1 00:00:01,000 --> 00:00:03,880 Speaker 1: Dear listeners of Hollywood Land, does it feel like you're 2 00:00:03,880 --> 00:00:07,120 Speaker 1: stuck in limbo? Standing under a flickering street light at 3 00:00:07,160 --> 00:00:09,880 Speaker 1: the corner of Hollywood and True Crime, waiting for the 4 00:00:09,920 --> 00:00:13,159 Speaker 1: next episode of hollywood Land to drop. I got you. 5 00:00:13,960 --> 00:00:29,640 Speaker 1: Welcome to hollywood Land, the Rap Party. What is going on? 6 00:00:29,760 --> 00:00:32,360 Speaker 1: My good people of Hollywood Land. We are back at 7 00:00:32,400 --> 00:00:34,879 Speaker 1: it once again, back of the saddle back of this 8 00:00:34,920 --> 00:00:37,640 Speaker 1: thing we call the Rap Party. This is the show 9 00:00:37,680 --> 00:00:39,960 Speaker 1: that gets you from one full episode of hollywood Land 10 00:00:39,960 --> 00:00:42,839 Speaker 1: to the next. The place for obsessives just like you, 11 00:00:43,280 --> 00:00:46,040 Speaker 1: the movie geeks, the true crime freaks, the ones who 12 00:00:46,120 --> 00:00:48,760 Speaker 1: liked our movie history with the side of grit and grime. 13 00:00:49,320 --> 00:00:51,440 Speaker 1: My name is Zeth Lundy, writer at Double Elvis and 14 00:00:51,520 --> 00:00:54,680 Speaker 1: showrunner for hollywood Land. And on this bonus episode we 15 00:00:54,720 --> 00:00:58,200 Speaker 1: are talking about this week's full episode subject, John Waters. 16 00:00:58,520 --> 00:01:01,120 Speaker 1: We are previewing next week's episod out on David Lynch. 17 00:01:01,320 --> 00:01:03,160 Speaker 1: And of course we're going to check out your voicemails, 18 00:01:03,200 --> 00:01:19,520 Speaker 1: text dms and emails. So come on, everybody, let's party. 19 00:01:21,040 --> 00:01:23,920 Speaker 1: Years ago, back in high school, I was introduced for 20 00:01:23,959 --> 00:01:27,440 Speaker 1: the first time to the wildly transgressive films in the 21 00:01:27,880 --> 00:01:31,479 Speaker 1: wildly dirty mind of John Waters without even knowing it. 22 00:01:31,520 --> 00:01:34,480 Speaker 1: This was the nineteen nineties when the whole idea of 23 00:01:34,480 --> 00:01:37,440 Speaker 1: discovery meant something completely different than it does today. It 24 00:01:37,480 --> 00:01:40,600 Speaker 1: was much more of a participatory sport than it's become. 25 00:01:41,120 --> 00:01:45,080 Speaker 1: Discovering new music or movies is such a passive practice nowadays, 26 00:01:45,080 --> 00:01:48,520 Speaker 1: the algorithm just fling stuff at you relentlessly, with little 27 00:01:48,560 --> 00:01:52,000 Speaker 1: contexts and even less careful curation. But back in the day, 28 00:01:52,080 --> 00:01:54,680 Speaker 1: as we say, back in the nineteen nineties, if you 29 00:01:54,720 --> 00:01:57,600 Speaker 1: were interested in something different, something that wasn't being served 30 00:01:57,680 --> 00:02:00,600 Speaker 1: up on the top forty radio station, you had to 31 00:02:00,600 --> 00:02:02,640 Speaker 1: go on the hunt. You had to fine tune the 32 00:02:02,720 --> 00:02:05,080 Speaker 1: dial on your radio, You had to adjust the antenna, 33 00:02:05,680 --> 00:02:07,840 Speaker 1: find the college station that was playing the bands you'd 34 00:02:07,880 --> 00:02:10,520 Speaker 1: only read about in the back pages of Spin magazine. 35 00:02:10,960 --> 00:02:13,440 Speaker 1: You had to set the VCR to record one hundred 36 00:02:13,480 --> 00:02:15,520 Speaker 1: and twenty minutes on MTV when it aired from midnight 37 00:02:15,560 --> 00:02:17,359 Speaker 1: to two in the morning on Sunday nights, and then 38 00:02:17,680 --> 00:02:19,960 Speaker 1: rush home from school on Monday afternoons to watch it. 39 00:02:20,520 --> 00:02:23,320 Speaker 1: The best moments of discovery for me were the ones 40 00:02:23,320 --> 00:02:25,520 Speaker 1: that you just summoned from the ether, that through all 41 00:02:25,520 --> 00:02:28,120 Speaker 1: that constant searching you know, flipping through the stacks at 42 00:02:28,120 --> 00:02:30,960 Speaker 1: Tower Records at the top of Newberry Street in Boston, 43 00:02:31,080 --> 00:02:33,520 Speaker 1: or hitting up those double features at the Bridle Theater 44 00:02:33,639 --> 00:02:36,880 Speaker 1: and Cambridge as often as possible. And then there were 45 00:02:36,880 --> 00:02:40,360 Speaker 1: the mixtapes, you know, made by friends for friends. For 46 00:02:40,400 --> 00:02:42,680 Speaker 1: the longest time, one of my good friends who moved 47 00:02:42,720 --> 00:02:45,040 Speaker 1: out to the Pacific Northwest, we sent mixtapes back and 48 00:02:45,080 --> 00:02:47,880 Speaker 1: forth constantly through the second half of the nineties and 49 00:02:47,880 --> 00:02:51,040 Speaker 1: probably into the early aughts. But have you ever