1: I should also add that it is without a doubt,

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Speaker 1: the deepest and the bluest film that we've watched.

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Speaker 3: Is this also the first movie we've done that had

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Speaker 3: its own dedicated original pop song to go with it.

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Speaker 1: I guess. So those two tracks from Za didn't quite

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Speaker 1: Oh that's.

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Speaker 3: Right, I forgot about those, okay, so never mind, I

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Speaker 3: take it back.

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Speaker 1: Oh yeah, we'll also take back the sun Joe because

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Speaker 1: Godzilla versus Hetera had its own track as well.

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Speaker 3: That's right too, Okay, so I've just forgotten everything, you

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Speaker 3: know what. I think maybe even Teens in the Universe

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Speaker 3: had its own music, but this.

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Speaker 1: Its own dedicated music video, which we'll get to. That

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Speaker 1: may be a first.

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Speaker 3: So this is a thing I love from like big

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Speaker 3: budget nineties movies, which is the dedicated pop popular genre

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Speaker 3: song for the movie. So it's not a movie that's

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Speaker 3: a musical. It's just got like a song that'll maybe

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Speaker 3: play on the end credits and is often done by

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Speaker 3: a musician who's also an actor in the movie. So

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Speaker 3: like some of the Will Smith movies in the nineties

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Speaker 3: had a song Men in Black or Wild blid West,

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Speaker 3: this movie has ll cool j in it in a

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Speaker 3: tour de force performance, and it has the song for

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Speaker 3: the original motion picture. It's called Deepest Bluest. My hat

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Speaker 3: is like a shark's fin And if you've never seen

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Speaker 3: this music video, you must go watch right this moment.

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Speaker 1: Yeah, I mean, it's got it all. It's got water

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Speaker 1: dancing and synchronized swimming, it's got ll cool j just

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Speaker 1: looking ridiculously jacked. It's got sharks footage from the film

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Speaker 1: into a shark yeah, oh yeah, and then yeah, full

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Speaker 1: on morphing into a shark human hybrid.

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Speaker 3: Yeah.

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Speaker 1: One thing I like about these songs and music videos,

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Speaker 1: like you said it used to come out with all

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Speaker 1: these blockbusters is they would of course come out as

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Speaker 1: part of the hype train leading up to the release

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Speaker 1: of the film, and they would, I think, to a

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Speaker 1: large extent, inform how the movie was supposed to make

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Speaker 1: you feel. You know, yeah, So like, yeah, I forget

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Speaker 1: which Batman movie it was, but there were several different tracks.

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Speaker 1: So one of them was a you two track. But

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Speaker 1: then you also had that seal track about what I've

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Speaker 1: been kissed by the Thorn of a Rose.

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Speaker 3: Kiss from a Rose. Yeah, that's for Batman Forever, the

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Speaker 3: one with Val Kilmorris, Batman, Tommy Lee, Jones's two face.

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Speaker 3: Jim Carrey is the Riddler. Nicole Kidman as a Batman's girlfriend.

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Speaker 3: Her character's name in the movie is doctor Chase Meridian, which,

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Speaker 3: as Roger Ebert said, her name sounds like a bank.

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Speaker 3: That's also the Batman movie that has the thing we've

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Speaker 3: talked about several times on the show, the bank vault

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Speaker 3: full of boiling acid.

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Speaker 1: Chase Meridian might have worked in a Cronenberg film. I

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Speaker 1: love a good Cronenberg name, but yeah, you gotta be

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Speaker 1: Cronenberg to get away with some of those. Yeah, So

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Speaker 1: that song will let you know that. And I never

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Speaker 1: actually saw Batman Forever, but it informed me that this

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Speaker 1: was going to be a romantic, heartfelt affair. Songs like

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Speaker 1: that Aerosmith song for that movie about the arm Good.

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Speaker 3: What was that I don't want to miss a thing, or.

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Speaker 1: I don't want to that close my eye, I don't know,

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Speaker 1: something like that.

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Speaker 3: But it made you think, though that it was about

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Speaker 3: the asteroid. It's like the asteroid hoping it doesn't miss

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Speaker 3: Earth and like just do a narrow pass by.

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Speaker 1: Well, I mean it told you that, Yeah, this is

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Speaker 1: a disaster film, but it's about our feelings in the

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Speaker 1: disaster film. It's about our loved ones and all, and likewise,

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Speaker 1: deepest bluest I think, for the most part, accurately prepares

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Speaker 1: you for the fact that this film is just going

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Speaker 1: to come at you. This film is just coming at

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Speaker 1: you like a shark with its intensity, and it might

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Speaker 1: play around with you a little bit, it might play

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Speaker 1: with its food, but it is going to devour you.

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Speaker 3: It's a song full of superlatives, and the entire mood

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Speaker 3: of it is superlatives, as as it says, other fish

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Speaker 3: in the sea, but barracudas ain't equal to a half

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Speaker 3: human predator created by a needle.

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Speaker 1: That's that's that's the plot. I mean, that's that's accurate.

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Speaker 1: Ll cool to write a script for sure.

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Speaker 3: I mean the song is easy to make fun of

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Speaker 3: because the premise is so ludicrous. But I also want

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Speaker 3: to say I think it is legitimately like a well

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Speaker 3: crafted rap song. It has a lot of really funny

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Speaker 3: wordplay in it.

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Speaker 1: Yeah, yeah, I know, it's it's it's. It's a solid track,

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Speaker 1: much like l ocole Jay's performance in this film, as

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Speaker 1: we'll discuss, is really solid, intentionally funny in just the

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Speaker 1: right places, and then intentionally cool and at all just

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Speaker 1: the right places. It's an it's a nice alchemy they

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Speaker 1: manage with his character.

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Speaker 3: So, in addition to being the most expensive movie we've

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Speaker 3: ever done, probably the most mainstream movie we've ever done.

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Speaker 3: I guess it depends on if you count I don't know,

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Speaker 3: like the Ewoks movie or something that kind of fits

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Speaker 3: in in a strange place, like being part of a

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Speaker 3: very mainstream franchise but being a weird sort of outgrowth

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Speaker 3: of it, and being the one of the most recent

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Speaker 3: movies we've ever done. And this is also our first

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Speaker 3: shark movie, right, we haven't done another one.

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Speaker 1: Yeah, I don't think so. I feel like sharks have

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Speaker 1: maybe come up, just as in conversation like Death Moon,

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Speaker 1: they're like, oh, it looks like a shark got him,

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Speaker 1: that kind of thing.

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Speaker 3: Oh okay, Yeah, And the shark movie genre is very

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Speaker 3: interesting to me for a number of reasons. So I'm

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Speaker 3: going to talk about a few facts. First of all,

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Speaker 3: between the years nineteen seventy five and twenty twenty one,

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Speaker 3: I checked, and there have been over eighteen point six

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Speaker 3: billion shark movies produced in the United States alone during

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Speaker 3: that time.

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Speaker 1: Oh wow, that's not even counting Italy.

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Speaker 3: That's true, and I'm imagining like Carl Sagan, you know,

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Speaker 3: in a deeply somber voice, saying like there are more

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Speaker 3: shark movies on Earth than there are stars in the sky.

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Speaker 3: And so you've got that figure. I mean, like, the

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Speaker 3: shark movies are just prolific, copious. You know, the world

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Speaker 3: overfloweth with shark films, and yet I can literally only

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Speaker 3: think of one shark movie ever made that I would

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Speaker 3: argue is good in an unqualified sense. I would say

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Speaker 3: the closest runner up is probably the movie we're talking

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Speaker 3: about today, which is, you know, you can level some

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Speaker 3: criticisms at it, but I think this movie definitely works.

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Speaker 3: You can get this one off the lot.

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Speaker 1: Yeah.

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Speaker 3: So they're like a bazillion shark movies. Almost all of

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Speaker 3: them are in some conventional sense at least pretty bad,

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Speaker 3: and essentially all of them are in some sense derivative

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Speaker 3: of this single original film. You can probably find a

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Speaker 3: little exception here or there with something that has a

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Speaker 3: very different approach, but almost all of them descend from Jaws,

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Speaker 3: you know, directed by Steven Spielberg, released in nineteen seventy five.

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Speaker 3: I don't really need to introduce Jaws I think everybody

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Speaker 3: knows Jaws.

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Speaker 1: And I mean you'd suffice to say Jaws is a

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Speaker 1: shark movie. It is the granddaddy of all shark movies.

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Speaker 1: It's also the granddaddy of all summer blockbusters. Yeah, it's

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Speaker 1: one of the most influential films of all time.

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Speaker 3: Yeah, and rightly so. I mean I watch Jaws almost

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Speaker 3: every year. Rachel and I watch it on Fourth of

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Speaker 3: July every year. It's a tradition. And I never get

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Speaker 3: tired of it. Jaws is endlessly entertaining. It has that

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Speaker 3: great seventies character driven quality, you know, especially with Robert

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Speaker 3: Shaw as quint I mean, I just never get tired

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Speaker 3: of it. But it's somehow, it's funny that it has

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Speaker 3: spawned this many imitators, and that almost all of them

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Speaker 3: mostly fail. And you've got a couple of different kinds

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Speaker 3: of imitators. So you've got some like one we've alluded

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Speaker 3: to several times but never devoted an episode to Lule

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Speaker 3: Timo Squalo that you know, the Last Shark, or I

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Speaker 3: think it's also called Great White, which are just direct

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Speaker 3: scene by scene ripoffs of Jaws.

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Speaker 1: Yeah, yeah, that one. We've alluded to, that one before

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Speaker 1: that one has Vic Morrow in it playing the Quint character, yeah,

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Speaker 1: or their version of the Quint character.

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Speaker 3: Yeah. And then there are others that are at a

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Speaker 3: greater remove, you know, might be several levels of abstraction

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Speaker 3: away from their progenitor. And yet still I think it's

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Speaker 3: a fair bet that almost none of these shark movies

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Speaker 3: would exist if it were not for Jaws.

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Speaker 1: Yeah, absolutely, it's really you really can't overstate its importance,

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Speaker 1: especially if you're talking about shark movies, right, So, I.

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Speaker 3: Think you can kind of imagine Jaws as this grand

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Speaker 3: ancestral great king who produced a great many incompetent warring

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Speaker 3: airs that battle for supremacy once they're you know, once

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Speaker 3: the powder familias has passed on into the great Hall

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Speaker 3: under the waves. And so the movie we're talking about

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Speaker 3: today is one of these many warring heirs to the throne,

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Speaker 3: one of these contenders, and like a lot of these

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Speaker 3: shark movies, it is full of what are in fact

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Speaker 3: conscious nods to Jaws. For example, I saw this pointed

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Speaker 3: out by one film critic, and this was actually confirmed

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Speaker 3: by one of the writers of the movie. How long

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Speaker 3: is the shark in Jaws? What knows to tail? What's

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Speaker 3: the length? Do you remember the line?

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Speaker 1: I know, I don't know.

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Speaker 3: Oh, okay, so well, Hooper sees that. He says, that's

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Speaker 3: a twenty footer, and then Quinn says twenty five three

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Speaker 3: tons of them. Yes, yeah, twenty five feet. How long

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Speaker 3: is the shark and deep Blue Sea? They say in

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Speaker 3: the movie, it's twenty six feet long. It's a literal

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Speaker 3: one up, and screenwriter Duncan Kennedy acknowledged that this was deliberate.

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Speaker 3: I'm not sure whose idea was. It might have been

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Speaker 3: Renny Harlan, the director. But I was also reading a

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Speaker 3: chapter from a book called Horror Zone, The Cultural Experience

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Speaker 3: of Contemporary Horror Cinema, which is a book I've talked

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Speaker 3: about on the show a little bit before. It's edited

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Speaker 3: by a scholar named Ian Conrich, but this chapter was

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Speaker 3: by a scholar named Stacy Abbot, and it's about the

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Speaker 3: idea of the horror blockbuster, what happens when horror movies

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Speaker 3: become like big event type films. And Stacy Abbott points

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Speaker 3: out that in the original marketing materials for the movie,

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Speaker 3: one of the taglines was quote bigger, smarter, faster, meaner.

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Speaker 3: So I think it's possible that could refer to daft Punk.

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Speaker 3: I'm not sure how the timing lines up there, but

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Speaker 3: those are also comparative words bigger, smarter, faster, meaner than

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Speaker 3: what I think the un spoken part is pretty well understood.

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Speaker 3: It's saying bigger, smarter, faster, meaner than the shark in

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Speaker 3: Jaws or otherwise Jaws derivative movies that you've seen before.

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Speaker 1: It also seems like a setup for like, Okay, you're

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Speaker 1: gonna You're gonna make a shark movie too, Bigger, smarter, faster, meaner.

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Speaker 1: Pick two.

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Speaker 3: What year was that daf punk song?

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Speaker 1: By the way, Oh, man, I don't remember. It feels

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Speaker 1: like it's just always been a part of the musical landscape,

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Speaker 1: doesn't it.

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Speaker 3: Oh I just looked it up. That was two thousand

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Speaker 3: and one. Really Blue sy predates.

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Speaker 1: It, well, it's released predates an evolution in my taste

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Speaker 1: in music, So it feels to me like it's always

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Speaker 1: been there.

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Speaker 3: But another thing about Deep Blue Sea is that it

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Speaker 3: displays one of the ways that a you know, a

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Speaker 3: grandchild of Jaws the Great, can distinguish itself, and that

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Speaker 3: is by fusing with another film concept and becoming a

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Speaker 3: monstrous hybrid, and so I think it's pretty clear what's

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Speaker 3: going on with the elevator pitch for Deep Blue Sea

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Speaker 3: it is that it is actually supposed to be an

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Speaker 3: if they made it of two different Steven Spielberg movies.

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Speaker 3: On one hand, you've got Jaws, since nearly all shark

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Speaker 3: movies descend from the King, and then on the other hand,

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Speaker 3: you've got Jurassic Park, definitely more recent Spielberg feed in

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Speaker 3: and the main source for a lot of the plot situation,

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Speaker 3: plot developments throughout the movie. You know, it's about people

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Speaker 3: visiting a facility to do a safety check up after

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Speaker 3: there is a breakout and someone is injured, and then

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Speaker 3: there's stuff about like the animals being smarter than people

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Speaker 3: expected and so on and so forth. I mean, it

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Speaker 3: just follows Jurassic Park almost to a t.

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Speaker 1: Yeah. Absolutely. I'll say there's there's one scene in there

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Speaker 1: that also feels very poseidon adventure. So I think there's

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Speaker 1: also a fair amount of just disaster movie DNA thrown

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Speaker 1: in here, Yeah, which is good. It it helps pad

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Speaker 1: out the film because it's one of the problems with

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Speaker 1: any kind of a monster movie, what do you do

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Speaker 1: in the monster's not actively on screen actively attacking or

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Speaker 1: stalking right, right.

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Speaker 3: Have characters just like putting bandage on each other and saying, like,

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Speaker 3: we'll make it through this. Yeah, it can't just be that, right, Yeah,

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Speaker 3: you gotta have some other set pieces in mind other

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Speaker 3: than just the monster. And so I agree that there

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Speaker 3: are a few other things that get drawn on as well.

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Speaker 3: I can see beside an adventure definitely, But I would

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Speaker 3: also say that it's not just the plot mechanics. Jurassic Park,

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Speaker 3: I think is also the inspiration for the sort of

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Speaker 3: scattershot themes of this movie, which, like Jurassic Park, basically

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Speaker 3: reflects anxieties over dangers about what could happen when arrogant

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Speaker 3: scientists screw around with Mother Nature, which is actually not

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Speaker 3: just Jurassic Park. That's more broadly a theme of a

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Speaker 3: lot of sci fi horror in the nineties, particularly fears

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Speaker 3: about the emerging field of genetic engineering, which was just

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Speaker 3: starting to look like a plausible reality at the turn

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Speaker 3: of the century, or as the turn of the century approached.

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Speaker 3: Do you remember, like the Human Genome Project was launched

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Speaker 3: in nineteen ninety and then completed in two thousand and three,

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Speaker 3: So this was sort of the limbo period, the sort

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Speaker 3: of what's going to happened with genetics period?

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Speaker 1: Yeah, you can basically hear a nineties trailer narrator saying

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Speaker 1: in the year nineteen ninety the human Genome project began.

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Speaker 3: Yeah, and then so forth, and it ends up with

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Speaker 3: something about genius sharks.

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Speaker 1: Yeah. Yeah.

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Speaker 3: But then I wanted to further situate Deep Blue Sy

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Speaker 3: in recent film history by adding a note from something

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Speaker 3: else in that Stacy Abbot chapter in Horror Zone. So

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Speaker 3: she points out that before nineteen ninety nine, it was

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Speaker 3: not normal for studios to release horror films in the summer,

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Speaker 3: like the summer release schedule is normally or at the

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Speaker 3: time was normally a time for your mass market blockbusters

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Speaker 3: in genres like action and adventure, and traditionally most horror

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Speaker 3: movies were released in the autumn, especially around Halloween or

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Speaker 3: around the Christmas season, which, in a way I'm still

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Speaker 3: partial to. I like it when horror movies come out

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Speaker 3: in October. Yeah, But there was a revolution in this

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Speaker 3: principle in the summer of ninety nine, so Abbot writes. Quote.

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Speaker 3: The summer of ninety nine, however, marked a distinctive change

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Speaker 3: to this release pattern, with a number of horror films

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Speaker 3: opening throughout the summer and making a noticeable impact upon

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Speaker 3: the box office, reconceived through the high concept style, either

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Speaker 3: in their reworking of the genre or through their marketing.

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Speaker 3: Two of the summer's major releases drew directly from classic

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Speaker 3: horror texts as source material, Stephen Summer's remake of the

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Speaker 3: universal horror film The Mummy originally from nineteen thirty two,

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Speaker 3: and Yen Debaut's The Haunting and adaptation of the novel

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Speaker 3: The Haunting of Hill House by Shirley Jackson that had

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Speaker 3: been previously made in nineteen sixty three by Robert Wise.

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Speaker 3: While Rennie Harlan's Deep Blue Sea ninety nine, a film

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Speaker 3: about genetically altered sharks, is not a remake or adaptation,

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Speaker 3: it clearly not only drew upon the cultural memory of Jaws.

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Speaker 3: And then she says, but it also nodded to Jaws

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Speaker 3: through this thing already brought up the bigger, smarter, faster,

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Speaker 3: meaner tagline, which seems to be looking back. But then

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Speaker 3: she notes about the budgets of these films. So she says,

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Speaker 3: quote the budget of these three horror films, The Mummy

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Speaker 3: seventy six million, The Haunting eighty million and Deep Blue

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Speaker 3: Sea seventy eight million demonstrate the escalation of the horror

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Speaker 3: classic to blockbuster status and the expectation that higher investment

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Speaker 3: will bring higher rewards, a promise that to varying degrees

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Speaker 3: paid off. And so I think this is really interesting

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Speaker 3: at this point in time.

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Speaker 1: Yeah. Now I'm shocked to see these numbers here in

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Speaker 1: front of me now because I didn't see Deep Blue

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Speaker 1: Sea until this week. But I did watch The Mummy

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Speaker 1: and The Haunting back in the day when the the

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Speaker 1: year they came out, and you know, the Mummy say

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Speaker 1: what you will, and for starters, it is also kind

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Speaker 1: of a hybrid. It's kind of Indiana Jones meets the Mummy,

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Speaker 1: say what you will about the Mummy. Though it makes

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Speaker 1: an impact, I remember it The Haunting eighty million dollars,

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Speaker 1: and I think the only thing I vaguely remember is

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Speaker 1: Owen Wilson's character got his head bashed in by something,

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Speaker 1: and that's it. I remember nothing.