received 50 00:02:51,080 --> 00:02:53,919 Speaker 1: a video mixtape. I'm not talking a bunch of music 51 00:02:54,000 --> 00:02:56,960 Speaker 1: videos one after another. I mean a curated mix of 52 00:02:57,080 --> 00:03:01,919 Speaker 1: strange and hilarious shit from movies and TV shows put 53 00:03:01,960 --> 00:03:06,880 Speaker 1: on a VCR tape. Okay, so I have let me 54 00:03:06,919 --> 00:03:10,600 Speaker 1: tell you about it. Okay, this is probably the late nineties, 55 00:03:10,639 --> 00:03:12,560 Speaker 1: I believe I was probably about seventeen or eighteen. A 56 00:03:12,600 --> 00:03:14,520 Speaker 1: friend of mine moved away. We kept in touch for 57 00:03:14,520 --> 00:03:16,560 Speaker 1: a little while, and one day he sent me this 58 00:03:16,639 --> 00:03:19,639 Speaker 1: video cassette in the mail. I don't even remember the context. 59 00:03:19,720 --> 00:03:22,640 Speaker 1: I mean again, times were different, but it was just 60 00:03:22,720 --> 00:03:24,880 Speaker 1: it was a video mixtape made by him. I imagine 61 00:03:24,880 --> 00:03:27,080 Speaker 1: he probably made a master copy and then dubbed a 62 00:03:27,120 --> 00:03:30,359 Speaker 1: bunch of copies and sent them out to people. Now, 63 00:03:30,360 --> 00:03:33,360 Speaker 1: what I do remember very clearly. I don't remember the 64 00:03:33,560 --> 00:03:35,960 Speaker 1: entire thing, but I remember very clearly a few things 65 00:03:35,960 --> 00:03:38,800 Speaker 1: in particular that were on this video cassette. Herb Albert's 66 00:03:38,880 --> 00:03:42,560 Speaker 1: Spanish flea du Dun Dun dun dum dund don't doom 67 00:03:42,560 --> 00:03:44,800 Speaker 1: boom boom boom boom boom boom boom boom was in 68 00:03:44,840 --> 00:03:46,840 Speaker 1: there somewhere in some kind of ridiculous way. It was 69 00:03:46,920 --> 00:03:50,760 Speaker 1: juxtaposed with some ridiculous images somehow. I think there was 70 00:03:50,800 --> 00:03:53,440 Speaker 1: also a scene from a Peter Sellers movie. And then 71 00:03:53,520 --> 00:03:56,880 Speaker 1: out of the blue, there was this shocking scene of 72 00:03:56,920 --> 00:04:02,360 Speaker 1: a naked dude on his back grabbing as spreading them apart, 73 00:04:03,720 --> 00:04:05,920 Speaker 1: and well he wasn't lip syncing, I guess he was 74 00:04:06,000 --> 00:04:10,640 Speaker 1: ass syncing along to the trash Men's iconic song surfer Bird. 75 00:04:11,160 --> 00:04:16,000 Speaker 1: And so this image, this image of this dude making 76 00:04:16,040 --> 00:04:20,960 Speaker 1: as his assholes sing along to this ridiculously upbeat song 77 00:04:21,320 --> 00:04:25,400 Speaker 1: was you know, I never never even heard that song before, 78 00:04:25,440 --> 00:04:28,680 Speaker 1: by the way, and that hearing that song blew my 79 00:04:28,720 --> 00:04:30,520 Speaker 1: mind the freak out that the singer has in the 80 00:04:30,560 --> 00:04:32,280 Speaker 1: middle of that thing. And then when you find out 81 00:04:32,360 --> 00:04:34,680 Speaker 1: later that that was from nineteen sixty three, and it 82 00:04:34,800 --> 00:04:37,760 Speaker 1: was so psychotic and punk, like this novelty song that 83 00:04:37,800 --> 00:04:40,960 Speaker 1: had gone totally bisark. You know, I just couldn't believe 84 00:04:41,000 --> 00:04:42,839 Speaker 1: what I was, what I was seeing, or what I 85 00:04:42,920 --> 00:04:46,520 Speaker 1: was hearing so unbeknownst to me, of course, what I 86 00:04:46,600 --> 00:04:50,120 Speaker 1: was seeing was a scene from the notorious John Waters 87 00:04:50,120 --> 00:04:54,200 Speaker 1: film Pink Flamingos. I don't think I knew that for years. 88 00:04:54,240 --> 00:04:55,720 Speaker 1: I don't think I knew where it came from. Again, 89 00:04:55,800 --> 00:04:59,000 Speaker 1: this was both the joy and the frustration of discovery 90 00:04:59,000 --> 00:05:01,039 Speaker 1: back in the day. I don't think I had this 91 00:05:01,080 --> 00:05:03,479 Speaker 1: particular friend's phone number. All I had was the return 92 00:05:03,480 --> 00:05:05,520 Speaker 1: address on the envelope. And despite what I said earlier 93 00:05:05,560 --> 00:05:08,359 Speaker 1: about making and sending mixtapes, I have never been the 94 00:05:08,400 --> 00:05:11,880 Speaker 1: best about keeping in touch via the United States Postal Service. 95 00:05:11,920 --> 00:05:13,880 Speaker 1: So I don't think I sent him a follow up 96 00:05:13,920 --> 00:05:16,479 Speaker 1: letter to ask what the fuck I just watched. I 97 00:05:16,480 --> 00:05:19,040 Speaker 1: would just ask random people, you know, hey, have you 98 00:05:19,080 --> 00:05:22,560 Speaker 1: ever seen this thing where this guy is on his 99 00:05:23,000 --> 00:05:28,320 Speaker 1: back miming the lyrics to the Trashman's Surfer Bird with 100 00:05:28,440 --> 00:05:30,039 Speaker 1: his butt? Have you ever seen that? And then people 101 00:05:30,080 --> 00:05:32,480 Speaker 1: just look at you like you've got three heads. I've 102 00:05:32,480 --> 00:05:35,080 Speaker 1: been thinking about this video mixtape this week, thinking a 103 00:05:35,080 --> 00:05:38,200 Speaker 1: lot about John Waters and about the concepts, the idea 104 00:05:38,200 --> 00:05:42,159 Speaker 1: of trash, of taste of film and music and art, 105 00:05:42,480 --> 00:05:46,599 Speaker 1: and how they are at their core subjective. Now. Early 106 00:05:46,640 --> 00:05:50,039 Speaker 1: on in my career as a music critic, my past 107 00:05:50,080 --> 00:05:52,480 Speaker 1: life as a music critic, I was a bit misguided, 108 00:05:52,880 --> 00:05:55,480 Speaker 1: and I often took this stance, an opposite stance when 109 00:05:55,480 --> 00:05:58,000 Speaker 1: it came to appreciation of film and music and art 110 00:05:58,440 --> 00:06:01,280 Speaker 1: that stated that it was actually everything was objective, and 111 00:06:01,279 --> 00:06:04,000 Speaker 1: that by not agreeing with what I deemed as good 112 00:06:04,080 --> 00:06:07,239 Speaker 1: or bad, one therefore did not have great taste. Okay, 113 00:06:07,760 --> 00:06:10,040 Speaker 1: that was wrong. That was a product of being young 114 00:06:10,120 --> 00:06:12,560 Speaker 1: and naive, and you know, also a bit of bravado 115 00:06:12,600 --> 00:06:14,400 Speaker 1: toss in there to sort of stand your ground on 116 00:06:14,440 --> 00:06:18,200 Speaker 1: something and maybe look to be more of an authority 117 00:06:18,200 --> 00:06:22,440 Speaker 1: figure than than you really are. But as the years 118 00:06:22,440 --> 00:06:25,280 Speaker 1: have gone on, I think the beauty of appreciating film 119 00:06:25,360 --> 00:06:27,200 Speaker 1: and music is the way which we can all look 120 00:06:27,200 --> 00:06:29,280 Speaker 1: at the same things and walk away for completely different 121 00:06:29,279 --> 00:06:31,800 Speaker 1: interpretations and different takes. I think that's the beauty of 122 00:06:33,120 --> 00:06:35,839 Speaker 1: it all. It certainly opens your mind and your world 123 00:06:36,480 --> 00:06:39,160 Speaker 1: to things that you never would have welcomed with this, 124 00:06:39,279 --> 00:06:42,120 Speaker 1: you know, this sort of objective attitude. And so this 125 00:06:42,200 --> 00:06:44,479 Speaker 1: week I've been thinking a lot about this whole. You know, 126 00:06:44,560 --> 00:06:47,560 Speaker 1: one man's trash is another man's treasure concept, which is 127 00:06:47,600 --> 00:06:50,479 Speaker 1: it's at the core of the John Waters experience. And 128 00:06:50,520 --> 00:06:52,680 Speaker 1: a big reason for thinking a lot on this trash 129 00:06:52,760 --> 00:06:56,400 Speaker 1: versus treasure thing is because last week Quentin Tarantino was 130 00:06:56,400 --> 00:06:59,440 Speaker 1: the guest on Brett easton Ellis's podcast, and in that 131 00:06:59,480 --> 00:07:04,799 Speaker 1: podcast he relentlessly dissed Paul Dano as an actor. Now, 132 00:07:05,080 --> 00:07:07,359 Speaker 1: this has been all over social media. It's made headlines 133 00:07:07,360 --> 00:07:09,240 Speaker 1: in the trades. People have been talking about it. The 134 00:07:10,200 --> 00:07:13,120 Speaker 1: actors and directors and writers have been coming out of 135 00:07:13,120 --> 00:07:18,560 Speaker 1: the woodwork to support Paul Dano, including I didn't even 136 00:07:18,600 --> 00:07:20,680 Speaker 1: know that Daniel day Lewis had an Instagram account. I 137 00:07:20,720 --> 00:07:23,760 Speaker 1: don't think he runs it, but he came out and 138 00:07:23,760 --> 00:07:26,800 Speaker 1: supported Paul Danel on that account. At any rate, if you're 139 00:07:26,840 --> 00:07:28,640 Speaker 1: just hearing about this now, let me give you some context. 140 00:07:28,680 --> 00:07:32,200 Speaker 1: Brett eastnellis, the writer Brett Eystonellis has got this podcast 141 00:07:32,280 --> 00:07:34,880 Speaker 1: over on Patreon. It's quite good. He talks at length 142 00:07:34,880 --> 00:07:39,040 Speaker 1: about movies, music writing. He answers letters from listeners. He 143 00:07:39,120 --> 00:07:41,880 Speaker 1: often has guests on, and Tarantino has been on the 144 00:07:41,880 --> 00:07:44,640 Speaker 1: show a few times. The reason he was on this time, 145 00:07:44,640 --> 00:07:46,960 Speaker 1: most recently was to give his list of his top 146 00:07:47,000 --> 00:07:49,840 Speaker 1: twenty movies of the twenty first century so far. This 147 00:07:49,880 --> 00:07:51,680 Speaker 1: is a topic that has come up quite a bit 148 00:07:51,720 --> 00:07:53,280 Speaker 1: this year, since we're a quarter of the way through 149 00:07:53,320 --> 00:07:55,480 Speaker 1: the century here on the Rap Party. We got into 150 00:07:55,520 --> 00:07:58,120 Speaker 1: it a while back. I gave my list, spurred on 151 00:07:58,200 --> 00:08:01,640 Speaker 1: by the New York Times. Well, Tarantino is very much 152 00:08:01,920 --> 00:08:05,440 Speaker 1: a spiritual artist. To John Waters, I think they're both 153 00:08:06,120 --> 00:08:09,040 Speaker 1: very authentic in the way that their opinion, their taste, 154 00:08:09,560 --> 00:08:13,480 Speaker 1: seems to be completely uninfluenced by the culture at large. 