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Speaker 3: The Haunting I think suffers from bad cgi I recall,

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Speaker 3: and it's it's weird that it is a very limp,

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Speaker 3: banal adaptation of a book that is actually just on

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Speaker 3: the page enormously enliveningly scary and interesting. If you never

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Speaker 3: read Shirley Jackson's The Haunting of Hillhouse, it is a

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Speaker 3: fantastic ghost story and it'll still raise hairs today. I

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Speaker 3: think the End Debont movie is is a prime example

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Speaker 3: of really squandering excellent source material. But anyway, with all

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Speaker 3: that context, what we have here in Deep Blue Sea

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Speaker 3: is a derivative sci fi horror mashup movie positioned in

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Speaker 3: the market as a massive summer blockbuster, which was relatively successful,

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Speaker 3: which was historically unusual at the time, but in keeping

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Speaker 3: with broader trends in the year nineteen ninety nine, something

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Speaker 3: was you might say, in the water in ninety nine.

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Speaker 1: Well, what do you think that was culturally? I mean,

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Speaker 1: was it the you know, the dawning of the millennium?

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Speaker 1: Was it something else? Was it just the you know,

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Speaker 1: the the fear of genetic advancements and science.

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Speaker 3: It's a good question, Honestly, I don't know. I mean,

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Speaker 3: it's clear that it did sustain in a way like

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Speaker 3: horror I think, remained relatively mainstream big business in film

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Speaker 3: through the two thousands, even though a lot of the

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Speaker 3: you know, the big money making horror movies at the time,

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Speaker 3: I would argue Drek, but it didn't go away, and

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Speaker 3: so yeah, I don't know exactly what changed then, but

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Speaker 3: I do think it's interesting. I mean, it could be

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Speaker 3: that there were just a number of big hits that

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Speaker 3: were more like the conventional summer movie but had elements

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Speaker 3: of horror in them that preceded this. So Jurassic Park,

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Speaker 3: I think, is a great example. I don't know if

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Speaker 3: people remember this, because now nobody really thinks of Jurassic

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Speaker 3: Park as a horror movie, but at the time people

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Speaker 3: did sort of semi classify it as horror.

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Speaker 1: Yeah, I mean I watched it, rewatched all those Jurassic

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Speaker 1: Park movies over the last few years, and you know,

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Speaker 1: the scares still hold up.

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Speaker 3: Yeah, I agree. And so another thing is, despite the

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Speaker 3: fact that, like I said earlier, there are almost no

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Speaker 3: post Jaws shark movies that I would really personally argue

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Speaker 3: are good in an unqualified sense, I think Deep Blue

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Speaker 3: Sea comes close. It's consciously highly derivative. It is you

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Speaker 3: could say, dumb, but like I said, you can definitely

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Speaker 3: get this one off the lot, and you could tell

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Speaker 3: that a lot of critics, even a lot of the

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Speaker 3: snoodier film critics really liked this movie against their better instincts.

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Speaker 3: You can read even some kind of artsy critics who

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Speaker 3: are I don't know, just writing about it as if

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Speaker 3: they sort of can't resist wanting to tell you to

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Speaker 3: go see Deep Blue Sea. Yeah.

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Speaker 1: I mean, part of it I think comes back. I

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Speaker 1: mentioned earlier how the alchemy of cool Jay's character in

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Speaker 1: this Preacher, about how they managed to make him just

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Speaker 1: the right level of funny, just the right level of

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Speaker 1: cool in a way that in a way that but

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Speaker 1: it's the sort of attempt that often fails in other pictures,

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Speaker 1: and there's a lot of that in this film. You

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Speaker 1: can point to where you can you can realize they're

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Speaker 1: doing things that are often done poorly, but they do

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Speaker 1: so with the nests in this film.

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Speaker 3: I agree. I don't think there's much about this movie

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Speaker 3: that you could really classify as new or innovative, except

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Speaker 3: in a recombinatorial sense. But it has a tremendously powerful

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Speaker 3: autopilot function, and I think you're not going to be

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Speaker 3: sad you watched it.

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Speaker 1: Yeah, And on that note, I will will also point

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Speaker 1: out that there are at least a couple of really

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Speaker 1: well executed twists in this film. So if you haven't

401
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Speaker 1: seen it, if you have any interest in seeing it,

402
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Speaker 1: and you've managed to avoid the spoilerers so far, let

403
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Speaker 1: us not be the ones that spoil it for you.

404
00:20:47,720 --> 00:20:49,639
Speaker 1: Go out and see it and then finish this episode.

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Speaker 3: That's a good point. Yes, So there are a couple

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Speaker 3: of glorious twists. We will be discussing them. So, yeah,

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Speaker 3: if you would like to see the movie, you haven't

408
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Speaker 3: seen it, you don't want to know what they are?

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Speaker 3: Pause right here, go watch right this moment. Always love

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Speaker 3: issuing spoilers for movies that are decades old.

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Speaker 1: Yeah, I mean because it's weird, Like this is one.

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Speaker 1: Like I say, I didn't watch the year it came out.

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Speaker 1: I watched this week and there's plenty of stuff in

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Speaker 1: it that was spoiled for me just through pop culture,

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Speaker 1: just because the scenes, you know, hit well enough for

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Speaker 1: audiences and people keep rediscovering and they become memes, et cetera.

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Speaker 3: Okay, how about the elevator pitch for this movie. I've

418
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Speaker 3: got two. Actually, first one is the only way to

419
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Speaker 3: find a cure for neurodegenerative disease is to create a

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Speaker 3: batch of ornery, hyper intelligent mutant sharks. Fortunately they are

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Speaker 3: contained within a cage and we'll never escape. Second second

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Speaker 3: I would say, is Ello cool Jay has written a

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Speaker 3: song where he turns into a super mind freak shark,

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Speaker 3: and we need a movie to go with it. I

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Speaker 3: don't think that is the actual creative process that led

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Speaker 3: to this film, but I want to believe it is.

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Speaker 1: Well, let's let's go ahead and have just a little

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Speaker 1: taste of that trailer. Then tell me, mister Frank, could

429
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Speaker 1: have you ever known anyone with Alzheimer's?

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Speaker 2: No?

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Speaker 1: What if you could end all that suffering with a

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Speaker 1: single pill.

433
00:22:10,280 --> 00:22:12,400
Speaker 2: Give me to your Monday morning, forty eight hours. I'll

434
00:22:12,400 --> 00:22:15,440
Speaker 2: give you a result, little skyrocket your stock price in

435
00:22:15,560 --> 00:22:18,080
Speaker 2: the most advanced research facility in the world.

436
00:22:19,480 --> 00:22:24,200
Speaker 1: Wow. Beneath its glassy surface, a world of gliding monsters.

437
00:22:24,840 --> 00:22:29,520
Speaker 1: A team of specialists is working against the clock. Did

438
00:22:29,560 --> 00:22:33,320
Speaker 1: somewhat order to fish or an experiment to benefit mankind?

439
00:22:33,520 --> 00:22:36,040
Speaker 3: Sharks never show any loss of brain activity as they

440
00:22:36,040 --> 00:22:39,760
Speaker 3: age with this close to the reactivation of human brain cells,

441
00:22:41,359 --> 00:22:42,320
Speaker 3: but before.

442
00:22:42,000 --> 00:22:43,720
Speaker 2: They can save millions of lives.

443
00:22:45,160 --> 00:22:45,640
Speaker 1: Tell me, I.

444
00:22:45,560 --> 00:22:47,400
Speaker 3: Didn't see that they recognized that Gus.

445
00:22:47,480 --> 00:22:48,240
Speaker 1: It's impossible.

446
00:22:48,400 --> 00:22:51,280
Speaker 2: Sharks did not swim back. If they can't, they'll have.

447
00:22:51,240 --> 00:22:53,480
Speaker 1: To find a way to save their.

448
00:22:53,320 --> 00:23:13,719
Speaker 3: Own Okay, I guess it's time to talk humans. All right.

449
00:23:13,720 --> 00:23:15,840
Speaker 1: Well, let's start at the top here with the director.

450
00:23:16,240 --> 00:23:19,400
Speaker 1: It is, of course, Renny Harlan born nineteen fifty nine,

451
00:23:20,040 --> 00:23:22,919
Speaker 1: Finish born director. Thus the I don't know if you

452
00:23:22,920 --> 00:23:25,760
Speaker 1: noticed this, Joe, but there's Finlandia vodka in the film,

453
00:23:25,760 --> 00:23:29,920
Speaker 1: which is prominently featured. I believe that is a nod

454
00:23:30,000 --> 00:23:33,680
Speaker 1: to the Finish nationality of the director.

455
00:23:33,920 --> 00:23:35,840
Speaker 3: There are a number of nods. There's one part where

456
00:23:36,000 --> 00:23:38,800
Speaker 3: Elle coolj plays a chef in the movie and he

457
00:23:38,840 --> 00:23:42,080
Speaker 3: has like a chalkboard where he has written today's specials

458
00:23:42,080 --> 00:23:44,400
Speaker 3: on the wall, and one of them says Finish pancakes.

459
00:23:44,440 --> 00:23:46,919
Speaker 3: I don't know what finish pancakes are. How are they

460
00:23:46,960 --> 00:23:48,199
Speaker 3: different than other pancakes?

461
00:23:48,240 --> 00:23:50,200
Speaker 1: I have no idea, but maybe, I mean, every culture

462
00:23:50,240 --> 00:23:53,560
Speaker 1: has pancakes savory or sweet, I guess. So. All right,

463
00:23:53,600 --> 00:23:56,560
Speaker 1: So what else did Harlan do? Well? He gave us

464
00:23:56,560 --> 00:23:58,520
Speaker 1: such films as A Nightmare on Elm Street for the

465
00:23:58,600 --> 00:24:01,120
Speaker 1: dream Master. Is that one of the good ones? Uh?

466
00:24:01,560 --> 00:24:05,360
Speaker 3: Yeah? That was I mean good entertaining definitely.

467
00:24:05,680 --> 00:24:07,440
Speaker 1: Okay, die Hard Too.

468
00:24:07,800 --> 00:24:10,000
Speaker 3: I actually watched I Heard Too within the past year,

469
00:24:10,040 --> 00:24:13,440
Speaker 3: and it is odd. It's pretty entertaining, it's I mean,

470
00:24:13,520 --> 00:24:16,960
Speaker 3: it's a fun watch, but it has uh. The thing

471
00:24:17,000 --> 00:24:18,919
Speaker 3: that stuck out to me about it was that it

472
00:24:18,960 --> 00:24:23,440
Speaker 3: has a lot of clangers in the in the the script,

473
00:24:23,560 --> 00:24:25,280
Speaker 3: so it has a lot of these things that are

474
00:24:25,320 --> 00:24:28,159
Speaker 3: supposed to be like a pithy retort or a one liner,

475
00:24:28,520 --> 00:24:32,080
Speaker 3: but they just don't scan like they just twang like

476
00:24:32,119 --> 00:24:35,879
Speaker 3: an off like an out of tune guitar string and uh.

477
00:24:35,920 --> 00:24:37,880
Speaker 3: And I don't know, I feel like the script needed

478
00:24:37,880 --> 00:24:41,879
Speaker 3: a pass for smoothing. But otherwise, Yeah, a very effective

479
00:24:41,960 --> 00:24:42,840
Speaker 3: action movie.

480
00:24:43,119 --> 00:24:45,080
Speaker 1: All right. Now I've seen the next one. I'm gonna

481
00:24:45,080 --> 00:24:49,720
Speaker 1: mention Cliffhanger. That was the the Sylvester Stallone mountain climbing

482
00:24:49,760 --> 00:24:50,639
Speaker 1: adventure film.

483
00:24:50,960 --> 00:24:52,720
Speaker 3: That movie is a laugh riot.

484
00:24:53,920 --> 00:24:57,600
Speaker 1: Yeah. It's in the tradition of the Eiger Sanction, but

485
00:24:58,240 --> 00:25:01,600
Speaker 1: with more guns. I think one way to describe it. Yeah,

486
00:25:01,600 --> 00:25:04,159
Speaker 1: I remember, Yeah, John Liftgal is in it, and he

487
00:25:04,160 --> 00:25:07,320
Speaker 1: plays the battie right, Yeah, he's the villain. I remember

488
00:25:07,400 --> 00:25:10,320
Speaker 1: enjoying it and Lift cow made he made for a

489
00:25:10,400 --> 00:25:12,479
Speaker 1: tasty villain. In some pictures back in the day, that's

490
00:25:12,520 --> 00:25:15,880
Speaker 1: for sure, totally. Harlan has done a lot of other work.

491
00:25:16,119 --> 00:25:19,000
Speaker 1: He's one of the directors that put out He did

492
00:25:19,040 --> 00:25:21,879
Speaker 1: a Hercules movie in which Hercules has a buzz cut

493
00:25:22,240 --> 00:25:25,159
Speaker 1: back from that period in cinema where it seems like

494
00:25:25,200 --> 00:25:30,000
Speaker 1: we had multiple buzz cut treatments of Greek mythology. Do

495
00:25:30,040 --> 00:25:30,680
Speaker 1: you remember these?

496
00:25:30,880 --> 00:25:32,800
Speaker 3: No, I don't know what you're talking about. Oh, there

497
00:25:32,840 --> 00:25:33,120
Speaker 3: was this.

498
00:25:34,400 --> 00:25:38,080
Speaker 1: I mean, I can't really define it by it by

499
00:25:38,080 --> 00:25:39,600
Speaker 1: the years, but it seems like there was a period

500
00:25:39,760 --> 00:25:42,280
Speaker 1: where you had a film like this, You had the

501
00:25:44,320 --> 00:25:46,360
Speaker 1: what was it the remake of Clash of the Titans.

502
00:25:47,119 --> 00:25:50,160
Speaker 3: Oh, okay, more recent years, I thought we were going

503
00:25:50,200 --> 00:25:51,560
Speaker 3: back to like the eighties or something.

504
00:25:51,680 --> 00:25:53,520
Speaker 1: No, no, no, no, Because you got back to the eighties,

505
00:25:53,560 --> 00:25:56,119
Speaker 1: I think you still had long haired. I think a

506
00:25:56,160 --> 00:25:57,639
Speaker 1: lot of it comes down to the fact that if

507
00:25:57,680 --> 00:26:00,560
Speaker 1: you're going to have a Hercules movie, no matter what

508
00:26:00,600 --> 00:26:03,600
Speaker 1: you're calling that character, if he is is he Hercules

509
00:26:03,760 --> 00:26:06,840
Speaker 1: or is he or is he Samson or is he

510
00:26:06,880 --> 00:26:10,760
Speaker 1: I can't remember the Italian variants. If it's a muscleman movie,

511
00:26:11,080 --> 00:26:13,679
Speaker 1: then what what is your muscleman's hair going to be? Like?

512
00:26:13,760 --> 00:26:16,879
Speaker 1: What is the fashion of the day. So if short

513
00:26:16,880 --> 00:26:20,200
Speaker 1: hair is what you know a hunky muscle dude has

514
00:26:20,520 --> 00:26:22,600
Speaker 1: when the picture is being made, well, then your hercules

515
00:26:22,680 --> 00:26:24,919
Speaker 1: is going to look like that. That's my theory.

516
00:26:25,640 --> 00:26:27,639
Speaker 3: I think my Clash of the Titans will always be

517
00:26:27,720 --> 00:26:30,440
Speaker 3: the curly locks of the guy who plays the dad

518
00:26:30,480 --> 00:26:33,879
Speaker 3: and Veronica Mars, not that dad, not her dad, the

519
00:26:34,560 --> 00:26:35,360
Speaker 3: movie star dad.

520
00:26:35,480 --> 00:26:39,280
Speaker 1: Oh yeah, Harry Hamlin. Oh that's right, Yeah, yeah, Yeah,

521
00:26:39,320 --> 00:26:42,320
Speaker 1: that's that's my Clash of the Titans. I recently rewatched

522
00:26:42,320 --> 00:26:44,119
Speaker 1: that one with my son. He's a big fan of it.

523
00:26:44,160 --> 00:26:45,000
Speaker 1: He likes it.

524
00:26:45,000 --> 00:26:45,440
Speaker 3: It's good.

525
00:26:46,560 --> 00:26:48,760
Speaker 1: All right. Let's move on to the screenwriters. Not not

526
00:26:48,840 --> 00:26:50,800
Speaker 1: a I don't have a lot to say about I

527
00:26:50,800 --> 00:26:53,600
Speaker 1: think you have some tidbits here, but we had Duncan Kennedy,

528
00:26:53,760 --> 00:26:58,320
Speaker 1: Donna Powers, and Wayne Powers. Duncan Kennedy also wrote a

529
00:26:58,440 --> 00:27:01,720
Speaker 1: year two thousand episode of The Outer Limits titled The Grid,

530
00:27:01,760 --> 00:27:04,800
Speaker 1: which I haven't seen yet, starring dB Sweeney, but I

531
00:27:05,000 --> 00:27:06,240
Speaker 1: will put it on the list.

532
00:27:06,480 --> 00:27:09,720
Speaker 3: Yeah. So, I found an LA Times article from July

533
00:27:09,880 --> 00:27:12,520
Speaker 3: nineteen ninety nine, so it was covering the lead up

534
00:27:12,560 --> 00:27:13,879
Speaker 3: to the film. I think it came out like a

535
00:27:13,920 --> 00:27:16,600
Speaker 3: week before the film was released, and it has an

536
00:27:16,640 --> 00:27:20,240
Speaker 3: interview with Duncan Kennedy, one of the screenwriters, about where

537
00:27:20,280 --> 00:27:23,560
Speaker 3: the idea for the film came from. This was a specscript,

538
00:27:24,080 --> 00:27:27,080
Speaker 3: So aspiring writers out there who are just you know,

539
00:27:27,119 --> 00:27:29,840
Speaker 3: you're forging your own path. You're not trying to get

540
00:27:29,840 --> 00:27:32,720
Speaker 3: into the system. You're just writing your own idea. Here's

541
00:27:32,760 --> 00:27:36,080
Speaker 3: the inspiration for you. So the article reads as follows.

542
00:27:36,440 --> 00:27:39,760
Speaker 3: As a kid growing up in Queensland, Australia, screenwriter Duncan

543
00:27:39,840 --> 00:27:42,840
Speaker 3: Kennedy witnessed first hand the horrific effects of a shark

544
00:27:42,880 --> 00:27:45,479
Speaker 3: attack when a victim washed up on a beach near

545
00:27:45,560 --> 00:27:48,800
Speaker 3: his home. Quote, there was not really much left of him,

546
00:27:48,880 --> 00:27:52,000
Speaker 3: Kennedy recalled in the years that followed, the memory of

547
00:27:52,040 --> 00:27:56,000
Speaker 3: that attack might have contributed to a recurring nightmare Kennedy

548
00:27:56,040 --> 00:27:59,320
Speaker 3: had about being in a passage way with sharks that

549
00:27:59,400 --> 00:28:00,720
Speaker 3: could read his mind.

550
00:28:01,200 --> 00:28:03,720
Speaker 1: Oh man, why don't these sharks read people's minds? I

551
00:28:03,720 --> 00:28:07,080
Speaker 1: bet that almost do. Yeah. I bet he edited that

552
00:28:07,160 --> 00:28:08,280
Speaker 1: out of an early draft.

553
00:28:08,520 --> 00:28:10,200
Speaker 3: That would have been better. You should have gone full

554
00:28:10,200 --> 00:28:12,880
Speaker 3: boar sharks can read your mind, and instead in this one,

555
00:28:12,920 --> 00:28:17,639
Speaker 3: they're just they're just so smart. They come off as telepathic.

556
00:28:17,680 --> 00:28:21,199
Speaker 3: They anticipate the humans' decisions before they make them. But

557
00:28:21,280 --> 00:28:23,520
Speaker 3: I think that's just because the humans are being outwitted,

558
00:28:23,560 --> 00:28:25,680
Speaker 3: you know, the sharks are better at the chess game.

559
00:28:26,280 --> 00:28:29,400
Speaker 1: I love this though, because, ultimately, though, the dream imagery

560
00:28:29,520 --> 00:28:34,359
Speaker 1: of sharks swimming after you in flooded passageways, like it

561
00:28:35,119 --> 00:28:37,800
Speaker 1: only makes a kind of faint dream logic, and this

562
00:28:37,920 --> 00:28:41,800
Speaker 1: film finds a science fictional way of making that dream

563
00:28:41,880 --> 00:28:45,320
Speaker 1: logic plausible, and it works in so many ways. Like

564
00:28:45,400 --> 00:28:48,479
Speaker 1: it's not just encountering the sharks out in the open,

565
00:28:49,120 --> 00:28:53,320
Speaker 1: you know, just to quote Gil Scott heron where Jaws lives. No,

566
00:28:53,440 --> 00:28:57,800
Speaker 1: you're encountering them in hallways for human habitation and human movement.

567
00:28:57,840 --> 00:29:00,320
Speaker 1: They are on our turf. They have invaded or are

568
00:29:00,400 --> 00:29:01,560
Speaker 1: part of our world. Now.

569
00:29:01,840 --> 00:29:04,120
Speaker 3: I love the hallways in this movie. This movie is

570
00:29:04,160 --> 00:29:06,240
Speaker 3: all about hallways and gimmy, gimmey.

571
00:29:06,320 --> 00:29:08,920
Speaker 1: Yeah, they're very nice hallways, very well done. As someone

572
00:29:08,960 --> 00:29:11,800
Speaker 1: who's watching a lot of Outer Limits episodes from the nineties,

573
00:29:12,160 --> 00:29:14,320
Speaker 1: I recognize a nice sci fi hallway.

574
00:29:14,600 --> 00:29:16,760
Speaker 3: But anyway, as so, this article goes on to say

575
00:29:16,800 --> 00:29:20,000
Speaker 3: that Kennedy finally purged those dreams about the sharks in

576
00:29:20,040 --> 00:29:22,560
Speaker 3: a hallway that could read his mind by writing a

577
00:29:22,600 --> 00:29:26,360
Speaker 3: screenplay about them, which they say evolved into the new

578
00:29:26,400 --> 00:29:29,080
Speaker 3: Warner Brothers thriller. So perhaps in an earlier draft of

579
00:29:29,120 --> 00:29:31,920
Speaker 3: the screenplay, the Sharks could read your mind. I'm not sure.

580
00:29:32,120 --> 00:29:34,600
Speaker 3: They're not clear about that. One thing that's funny is

581
00:29:34,640 --> 00:29:38,400
Speaker 3: reading about market research about films that came out decades ago.

582
00:29:38,520 --> 00:29:41,000
Speaker 3: So another thing this article in the La Times notes

583
00:29:41,080 --> 00:29:45,000
Speaker 3: is that is that recent tracking data shows that interest

584
00:29:45,040 --> 00:29:47,720
Speaker 3: in the film is very high among its core young

585
00:29:47,760 --> 00:29:51,000
Speaker 3: male audience, though not as high as the interest was

586
00:29:51,120 --> 00:29:55,360
Speaker 3: for the other upcoming film, the blair Witch Project, or

587
00:29:55,440 --> 00:29:57,640
Speaker 3: maybe not upcoming. Maybe at this point blair Witch had

588
00:29:57,640 --> 00:29:59,440
Speaker 3: already come out. I think it came out sometime in

589
00:29:59,600 --> 00:30:02,480
Speaker 3: July ninety nine or something. Okay, but let's talk about.

590
00:30:02,320 --> 00:30:05,800
Speaker 1: This cast, all right. So we have Thomas Jane playing

591
00:30:05,840 --> 00:30:10,000
Speaker 1: the character Carter Blake. Thomas Jane was born nineteen sixty nine,

592
00:30:10,080 --> 00:30:16,040
Speaker 1: and he is our Sharkspurt in the film. He's our

593
00:30:16,160 --> 00:30:19,400
Speaker 1: lead hunk, and he's very much in leading man mode

594
00:30:19,480 --> 00:30:22,880
Speaker 1: for this one. You know, he's in a wetsuit a lot,

595
00:30:23,800 --> 00:30:26,800
Speaker 1: just just looking real handsome. But he's been in a

596
00:30:26,880 --> 00:30:30,320
Speaker 1: number of interesting films over the years, ranging from Albert

597
00:30:30,360 --> 00:30:35,640
Speaker 1: Piem's Nemesis Cyborg movie in nineteen ninety two to Terrence

598
00:30:35,680 --> 00:30:39,240
Speaker 1: mallix The Thin Red Line in nineteen ninety eight. He

599
00:30:39,360 --> 00:30:41,960
Speaker 1: was in the film adaptation of Stephen King's The Mist

600
00:30:42,000 --> 00:30:44,840
Speaker 1: in two thousand and seven, and he had a really

601
00:30:45,480 --> 00:30:49,160
Speaker 1: fun recurring role on The Expanse. So, for my money,

602
00:30:49,160 --> 00:30:52,080
Speaker 1: he's one of these actors that, you know, for a

603
00:30:52,080 --> 00:30:54,200
Speaker 1: while he was very much in the leading man mode,

604
00:30:54,240 --> 00:30:57,840
Speaker 1: and he's gotten older, he's kind of aged into more

605
00:30:57,880 --> 00:31:01,960
Speaker 1: interesting roles, so you'll see him playing supporting roles where

606
00:31:02,040 --> 00:31:04,400
Speaker 1: you know, he still gets to be regularly handsome and all,

607
00:31:04,480 --> 00:31:06,320
Speaker 1: but he gets to be a little weirder, you know,

608
00:31:06,360 --> 00:31:08,680
Speaker 1: when we get to see the weirder Thomas Jane come out.

609
00:31:08,920 --> 00:31:11,640
Speaker 3: Do I remember, right in the Expanse he sometimes wears

610
00:31:11,640 --> 00:31:12,720
Speaker 3: a Tom Waits hat.

611
00:31:13,200 --> 00:31:15,920
Speaker 1: Yeah, he's always wearing a wearing a hat, and he's

612
00:31:15,920 --> 00:31:18,840
Speaker 1: supposed to be a belter in that, so he's I

613
00:31:18,840 --> 00:31:20,440
Speaker 1: don't know if it really comes off in the show

614
00:31:20,480 --> 00:31:23,640
Speaker 1: too much, but he's Yeah, he's supposed to be really

615
00:31:23,680 --> 00:31:26,640
Speaker 1: tall and thin because he has grown up, you know,

616
00:31:26,720 --> 00:31:28,960
Speaker 1: out in the Asteroid Belt, Low gravity.

617
00:31:29,080 --> 00:31:29,280
Speaker 3: Yeah.

618
00:31:29,360 --> 00:31:31,040
Speaker 1: Yeah, but he's a fun character with kind of a

619
00:31:31,080 --> 00:31:34,800
Speaker 1: noir twist to him, and I believe he had a

620
00:31:34,880 --> 00:31:38,760
Speaker 1: He had a fun role in the recent Predator movie.

621
00:31:39,480 --> 00:31:41,240
Speaker 1: He played one of the mercenaries in that, but he

622
00:31:41,240 --> 00:31:43,320
Speaker 1: had a he had like tourette syndrome or something. They

623
00:31:43,360 --> 00:31:45,560
Speaker 1: had some sort of like a twist to his character that,

624
00:31:45,840 --> 00:31:48,040
Speaker 1: huh made his performance a little more noteworthy.

625
00:31:48,280 --> 00:31:50,040
Speaker 3: I watched that movie on an airplane.

626
00:31:50,640 --> 00:31:52,640
Speaker 1: Oh I did too. It's a great airplane movie.

627
00:31:52,840 --> 00:31:54,800
Speaker 3: I don't recall him being in it, though maybe I

628
00:31:54,800 --> 00:31:59,160
Speaker 3: missed him. Yeah that was probably me. Okay, so he's

629
00:31:59,160 --> 00:32:02,280
Speaker 3: our leading for the movie. But also you could say,

630
00:32:02,440 --> 00:32:04,560
Speaker 3: you know, you could discuss the rest of the movie

631
00:32:04,600 --> 00:32:07,040
Speaker 3: and not even mention him and you'd be fine.

632
00:32:07,360 --> 00:32:09,280
Speaker 1: Yeah. Yeah, I mean he does all the things that

633
00:32:09,320 --> 00:32:11,720
Speaker 1: his character's supposed to do, and Andy does well. He

634
00:32:11,760 --> 00:32:13,520
Speaker 1: does it well, but not in a way where is

635
00:32:13,600 --> 00:32:17,240
Speaker 1: he's not the most memorable part of the film. Then

636
00:32:17,240 --> 00:32:21,120
Speaker 1: we also have Saffarn Burrows, who plays doctor Susan McAllister

637
00:32:21,200 --> 00:32:23,959
Speaker 1: born nineteen seventy two. I have really not seen her

638
00:32:24,000 --> 00:32:25,840
Speaker 1: in much, so I can't say a lot about her,

639
00:32:25,840 --> 00:32:28,920
Speaker 1: but she was the star of Mozart in the Jungle,

640
00:32:29,000 --> 00:32:31,280
Speaker 1: and she was also in Wolfgang Peterson's Troy.

641
00:32:31,560 --> 00:32:34,320
Speaker 3: Yes, we're she seems like an actor who's done a lot,

642
00:32:34,320 --> 00:32:36,959
Speaker 3: but not a lot that I've seen. Yeah, a lot

643
00:32:37,000 --> 00:32:38,800
Speaker 3: of movies I've heard of but never watched.

644
00:32:39,320 --> 00:32:42,400
Speaker 1: Yeah, Like maybe she's just gravitated towards like more serious

645
00:32:42,440 --> 00:32:45,200
Speaker 1: and mainstream stuff that I haven't necessarily seen.

646
00:32:45,640 --> 00:32:47,920
Speaker 3: I think she was in one of those Marvel shows.

647
00:32:48,000 --> 00:32:50,800
Speaker 3: She was in like Agents of Shield or something. Okay,

648
00:32:50,920 --> 00:32:52,600
Speaker 3: all right, I also never saw that.

649
00:32:53,000 --> 00:32:55,880
Speaker 1: Yeah, I didn't see that one either. But let's say,

650
00:32:55,880 --> 00:32:57,480
Speaker 1: but we do have some other people of note here,

651
00:32:57,520 --> 00:33:00,280
Speaker 1: I mean, most importantly, we have Samuel L. Jackson playing

652
00:33:00,360 --> 00:33:05,760
Speaker 1: Russell Franklin. Samuel Jackson born nineteen forty eight, a legend

653
00:33:06,400 --> 00:33:09,840
Speaker 1: and also has a pretty legendary scene in this film. Yeah,

654
00:33:09,880 --> 00:33:11,520
Speaker 1: which I guess we'll get to in a bit. But

655
00:33:12,520 --> 00:33:15,800
Speaker 1: Jackson's always an interesting character to check out his somography,

656
00:33:15,840 --> 00:33:17,600
Speaker 1: because you know, he started out doing like all these

657
00:33:17,600 --> 00:33:20,640
Speaker 1: little bit roles and then he eventually evolves to become

658
00:33:21,120 --> 00:33:24,640
Speaker 1: one of the biggest names in Hollywood, and he's always

659
00:33:24,680 --> 00:33:27,000
Speaker 1: a compelling screen presence, you know, whether he's you know,

660
00:33:27,080 --> 00:33:29,560
Speaker 1: Mace Windu instead of the Star Wars movies or Jules

661
00:33:29,600 --> 00:33:33,840
Speaker 1: Winfield and pulp fiction. But of course he was in

662
00:33:33,920 --> 00:33:36,760
Speaker 1: Jurassic Park, which which was, you know, one of the

663
00:33:36,760 --> 00:33:39,840
Speaker 1: influences for this film. And I would say, for the

664
00:33:39,840 --> 00:33:43,120
Speaker 1: most part, his performance is very much Jurassic Park mode.

665
00:33:43,160 --> 00:33:45,840
Speaker 1: He's very much doing that level of character with a

666
00:33:45,840 --> 00:33:46,840
Speaker 1: little more charisma.

667
00:33:46,920 --> 00:33:48,320
Speaker 3: Oh, I can see what you're saying. I mean, I

668
00:33:48,360 --> 00:33:50,719
Speaker 3: would say in both films, I think the character that

669
00:33:50,760 --> 00:33:54,000
Speaker 3: he's supposed to be playing is kind of the steady hand. Yeah,

670
00:33:54,040 --> 00:33:57,720
Speaker 3: he's the guy who's there who when everybody else is panicking,

671
00:33:57,760 --> 00:33:58,760
Speaker 3: he knows what he's doing.

672
00:33:59,480 --> 00:34:01,959
Speaker 1: Yeah. I guess that's something about a lot of his

673
00:34:02,040 --> 00:34:05,520
Speaker 1: most notable performances is he often plays a character who's

674
00:34:05,720 --> 00:34:09,400
Speaker 1: very steady, and you know, you see the extremes of

675
00:34:09,400 --> 00:34:11,359
Speaker 1: that with someone like Mace Windu, who's a very you know,

676
00:34:11,480 --> 00:34:15,480
Speaker 1: very logical character, very cold and calculating to a certain extent,

677
00:34:15,680 --> 00:34:18,520
Speaker 1: and even a character like Jules Winfield. You know, ultimately

678
00:34:18,880 --> 00:34:21,080
Speaker 1: he has this kind of wisdom to it, and he's

679
00:34:21,120 --> 00:34:23,200
Speaker 1: like he's always acting like he's got it figured out,

680
00:34:23,239 --> 00:34:25,960
Speaker 1: even if things, you know, fly off the hand all

681
00:34:25,960 --> 00:34:28,919
Speaker 1: at times. Yeah, fun fact. I don't think I quite

682
00:34:28,920 --> 00:34:31,360
Speaker 1: realized this, but he has a cameo in The Exorcist

683
00:34:31,360 --> 00:34:35,800
Speaker 1: three playing dream blind man and his voice is dubbed

684
00:34:35,840 --> 00:34:38,120
Speaker 1: in it. I haven't looked up to see exactly what

685
00:34:38,200 --> 00:34:41,440
Speaker 1: the story is on that, but if you rewatch The

686
00:34:41,480 --> 00:34:46,960
Speaker 1: Exorcist three, which we recently talked about in Passing, then

687
00:34:47,239 --> 00:34:49,719
Speaker 1: you'll find Samuel Jackson in there as well. All right,

688
00:34:49,760 --> 00:34:53,360
Speaker 1: we also have Jacqueline Mackenzie playing Janice Higgins born nineteen

689
00:34:53,440 --> 00:34:56,959
Speaker 1: sixty seven, Australian actor. I think one of the main

690
00:34:56,960 --> 00:34:58,719
Speaker 1: things in her filmography that stands out is she was

691
00:34:58,760 --> 00:35:02,560
Speaker 1: in nineteen ninety two's Romp Stomper opposite a young Russell Crowe.

692
00:35:02,760 --> 00:35:05,880
Speaker 1: In this she's what blonde scientist lady is that.

693
00:35:05,880 --> 00:35:08,440
Speaker 3: She's the marine biologist. Oh okay, she gets eaten by

694
00:35:08,440 --> 00:35:08,840
Speaker 3: the shark.

695
00:35:09,160 --> 00:35:11,319
Speaker 1: I get a little confused at time what everyone's role

696
00:35:11,560 --> 00:35:12,680
Speaker 1: was in this operation?

697
00:35:13,440 --> 00:35:15,960
Speaker 3: Yeah, Like, what does Michael Rappaport do again?

698
00:35:16,360 --> 00:35:20,440
Speaker 1: Yeah? Well, Michael Rappaport Yeah, born nineteen seventy plays the

699
00:35:20,520 --> 00:35:25,719
Speaker 1: character Tom Scoggins, and he's at least partially part of

700
00:35:25,760 --> 00:35:29,960
Speaker 1: our comic relief for the film, not our primary comic relief.

701
00:35:30,400 --> 00:35:32,759
Speaker 1: It's interesting you. When I saw his name in here,

702
00:35:32,800 --> 00:35:36,120
Speaker 1: I expected him to be more of the the dirt

703
00:35:36,160 --> 00:35:40,560
Speaker 1: bag comedic character, you know, and he's he's only partially that.

704
00:35:40,840 --> 00:35:43,040
Speaker 3: You expect him to be the first guy to get chomped,

705
00:35:43,040 --> 00:35:44,040
Speaker 3: and it's not the case.

706
00:35:44,280 --> 00:35:46,520
Speaker 1: Yeah, it takes a little He gets chomped, believe me,

707
00:35:46,560 --> 00:35:50,160
Speaker 1: but it takes longer than you'd expect. Yeah, he's a

708
00:35:50,200 --> 00:35:53,400
Speaker 1: stand up turned actor, which has become pretty standard, a

709
00:35:53,400 --> 00:35:56,520
Speaker 1: pretty standard career tr actrajectory. But but Rappaport did it

710
00:35:56,640 --> 00:35:58,680
Speaker 1: only I think three years into his stand up career,

711
00:35:58,920 --> 00:36:02,400
Speaker 1: and he's really been in a stablished actor for many

712
00:36:02,440 --> 00:36:04,680
Speaker 1: decades at this point. So you'll find him in just

713
00:36:04,719 --> 00:36:07,239
Speaker 1: about everything. And yeah, he's pretty good in this, But again,

714
00:36:07,320 --> 00:36:09,600
Speaker 1: I expect him to be more of a comedic dirt bag,

715
00:36:10,160 --> 00:36:12,319
Speaker 1: to be more, you know, just pure shark bait, and

716
00:36:12,480 --> 00:36:12,799
Speaker 1: he's not.

717
00:36:13,280 --> 00:36:15,440
Speaker 3: I think he is actually supposed to be a scientist

718
00:36:15,480 --> 00:36:17,280
Speaker 3: of some kind. But as you pointed out with Jaqueline

719
00:36:17,280 --> 00:36:19,600
Speaker 3: Mackenzie's character, there are a number of characters in here

720
00:36:19,640 --> 00:36:22,279
Speaker 3: who are vaguely some kind of scientist, but it's not

721
00:36:22,360 --> 00:36:24,319
Speaker 3: clear what they do, or maybe it is clear and

722
00:36:24,560 --> 00:36:25,600
Speaker 3: I just didn't notice.

723
00:36:25,960 --> 00:36:28,920
Speaker 1: Now it is clear that our main scientist is the

724
00:36:29,000 --> 00:36:34,600
Speaker 1: character Jim Whitlock, played by the fabulous Stellin Scarsguard. Oh yeah,

725
00:36:34,960 --> 00:36:39,520
Speaker 1: Scarsguard was born nineteen fifty one, legendary Swedish actor and

726
00:36:39,600 --> 00:36:43,399
Speaker 1: father to just an impressive cast of Scars Guards. These days,

727
00:36:43,440 --> 00:36:46,000
Speaker 1: it's like they are a bunch of them, and they're

728
00:36:46,040 --> 00:36:49,799
Speaker 1: all pretty good, if not great actors themselves. I think

729
00:36:49,840 --> 00:36:52,040
Speaker 1: the first time I saw Stellin Scarsguard was in the

730
00:36:52,120 --> 00:36:55,319
Speaker 1: nineteen ninety seven spy thriller Ronan starring Robert de Niro,

731
00:36:56,120 --> 00:36:58,359
Speaker 1: which has a fun supporting cast, you know, a lot

732
00:36:58,400 --> 00:37:02,680
Speaker 1: of like spy act and hijinks. But then I subsequently

733
00:37:02,719 --> 00:37:06,600
Speaker 1: saw his work in the nineteen ninety seven Norwegian thriller Insomnia,

734
00:37:06,880 --> 00:37:09,960
Speaker 1: in which he plays a deeply troubled homicide detective, and

735
00:37:10,640 --> 00:37:11,960
Speaker 1: he's really good in that.

736
00:37:11,960 --> 00:37:15,320
Speaker 3: That one got remade by Christopher Nolans during Al Pacino

737
00:37:15,440 --> 00:37:18,080
Speaker 3: and Hillary Swank, I think.