155 00:08:13,880 --> 00:08:15,920 Speaker 1: You know, they like what they like, they aren't afraid 156 00:08:15,920 --> 00:08:18,560 Speaker 1: to say it. You know. For Tarantino in particular, you know, 157 00:08:18,600 --> 00:08:20,360 Speaker 1: he's the kind of guy who's going to say that 158 00:08:20,920 --> 00:08:22,800 Speaker 1: The Good, the Bad, and the Ugly is the greatest 159 00:08:22,840 --> 00:08:25,720 Speaker 1: film ever made, not Citizen Kane or The Godfather or 160 00:08:25,720 --> 00:08:31,160 Speaker 1: whatever other monoculture approved choice. We're going along with that day, right, 161 00:08:31,440 --> 00:08:34,520 Speaker 1: which again goes back to this whole notion of objectivity 162 00:08:34,600 --> 00:08:37,960 Speaker 1: versus subjectivity. Right, This is the guy who doesn't put 163 00:08:37,960 --> 00:08:40,520 Speaker 1: the Beatles music in his movie that takes place in 164 00:08:40,600 --> 00:08:43,839 Speaker 1: nineteen sixty nine. He uses Paul Revere and the Raiders instead. Right, 165 00:08:44,640 --> 00:08:47,000 Speaker 1: And to further make this point, on his list of 166 00:08:47,040 --> 00:08:49,000 Speaker 1: top films in the twenty first century so far, he's 167 00:08:49,000 --> 00:08:51,959 Speaker 1: got Ridley Scott's Blackhawk down at number one, and then 168 00:08:52,040 --> 00:08:56,240 Speaker 1: Toy Story three at number two. Okay, that said, his 169 00:08:56,440 --> 00:08:59,760 Speaker 1: top ten adheres a bit more to films that have 170 00:08:59,800 --> 00:09:02,520 Speaker 1: been and universally acclaimed by others, and on some of 171 00:09:02,520 --> 00:09:05,080 Speaker 1: these lists as well, where the films in spots eleven 172 00:09:05,120 --> 00:09:08,720 Speaker 1: to twenty are wildly more in that weird and unexpected 173 00:09:08,800 --> 00:09:11,960 Speaker 1: QT zone. But he did include There'll Be Blood at 174 00:09:12,000 --> 00:09:15,520 Speaker 1: number five, saying on the podcast that it could have 175 00:09:15,640 --> 00:09:19,120 Speaker 1: been his number one if only Paul Dana wasn't in it. 176 00:09:19,440 --> 00:09:22,120 Speaker 1: He goes on to call Paul Dana weak sauce. He 177 00:09:22,200 --> 00:09:25,439 Speaker 1: calls him a weak, uninteresting guy, the weak sister. I mean, 178 00:09:25,440 --> 00:09:27,880 Speaker 1: he keeps using the word week over and over and over, 179 00:09:28,120 --> 00:09:31,400 Speaker 1: and then he says he's the weakest actor in SAG 180 00:09:31,480 --> 00:09:35,000 Speaker 1: the Screen Actors Guild. I mean, he really really dumps 181 00:09:35,040 --> 00:09:37,520 Speaker 1: on the guy. Okay, so I've got two things to 182 00:09:37,559 --> 00:09:39,800 Speaker 1: say about this. I don't want to spend a ton 183 00:09:39,840 --> 00:09:41,360 Speaker 1: of time on it, but I felt like I had 184 00:09:41,360 --> 00:09:43,079 Speaker 1: to talk about it based on everything else I was 185 00:09:43,120 --> 00:09:45,760 Speaker 1: talking about with not only with lists, but with this 186 00:09:45,840 --> 00:09:49,680 Speaker 1: whole trash versus Treasure thing and John Waters. So two things. 187 00:09:49,679 --> 00:09:53,400 Speaker 1: First of all, Quentin Tarantino is a provocateur, right. He 188 00:09:53,480 --> 00:09:56,240 Speaker 1: is a filmmaker, yes, but he is a provocateur. His 189 00:09:56,360 --> 00:10:01,000 Speaker 1: films are meant to provoke. His QT now his One 190 00:10:01,040 --> 00:10:06,120 Speaker 1: Man's Trash is another treasure stance. They intend to provoke 191 00:10:06,240 --> 00:10:08,240 Speaker 1: over and over, and I think this is part of 192 00:10:08,280 --> 00:10:10,520 Speaker 1: who he is. It's always been part of who he 193 00:10:10,559 --> 00:10:12,600 Speaker 1: is since day one, since he came on the scene 194 00:10:12,880 --> 00:10:16,720 Speaker 1: with Reservoir Dogs. He's always had this cocky, holier than now. 195 00:10:16,800 --> 00:10:19,880 Speaker 1: I've seen more movies than you. In fact, I've seen 196 00:10:20,080 --> 00:10:22,600 Speaker 1: movies you've never even heard about this whole video store 197 00:10:22,679 --> 00:10:25,080 Speaker 1: clerk VI, because that's what he is. He's a former 198 00:10:25,160 --> 00:10:27,960 Speaker 1: video store clerk with loud opinions. And this is both 199 00:10:28,080 --> 00:10:30,480 Speaker 1: a good and a bad thing. By the way, it's 200 00:10:30,520 --> 00:10:34,160 Speaker 1: good because he's making his own original films, but through 201 00:10:34,160 --> 00:10:36,280 Speaker 1: the programming that he does at like the he owns 202 00:10:36,280 --> 00:10:39,080 Speaker 1: this theater in la The New Beverly, in which they 203 00:10:39,160 --> 00:10:41,040 Speaker 1: show a lot of films that have been forgotten about 204 00:10:41,320 --> 00:10:44,600 Speaker 1: or maybe never really been given a fair shake intellectually. 