738
00:37:17,920 --> 00:37:21,799
Speaker 1: And Robin Williams. Yeah, Robin Williams plays the killer in it,

739
00:37:21,880 --> 00:37:26,719
Speaker 1: and al Pacino plays the detective role, which I don't

740
00:37:26,719 --> 00:37:28,040
Speaker 1: think I ever saw it, because I just I was

741
00:37:28,080 --> 00:37:32,160
Speaker 1: really impressed by Scarsguard's performance. I just couldn't imagine later

742
00:37:32,239 --> 00:37:35,719
Speaker 1: day Pacino being able to capture that kind of a

743
00:37:37,280 --> 00:37:40,120
Speaker 1: performance because part of like Scarsguard's performance in that is,

744
00:37:40,160 --> 00:37:43,520
Speaker 1: if I remember it correctly, it's just very, very sweaty,

745
00:37:43,800 --> 00:37:47,160
Speaker 1: and it's really getting across the idea that you know,

746
00:37:47,320 --> 00:37:50,080
Speaker 1: this character has not slept and is miserable and is

747
00:37:50,160 --> 00:37:54,440
Speaker 1: deeply troubled. And yeah, it's a memorable performance for sure.

748
00:37:55,040 --> 00:37:57,520
Speaker 3: Yeah, I don't think Pacino goes quite that far with it.

749
00:37:57,600 --> 00:37:59,560
Speaker 3: He just kind of seems more spaced out, though I

750
00:37:59,560 --> 00:38:01,680
Speaker 3: do recall Insomnia being a good movie.

751
00:38:02,080 --> 00:38:06,319
Speaker 1: Well, I mean, get Christopher Dolan now stellin Scarsguard, of

752
00:38:06,320 --> 00:38:08,040
Speaker 1: course has worked with a lot of great actors and

753
00:38:08,640 --> 00:38:11,040
Speaker 1: directors over the years, too many to even mention here,

754
00:38:11,120 --> 00:38:14,160
Speaker 1: but I'd say that that we are very excited. I

755
00:38:14,160 --> 00:38:16,200
Speaker 1: know a lot of you are excited because one of

756
00:38:15,960 --> 00:38:19,680
Speaker 1: his next big roles is he is Baron Harkonen and

757
00:38:19,760 --> 00:38:22,880
Speaker 1: the upcoming adaptation of Frank Herbert Stone. So I'm super

758
00:38:22,880 --> 00:38:25,080
Speaker 1: excited for that because there's always this kind of like

759
00:38:25,280 --> 00:38:29,880
Speaker 1: rumbling threat in his or he has in him to

760
00:38:29,920 --> 00:38:32,400
Speaker 1: create this kind of rumbling threat in his voice, and

761
00:38:32,440 --> 00:38:35,520
Speaker 1: an intensity in his eyes, and I'm excited to see

762
00:38:36,200 --> 00:38:39,960
Speaker 1: what he is able to bring about with Harconin that

763
00:38:40,040 --> 00:38:43,879
Speaker 1: has not been brought to life in previous film adaptations.

764
00:38:44,320 --> 00:38:49,240
Speaker 3: Preternaturally Ominous, Yeah, brings full ominosity.

765
00:38:50,000 --> 00:38:53,040
Speaker 1: He's an actor who's capable of bringing a certain weirdness

766
00:38:53,040 --> 00:38:57,439
Speaker 1: and fearsomeness to his characters. But Jim Whitlock in Deep

767
00:38:57,480 --> 00:39:01,759
Speaker 1: Lucy is not one of those characters. He's introduced like

768
00:39:01,800 --> 00:39:04,759
Speaker 1: he's kind of a weirdo, like his characters peeing into

769
00:39:04,760 --> 00:39:07,560
Speaker 1: the wind. But when we meet him, he's basically just

770
00:39:07,560 --> 00:39:10,480
Speaker 1: a big, big scientist teddy bear and is not that weird.

771
00:39:10,960 --> 00:39:14,279
Speaker 1: He's not really mad in a mad scientist way. He

772
00:39:15,120 --> 00:39:17,960
Speaker 1: seems pretty likable. And it's like most of the human

773
00:39:18,040 --> 00:39:20,960
Speaker 1: characters in this they seem fine. I don't really want

774
00:39:21,000 --> 00:39:22,440
Speaker 1: to see any of them meeting by a shark.

775
00:39:23,080 --> 00:39:24,960
Speaker 3: Yeah. We'll talk more about this when we get into

776
00:39:25,000 --> 00:39:27,319
Speaker 3: the plot a little bit. But yeah, this movie does

777
00:39:27,400 --> 00:39:31,000
Speaker 3: I think have some serious human villain deficiency.

778
00:39:31,400 --> 00:39:33,719
Speaker 1: All right. We also, of course, like we mentioned earlier,

779
00:39:33,719 --> 00:39:36,200
Speaker 1: we have Allo cooolj in this born nineteen sixty eight.

780
00:39:36,239 --> 00:39:39,000
Speaker 1: He plays the character Preacher, who is not a preacher.

781
00:39:39,680 --> 00:39:42,520
Speaker 1: He is a chef. But is it alluded to that

782
00:39:42,600 --> 00:39:45,280
Speaker 1: he was a preacher? Is that why he's called preacher?

783
00:39:45,480 --> 00:39:47,879
Speaker 3: Oh, I've forgotten that part. He may have been may

784
00:39:47,880 --> 00:39:50,040
Speaker 3: have been he does talk about God.

785
00:39:50,400 --> 00:39:53,799
Speaker 1: Yeah, so I'm a little vague on that. But any rate,

786
00:39:54,160 --> 00:39:58,160
Speaker 1: this ellocool j of course, hip hop legend, star of

787
00:39:58,520 --> 00:40:01,240
Speaker 1: H two O, which is how Halloween movie, a star

788
00:40:01,400 --> 00:40:03,840
Speaker 1: of mind Hunters, but not the good one on Netflix,

789
00:40:03,920 --> 00:40:07,239
Speaker 1: the bad one that I think Renny Harlan directed, as

790
00:40:07,280 --> 00:40:10,640
Speaker 1: well as the universally acclaimed nineteen ninety two Robin Williams

791
00:40:10,640 --> 00:40:11,320
Speaker 1: movie Toys.

792
00:40:12,080 --> 00:40:12,840
Speaker 3: I believe you.

793
00:40:13,120 --> 00:40:18,080
Speaker 1: Just yeah, But in this he's preacher, the chef and

794
00:40:17,960 --> 00:40:19,839
Speaker 1: and we'll talk more about his character as we go on,

795
00:40:19,960 --> 00:40:23,719
Speaker 1: but this is a memorable performance. It's it's pretty early

796
00:40:23,719 --> 00:40:25,480
Speaker 1: in his filmography, but it's really solid.

797
00:40:25,719 --> 00:40:29,400
Speaker 3: Oh, he's a ray of sunshine in this film. Every

798
00:40:29,440 --> 00:40:31,080
Speaker 3: scene he's in is just delightful.

799
00:40:31,360 --> 00:40:33,640
Speaker 1: Can I mention real quick though, that he shares some

800
00:40:33,760 --> 00:40:34,760
Speaker 1: scenes with a parrot?

801
00:40:35,200 --> 00:40:35,520
Speaker 3: Yes?

802
00:40:35,560 --> 00:40:40,120
Speaker 1: And the parrot is voiced by Frank Welker, Oh, the

803
00:40:40,480 --> 00:40:43,520
Speaker 1: vocal talent legend who you'll find his name on just

804
00:40:43,560 --> 00:40:48,000
Speaker 1: about any animated film and many unanimated films. Anytime there's

805
00:40:48,000 --> 00:40:50,040
Speaker 1: any you need some sort of like monster voice or

806
00:40:50,040 --> 00:40:53,239
Speaker 1: something or growls. Even Frank Welker is liable to show

807
00:40:53,320 --> 00:40:55,719
Speaker 1: up and do it. And yeah, he's the voice of

808
00:40:55,760 --> 00:40:56,520
Speaker 1: the parrot.

809
00:40:56,440 --> 00:40:58,839
Speaker 3: Which Decepticons did he do? Who?

810
00:40:59,040 --> 00:41:01,120
Speaker 1: I don't recall off, but he's in the mix, like

811
00:41:01,200 --> 00:41:03,080
Speaker 1: he's he's one of those guys. It's just he's been

812
00:41:03,120 --> 00:41:05,239
Speaker 1: around for a long time. Born nineteen forty six. So yeah,

813
00:41:05,440 --> 00:41:08,600
Speaker 1: he's been around for a whole host of like just

814
00:41:09,440 --> 00:41:12,240
Speaker 1: multiple franchises in the animated genre.

815
00:41:12,760 --> 00:41:14,640
Speaker 3: Now, before we get off the cast, I wanted to

816
00:41:14,680 --> 00:41:17,239
Speaker 3: mention one more actor quickly. She has a small part

817
00:41:17,280 --> 00:41:20,560
Speaker 3: in the movie, but Ada Turturo is in this She

818
00:41:20,880 --> 00:41:25,319
Speaker 3: Ada Turturo famous for playing Tony's sister Janis on The Sopranos.

819
00:41:25,920 --> 00:41:28,239
Speaker 3: She plays a part in this movie, I think, operating

820
00:41:28,280 --> 00:41:32,000
Speaker 3: a communications tower and doesn't have many scenes interacting with

821
00:41:32,040 --> 00:41:34,239
Speaker 3: the other characters. I think until she gets blown up

822
00:41:34,239 --> 00:41:36,840
Speaker 3: by a helicopter crash, and I feel like this is

823
00:41:36,880 --> 00:41:40,840
Speaker 3: a positively criminal under use of a fantastic cast member.

824
00:41:41,560 --> 00:41:44,719
Speaker 3: So if I had been the Meddling studio executive on

825
00:41:44,760 --> 00:41:47,640
Speaker 3: this film, I would demand, you know, if you're worried

826
00:41:47,640 --> 00:41:51,360
Speaker 3: about runtime. You can basically demote any other character's screen

827
00:41:51,400 --> 00:41:54,120
Speaker 3: time except Ello cool Jay, and I guess except for

828
00:41:54,320 --> 00:41:56,600
Speaker 3: Samuel L. Jackson's character. I'd say you could make You

829
00:41:56,640 --> 00:41:59,440
Speaker 3: could just like remove Thomas Jane from the movie No Offense, Tom.

830
00:41:59,480 --> 00:42:02,080
Speaker 3: I mean, you're great, but you take that character out

831
00:42:02,280 --> 00:42:06,359
Speaker 3: and promote Aida Turturo, escalate her screen time, make her

832
00:42:06,440 --> 00:42:09,880
Speaker 3: character a kind of vicious and manipulative schemer who like

833
00:42:10,280 --> 00:42:12,920
Speaker 3: convinces one of the sharks to go gnaw on somebody

834
00:42:12,960 --> 00:42:15,640
Speaker 3: who she thinks, I don't know, insulted her kid or something.

835
00:42:17,000 --> 00:42:20,320
Speaker 1: Yeah, I think. Weirdly enough, doesn't she actually have human

836
00:42:20,360 --> 00:42:24,080
Speaker 1: interactions in the music video? Like, isn't there a scene

837
00:42:24,120 --> 00:42:26,200
Speaker 1: at the very end of the music video where she's

838
00:42:26,200 --> 00:42:30,160
Speaker 1: seated around a table with other crew members as if

839
00:42:30,160 --> 00:42:33,040
Speaker 1: they're on the you know, the ship or the bass

840
00:42:33,120 --> 00:42:33,760
Speaker 1: from this film.

841
00:42:33,880 --> 00:42:35,480
Speaker 3: I believe you, but I don't remember this part.

842
00:42:35,640 --> 00:42:39,719
Speaker 1: Huh. Also worth pointing out that she is the cousin of.

843
00:42:39,800 --> 00:42:42,320
Speaker 3: John Tuturo, So yeah, yeah.

844
00:42:41,920 --> 00:42:44,480
Speaker 1: I have to admit I'm not super familiar with her filmography,

845
00:42:44,800 --> 00:42:47,919
Speaker 1: just looking at the list of films she's been in. Yeah,

846
00:42:47,960 --> 00:42:49,759
Speaker 1: I don't think I've seen most of these.

847
00:42:50,080 --> 00:42:51,839
Speaker 3: Oh, have you actually not seen the Sopranos.

848
00:42:52,400 --> 00:42:53,399
Speaker 1: No, it's too late.

849
00:42:54,080 --> 00:42:56,560
Speaker 3: Oh oh, I think it's never too late to go

850
00:42:56,640 --> 00:42:59,319
Speaker 3: back to the Sopranos. And she's just I don't know

851
00:42:59,320 --> 00:43:04,560
Speaker 3: how i'd class. She's somewhere between a villain and hero

852
00:43:04,800 --> 00:43:07,280
Speaker 3: in it, as I guess a lot of the characters

853
00:43:07,320 --> 00:43:08,759
Speaker 3: are just wonderful.

854
00:43:09,480 --> 00:43:12,040
Speaker 1: Yeah, I mean, I believe everyone who says The Sopranos

855
00:43:12,120 --> 00:43:13,759
Speaker 1: is really good. But it's just I don't think at

856
00:43:13,760 --> 00:43:16,200
Speaker 1: this point in my life I can watch a gangster

857
00:43:16,520 --> 00:43:19,960
Speaker 1: a movie or TV show unless it has like vampires

858
00:43:19,960 --> 00:43:22,160
Speaker 1: in it or something like it. Okay, I need something

859
00:43:22,200 --> 00:43:24,960
Speaker 1: else to drag me in, all right. And you know,

860
00:43:25,040 --> 00:43:27,920
Speaker 1: before we move on to the plot, I do generally

861
00:43:27,960 --> 00:43:30,080
Speaker 1: mention the music here, and the music in this film

862
00:43:30,160 --> 00:43:33,920
Speaker 1: is by Trevor Rabin born nineteen fifty four, South African

863
00:43:34,040 --> 00:43:36,440
Speaker 1: born composer who has worked a lot in the summer

864
00:43:36,480 --> 00:43:40,839
Speaker 1: blockbuster genre with scores for films such as Armageddon and

865
00:43:41,040 --> 00:43:44,600
Speaker 1: National Treasure. And I don't have a lot to say

866
00:43:44,600 --> 00:43:47,439
Speaker 1: about this score other than it's very traditional in terms

867
00:43:47,480 --> 00:43:50,680
Speaker 1: of what you expect from a blockbuster film from this period.

868
00:43:51,120 --> 00:43:54,920
Speaker 1: It's effective, it does everything it needs to do, heightening

869
00:43:54,960 --> 00:43:56,960
Speaker 1: tension and all and reminding you that everything you know,

870
00:43:57,000 --> 00:44:00,719
Speaker 1: helping you propel you through the film, like rushing through

871
00:44:01,719 --> 00:44:05,319
Speaker 1: a flooded sea lab. But other than that, I did

872
00:44:05,320 --> 00:44:07,000
Speaker 1: not find it that memorable. You know, it's not like

873
00:44:07,080 --> 00:44:11,319
Speaker 1: that John Williams level of which is an insanely high

874
00:44:11,360 --> 00:44:14,560
Speaker 1: barred to put. I should not even really fairly compare

875
00:44:14,600 --> 00:44:16,960
Speaker 1: other composers to John Williams. But you know, it's not

876
00:44:17,000 --> 00:44:18,920
Speaker 1: the kind of a film score where I heard it

877
00:44:18,960 --> 00:44:20,480
Speaker 1: and then I'm like, oh, I need to look this up.

878
00:44:20,680 --> 00:44:21,840
Speaker 1: Let's see if this is unvinyl.

879
00:44:22,080 --> 00:44:24,000
Speaker 3: I think what they should have done is just looped

880
00:44:24,040 --> 00:44:27,520
Speaker 3: deepest bluest under the film. You know, it could work

881
00:44:27,560 --> 00:44:28,240
Speaker 3: in any scene.

882
00:44:28,239 --> 00:44:32,000
Speaker 1: Really, Yeah, I mean, and I think, yeah, I would

883
00:44:32,000 --> 00:44:33,680
Speaker 1: have gone for it, Like, well, what if they had

884
00:44:33,680 --> 00:44:35,560
Speaker 1: what if they had gone for like a hip hop

885
00:44:35,560 --> 00:44:39,680
Speaker 1: instrumental style score. I don't know. It would have been

886
00:44:39,680 --> 00:44:41,400
Speaker 1: too early for that, I don't think. I don't. Certainly

887
00:44:41,400 --> 00:44:43,680
Speaker 1: a film this big wouldn't have taken a risk on that.

888
00:44:44,080 --> 00:44:46,400
Speaker 3: Yeah. I don't recall much about the music, but I

889
00:44:46,440 --> 00:44:47,080
Speaker 3: think it's fine.

890
00:44:47,360 --> 00:44:49,319
Speaker 1: Yeah, it's fine. There's nothing wrong with it at all,

891
00:44:49,400 --> 00:44:52,279
Speaker 1: it totally works.

892
00:44:58,760 --> 00:45:01,120
Speaker 3: Okay, so maybe we should talk about some of the

893
00:45:01,160 --> 00:45:04,239
Speaker 3: specifics of the plot. One of the things that I

894
00:45:04,280 --> 00:45:06,600
Speaker 3: thought was funny was the more I thought about it,

895
00:45:06,680 --> 00:45:09,880
Speaker 3: the more the plot of Deep Blue Sea resembles the

896
00:45:09,920 --> 00:45:13,000
Speaker 3: plot of Jurassic Parks, almost kind of beat by beat,

897
00:45:13,560 --> 00:45:17,239
Speaker 3: because what happens at the beginning of Jurassic Park there

898
00:45:17,280 --> 00:45:20,400
Speaker 3: is an accident on the island involving one of the animals,

899
00:45:20,440 --> 00:45:24,160
Speaker 3: where someone is injured or killed, and this draws scrutiny

900
00:45:24,200 --> 00:45:28,360
Speaker 3: from the parent company and they're underwriters, and then this

901
00:45:28,480 --> 00:45:31,520
Speaker 3: spurs and an investigation. Basically, somebody has to go to

902
00:45:31,600 --> 00:45:33,800
Speaker 3: the island to look at it and see if everything's

903
00:45:33,840 --> 00:45:35,600
Speaker 3: on the up and up, and that's how our characters

904
00:45:35,600 --> 00:45:39,319
Speaker 3: get there. Deep Blue Sea starts almost exactly the same way.

905
00:45:40,320 --> 00:45:43,120
Speaker 1: Yeah, And it's one of these openings to a film

906
00:45:43,160 --> 00:45:45,560
Speaker 1: that it first seems like it's dumb, like it's just

907
00:45:45,600 --> 00:45:49,600
Speaker 1: reinforcing the standards of the genre, you know, But then

908
00:45:49,640 --> 00:45:52,239
Speaker 1: you realize that, oh no, yeah, there's a twist to it.

909
00:45:52,480 --> 00:45:55,839
Speaker 1: They're winking at us, they're having fun with our expectations, because, yeah,

910
00:45:55,840 --> 00:45:57,400
Speaker 1: the opening, it seems like it's just going to be

911
00:45:57,400 --> 00:46:00,520
Speaker 1: straight up shark exploitation. You have young people, people some

912
00:46:00,920 --> 00:46:04,920
Speaker 1: on all I think in swimwear, you know, being sexy

913
00:46:04,960 --> 00:46:08,160
Speaker 1: and on a yacht. On a yacht, you know, being sexy,

914
00:46:08,200 --> 00:46:12,040
Speaker 1: being you know, rich, and being essentially being shark bait.

915
00:46:12,120 --> 00:46:14,120
Speaker 1: You imagine that the sharks are going to show up

916
00:46:14,160 --> 00:46:17,160
Speaker 1: and eat them. It is. The sharks appear and it

917
00:46:17,160 --> 00:46:21,080
Speaker 1: looks like they're about to chomp our victims here. But

918
00:46:21,120 --> 00:46:22,480
Speaker 1: then something happens.

919
00:46:22,400 --> 00:46:24,680
Speaker 3: Right, well, one of the things I thought was funny.