205 00:10:45,040 --> 00:10:47,760 Speaker 1: You know, these things are constantly being re evaluated, being 206 00:10:47,840 --> 00:10:51,600 Speaker 1: brought back up into the conversation with movie fans, which 207 00:10:51,640 --> 00:10:53,679 Speaker 1: is a great thing, and you know these are constantly 208 00:10:53,720 --> 00:10:58,280 Speaker 1: being reevaluated because of this provocation that drives him. But 209 00:10:58,320 --> 00:11:01,440 Speaker 1: of course, the bad side of this is him shitting 210 00:11:01,440 --> 00:11:04,360 Speaker 1: on Paul Dano for seemingly no reason. And my other 211 00:11:04,360 --> 00:11:06,439 Speaker 1: thing I wanted to say here is, look, he's got 212 00:11:06,440 --> 00:11:09,760 Speaker 1: a rob zombie film on his top twenty list. Guys, again, 213 00:11:09,880 --> 00:11:12,040 Speaker 1: I get it. One man's trash. I mentioned this to 214 00:11:12,160 --> 00:11:14,280 Speaker 1: Jake and he was like, well, have you seen the movie? 215 00:11:14,280 --> 00:11:18,120 Speaker 1: And I haven't, so perhaps my opinion here doesn't matter. 216 00:11:18,200 --> 00:11:21,000 Speaker 1: But my point is, you know, I don't blindly agree 217 00:11:21,000 --> 00:11:23,199 Speaker 1: with everything Quentin Tarantino says or things, and I don't 218 00:11:23,200 --> 00:11:25,720 Speaker 1: think anyone else should either. I honestly think he's missing 219 00:11:25,800 --> 00:11:29,360 Speaker 1: the whole point of Paul Dano's character or characters, and 220 00:11:29,440 --> 00:11:31,439 Speaker 1: there will be blood by the way. I mean, he's 221 00:11:31,480 --> 00:11:34,199 Speaker 1: supposed to be to appear to be weak sauce he's 222 00:11:34,200 --> 00:11:37,680 Speaker 1: playing weak sauce in order to manipulate Daniel day Lewis's character. 223 00:11:37,800 --> 00:11:39,199 Speaker 1: But listen, I'm just going to give it up to 224 00:11:39,520 --> 00:11:42,359 Speaker 1: Paul Daniel for a minute little of the Sunshine, Prisoners, 225 00:11:42,440 --> 00:11:45,720 Speaker 1: love and Mercy. The Fableman's dude is so good. Time 226 00:11:45,720 --> 00:11:49,439 Speaker 1: and time again. And speaking of the Fablemans. Next week 227 00:11:49,520 --> 00:11:52,880 Speaker 1: on Monday, We've got our episode on David Lynch coming 228 00:11:52,920 --> 00:11:57,120 Speaker 1: at you. Yet another idiosyncratic director. And of course I 229 00:11:57,200 --> 00:12:00,320 Speaker 1: mentioned The Fableman's because David Lynch played John four in 230 00:12:00,360 --> 00:12:02,600 Speaker 1: one of the best scenes in that movie. In my opinion, 231 00:12:02,920 --> 00:12:06,400 Speaker 1: our episode is entirely about the original murder that was 232 00:12:06,400 --> 00:12:09,920 Speaker 1: the primary inspiration for the Twin Peaks TV show. It's 233 00:12:09,920 --> 00:12:13,320 Speaker 1: a crazy story, very very true crimey for all your 234 00:12:13,360 --> 00:12:16,280 Speaker 1: true crime heads out there, and uh, you know, rip 235 00:12:16,440 --> 00:12:19,920 Speaker 1: to David Lynch, who we lost earlier this year, crazy man. 236 00:12:20,080 --> 00:12:22,760 Speaker 1: While you're listening to that, and perhaps while you're re 237 00:12:22,880 --> 00:12:25,160 Speaker 1: listening to it, I want to know, what is the 238 00:12:25,200 --> 00:12:28,480 Speaker 1: weirdest movie you've ever seen? Is it a David Lynch film, 239 00:12:28,679 --> 00:12:30,599 Speaker 1: is it a John Waters film? Does it have a 240 00:12:30,640 --> 00:12:34,000 Speaker 1: scene with a guy asked sinking to surfer bird? Or 241 00:12:34,080 --> 00:12:36,640 Speaker 1: is it weirder than that. Let me know. I want 242 00:12:36,640 --> 00:12:38,520 Speaker 1: to know the weirdest movie you've ever seen. Tell me 243 00:12:38,520 --> 00:12:40,560 Speaker 1: about it, Describe it to me, call me or text 244 00:12:40,600 --> 00:12:42,840 Speaker 1: me let me know. Six one seven nine oh six 245 00:12:43,360 --> 00:12:47,000 Speaker 1: six six three eight. Okay, I'll be right back after 246 00:12:47,040 --> 00:12:50,040 Speaker 1: this with your text, your voicemails, your emails, and more 247 00:12:50,120 --> 00:13:19,440 Speaker 1: so stick around. All right, all you beautiful people, let's 248 00:13:19,440 --> 00:13:22,600 Speaker 1: get right