920
00:46:24,680 --> 00:46:27,440
Speaker 3: So people, young rich people partying on a yacht. I

921
00:46:27,480 --> 00:46:29,680
Speaker 3: think it's a double holed yacht. Actually is it?

922
00:46:29,719 --> 00:46:30,040
Speaker 1: Okay?

923
00:46:30,400 --> 00:46:33,000
Speaker 3: Yeah, I was just thinking back to our Pacific Navigation episodes.

924
00:46:33,040 --> 00:46:35,719
Speaker 3: But there's one part where they like knock over a

925
00:46:35,760 --> 00:46:38,040
Speaker 3: bottle of wine on the yacht and it like spills

926
00:46:38,080 --> 00:46:40,319
Speaker 3: this red wine into the water, so it looks like

927
00:46:40,360 --> 00:46:43,440
Speaker 3: blood going into the water like these other shark movies.

928
00:46:44,640 --> 00:46:47,080
Speaker 3: And then a shark starts attacking their boat and it's like,

929
00:46:47,120 --> 00:46:49,080
Speaker 3: oh God, is the shark going to kill them? But

930
00:46:49,120 --> 00:46:51,880
Speaker 3: at the last minute, no, there is an intervention by

931
00:46:51,920 --> 00:46:55,440
Speaker 3: the brave shark wrangler Carter Blake played by Thomas Jane.

932
00:46:55,680 --> 00:46:59,600
Speaker 3: So these people are Saved from Shark Doom by Thomas

933
00:46:59,719 --> 00:47:02,759
Speaker 3: Jane the last minute. But of course, you know this

934
00:47:02,800 --> 00:47:06,879
Speaker 3: is going to make the parent company skittish, because of course,

935
00:47:06,960 --> 00:47:08,880
Speaker 3: this shark is not just any shark. It is a

936
00:47:08,920 --> 00:47:12,320
Speaker 3: shark that has escaped captivity from a research facility in

937
00:47:12,400 --> 00:47:15,560
Speaker 3: the deep sea. And one thing you pointed out in

938
00:47:15,600 --> 00:47:17,480
Speaker 3: the scene that I had forgotten about was that it

939
00:47:17,480 --> 00:47:18,680
Speaker 3: has a Teddy Bear in it.

940
00:47:19,040 --> 00:47:22,320
Speaker 1: Yeah. During the initial shark attack, Teddy Bear gets knocked

941
00:47:22,320 --> 00:47:23,840
Speaker 1: off the yacht and we get a scene of it

942
00:47:23,920 --> 00:47:28,040
Speaker 1: like sinking in the water. The innocence literally sinking into

943
00:47:28,080 --> 00:47:28,600
Speaker 1: the depths.

944
00:47:28,920 --> 00:47:31,720
Speaker 3: Right. The sinking teddy Bear, I think is very akin

945
00:47:31,800 --> 00:47:35,600
Speaker 3: to the filthy discarded doll trope we've talked about. It's

946
00:47:35,680 --> 00:47:37,840
Speaker 3: the loss of innocence in the face of the cruel

947
00:47:37,880 --> 00:47:41,920
Speaker 3: reality of shark. But so this sets up the situation

948
00:47:42,080 --> 00:47:44,520
Speaker 3: of the film. We get a kind of corporate big

949
00:47:44,560 --> 00:47:46,799
Speaker 3: wig meeting I think the parent company here is some

950
00:47:46,840 --> 00:47:51,440
Speaker 3: big pharma company and doctor Susan McAllister is there. This

951
00:47:51,560 --> 00:47:55,080
Speaker 3: is Saffron Burrows, and she is a brilliant scientist who

952
00:47:55,200 --> 00:47:58,640
Speaker 3: is working on a cure for Alzheimer's disease. Along with

953
00:47:58,719 --> 00:48:02,080
Speaker 3: her colleague Jim Whitlay played by Still in Scarsguard, and

954
00:48:02,120 --> 00:48:05,600
Speaker 3: they are studying proteins in the brains of sharks as

955
00:48:05,640 --> 00:48:09,160
Speaker 3: a possible treatment for humans. And of course we learned

956
00:48:09,160 --> 00:48:11,239
Speaker 3: that what happened in this opening scene where a boat

957
00:48:11,280 --> 00:48:13,880
Speaker 3: was attacked by shark is that one of their sharks

958
00:48:13,920 --> 00:48:16,919
Speaker 3: got out of captivity. It escaped from its pen and

959
00:48:16,960 --> 00:48:18,960
Speaker 3: it went to go have some fun with a yacht

960
00:48:19,080 --> 00:48:22,880
Speaker 3: before it was captured by Carter Blake. So here the

961
00:48:22,880 --> 00:48:25,440
Speaker 3: Farmer company decides, well, we got to have somebody check

962
00:48:25,440 --> 00:48:29,759
Speaker 3: out this facility and make sure everything's everything's secure, So

963
00:48:30,080 --> 00:48:33,560
Speaker 3: they send their dependable executive, Russell Franklin, who is played

964
00:48:33,600 --> 00:48:36,120
Speaker 3: by Samuel L. Jackson. So I think he's sort of

965
00:48:36,160 --> 00:48:39,080
Speaker 3: going to play the role of all the scientists and

966
00:48:39,120 --> 00:48:41,759
Speaker 3: the lawyer in Jurassic Park, the person who shows up

967
00:48:41,800 --> 00:48:44,799
Speaker 3: to do a safety review and see what's up. And

968
00:48:44,840 --> 00:48:47,120
Speaker 3: then from here, I don't know how much more about

969
00:48:47,160 --> 00:48:49,920
Speaker 3: the plot we really have to describe in detail, because

970
00:48:49,960 --> 00:48:52,439
Speaker 3: you can imagine exactly what happens. It just all hell

971
00:48:52,480 --> 00:48:55,200
Speaker 3: breaks loose. It's shark of Palooza. For the rest of

972
00:48:55,239 --> 00:48:59,360
Speaker 3: the runtime, people go running around through a like a

973
00:48:59,400 --> 00:49:02,520
Speaker 3: deep Sea research facility as different levels of it are

974
00:49:02,520 --> 00:49:06,040
Speaker 3: flooded by sharks that, as we learn, are not just

975
00:49:06,120 --> 00:49:10,000
Speaker 3: any sharks. Now, they're smart sharks. They are hyper intelligent sharks.

976
00:49:10,360 --> 00:49:13,840
Speaker 3: Because doctor Stellin Scar's Guard and doctor Saffron Burrows have

977
00:49:13,920 --> 00:49:16,839
Speaker 3: been very naughty and they have done something they're not

978
00:49:16,880 --> 00:49:20,000
Speaker 3: supposed to. They made the sharks super smart, and they

979
00:49:20,000 --> 00:49:22,640
Speaker 3: made their brains like ten times bigger than they're supposed

980
00:49:22,680 --> 00:49:25,000
Speaker 3: to be in order to get all of the protein

981
00:49:25,080 --> 00:49:26,920
Speaker 3: they needed to do their research.

982
00:49:27,600 --> 00:49:30,640
Speaker 1: Yeah, Like, the basic the quote unquote science of the

983
00:49:30,880 --> 00:49:34,520
Speaker 1: whole picture is that sharks are incredibly resistant to various

984
00:49:34,520 --> 00:49:37,279
Speaker 1: seals and illnesses. So this is where we're going to

985
00:49:37,320 --> 00:49:39,560
Speaker 1: go to get this special compound. But the brain's not

986
00:49:39,560 --> 00:49:41,480
Speaker 1: big enough. Got to make those brains biggers so we

987
00:49:41,520 --> 00:49:45,400
Speaker 1: can get enough protein or you know whatever shark juice

988
00:49:45,680 --> 00:49:48,920
Speaker 1: from each shark, and so that requires making them have

989
00:49:49,160 --> 00:49:49,880
Speaker 1: super brains.

990
00:49:50,640 --> 00:49:52,719
Speaker 3: They say a number of things about sharks that are

991
00:49:53,239 --> 00:49:56,040
Speaker 3: not true, Like you say that sharks don't get cancer,

992
00:49:56,080 --> 00:49:56,920
Speaker 3: which is not true.

993
00:49:57,239 --> 00:50:00,319
Speaker 1: Right, Yeah, so do not come to this them for

994
00:50:00,320 --> 00:50:03,439
Speaker 1: your shark facts. It's even more confusing because there are

995
00:50:03,480 --> 00:50:06,960
Speaker 1: these lines. These shark facts are often delivered uh, you know,

996
00:50:07,480 --> 00:50:10,399
Speaker 1: with an air of authenticity to them, and sometimes they

997
00:50:10,440 --> 00:50:15,120
Speaker 1: actually bring in actual they're the drag halfway dragging real

998
00:50:15,160 --> 00:50:18,279
Speaker 1: facts into it. Like at one point Thomas Jane's character says, oh,

999
00:50:18,320 --> 00:50:20,200
Speaker 1: you know, they they don't actually want to eat us.

1000
00:50:20,239 --> 00:50:23,120
Speaker 1: They you know, they they don't like the taste of humans.

1001
00:50:23,560 --> 00:50:26,520
Speaker 1: But then he turns it into a jab at Samuel L.

1002
00:50:26,600 --> 00:50:31,239
Speaker 1: Jackson's characters like background or something, but he's halfway there, like,

1003
00:50:31,280 --> 00:50:34,520
Speaker 1: you know, the reality that sharks are not out there

1004
00:50:34,560 --> 00:50:37,560
Speaker 1: in the ocean hunting for human beings. Uh. They have

1005
00:50:37,600 --> 00:50:42,359
Speaker 1: not evolved to thrive and depend on on apes in

1006
00:50:42,400 --> 00:50:45,000
Speaker 1: the water. They have they have evolved to depend on

1007
00:50:45,080 --> 00:50:49,479
Speaker 1: things like like seals and uh, and other game things

1008
00:50:49,480 --> 00:50:52,040
Speaker 1: that are going to actually be you know, that are

1009
00:50:52,040 --> 00:50:54,480
Speaker 1: actually going to sustain them. And so in some cases

1010
00:50:54,480 --> 00:50:57,760
Speaker 1: when you have a shark attack, what you're having happen

1011
00:50:57,880 --> 00:50:59,480
Speaker 1: is a shark taking a bite out of something to

1012
00:50:59,520 --> 00:51:01,560
Speaker 1: see if it's something they would want to eat. And

1013
00:51:01,840 --> 00:51:04,360
Speaker 1: when that is a human, they often will say no,

1014
00:51:04,440 --> 00:51:07,239
Speaker 1: thank you, but they've already bitten into a human right.

1015
00:51:07,520 --> 00:51:10,279
Speaker 3: And of course, as we'll talk about a bit more later,

1016
00:51:10,360 --> 00:51:13,640
Speaker 3: I think obviously anybody who's listening to the show at

1017
00:51:13,680 --> 00:51:15,480
Speaker 3: this point I believe knows this. But sharks are not

1018
00:51:15,520 --> 00:51:18,600
Speaker 3: your enemy. You know, the convention of sharks being the

1019
00:51:18,640 --> 00:51:22,000
Speaker 3: monster that relentlessly pursues humans at any cost and just

1020
00:51:22,040 --> 00:51:24,719
Speaker 3: wants to wants to kill us, all that is a

1021
00:51:24,760 --> 00:51:27,120
Speaker 3: movie fantasy that's just not real.

1022
00:51:27,160 --> 00:51:30,080
Speaker 1: And it's one that they're able to sort of circumvent

1023
00:51:30,120 --> 00:51:33,560
Speaker 1: in this film by having the super intelligent sharks that

1024
00:51:34,080 --> 00:51:38,680
Speaker 1: ultimately aren't that interested in eating humans. They ultimately just

1025
00:51:38,719 --> 00:51:41,360
Speaker 1: want to escape this facility. But then we also have

1026
00:51:41,400 --> 00:51:42,879
Speaker 1: some elements of the film where it's like, oh, we're

1027
00:51:42,880 --> 00:51:45,160
Speaker 1: able to trick them because they are so bloodthirsty, So

1028
00:51:45,480 --> 00:51:49,080
Speaker 1: I don't know, they only kind of halfway achieve the same.

1029
00:51:49,560 --> 00:51:51,560
Speaker 3: Well, you also get the sense that the sharks in

1030
00:51:51,600 --> 00:51:54,480
Speaker 3: this movie don't just want to escape, They also have

1031
00:51:54,600 --> 00:51:57,920
Speaker 3: a g They like hate the humans. Yes, they're like

1032
00:51:58,080 --> 00:52:00,560
Speaker 3: mad at them for experimenting on them them.

1033
00:52:00,719 --> 00:52:03,799
Speaker 1: And this is where we reach one of the one

1034
00:52:03,800 --> 00:52:05,800
Speaker 1: of the flaws in the film. Like nothing that fatally

1035
00:52:05,800 --> 00:52:09,240
Speaker 1: wounds the film or anything. But I was about thirty

1036
00:52:09,280 --> 00:52:12,759
Speaker 1: minutes into watching it when I realized, oh man, all

1037
00:52:12,800 --> 00:52:15,600
Speaker 1: these humans are mostly likable at this point, unless they're

1038
00:52:15,640 --> 00:52:18,240
Speaker 1: going to drop some bombs on me later. Like these

1039
00:52:18,600 --> 00:52:20,839
Speaker 1: we don't seem to have any human villains. We don't

1040
00:52:20,840 --> 00:52:24,440
Speaker 1: have bad guys, human bad guys that we are rooting

1041
00:52:24,480 --> 00:52:27,440
Speaker 1: against and that we're hoping get consumed by sharks.

1042
00:52:27,880 --> 00:52:31,000
Speaker 3: That's right. I totally agree with you on this point.

1043
00:52:31,280 --> 00:52:33,760
Speaker 3: I think it's a major oversight of the film because

1044
00:52:34,480 --> 00:52:37,520
Speaker 3: usually in a movie about a killer animal, you need

1045
00:52:37,600 --> 00:52:41,440
Speaker 3: a human villain to inhabit the spirit of moral evil,

1046
00:52:41,640 --> 00:52:43,600
Speaker 3: you know, to be the focal point of not just

1047
00:52:43,640 --> 00:52:48,080
Speaker 3: struggle for survival, but of antagonistic drama. You know, drama

1048
00:52:48,200 --> 00:52:52,920
Speaker 3: typically is a conflict between people, between humans with intelligences.

1049
00:52:53,320 --> 00:52:56,880
Speaker 3: And since giant killer animals in creature movies are not

1050
00:52:56,920 --> 00:53:01,000
Speaker 3: really morally bad, they're just hungry, they can't really fill

1051
00:53:01,040 --> 00:53:03,680
Speaker 3: that role very well. I would say. The closest thing

1052
00:53:03,760 --> 00:53:06,040
Speaker 3: to a villain in this movie, I guess, are the

1053
00:53:06,120 --> 00:53:10,680
Speaker 3: main scientists like Stellin Scarsgard and Saffron Burrows, who are

1054
00:53:11,440 --> 00:53:14,360
Speaker 3: I mean, in a way, they're presented as arrogant and

1055
00:53:14,480 --> 00:53:18,080
Speaker 3: having done wrong and they must be punished because they,

1056
00:53:18,600 --> 00:53:21,600
Speaker 3: to use a phrase from Edwood, they tampered in God's domain.

1057
00:53:22,280 --> 00:53:25,600
Speaker 3: But they are not really villains. They're just people who

1058
00:53:25,640 --> 00:53:28,080
Speaker 3: did something bad and need to be punished for it.

1059
00:53:28,640 --> 00:53:31,880
Speaker 3: In this movie, I think the creators perhaps thought that

1060
00:53:31,920 --> 00:53:35,600
Speaker 3: they didn't need human villains since the creatures are not

1061
00:53:35,680 --> 00:53:41,360
Speaker 3: only killer sharks, but hyper intelligent killer sharks, maybe leading

1062
00:53:41,360 --> 00:53:43,480
Speaker 3: to the idea that they are smart enough to be

1063
00:53:43,719 --> 00:53:47,040
Speaker 3: morally evil. It's kind of a stretch, it doesn't really work,

1064
00:53:47,160 --> 00:53:49,480
Speaker 3: and I think they should have committed to having at

1065
00:53:49,560 --> 00:53:52,720
Speaker 3: least one of the human characters being like a complete jerk.

1066
00:53:53,360 --> 00:53:55,719
Speaker 1: Yeah. It's kind of like the Frankenstein scenario, right with

1067
00:53:55,760 --> 00:54:00,000
Speaker 1: Frankenstein's monster. Even if you have him doing despicable things

1068
00:54:00,320 --> 00:54:02,319
Speaker 1: like he he did not ask to be here. He

1069
00:54:02,400 --> 00:54:05,560
Speaker 1: was created, you know, and he bemoans this fact, you know,

1070
00:54:05,560 --> 00:54:06,840
Speaker 1: he says that, and I did not ask to be

1071
00:54:06,880 --> 00:54:11,279
Speaker 1: created and and therefore how much blame can you really

1072
00:54:11,320 --> 00:54:13,840
Speaker 1: place on the monster's shoulders? And the same goes for

1073
00:54:13,840 --> 00:54:15,640
Speaker 1: a lot of these sharks, I mean, for these sharks

1074
00:54:15,640 --> 00:54:18,440
Speaker 1: in this film. Another thing that comes to mind is

1075
00:54:18,480 --> 00:54:22,480
Speaker 1: that the not only are the scientists themselves not portrayed

1076
00:54:22,520 --> 00:54:26,520
Speaker 1: as particularly like morally corrupt or anything, but the ultimate

1077
00:54:26,560 --> 00:54:29,760
Speaker 1: aim of the project is totally for the good of humanity.

1078
00:54:29,800 --> 00:54:32,600
Speaker 1: You know, it's about it's about curing Alzheimer's disease, which

1079
00:54:32,800 --> 00:54:34,680
Speaker 1: you know everybody in the film is on board with.

1080
00:54:34,719 --> 00:54:36,320
Speaker 1: And if you're watching it, you're like, oh, yeah, I

1081
00:54:36,360 --> 00:54:38,000
Speaker 1: mean that makes sense. Yeah, if you got to make

1082
00:54:38,040 --> 00:54:41,440
Speaker 1: some giant sharks to cure Alzheimer's, then let's let's do it.

1083
00:54:41,600 --> 00:54:44,239
Speaker 1: Like what if they had had a point in the

1084
00:54:44,280 --> 00:54:46,640
Speaker 1: film where they revealed or even from the ads that

1085
00:54:46,960 --> 00:54:50,560
Speaker 1: they made it clear that the shark research was about, say,

1086
00:54:51,120 --> 00:54:54,560
Speaker 1: creating immortality, you know, for the for the you know,

1087
00:54:54,600 --> 00:54:57,040
Speaker 1: the the privileged and few at the very top of

1088
00:54:57,480 --> 00:55:00,640
Speaker 1: the socioeconomic ladder, you know, something of that nature. They're

1089
00:55:00,680 --> 00:55:02,920
Speaker 1: twists they could have taken with it where you'd be like,

1090
00:55:03,160 --> 00:55:05,759
Speaker 1: oh many were they're trying to do that, and they're

1091
00:55:05,760 --> 00:55:09,200
Speaker 1: making super intelligent sharks to do it. That's that's a

1092
00:55:09,280 --> 00:55:11,440
Speaker 1: double whammie of things we shouldn't be doing. People.

1093
00:55:12,040 --> 00:55:14,919
Speaker 3: Instead, what you get is that these are researchers who

1094
00:55:15,040 --> 00:55:19,040
Speaker 3: unethically cut corners in pursuit of a noble goal, right,

1095
00:55:19,280 --> 00:55:21,920
Speaker 3: which is a very different feeling for characters in a movie.