into it here. Last week I was talking 249 00:13:22,640 --> 00:13:26,960 Speaker 1: about kidnapping movies. I actually asked all of you what 250 00:13:27,040 --> 00:13:29,760 Speaker 1: you'r what the best kidnapping movie is the best movie 251 00:13:29,760 --> 00:13:32,920 Speaker 1: that features kidnapping is part of its plot? And I 252 00:13:32,960 --> 00:13:36,080 Speaker 1: got a lot of responses. I'm way too many that 253 00:13:36,120 --> 00:13:39,439 Speaker 1: I can I can interact with here, but I want 254 00:13:39,440 --> 00:13:41,920 Speaker 1: to get into some of them, and let's start here. 255 00:13:41,960 --> 00:13:44,920 Speaker 1: We had a voicemail from the three one eight Matt 256 00:13:45,000 --> 00:13:45,559 Speaker 1: queue that up. 257 00:13:46,640 --> 00:13:50,440 Speaker 2: Hijaz Sia from three one eight got an answer for 258 00:13:50,520 --> 00:13:54,360 Speaker 2: your question about this kidnapping movie. Do you remember the Room? 259 00:13:54,600 --> 00:13:58,200 Speaker 2: You could still remember? Just Room with Brie Larson as 260 00:13:58,240 --> 00:14:00,440 Speaker 2: a mother who was kidnapped and she has a boy 261 00:14:00,480 --> 00:14:04,000 Speaker 2: with her and this creepy guy has to traft for 262 00:14:04,320 --> 00:14:09,160 Speaker 2: what seems like forever. Awesome movie great performance as usual 263 00:14:09,200 --> 00:14:11,720 Speaker 2: with three large as she's one of my saves, best 264 00:14:11,800 --> 00:14:15,800 Speaker 2: kidnapping movie that I ever watched. Anyway, thanks for the 265 00:14:15,840 --> 00:14:20,240 Speaker 2: work to keeping us all interested and not bored as 266 00:14:20,280 --> 00:14:24,440 Speaker 2: we drive all day. And it wouldn't be the same 267 00:14:25,280 --> 00:14:29,480 Speaker 2: without listening to my favorite podcast, just Grace Land and 268 00:14:30,120 --> 00:14:35,479 Speaker 2: Hollywood Lands. Anyway, Thanks guys, Happy holidays. 269 00:14:34,600 --> 00:14:37,240 Speaker 1: The happy holidays to you too, and I'm glad we're 270 00:14:37,320 --> 00:14:40,320 Speaker 1: keeping you awake and alert and entertained as you drive 271 00:14:40,360 --> 00:14:43,280 Speaker 1: all day. I used to fantasize about driving for a 272 00:14:43,320 --> 00:14:47,960 Speaker 1: living sidebar here. I love me along drive. I always 273 00:14:48,000 --> 00:14:50,400 Speaker 1: look for an excuse to drive My oldest daughter when 274 00:14:50,400 --> 00:14:52,480 Speaker 1: she was an infant, she had a hard time sleeping 275 00:14:52,600 --> 00:14:54,920 Speaker 1: and the only thing that would work would be a 276 00:14:54,960 --> 00:14:57,960 Speaker 1: car ride. She would just be out in seconds. So 277 00:14:58,040 --> 00:15:00,640 Speaker 1: I would jump at the opportunity every time because I 278 00:15:00,680 --> 00:15:02,560 Speaker 1: just love being behind the wheel and I love watching 279 00:15:02,560 --> 00:15:04,640 Speaker 1: the world pass by, and you know, you could get 280 00:15:04,640 --> 00:15:06,440 Speaker 1: her to sleep pretty pretty quickly, and then you could 281 00:15:06,440 --> 00:15:08,840 Speaker 1: just circle back to the house and put the car 282 00:15:08,960 --> 00:15:11,600 Speaker 1: in a spot where you right outside the window and 283 00:15:11,640 --> 00:15:13,760 Speaker 1: you can monitor that way. But honestly, I would take 284 00:15:13,800 --> 00:15:16,560 Speaker 1: the long drive over that because I just enjoyed it 285 00:15:16,600 --> 00:15:18,920 Speaker 1: so much. But anyway to pick up on what you're 286 00:15:18,920 --> 00:15:22,000 Speaker 1: putting down here, room, Yeah, great movie from I think 287 00:15:22,080 --> 00:15:26,160 Speaker 1: twenty fifteen ish based on a novel. Bree Larson plays 288 00:15:26,160 --> 00:15:28,560 Speaker 1: a woman who's been held captive for years and her 289 00:15:28,600 --> 00:15:31,400 Speaker 1: son is actually born while she's in captivity as well. 290 00:15:31,400 --> 00:15:33,680 Speaker 1: I remember I remember watching this for the first time, 291 00:15:34,080 --> 00:15:36,040 Speaker 1: and I think this is the film that solidified Bree 292 00:15:36,080 --> 00:15:38,320 Speaker 1: Larsen as a star, right. I remember watching this and 293 00:15:38,360 --> 00:15:41,440 Speaker 1: really liking it. It's also an early A twenty four 294 00:15:41,480 --> 00:15:44,320 Speaker 1: production as well, back when they were still a scrappy 295 00:15:44,400 --> 00:15:47,440 Speaker 1: indie upstart. Great recommendation here, Thanks so much for calling 296 00:15:47,440 --> 00:15:51,040 Speaker 1: in with that. Speaking of calling in with recommendations, let's 297 00:15:51,240 --> 00:15:54,880 Speaker 1: go over Matt to Leslie in the two five one. 298 00:15:55,360 --> 00:15:58,480 Speaker 3: Hey, this is lastly from the two five to one. 299 00:15:58,640 --> 00:16:03,360 Speaker 3: I was listening to the app party and you guys 300 00:16:03,360 --> 00:16:11,120 Speaker 3: were talking about the best kidnapping movies, and I used 301 00:16:11,160 --> 00:16:13,840 Speaker 3: to love I haven't seen it in a long time 302 00:16:14,160 --> 00:16:17,600 Speaker 3: and it may not have held the test of time, 303 00:16:18,360 --> 00:16:25,320 Speaker 3: but the suicide Kings with Christopher Wolkan being kidnapped and 304 00:16:25,360 --> 00:16:29,720 Speaker 3: he's like a big mob guy. I loved it back 305 00:16:29,720 --> 00:16:33,600 Speaker 3: in the day, but It's a great movie and you 306 00:16:33,640 --> 00:16:36,520 Speaker 3: can never get En off of Christopher Walken except in 307 00:16:36,600 --> 00:16:39,840 Speaker 3: The Deer Hunter. That's the one and done for me. 308 00:16:40,800 --> 00:16:45,040 Speaker 3: But another thing is you were talking about The Ice 309 00:16:45,080 --> 00:16:50,120 Speaker 3: Storm that aang Lee directed. I love that movie. I 310 00:16:50,160 --> 00:16:54,760 Speaker 3: know some people find it marus, but I love it 311 00:16:54,800 --> 00:16:58,320 Speaker 3: as a snapshot of that time period is when I 312 00:16:58,400 --> 00:17:01,040 Speaker 3: grew up, and it brings back a lot of memories 313 00:17:01,080 --> 00:17:07,080 Speaker 3: of water Day and toat socks and funky architecture. Anyways, 314 00:17:07,280 --> 00:17:09,400 Speaker 3: love your show and love what you do. 315 00:17:10,040 --> 00:17:15,080 Speaker 1: Thanks Watergate, toe socks and funky Architecture, Leslie. I think 316 00:17:15,080 --> 00:17:17,840 Speaker 1: we have the name of your memoir here for you 317 00:17:17,880 --> 00:17:20,640 Speaker 1: when you write it. Thank you for calling in. Great 318 00:17:20,680 --> 00:17:24,119 Speaker 1: to hear from you. Christopher Walkin always a great choice, 319 00:17:24,440 --> 00:17:26,119 Speaker 1: though I'm with you on The Deer Hunter. That was 320 00:17:26,119 --> 00:17:28,520 Speaker 1: a one and done for me too. Jake and I 321 00:17:28,600 --> 00:17:30,359 Speaker 1: argue about that one because he loves it so much. 322 00:17:30,560 --> 00:17:33,199 Speaker 1: I have not seen Suicide Kings. I am aware of it. 323 00:17:33,240 --> 00:17:36,000 Speaker 1: I know it's from the second half of the nineties. 324 00:17:36,040 --> 00:17:39,080 Speaker 1: I know Dennis Leary. Isn't it Jaymore? Maybe I totally 325 00:17:39,119 --> 00:17:41,280 Speaker 1: remember this movie coming out, but I think my brain 326 00:17:42,040 --> 00:17:44,000 Speaker 1: lumped it in with all those the movies I was 327 00:17:44,000 --> 00:17:46,680 Speaker 1: talking about last week or whatever, all those post pulp 328 00:17:46,720 --> 00:17:50,320 Speaker 1: fiction films, all those crime films like that, they were 329 00:17:50,359 --> 00:17:52,680 Speaker 1: in this sort of the same vein. So maybe that's 330 00:17:52,680 --> 00:17:54,240 Speaker 1: why I missed out on it, because it just got 331 00:17:54,359 --> 00:17:58,159 Speaker 1: lost in the noise. But great call, another one we 332 00:17:58,200 --> 00:18:00,960 Speaker 1: can put on our growing list here of kidnapping movies. 333 00:18:01,000 --> 00:18:04,600 Speaker 1: Thank you, Leslie, appreciate you. We've got a text from 334 00:18:04,640 --> 00:18:08,160 Speaker 1: the seven to one three that says, nineteen ninety six 335 00:18:08,280 --> 00:18:11,919 Speaker 1: is Ransom starring Mel Gibson, Renee Russo and Gary Sonise 336 00:18:12,000 --> 00:18:15,800 Speaker 1: is one of my favorite kidnapping movies. Suspenseful, thrilling and 337 00:18:16,119 --> 00:18:20,280 Speaker 1: satisfying ending. Yeah, seven one three. I appreciate that. That's 338 00:18:20,600 --> 00:18:23,520 Speaker 1: directed by Ron Howard and co written by the goat 339 00:18:23,600 --> 00:18:26,880 Speaker 1: Richard Price. That probably did super well when it came out, 340 00:18:27,040 --> 00:18:29,479 Speaker 1: but I gotta say it kind of feels now like 341 00:18:29,520 --> 00:18:34,919 Speaker 1: it's an underappreciated or unseen Mel Gibson movie. That and 342 00:18:35,000 --> 00:18:37,760 Speaker 1: conspiracy theory stuff like that. So seven one three, I 343 00:18:37,760 --> 00:18:41,920 Speaker 1: appreciate you reminding us all of Ransom with Mel Gibson 344 00:18:42,359 --> 00:18:46,320 Speaker 1: over on Patreon in the all access disgracing an all 345 00:18:46,359 --> 00:18:48,760 Speaker 1: access over on Patreon. We've got a twenty four to 346 00:18:48,800 --> 00:18:51,600 Speaker 1: seven chat that goes on over there, and we got 347 00:18:51,600 --> 00:18:54,520 Speaker 1: a bunch of members who were offering up there their 348 00:18:54,600 --> 00:18:57,680 Speaker 1: takes on great kidnapping films. We got be Low here 349 00:18:57,800 --> 00:19:00,919 