1096
00:55:21,960 --> 00:55:24,000
Speaker 3: And you know, one thing I will point out, I

1097
00:55:24,040 --> 00:55:27,120
Speaker 3: wonder what you think about this. I think Stellin Scarsguard's

1098
00:55:27,200 --> 00:55:30,799
Speaker 3: character in this movie is interesting because I think he's

1099
00:55:30,840 --> 00:55:33,640
Speaker 3: a little bit different in the finished product than his

1100
00:55:33,800 --> 00:55:37,080
Speaker 3: character would be on the page. I think he has

1101
00:55:37,239 --> 00:55:40,400
Speaker 3: written to play harder into the role of the arrogant

1102
00:55:40,440 --> 00:55:43,759
Speaker 3: scientist who thinks he's better than God and must be punished,

1103
00:55:44,200 --> 00:55:47,759
Speaker 3: but Stellin just doesn't really lean into that in his performance.

1104
00:55:49,000 --> 00:55:51,200
Speaker 3: And you know, there was another I was reading a

1105
00:55:51,239 --> 00:55:54,200
Speaker 3: review of the movie by a film critic named John

1106
00:55:54,280 --> 00:55:58,640
Speaker 3: Kenneth Muir in a retrospective from many years later, and

1107
00:55:58,680 --> 00:56:00,799
Speaker 3: he pointed out something about this movie that as soon

1108
00:56:00,840 --> 00:56:02,319
Speaker 3: as I read it, I was like, Oh, God, is

1109
00:56:02,360 --> 00:56:05,239
Speaker 3: so true. You can tell as soon as you meet

1110
00:56:05,320 --> 00:56:09,399
Speaker 3: him that Stellan is doomed because he smokes cigarettes, which

1111
00:56:09,480 --> 00:56:13,160
Speaker 3: is a death sentence in any mainstream movie from the nineties.

1112
00:56:13,440 --> 00:56:14,120
Speaker 3: Isn't that true?

1113
00:56:14,719 --> 00:56:18,880
Speaker 1: Huh? Yeah, I guess so. I'm gonna have to I'm

1114
00:56:18,920 --> 00:56:21,839
Speaker 1: gonna have to think on this one. But certainly, yeah,

1115
00:56:21,840 --> 00:56:24,160
Speaker 1: we do have a notable scene where he's smoking early

1116
00:56:24,200 --> 00:56:24,720
Speaker 1: in the picture.

1117
00:56:25,000 --> 00:56:26,839
Speaker 3: But actually, there was something I wanted to come back

1118
00:56:26,880 --> 00:56:29,719
Speaker 3: to about the idea of human villains and intelligence and

1119
00:56:30,239 --> 00:56:35,440
Speaker 3: sharks as a movie monster. There's another unintended consequence. I

1120
00:56:35,480 --> 00:56:38,440
Speaker 3: think of having the villains in the movie be hyper

1121
00:56:38,520 --> 00:56:42,880
Speaker 3: intelligent mutant sharks. Part of the appeal of a shark

1122
00:56:43,000 --> 00:56:45,840
Speaker 3: as a movie monster. Again, this is the fantasy movie. Shark,

1123
00:56:45,920 --> 00:56:50,520
Speaker 3: not sharks in real life. Is a horror rooted in

1124
00:56:50,960 --> 00:56:56,960
Speaker 3: its apparently unthinking, unfeeling, mechanical efficiency. You know, as Quinn

1125
00:56:57,000 --> 00:56:59,319
Speaker 3: says in Jaws, it's you know, his eyes like a

1126
00:56:59,440 --> 00:57:03,239
Speaker 3: doll's like it's not even alive. It's just a machine

1127
00:57:03,280 --> 00:57:07,719
Speaker 3: that kills. So is it's not a human agent that

1128
00:57:07,960 --> 00:57:12,799
Speaker 3: kills out of animating feelings like hate or malice or

1129
00:57:12,800 --> 00:57:16,760
Speaker 3: even sadism. It doesn't have feelings about us. We are

1130
00:57:16,840 --> 00:57:20,360
Speaker 3: simply meat. And in this way, I think the traditional

1131
00:57:20,440 --> 00:57:23,959
Speaker 3: shark movie with a regular shark actually resonates a little

1132
00:57:24,000 --> 00:57:26,680
Speaker 3: bit more with some of the themes of cosmic horror.

1133
00:57:26,760 --> 00:57:30,720
Speaker 3: Horror that is rooted in a semantic threat. It's not

1134
00:57:30,800 --> 00:57:33,120
Speaker 3: just the fear that you will be harmed or the

1135
00:57:33,160 --> 00:57:36,360
Speaker 3: fear that you will be destroyed, but the fear that

1136
00:57:36,560 --> 00:57:39,600
Speaker 3: by seeing yourself from the vantage point of a truly

1137
00:57:39,760 --> 00:57:44,320
Speaker 3: inhuman intelligence, you will see yourself as an object without

1138
00:57:44,440 --> 00:57:49,760
Speaker 3: meaning or significance, just a puny, soft, heterogeneous object of

1139
00:57:49,760 --> 00:57:53,840
Speaker 3: about ninety nine degrees fahrenheit. And there are examples I

1140
00:57:53,880 --> 00:57:57,440
Speaker 3: can think of from movies that I find particularly amazingly

1141
00:57:57,520 --> 00:58:00,240
Speaker 3: scary that are on this frequency. One is a moment

1142
00:58:00,320 --> 00:58:02,160
Speaker 3: I love. I think I've mentioned it on the show before,

1143
00:58:02,160 --> 00:58:05,560
Speaker 3: but from the nineteen seventy eight version of Invasion of

1144
00:58:05,600 --> 00:58:08,720
Speaker 3: the Body Snatchers, which is a fantastic sci fi horror movie,

1145
00:58:09,280 --> 00:58:12,040
Speaker 3: but it is the part where a couple of the

1146
00:58:12,120 --> 00:58:15,360
Speaker 3: human characters have been trapped by some of the alien

1147
00:58:15,400 --> 00:58:18,640
Speaker 3: replicants who have been turned, and one of the humans

1148
00:58:18,680 --> 00:58:21,320
Speaker 3: says to the leader of the aliens, I hate you,

1149
00:58:21,760 --> 00:58:24,120
Speaker 3: and the leader of the aliens says to them, we

1150
00:58:24,200 --> 00:58:28,720
Speaker 3: don't hate you. Profoundly chilling, right, because it's actually so

1151
00:58:28,840 --> 00:58:31,800
Speaker 3: much scarier that the aliens are not doing this out

1152
00:58:31,800 --> 00:58:35,440
Speaker 3: of sadism and malice. We're just molecules to them, like

1153
00:58:35,480 --> 00:58:36,520
Speaker 3: they don't hate us.

1154
00:58:37,360 --> 00:58:41,640
Speaker 1: There's a there's a great twist and an old thriller

1155
00:58:41,720 --> 00:58:44,840
Speaker 1: novel by Jeffrey Household titled The Dance of the Dwarfs.

1156
00:58:45,360 --> 00:58:49,360
Speaker 1: It takes place, I think in South America, and there's

1157
00:58:49,840 --> 00:58:53,320
Speaker 1: a lot of the plot concerns, these these deaths that

1158
00:58:53,320 --> 00:58:55,880
Speaker 1: have occurred that have been attributed to what's supposed to

1159
00:58:55,920 --> 00:58:58,800
Speaker 1: be a tribe of pygmies that live, you know, deep

1160
00:58:58,840 --> 00:59:01,320
Speaker 1: in the jungle and so are Our character makes several

1161
00:59:01,360 --> 00:59:04,400
Speaker 1: attempts to communicate with them and and puts out like

1162
00:59:04,520 --> 00:59:07,840
Speaker 1: beads is an offering, you know, trying to to make contact,

1163
00:59:07,840 --> 00:59:10,880
Speaker 1: and comes close. But then you reach the point where

1164
00:59:10,880 --> 00:59:15,240
Speaker 1: it is revealed that they're not pigmies. They are a

1165
00:59:15,360 --> 00:59:19,680
Speaker 1: type of giant river otter, a predatory giant river otter

1166
00:59:19,880 --> 00:59:23,880
Speaker 1: with I think some sort of a venom uh apparatus.

1167
00:59:24,280 --> 00:59:27,240
Speaker 1: And he realizes that that you, no, there is nothing

1168
00:59:27,280 --> 00:59:29,960
Speaker 1: to communicate with here. These are things. These are creatures.

1169
00:59:30,000 --> 00:59:32,360
Speaker 1: These are animals that are hunting me, and there's nothing

1170
00:59:32,400 --> 00:59:35,200
Speaker 1: remotely human about them. They're they're you know, they're they're

1171
00:59:35,240 --> 00:59:38,480
Speaker 1: giant otters. And it's and just saying it like that,

1172
00:59:38,560 --> 00:59:41,080
Speaker 1: it might sound kind of weird. Uh. If it does

1173
00:59:41,080 --> 00:59:44,280
Speaker 1: sound weird, research giant river otters and maybe that'll turn

1174
00:59:44,320 --> 00:59:47,160
Speaker 1: you around, because they can be quite quite fearsome if

1175
00:59:47,200 --> 00:59:49,280
Speaker 1: you if you look at them in the right light.

1176
00:59:49,680 --> 00:59:52,520
Speaker 1: But but but in the in the book, it's very effective.

1177
00:59:52,520 --> 00:59:54,560
Speaker 1: It creates that same sort of level where you realize, yeah,

1178
00:59:54,560 --> 00:59:57,040
Speaker 1: you're not dealing with human agency, You're dealing with something

1179
00:59:57,040 --> 00:59:57,600
Speaker 1: more primal.

1180
00:59:58,040 --> 01:00:01,320
Speaker 3: Yeah. That that absolutely sounds very chill and on the

1181
01:00:01,320 --> 01:00:04,080
Speaker 3: same frequency as what I'm talking about. There was another

1182
01:00:04,120 --> 01:00:07,200
Speaker 3: movie I thought of that that had a scene that

1183
01:00:07,280 --> 01:00:09,240
Speaker 3: works in a similar way, and it's the movie Under

1184
01:00:09,240 --> 01:00:10,600
Speaker 3: the Skin. Have you seen this one.

1185
01:00:11,400 --> 01:00:13,360
Speaker 1: I'm familiar with it, but I've never actually watched.

1186
01:00:13,080 --> 01:00:16,640
Speaker 3: It also very much has that that cosmic horror fire,

1187
01:00:17,200 --> 01:00:19,760
Speaker 3: and one of the most chilling scenes in it is

1188
01:00:19,840 --> 01:00:23,760
Speaker 3: not even with the alien doing anything to a human.

1189
01:00:24,440 --> 01:00:28,919
Speaker 3: It is a scene of an alien just watching, completely

1190
01:00:29,000 --> 01:00:34,440
Speaker 3: dispassionately observing as some humans are are caught in a

1191
01:00:34,640 --> 01:00:38,160
Speaker 3: like a riptide and are drowning in the ocean, and

1192
01:00:38,200 --> 01:00:43,400
Speaker 3: the alien is not hateful and not sad, it's just watching.

1193
01:00:44,400 --> 01:00:47,600
Speaker 3: But anyway to bring everything back to deep Blue Sea.

1194
01:00:47,680 --> 01:00:51,600
Speaker 3: By making the sharks in this movie super intelligent mutants

1195
01:00:51,640 --> 01:00:56,720
Speaker 3: that are capable of executing plans and capable of directed

1196
01:00:56,800 --> 01:01:01,160
Speaker 3: sadism and grudges, I think the movie actually loses some

1197
01:01:01,240 --> 01:01:05,800
Speaker 3: of the potential for unsettling, semi cosmic horror that's naturally

1198
01:01:05,840 --> 01:01:08,440
Speaker 3: there in Animals that don't have human you know that

1199
01:01:08,480 --> 01:01:11,360
Speaker 3: we don't think of as having human like minds like sharks,

1200
01:01:11,920 --> 01:01:15,240
Speaker 3: and it becomes something closer to a movie with a

1201
01:01:15,320 --> 01:01:20,520
Speaker 3: villain that has human motives, which is counterintuitively more familiar,

1202
01:01:20,880 --> 01:01:25,600
Speaker 3: more comfortable, and more suitable for light entertainment. It's easier

1203
01:01:25,680 --> 01:01:30,320
Speaker 3: to to sort of have fun and do light entertainment

1204
01:01:30,560 --> 01:01:33,520
Speaker 3: with a plot in which the antagonist hates the heroes

1205
01:01:33,600 --> 01:01:37,680
Speaker 3: instead of just unfeelingly wants to disassemble them.

1206
01:01:37,680 --> 01:01:39,800
Speaker 1: At least I would argue, no, No, I think it's

1207
01:01:40,120 --> 01:01:41,280
Speaker 1: that's a fair critique.

1208
01:01:41,400 --> 01:01:45,040
Speaker 3: It's like few the monster actually despises us and wants

1209
01:01:45,080 --> 01:01:46,840
Speaker 3: to do us harm.

1210
01:01:46,960 --> 01:01:50,720
Speaker 1: Now that truth be told, the monsters do do some

1211
01:01:50,760 --> 01:01:53,240
Speaker 1: harm in this film. Yeah, I think that the first

1212
01:01:53,240 --> 01:01:55,520
Speaker 1: scene where it happens, and it's a good good half

1213
01:01:55,560 --> 01:01:58,320
Speaker 1: hour into the film. It really takes a while setting

1214
01:01:58,320 --> 01:02:01,880
Speaker 1: things up. But then when stuff starts going wrong, it

1215
01:02:01,960 --> 01:02:05,280
Speaker 1: really starts going wrong. Like basically, Whitlock's character is just

1216
01:02:05,720 --> 01:02:07,840
Speaker 1: moving past the shark that they have in this kind

1217
01:02:07,880 --> 01:02:11,360
Speaker 1: of like semi submerged working area, and it just kind

1218
01:02:11,400 --> 01:02:15,280
Speaker 1: of casually turns its head and bites his arm completely off,

1219
01:02:15,400 --> 01:02:17,280
Speaker 1: just completely rips his arm Off.

1220
01:02:17,680 --> 01:02:20,680
Speaker 3: Yeah, and a note on special effects this movie has.

1221
01:02:20,800 --> 01:02:24,400
Speaker 3: It's not all. CGI has animatronic sharks, which I love.

1222
01:02:24,600 --> 01:02:27,600
Speaker 3: I love the animatronic shart. They basically built little shark

1223
01:02:27,720 --> 01:02:31,200
Speaker 3: robots for this movie, and they're great. There are some

1224
01:02:31,320 --> 01:02:35,080
Speaker 3: scenes where it transitions to CGI and I hate the CGI,

1225
01:02:35,680 --> 01:02:38,320
Speaker 3: which is made especially annoying because of the presence of

1226
01:02:38,360 --> 01:02:41,160
Speaker 3: these really great physical animatronics and the fact that most

1227
01:02:41,240 --> 01:02:43,680
Speaker 3: of the CGI shots are unnecessary.

1228
01:02:45,000 --> 01:02:48,080
Speaker 1: Pretty good for the day, though, I would say, yeah, yeah.

1229
01:02:47,640 --> 01:02:49,760
Speaker 3: It's ninety nine, so you know, this was an era

1230
01:02:49,880 --> 01:02:54,000
Speaker 3: of big, big budget movies having CGI that does not

1231
01:02:54,200 --> 01:02:55,280
Speaker 3: hold up at all.

1232
01:03:04,920 --> 01:03:07,880
Speaker 1: What should we go ahead and talk about Samuel L.

1233
01:03:07,960 --> 01:03:09,480
Speaker 1: Jackson's big scene.

1234
01:03:09,320 --> 01:03:11,840
Speaker 3: Right, the scene this is probably the scene that the

1235
01:03:11,880 --> 01:03:15,400
Speaker 3: movie is most remembered for, not probably definitely. This is

1236
01:03:15,240 --> 01:03:18,919
Speaker 3: the thing, the thing everybody remembers about it. So one

1237
01:03:18,920 --> 01:03:21,520
Speaker 3: thing that's strange about this movie is it's sort of

1238
01:03:22,160 --> 01:03:24,520
Speaker 3: in the first third or so, it feels like it

1239
01:03:24,600 --> 01:03:28,840
Speaker 3: might have three main characters. One of them is Saffron Burrows,

1240
01:03:28,880 --> 01:03:32,680
Speaker 3: the Scientist, one of them is Thomas Jane, the shark Wrangler,

1241
01:03:32,960 --> 01:03:35,600
Speaker 3: and the other is Samuel L. Jackson, the steady handed

1242
01:03:36,680 --> 01:03:40,360
Speaker 3: corporate executive, but who's not just like a suit. They

1243
01:03:40,440 --> 01:03:43,000
Speaker 3: set Samuel L. Jackson's character up so that he has

1244
01:03:43,040 --> 01:03:48,240
Speaker 3: a backstory where he's like a heroic survivor of I

1245
01:03:48,240 --> 01:03:51,400
Speaker 3: think a mountain avalanche where he was trapped under ice

1246
01:03:51,480 --> 01:03:52,320
Speaker 3: with a bunch of people.

1247
01:03:52,800 --> 01:03:54,360
Speaker 1: Yeah. Yeah, he has some scenes where he's like, oh,

1248
01:03:54,400 --> 01:03:56,520
Speaker 1: you think you think sharks are bad, let me tell

1249
01:03:56,560 --> 01:04:00,200
Speaker 1: you about snow right, Yes, but yeah, now coming back

1250
01:04:00,240 --> 01:04:02,120
Speaker 1: to the beside an adventure, Like, he does feel kind

1251
01:04:02,160 --> 01:04:04,800
Speaker 1: of like the Gene Hackman character in that film, you know,

1252
01:04:04,880 --> 01:04:07,880
Speaker 1: in a disaster film. He is the character who can

1253
01:04:07,920 --> 01:04:10,720
Speaker 1: step forward and lead. He is the one who can

1254
01:04:10,840 --> 01:04:12,360
Speaker 1: unite people and bring them together.

1255
01:04:12,840 --> 01:04:15,240
Speaker 3: Until he is right in the middle of giving a

1256
01:04:15,280 --> 01:04:18,240
Speaker 3: speech about ice. I believe he's like, yeah, you think

1257
01:04:18,280 --> 01:04:20,440
Speaker 3: sharks are bad, let me tell you about ice. Ice

1258
01:04:20,480 --> 01:04:23,320
Speaker 3: has a mind, you know, it hunts you. And then

1259
01:04:23,400 --> 01:04:26,160
Speaker 3: he's in the middle of giving this this rousing speech

1260
01:04:26,200 --> 01:04:29,120
Speaker 3: to like get everybody motivated to go, say, you know,

1261
01:04:29,760 --> 01:04:32,840
Speaker 3: beat these things, and then a shark just like hops

1262
01:04:32,880 --> 01:04:34,760
Speaker 3: up out of the water and bites him and just

1263
01:04:34,800 --> 01:04:35,520
Speaker 3: like pulls him.

1264
01:04:35,440 --> 01:04:38,600
Speaker 1: In, pulls him in, and then another shark joins them

1265
01:04:38,600 --> 01:04:41,280
Speaker 1: and just rips him apart, and they make it abundantly clear, Yes,

1266
01:04:41,400 --> 01:04:44,520
Speaker 1: this character is totally dead and is not coming back.

1267
01:04:44,840 --> 01:04:47,600
Speaker 3: I've seen a lot of people compare this scene to

1268
01:04:48,400 --> 01:04:52,400
Speaker 3: the death of Tom Skerritt in Alien, Dallas in Alien. Yeah,

1269
01:04:52,600 --> 01:04:54,440
Speaker 3: who at the time Alien came out. I think a

1270
01:04:54,440 --> 01:04:57,320
Speaker 3: lot of audiences, you know, we see it, having seen

1271
01:04:57,360 --> 01:04:59,800
Speaker 3: it many times and knowing about the reputation of it

1272
01:05:00,040 --> 01:05:03,640
Speaker 3: after the fact, we sometimes can look at Ripley as

1273
01:05:03,720 --> 01:05:06,720
Speaker 3: the main character from the beginning. It's not set up

1274
01:05:06,720 --> 01:05:10,360
Speaker 3: that way, Like, it is very much an ensemble of

1275
01:05:10,480 --> 01:05:14,240
Speaker 3: characters who are given almost equal screen time. And if

1276
01:05:14,320 --> 01:05:17,480
Speaker 3: there's anybody who audiences would have been expected to assume

1277
01:05:17,680 --> 01:05:20,160
Speaker 3: was the main character who would be the last survivor

1278
01:05:20,160 --> 01:05:22,560
Speaker 3: in the film at the end, it was Tom Scarett.

1279
01:05:22,800 --> 01:05:25,000
Speaker 1: Yeah. Yeah, it's kind of a it's kind of like

1280
01:05:25,040 --> 01:05:28,320
Speaker 1: a heightened twist on the like the death of the

1281
01:05:28,360 --> 01:05:32,120
Speaker 1: would be savior. Yeah, you know, I probably a popular

1282
01:05:32,320 --> 01:05:34,880
Speaker 1: version of this would be in Hitchcock's Psycho, you know,

1283
01:05:34,920 --> 01:05:37,080
Speaker 1: where you have a character that's showing up that is

1284
01:05:37,080 --> 01:05:38,720
Speaker 1: surely going to save the day, like they are the

1285
01:05:39,200 --> 01:05:41,520
Speaker 1: presence of law and order, that is entering into this

1286
01:05:41,640 --> 01:05:44,040
Speaker 1: nightmare world, but then they're taken out as well.

1287
01:05:44,280 --> 01:05:46,360
Speaker 3: So yeah, you think Samuel L. Jackson is probably going

1288
01:05:46,440 --> 01:05:48,920
Speaker 3: to become like the emergent hero of the movie. Nope,

1289
01:05:49,040 --> 01:05:52,680
Speaker 3: just gets chomped. He's gone and it is.

1290
01:05:52,960 --> 01:05:55,920
Speaker 1: That's a great sequence though, Like it's I wish I

1291
01:05:55,920 --> 01:05:59,200
Speaker 1: could see it like for real without having it you know,

1292
01:05:59,280 --> 01:06:02,120
Speaker 1: had been you know world for me, but even watching

1293
01:06:02,120 --> 01:06:05,840
Speaker 1: it knowing what was coming, it feels you really feel

1294
01:06:05,880 --> 01:06:08,640
Speaker 1: the bottom fallout at that point because it's like, oh

1295
01:06:08,680 --> 01:06:11,360
Speaker 1: my goodness, they're really screwed, Like this was there, this

1296
01:06:11,520 --> 01:06:13,640
Speaker 1: was their guy, you know, Yeah, this guy had a

1297
01:06:13,680 --> 01:06:17,080
Speaker 1: plan and now he's just completely dead. So I feel

1298
01:06:17,080 --> 01:06:21,520
Speaker 1: like it's a highly effective scene that really turns audience's

1299
01:06:21,600 --> 01:06:22,720
Speaker 1: expectation on his head.

1300
01:06:23,080 --> 01:06:26,400
Speaker 3: Yeah. Now, as we said earlier, I think there's there's

1301
01:06:26,440 --> 01:06:28,400
Speaker 3: not really much to say about plot. Most of the

1302
01:06:28,400 --> 01:06:30,280
Speaker 3: rest of the movie is just set piece after set

1303
01:06:30,280 --> 01:06:33,760
Speaker 3: piece of characters sort of scrambling around different places in

1304
01:06:33,800 --> 01:06:36,360
Speaker 3: this base trying to get away from sharks. There is

1305
01:06:36,400 --> 01:06:38,840
Speaker 3: a lot of stuff in the middle of the movie

1306
01:06:38,880 --> 01:06:42,919
Speaker 3: with ll cool Jay on his own. Yeah, and they're

1307
01:06:42,960 --> 01:06:45,760
Speaker 3: good scenes. There are scenes where he's funny, and he

1308
01:06:45,800 --> 01:06:48,560
Speaker 3: doesn't have anybody to act opposite. It's just him alone,

1309
01:06:48,560 --> 01:06:51,880
Speaker 3: well with a parrot, him with a parrot alone in

1310
01:06:52,040 --> 01:06:53,960
Speaker 3: like you know, hanging out in the kitchen or walking

1311
01:06:53,960 --> 01:06:57,400
Speaker 3: around to the hallways dealing with a shark. Eventually, Elle

1312
01:06:57,480 --> 01:07:00,240
Speaker 3: COOLJ does manage to kill a shark by blowing up

1313
01:07:00,280 --> 01:07:04,640
Speaker 3: with an oven, which is a really good scene. But

1314
01:07:04,800 --> 01:07:07,720
Speaker 3: I wonder about what you think about this. I get

1315
01:07:07,720 --> 01:07:10,240
Speaker 3: a sense that some of this stuff with Llo cool

1316
01:07:10,320 --> 01:07:15,160
Speaker 3: J was reshoots and fill in. I would bet that

1317
01:07:15,360 --> 01:07:18,240
Speaker 3: once they had a finished movie, they were like, hey,

1318
01:07:19,000 --> 01:07:21,520
Speaker 3: everybody loves Ello cool J. We got to get more

1319
01:07:21,560 --> 01:07:24,640
Speaker 3: scenes with him early on. But maybe they didn't. They

1320
01:07:24,640 --> 01:07:27,080
Speaker 3: couldn't reshoot with all of the actors there, so they

1321
01:07:27,160 --> 01:07:29,240
Speaker 3: just added more stuff with him on his own.

1322
01:07:30,200 --> 01:07:33,000
Speaker 1: Yeah. I don't know. On one hand, it's easy to

1323
01:07:33,040 --> 01:07:35,040
Speaker 1: look at it and think, well, okay, this is early

1324
01:07:35,080 --> 01:07:37,800
Speaker 1: in Llo cool Jay's career as an actor. That you know,

1325
01:07:37,840 --> 01:07:40,440
Speaker 1: perhaps they didn't know that he was this capable, and

1326
01:07:40,520 --> 01:07:42,040
Speaker 1: you know, they came back and added more stuff. But

1327
01:07:42,040 --> 01:07:44,640
Speaker 1: then I also read that the Renny Harlan like really

1328
01:07:45,200 --> 01:07:47,680
Speaker 1: campaigned for Ello cool J to be cast in it.

1329
01:07:48,160 --> 01:07:51,040
Speaker 1: Like I think maybe he knew that he had these capabilities,

1330
01:07:51,040 --> 01:07:54,080
Speaker 1: because ultimately he is He's very charismatic. He's able to

1331
01:07:54,080 --> 01:07:58,200
Speaker 1: pull off the serious stuff, the wise cracking stuff, and

1332
01:07:58,400 --> 01:08:01,000
Speaker 1: the more comedic stuff, all in a way that doesn't

1333
01:08:01,040 --> 01:08:04,280
Speaker 1: compromise the character. Like he never feels like a comic

1334
01:08:04,320 --> 01:08:08,760
Speaker 1: relief character, even though he provides comic relief. He you know,

1335
01:08:08,800 --> 01:08:11,120
Speaker 1: he feels more like like a hero in the film,

1336
01:08:11,200 --> 01:08:14,480
Speaker 1: and those winking moments where he's he's clearly they're clearly

1337
01:08:14,480 --> 01:08:17,280
Speaker 1: doing stuff with his character to you know, to to

1338
01:08:17,439 --> 01:08:19,960
Speaker 1: again play with audience expectations and to maybe you know,

1339
01:08:20,000 --> 01:08:22,680
Speaker 1: get a laugh there. He's able to pull it off

1340
01:08:22,680 --> 01:08:25,200
Speaker 1: in a way that feels authentic, that doesn't feel like

1341
01:08:25,280 --> 01:08:26,280
Speaker 1: it's cheapened anything.

1342
01:08:26,640 --> 01:08:29,479
Speaker 3: Yeah, one choice that I thought was really funny was

1343
01:08:29,880 --> 01:08:33,640
Speaker 3: the decision to make his character not just not just

1344
01:08:33,680 --> 01:08:36,240
Speaker 3: a chef as a profession, not just like somebody who

1345
01:08:36,240 --> 01:08:39,320
Speaker 3: cooks for a living but has a genuine passion for

1346
01:08:39,400 --> 01:08:42,639
Speaker 3: the culinary arts, like he considered. There's a part where

1347
01:08:42,640 --> 01:08:45,080
Speaker 3: I think he's like recording a video of like leaving

1348
01:08:45,200 --> 01:08:48,599
Speaker 3: his his legacy is testament to his children or something,

1349
01:08:48,640 --> 01:08:50,720
Speaker 3: and he's describing his omblant technique.

1350
01:08:51,200 --> 01:08:53,760
Speaker 1: Yeah, it's one of those things where when you when

1351
01:08:53,800 --> 01:08:55,880
Speaker 1: you say it out loud, it sounds kind of hokey,

1352
01:08:55,960 --> 01:08:58,000
Speaker 1: but somehow it works in the film. Some somehow that

1353
01:08:58,439 --> 01:08:58,920
Speaker 1: it works.

1354
01:08:59,240 --> 01:09:01,960
Speaker 3: It's a very funny touch and it works. Yeah, I

1355
01:09:02,200 --> 01:09:04,960
Speaker 3: will want a sequel where like Preacher opens up a

1356
01:09:04,960 --> 01:09:07,920
Speaker 3: Michelin Star restaurant and it gets attacked by sharks.

1357
01:09:09,320 --> 01:09:11,160
Speaker 1: I mean, it is kind of alarming that they made

1358
01:09:11,479 --> 01:09:14,200
Speaker 1: at least a couple of direct to video sequels to

1359
01:09:14,240 --> 01:09:16,120
Speaker 1: this film, and I don't think they brought back any

1360
01:09:16,160 --> 01:09:19,320
Speaker 1: of the main cast, did they, or really put any

1361
01:09:19,400 --> 01:09:21,280
Speaker 1: kind of money into them. It seems like you would

1362
01:09:21,280 --> 01:09:23,920
Speaker 1: have gone for it with a Deep Blue Sea two.

1363
01:09:24,439 --> 01:09:27,160
Speaker 3: I've never seen any of the sequels. In my mind,

1364
01:09:27,200 --> 01:09:29,559
Speaker 3: I've always classed them in the same category as the

1365
01:09:29,640 --> 01:09:32,800
Speaker 3: Starship Troopers sequels, which I also have not seen and

1366
01:09:33,200 --> 01:09:34,519
Speaker 3: kind of don't feel like I should.

1367
01:09:34,920 --> 01:09:36,280
Speaker 1: Yeah, I mean, I guess it's probably one of those

1368
01:09:36,320 --> 01:09:39,200
Speaker 1: things where on a business level, they're like, no, this

1369
01:09:39,240 --> 01:09:42,000
Speaker 1: film was this level of a hit. If we spend

1370
01:09:42,479 --> 01:09:45,360
Speaker 1: this low amount on the sequel, it'll automatically make this

1371
01:09:45,479 --> 01:09:47,400
Speaker 1: much money. This is how much you're going to spend

1372
01:09:47,439 --> 01:09:48,559
Speaker 1: on it. And they did.

1373
01:09:49,320 --> 01:09:51,680
Speaker 3: Yeah, so a thing that's worth talking about with the

1374
01:09:51,800 --> 01:09:56,240
Speaker 3: ending of this movie. Apparently the ending is a product

1375
01:09:56,280 --> 01:09:59,559
Speaker 3: of a process that I hate in theory, but I'm

1376
01:09:59,600 --> 01:10:02,000
Speaker 3: glad it happened here because I think it produced a

1377
01:10:02,080 --> 01:10:05,000
Speaker 3: much better outcome. So the ending of this movie is

1378
01:10:05,120 --> 01:10:09,760
Speaker 3: allegedly a product of focus groups. In the original ending

1379
01:10:09,800 --> 01:10:12,240
Speaker 3: of this movie, again, this is what has been alleged.

1380
01:10:12,479 --> 01:10:15,280
Speaker 3: I couldn't confirm this, but you can find people writing

1381
01:10:15,280 --> 01:10:18,880
Speaker 3: about this. In the original ending, Saffron Burrows not only

1382
01:10:18,960 --> 01:10:21,960
Speaker 3: survives the movie, she's the one who kills the shark

1383
01:10:22,000 --> 01:10:24,000
Speaker 3: in the end. I guess she redeems herself. I guess

1384
01:10:24,040 --> 01:10:26,080
Speaker 3: she realizes that it's bad that she cut all these

1385
01:10:26,120 --> 01:10:28,800
Speaker 3: corners in her research and she shouldn't have made the

1386
01:10:28,840 --> 01:10:32,640
Speaker 3: super intelligent sharks and regrets it, and she blows the

1387
01:10:32,880 --> 01:10:36,040
Speaker 3: shark up in the end. And this one was more ambiguous.

1388
01:10:36,040 --> 01:10:38,240
Speaker 3: But I think it's also the case that in the

1389
01:10:38,280 --> 01:10:41,919
Speaker 3: original ending, ellll cool Jay may have been killed instead

1390
01:10:41,960 --> 01:10:45,679
Speaker 3: of Saffron Burrows. And I think one can see why

1391
01:10:45,720 --> 01:10:50,280
Speaker 3: audiences would have had extremely negative reactions to this, because

1392
01:10:50,400 --> 01:10:52,080
Speaker 3: you cannot kill Elle cool j.

1393
01:10:52,600 --> 01:10:55,600
Speaker 1: Yeah. Absolutely, he's a very likable character in this film.

1394
01:10:56,200 --> 01:10:58,439
Speaker 1: You don't want to see him get eaten by a shark.

1395
01:10:58,960 --> 01:11:01,320
Speaker 1: And I will say that when I was watching, I

1396
01:11:01,360 --> 01:11:03,160
Speaker 1: thought he was going to get eaten by the shark,

1397
01:11:03,240 --> 01:11:05,800
Speaker 1: because he is attacked by a shark. Yeah, laid in

1398
01:11:05,840 --> 01:11:09,479
Speaker 1: the picture in a way that looks severe enough that

1399
01:11:09,520 --> 01:11:11,800
Speaker 1: I'm like, oh, he's gone, But then he's just got

1400
01:11:11,840 --> 01:11:12,840
Speaker 1: a slight limp later.

1401
01:11:13,120 --> 01:11:15,240
Speaker 3: Yeah, it looks like they filmed a death scene for

1402
01:11:15,320 --> 01:11:16,800
Speaker 3: him but then went back on it.

1403
01:11:17,120 --> 01:11:19,839
Speaker 1: Yeah, which I'm fine with. It was totally the right choice.

1404
01:11:19,880 --> 01:11:22,599
Speaker 1: But you know, you look at that first film where

1405
01:11:22,800 --> 01:11:25,599
Speaker 1: basically a shark Nudge is stolen Scars Garden, his arm

1406
01:11:25,640 --> 01:11:29,040
Speaker 1: falls off. Yeah, you know, it's like he's just like

1407
01:11:29,080 --> 01:11:31,720
Speaker 1: boiled chicken to this monster. But oh cool Jay, I

1408
01:11:31,760 --> 01:11:33,439
Speaker 1: mean he is. He's made it tough for stuff. He's

1409
01:11:33,479 --> 01:11:34,080
Speaker 1: really ripped.

1410
01:11:35,600 --> 01:11:40,600
Speaker 3: But so apparently test audiences hated Saffron Burrows character with

1411
01:11:40,960 --> 01:11:44,080
Speaker 3: some reason. I think they reasoned that she caused all

1412
01:11:44,120 --> 01:11:47,120
Speaker 3: of this, like she made the killer sharks, and they

1413
01:11:47,120 --> 01:11:49,920
Speaker 3: did not like her surviving and playing a heroic role

1414
01:11:49,960 --> 01:11:52,840
Speaker 3: in the finale, So the ending was changed so that

1415
01:11:53,000 --> 01:11:57,120
Speaker 3: instead she sacrifices herself to defeat the sharks and she

1416
01:11:57,160 --> 01:12:01,200
Speaker 3: gets chomped into pieces, and ellll cool Jas survives getting

1417
01:12:01,200 --> 01:12:03,360
Speaker 3: bitten by the shark and in the end he helps

1418
01:12:03,400 --> 01:12:05,679
Speaker 3: save the day. So I think they kind of flipped

1419
01:12:05,720 --> 01:12:08,960
Speaker 3: the script on that. And then I wonder if they

1420
01:12:09,080 --> 01:12:13,160
Speaker 3: may have shot additional scenes for Ello cool Jay or

1421
01:12:13,200 --> 01:12:15,759
Speaker 3: additional moments for him to go earlier in the movie.

1422
01:12:16,080 --> 01:12:19,320
Speaker 3: And I read that they also edited out some stuff

1423
01:12:19,360 --> 01:12:22,120
Speaker 3: with Saffron Burrows earlier in the movie that makes her

1424
01:12:22,240 --> 01:12:25,759
Speaker 3: character more sympathetic, so they kind of leaned into making

1425
01:12:25,800 --> 01:12:26,959
Speaker 3: her less likable.

1426
01:12:27,520 --> 01:12:30,120
Speaker 1: Oh wow, I mean, so obviously it sounds like they

1427
01:12:30,240 --> 01:12:32,840
Speaker 1: used a focus group. But I'm reminded of the films

1428
01:12:32,880 --> 01:12:35,320
Speaker 1: of William Castle, you know, like they could have gone

1429
01:12:35,320 --> 01:12:37,559
Speaker 1: in that direction, but like, all right, now it's time

1430
01:12:37,560 --> 01:12:40,719
Speaker 1: for audiences to vote to get to kill the shark

1431
01:12:40,960 --> 01:12:41,960
Speaker 1: and who will be eaten?

1432
01:12:42,320 --> 01:12:44,320
Speaker 3: That would have been written that would have gotten people

1433
01:12:44,439 --> 01:12:45,639
Speaker 3: to go see the movie twice.

1434
01:12:45,840 --> 01:12:48,559
Speaker 1: I'll also say that the final shark death in this

1435
01:12:48,640 --> 01:12:52,760
Speaker 1: film is of course totally Jaws. It's very reminiscent of

1436
01:12:52,760 --> 01:12:56,799
Speaker 1: that final scene where where the main character is shooting

1437
01:12:56,800 --> 01:12:58,640
Speaker 1: at the shark with the rifle, trying to hit the

1438
01:13:00,080 --> 01:13:03,080
Speaker 1: uh the the Cannis story in its mouth, we have

1439
01:13:03,120 --> 01:13:06,280
Speaker 1: a similar but more elaborate science fiction he set up

1440
01:13:06,400 --> 01:13:09,000
Speaker 1: going on in the final moments of this film.

1441
01:13:09,200 --> 01:13:11,840
Speaker 3: Yeah, there are three mind freak sharks in this movie.

1442
01:13:11,920 --> 01:13:14,799
Speaker 3: One gets blown up by ll cool J in the oven,

1443
01:13:15,400 --> 01:13:18,840
Speaker 3: one gets electrocuted by Saffron Burrows. Is that right? And

1444
01:13:18,880 --> 01:13:20,960
Speaker 3: then the third one gets blown up and when it's

1445
01:13:20,960 --> 01:13:21,759
Speaker 3: trying to escape.

1446
01:13:22,120 --> 01:13:24,639
Speaker 1: Yes, and so we're left with just l O cool

1447
01:13:24,720 --> 01:13:27,160
Speaker 1: J and our and our sharks.

1448
01:13:27,160 --> 01:13:31,120
Speaker 3: Burt character, Oh, Thomas Jane. Yeah, yeah, Thomas j They're

1449
01:13:31,120 --> 01:13:32,679
Speaker 3: gonna they're gonna best buds for life.

1450
01:13:32,920 --> 01:13:34,840
Speaker 1: Yeah, well they have. They have kind of fun back

1451
01:13:34,840 --> 01:13:36,920
Speaker 1: and forth there floating on the debris waiting to be

1452
01:13:36,960 --> 01:13:39,599
Speaker 1: picked up. And uh, and I was waiting for it.

1453
01:13:39,640 --> 01:13:42,479
Speaker 1: I was expecting there to be some some dark shaker

1454
01:13:42,560 --> 01:13:44,719
Speaker 1: at the end, but it's no, They're good to go. Yeah,

1455
01:13:44,760 --> 01:13:48,840
Speaker 1: everybody's gonna be fine. Like I thought the rescue boat

1456
01:13:48,880 --> 01:13:50,640
Speaker 1: was gonna get eaten by the shark, by one of

1457
01:13:50,640 --> 01:13:52,679
Speaker 1: the sharks that wasn't caught, like there was a fourth

1458
01:13:52,720 --> 01:13:55,800
Speaker 1: shark which they allude to. But no, everything's good. So

1459
01:13:56,320 --> 01:13:58,000
Speaker 1: I mean makes sense. This is this is a big

1460
01:13:58,040 --> 01:14:02,000
Speaker 1: budget summer blockbuster. You want to send it folks home happy.

1461
01:14:01,880 --> 01:14:05,440
Speaker 3: You know, the snooty film critic in me somehow rebels

1462
01:14:05,479 --> 01:14:07,360
Speaker 3: like part of me, part of me is like, oh,

1463
01:14:07,439 --> 01:14:10,040
Speaker 3: this is this is such a derivative film, and part

1464
01:14:10,040 --> 01:14:11,760
Speaker 3: of me is like, I hate the idea that they

1465
01:14:11,840 --> 01:14:14,880
Speaker 3: shaped the ending with focus groups. But I'm not gonna lie.

1466
01:14:14,920 --> 01:14:17,000
Speaker 3: I love Deep Blue c It's great.

1467
01:14:17,320 --> 01:14:19,799
Speaker 1: Yeah, it's pretty fun. And I and to your point,

1468
01:14:20,120 --> 01:14:26,000
Speaker 1: this this was a very essential updating of our expectations

1469
01:14:26,080 --> 01:14:28,960
Speaker 1: regarding shark movies. They did something new with the Shark

1470
01:14:29,040 --> 01:14:31,920
Speaker 1: movie which most shark movies did not do, and it

1471
01:14:31,960 --> 01:14:36,040
Speaker 1: was perhaps the last like good innovation, the last good

1472
01:14:36,360 --> 01:14:40,000
Speaker 1: pivot in in shark exploitation cinema, because it seemed like,

1473
01:14:40,120 --> 01:14:41,880
Speaker 1: you know, you see everything that's come out in the

1474
01:14:41,880 --> 01:14:46,320
Speaker 1: wake of Shark Nato has. I mean, I guess it's work.

1475
01:14:46,400 --> 01:14:49,360
Speaker 1: People like it, I assume, and people view it, it seems,

1476
01:14:49,439 --> 01:14:52,800
Speaker 1: but I do not for my purposes. It has not

1477
01:14:52,880 --> 01:14:55,920
Speaker 1: been a good direction for the shark film. You know.

1478
01:14:57,080 --> 01:14:58,800
Speaker 3: Well, as I've said, you know, I don't think there

1479
01:14:58,840 --> 01:15:01,080
Speaker 3: are any shark movies other than Jaws I've seen that

1480
01:15:01,560 --> 01:15:03,680
Speaker 3: I would say are just unequivocally good. But at the

1481
01:15:03,720 --> 01:15:07,240
Speaker 3: same time, I've watched probably ten billion shark movies. I mean, yeah,

1482
01:15:07,479 --> 01:15:08,880
Speaker 3: sometimes you just got to put one on.

1483
01:15:09,520 --> 01:15:11,800
Speaker 1: I think the other thing worth noting is that this

1484
01:15:11,880 --> 01:15:15,320
Speaker 1: film goes a little fantastic obviously with the idea of

1485
01:15:15,360 --> 01:15:19,559
Speaker 1: super intelligent sharks, and it is very mainstream, and it's

1486
01:15:19,560 --> 01:15:22,160
Speaker 1: going for that mainstream audience. And I feel like maybe

1487
01:15:22,160 --> 01:15:23,760
Speaker 1: there is something to be said for the success of

1488
01:15:23,800 --> 01:15:27,080
Speaker 1: films like Sharknado, because they take something like the Sharks,

1489
01:15:27,080 --> 01:15:31,760
Speaker 1: something that is like an innate and primal level we

1490
01:15:31,840 --> 01:15:34,479
Speaker 1: find fearsome. And then, of course it's worth saying that

1491
01:15:34,520 --> 01:15:38,679
Speaker 1: this fearsomeness has also been reinforced over and over again

1492
01:15:38,760 --> 01:15:42,280
Speaker 1: by media, much of which is not even fictional media

1493
01:15:42,320 --> 01:15:47,000
Speaker 1: but documentary style media and Shark week style marketing. This

1494
01:15:47,040 --> 01:15:50,360
Speaker 1: has all been reinforced, and therefore something that is silly

1495
01:15:50,400 --> 01:15:52,320
Speaker 1: with sharks, and it takes some of the punch out

1496
01:15:52,360 --> 01:15:54,400
Speaker 1: of the shark for us and makes us maybe a

1497
01:15:54,439 --> 01:15:55,320
Speaker 1: little less afraid.

1498
01:15:56,280 --> 01:15:59,120
Speaker 3: Yeah yeah, and maybe that gets us to the place

1499
01:15:59,160 --> 01:16:00,600
Speaker 3: we should end, which is a little bit of a

1500
01:16:00,640 --> 01:16:02,559
Speaker 3: stuff to blow your mind. PSA, we know a lot

1501
01:16:02,600 --> 01:16:05,080
Speaker 3: of our listeners already know this, but hey, sharks are

1502
01:16:05,120 --> 01:16:08,320
Speaker 3: amazing animals. They're really important parts of ocean ecosystems, and

1503
01:16:08,320 --> 01:16:09,280
Speaker 3: they're not your enemy.

1504
01:16:09,720 --> 01:16:14,559
Speaker 1: That's right. Let's dive through some important realities to keep

1505
01:16:14,600 --> 01:16:18,120
Speaker 1: in mind about sharks. Enjoy your shark's politation cinema, but

1506
01:16:18,640 --> 01:16:21,680
Speaker 1: know all of this. So, first of all, sharks are important,

1507
01:16:21,760 --> 01:16:26,520
Speaker 1: are important predator species that play key roles in their ecosystems.

1508
01:16:26,800 --> 01:16:29,720
Speaker 1: And while they can be fierce specimens, that doesn't mean

1509
01:16:29,720 --> 01:16:34,080
Speaker 1: they're not vulnerable to overfishing. They have relatively slow growth,

1510
01:16:34,160 --> 01:16:37,400
Speaker 1: late sexual maturity, and a small number of young per brood.

1511
01:16:37,840 --> 01:16:40,519
Speaker 1: The harvesting of shark fins for shark fin soup is

1512
01:16:40,560 --> 01:16:44,320
Speaker 1: internationally a major concern, and according to the International Union

1513
01:16:44,360 --> 01:16:48,360
Speaker 1: for the Conservation of Nature, among the approximately four hundred

1514
01:16:48,360 --> 01:16:51,240
Speaker 1: and seventy species of sharks, two point four percent are

1515
01:16:51,280 --> 01:16:54,240
Speaker 1: critically endangered, three point two percent are endangered, ten point

1516
01:16:54,280 --> 01:16:57,439
Speaker 1: three percent are vulnerable, and fourteen point four percent are

1517
01:16:57,479 --> 01:17:00,800
Speaker 1: near threatened. And the great white shark, of course, you know,

1518
01:17:00,920 --> 01:17:04,240
Speaker 1: is the jaws species. This is among the threatened species.

1519
01:17:04,640 --> 01:17:06,519
Speaker 1: And on top of all this, as far as shark

1520
01:17:06,640 --> 01:17:10,719
Speaker 1: danger goes, it is it is certainly true that certain

1521
01:17:10,760 --> 01:17:15,040
Speaker 1: species of shark can be extremely dangerous in exactly the

1522
01:17:15,120 --> 01:17:20,120
Speaker 1: right circumstances. Like nobody's denying that, but statistically you're far

1523
01:17:20,200 --> 01:17:22,600
Speaker 1: more likely to be killed by, say, an insect or

1524
01:17:22,640 --> 01:17:26,120
Speaker 1: a dog as opposed to a shark. According to the

1525
01:17:26,479 --> 01:17:30,799
Speaker 1: ISAF twenty twenty Shark Attack Report, there were one hundred

1526
01:17:30,800 --> 01:17:34,000
Speaker 1: and twenty nine a lled shark human interactions worldwide in

1527
01:17:34,080 --> 01:17:36,920
Speaker 1: twenty twenty. Only fifty seven of these were found to

1528
01:17:36,960 --> 01:17:41,320
Speaker 1: be unprovoked attacks. The rest entailed thirty nine provoked attacks,

1529
01:17:41,720 --> 01:17:44,160
Speaker 1: six boat attacks. So this is where the shark bites

1530
01:17:44,280 --> 01:17:47,160
Speaker 1: a vehicle of some sort but not a human. One

1531
01:17:47,240 --> 01:17:50,360
Speaker 1: scavenging incident. This is where like a body is found

1532
01:17:50,720 --> 01:17:53,360
Speaker 1: but the wounds inflicted by a shark appeared to be

1533
01:17:53,360 --> 01:17:58,160
Speaker 1: post mortem, so you know the individual likely died in

1534
01:17:58,200 --> 01:18:00,280
Speaker 1: some other way, and then the shark found the body

1535
01:18:00,320 --> 01:18:06,040
Speaker 1: in the water. One case that is labeled as public aquaria,

1536
01:18:06,080 --> 01:18:08,080
Speaker 1: which I believe means that it's something that's happened at

1537
01:18:08,080 --> 01:18:10,360
Speaker 1: an aquarium where a shark was being kept on an

1538
01:18:10,439 --> 01:18:15,240
Speaker 1: aquarium environment. Three doubtful cases, six cases where no assessment

1539
01:18:15,240 --> 01:18:19,439
Speaker 1: could be made, and sixteen not confirmed. Now it's of

1540
01:18:19,479 --> 01:18:21,679
Speaker 1: course important to note that we're talking about twenty twenty,

1541
01:18:21,680 --> 01:18:23,559
Speaker 1: so things, you know, we're a little different this year

1542
01:18:23,560 --> 01:18:25,599
Speaker 1: in terms of, you know, how many people were traveling,

1543
01:18:25,800 --> 01:18:29,519
Speaker 1: you know, to what degree law enforcement, local and otherwise

1544
01:18:29,640 --> 01:18:31,719
Speaker 1: was able to weigh in on some of these cases.

1545
01:18:32,160 --> 01:18:34,680
Speaker 1: But they drive home that these numbers are more or

1546
01:18:34,720 --> 01:18:40,320
Speaker 1: less on par There are always fluctuations. So in twenty twenty,

1547
01:18:40,360 --> 01:18:44,960
Speaker 1: there were thirteen related fatalities, ten of which were not

1548
01:18:45,439 --> 01:18:49,040
Speaker 1: ten of which were confirmed to be unprovoked, and that's

1549
01:18:49,080 --> 01:18:53,280
Speaker 1: above the global average of four. But long term trends

1550
01:18:53,479 --> 01:18:57,519
Speaker 1: show a decreasing number of annual fatalities caused by sharks,

1551
01:18:58,080 --> 01:19:01,400
Speaker 1: so bear all of that in mind. On top of that,

1552
01:19:01,439 --> 01:19:05,080
Speaker 1: I would also add that, following recent trends, surfers and

1553
01:19:05,120 --> 01:19:08,479
Speaker 1: those participating in board sports accounted for most incidents, so

1554
01:19:08,560 --> 01:19:11,519
Speaker 1: sixty one percent of the total cases that we just

1555
01:19:11,600 --> 01:19:14,720
Speaker 1: touched on, and your risk of being bitten by a

1556
01:19:14,760 --> 01:19:19,360
Speaker 1: shark it just remains extremely low. So just always keep

1557
01:19:19,360 --> 01:19:20,800
Speaker 1: that in mind when you get in the water. And

1558
01:19:20,840 --> 01:19:23,040
Speaker 1: I know, when you're in the water, it's easy to

1559
01:19:23,080 --> 01:19:28,000
Speaker 1: think about sharks. I enjoy snorkeling, but I do think

1560
01:19:28,000 --> 01:19:31,160
Speaker 1: about sharks every time I am snorkeling. So I know,

1561
01:19:31,400 --> 01:19:33,680
Speaker 1: believe me, I feel you on all of this, but

1562
01:19:34,120 --> 01:19:37,120
Speaker 1: you just have to remind yourself, like what the numbers say,

1563
01:19:37,320 --> 01:19:39,840
Speaker 1: and if nothing else you're in the waters, you know,

1564
01:19:39,920 --> 01:19:42,200
Speaker 1: just think about like just the sheer number of people

1565
01:19:42,360 --> 01:19:47,519
Speaker 1: who get into those waters and how most all of

1566
01:19:47,520 --> 01:19:51,519
Speaker 1: them are not interacting with sharks at all. So I

1567
01:19:51,600 --> 01:19:53,600
Speaker 1: find all of that, all of that is comforting. And

1568
01:19:53,680 --> 01:19:57,000
Speaker 1: also I should also point out there are some wonderful

1569
01:19:57,880 --> 01:20:01,000
Speaker 1: resources online that give you advice about how you know

1570
01:20:01,040 --> 01:20:03,559
Speaker 1: how to avoid sharks in the water. And these are

1571
01:20:03,600 --> 01:20:06,679
Speaker 1: some awesome important tips to keep in mind. So so, yeah,

1572
01:20:06,720 --> 01:20:10,120
Speaker 1: don't let shark exploitation cinema and you know some of

1573
01:20:10,160 --> 01:20:13,800
Speaker 1: the you know, maybe you know edgier and more exploitive

1574
01:20:13,840 --> 01:20:17,720
Speaker 1: examples of shark documentary steer you wrong, right.

1575
01:20:17,800 --> 01:20:20,200
Speaker 3: I mean, as I said earlier, sharks are not your enemy,

1576
01:20:20,200 --> 01:20:22,040
Speaker 3: but in fact I would also say sharks are not

1577
01:20:22,080 --> 01:20:24,479
Speaker 3: your friend. I would say sharks are to be left alone.

1578
01:20:24,680 --> 01:20:27,040
Speaker 3: Just don't mess with them. You know that you can

1579
01:20:27,080 --> 01:20:30,360
Speaker 3: admire them from afar, You can watch great documentary footage.

1580
01:20:30,640 --> 01:20:33,320
Speaker 3: You can appreciate sharks as amazing animals, but they mostly

1581
01:20:33,360 --> 01:20:35,320
Speaker 3: don't want anything to do with us, and I'd say

1582
01:20:35,320 --> 01:20:36,280
Speaker 3: respect their wishes.

1583
01:20:36,520 --> 01:20:37,960
Speaker 1: Yeah, I would say buy and large. We are a

1584
01:20:37,960 --> 01:20:40,599
Speaker 1: greater risk to them, you know, than they are to us.

1585
01:20:41,400 --> 01:20:43,920
Speaker 1: All Right, So there you have it, Deep Blue Sea.

1586
01:20:44,120 --> 01:20:45,960
Speaker 1: I know, I for one would love to hear from

1587
01:20:45,960 --> 01:20:49,000
Speaker 1: anyone who saw this when it was in theaters or

1588
01:20:49,080 --> 01:20:51,520
Speaker 1: saw it, you know, on home video without any spoilers.

1589
01:20:51,680 --> 01:20:53,040
Speaker 1: I'd love to hear your thoughts on some of the

1590
01:20:53,080 --> 01:20:56,080
Speaker 1: twists that take place in this film, because it definitely

1591
01:20:56,080 --> 01:20:58,760
Speaker 1: has a couple of really good ones. Oh and you know,

1592
01:20:58,960 --> 01:21:00,760
Speaker 1: this is probably a good place, is any for me

1593
01:21:00,800 --> 01:21:02,759
Speaker 1: to mention that, Hey, I wrote a short story about

1594
01:21:02,760 --> 01:21:06,000
Speaker 1: sharks as As you may remember, our former co host,

1595
01:21:06,120 --> 01:21:09,759
Speaker 1: Christian Seger, masterminded a weird art fiction and non fiction

1596
01:21:09,880 --> 01:21:13,400
Speaker 1: publication called Corridor last year. The kickstarter was successful and

1597
01:21:13,479 --> 01:21:16,439
Speaker 1: copies are said to be making their way to their owners.

1598
01:21:17,120 --> 01:21:19,000
Speaker 1: So if you if you didn't get in on that kickstarter,

1599
01:21:19,080 --> 01:21:21,960
Speaker 1: you can pre order yourself a copy by going to

1600
01:21:23,000 --> 01:21:26,360
Speaker 1: any of the Corridor magazine social media platforms and following

1601
01:21:26,400 --> 01:21:29,559
Speaker 1: the link there. They're on Twitter as Corridor Pubs, and

1602
01:21:29,560 --> 01:21:32,640
Speaker 1: they're on Instagram as Corridor Publications, And I think that's

1603
01:21:32,680 --> 01:21:35,599
Speaker 1: also their handle on Facebook as well. So, yeah, I've

1604
01:21:35,600 --> 01:21:37,920
Speaker 1: got a sci fi shark story. If that's your kind

1605
01:21:37,920 --> 01:21:40,120
Speaker 1: of thing, you like that, you can read it in

1606
01:21:40,160 --> 01:21:41,960
Speaker 1: that magazine so Humble.

1607
01:21:42,000 --> 01:21:44,160
Speaker 3: Of course it's their kind of thing. Check it out.

1608
01:21:45,439 --> 01:21:48,080
Speaker 1: And let's see if you're maybe you're lesson interested in

1609
01:21:48,080 --> 01:21:50,080
Speaker 1: that and you're more about this weird House Cinema stuff. Hey,

1610
01:21:50,240 --> 01:21:52,280
Speaker 1: go to stuff to Blow your Mind dot com. That's

1611
01:21:52,320 --> 01:21:55,040
Speaker 1: the that's the the used to be the website. Now

1612
01:21:55,040 --> 01:21:57,000
Speaker 1: we'll just shoot you to the iHeart page for our show.

1613
01:21:57,439 --> 01:21:59,360
Speaker 1: But there is a button there you can click on

1614
01:21:59,439 --> 01:22:01,760
Speaker 1: for store, and if you go there, you can buy

1615
01:22:01,760 --> 01:22:03,920
Speaker 1: yourself a Weird House Cinema T shirt. You can get

1616
01:22:03,960 --> 01:22:06,839
Speaker 1: a Weird House Cinema what a sticker, a coat bag,

1617
01:22:07,120 --> 01:22:09,519
Speaker 1: you can get just about anything except wal Art, and

1618
01:22:09,560 --> 01:22:11,720
Speaker 1: you can't get wal Art because our file wasn't big enough.

1619
01:22:11,720 --> 01:22:14,320
Speaker 1: But really, I mean it's big enough for all the

1620
01:22:14,320 --> 01:22:16,000
Speaker 1: other products you could possibly want.

1621
01:22:16,360 --> 01:22:19,200
Speaker 3: Huge thanks as always to our excellent audio producer Seth

1622
01:22:19,280 --> 01:22:21,519
Speaker 3: Nicholas Johnson. If you would like to get in touch

1623
01:22:21,560 --> 01:22:23,800
Speaker 3: with us with feedback on this episode or any other

1624
01:22:23,920 --> 01:22:26,280
Speaker 3: to suggest topic for the future, just to say hello,

1625
01:22:26,360 --> 01:22:29,240
Speaker 3: you can email us at contact at Stuff to Blow

1626
01:22:29,280 --> 01:22:37,559
Speaker 3: Your Mind dot com.

1627
01:22:37,680 --> 01:22:40,640
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1628
01:22:40,720 --> 01:22:43,519
Speaker 2: more podcasts from my heart Radio, visit the iHeartRadio app,

1629
01:22:43,640 --> 01:22:46,400
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.