Speaker 1: said the best kidnapping movie is Way of the Gun. 350 00:19:01,320 --> 00:19:04,400 Speaker 1: Bill said, how about The Vanishing with Jeff Bridges key 351 00:19:04,400 --> 00:19:07,520 Speaker 1: for Sutherland and Sandra Bullock. I'm sure it's a remake 352 00:19:07,560 --> 00:19:10,960 Speaker 1: of an earlier foreign film, but it definitely got me. Yeah, Bill, 353 00:19:11,000 --> 00:19:12,920 Speaker 1: that was a I think a French or a Dutch 354 00:19:13,000 --> 00:19:15,520 Speaker 1: film that came out in the late eighties, and then 355 00:19:15,560 --> 00:19:18,960 Speaker 1: the same director remade that as an American film just 356 00:19:19,000 --> 00:19:20,760 Speaker 1: a few years later. Kind of interesting. I don't know 357 00:19:20,800 --> 00:19:23,239 Speaker 1: how often that happens, Probably not very often. And then 358 00:19:23,320 --> 00:19:26,960 Speaker 1: Nicole in Buffalo says, this isn't the best kidnapping movie 359 00:19:27,000 --> 00:19:30,160 Speaker 1: I've ever seen? But who remembers the movie Savannah Smiles 360 00:19:30,280 --> 00:19:34,399 Speaker 1: from nineteen ninety sorry from nineteen eighty two, Nicole, I 361 00:19:35,000 --> 00:19:37,960 Speaker 1: do not remember that movie, written and starring Mark Miller. 362 00:19:38,359 --> 00:19:42,080 Speaker 1: It's got Peter Graves, Pat Marita is in it. You know, 363 00:19:42,119 --> 00:19:44,359 Speaker 1: this is typically the kind of thing that has been 364 00:19:44,400 --> 00:19:46,919 Speaker 1: locked in my mind for I was just talking to 365 00:19:47,000 --> 00:19:49,800 Speaker 1: Jake about this with the show Moonlighting with Bruce Willis, 366 00:19:49,840 --> 00:19:52,280 Speaker 1: and how like the pilot of that episode was locked 367 00:19:52,280 --> 00:19:53,720 Speaker 1: in my mind, and when I rewatched it for the 368 00:19:53,760 --> 00:19:56,480 Speaker 1: first time in decades recently, it was almost like I 369 00:19:56,600 --> 00:19:59,359 Speaker 1: was I was anticipating everything that was happening in it 370 00:19:59,359 --> 00:20:03,159 Speaker 1: because I doll This strikes me as it would be 371 00:20:03,160 --> 00:20:04,919 Speaker 1: the similar sort of thing. But I'm looking at this 372 00:20:05,000 --> 00:20:08,600 Speaker 1: poster for this film and I've drawn a complete blank 373 00:20:08,640 --> 00:20:11,440 Speaker 1: on this, so I don't know. Nicole, Thanks for pulling 374 00:20:11,480 --> 00:20:13,440 Speaker 1: that one out of the memory bank there. And then, 375 00:20:13,480 --> 00:20:16,960 Speaker 1: of course double Elvis is Matt Boden chimed in and said, dude, 376 00:20:17,600 --> 00:20:20,720 Speaker 1: Akara Curisau is High and Low. Of course one of 377 00:20:20,800 --> 00:20:24,639 Speaker 1: my favorite movies. One of the best kidnapping movies. I 378 00:20:24,640 --> 00:20:27,920 Speaker 1: can't believe I forgot all about that, So thanks Maddy 379 00:20:27,960 --> 00:20:31,080 Speaker 1: b Ford reminding me about that. Let's shift for a 380 00:20:31,080 --> 00:20:34,560 Speaker 1: second here away from kidnapping stuff. Tis the season. You 381 00:20:34,600 --> 00:20:37,840 Speaker 1: know what's we were talking about? Thanksgiving movies, Holiday movies, 382 00:20:38,080 --> 00:20:39,919 Speaker 1: Christmas movies. We got a text here from the four 383 00:20:39,960 --> 00:20:42,639 Speaker 1: to four to oh that says Jake and Zeth, my 384 00:20:42,680 --> 00:20:46,560 Speaker 1: favorite Christmas movies are Miracle on thirty fourth Street from 385 00:20:46,640 --> 00:20:51,080 Speaker 1: nineteen forty seven, Home Alone, Die Hard, A month at Christmas, 386 00:20:51,160 --> 00:20:55,520 Speaker 1: Carol and my favorite New Year's movies are Trading Places 387 00:20:55,640 --> 00:20:58,200 Speaker 1: could count for both holidays and when Harry met Sally. 388 00:20:58,880 --> 00:21:01,800 Speaker 1: And a movie I always watch between Christmas and New 389 00:21:01,840 --> 00:21:05,000 Speaker 1: Year's is The Thin Man from nineteen thirty four. Great 390 00:21:05,080 --> 00:21:08,000 Speaker 1: murder mystery set between the holidays, that really captures that 391 00:21:08,040 --> 00:21:12,560 Speaker 1: nebulous week between holidays. Four four oh, thin Man. Great 392 00:21:12,600 --> 00:21:16,440 Speaker 1: poll there, that's got that dog in it right, the terrier. Sweet. 393 00:21:16,520 --> 00:21:19,760 Speaker 1: I guess I didn't realize that took place between Christmas 394 00:21:19,760 --> 00:21:22,040 Speaker 1: and New Year's. Great great call, great poll, and listen 395 00:21:22,080 --> 00:21:24,840 Speaker 1: four four oh. Talking about Christmas movies here, you're in luck, 396 00:21:24,880 --> 00:21:28,480 Speaker 1: because we've got some bonus content coming your way very soon, 397 00:21:28,600 --> 00:21:31,760 Speaker 1: some bonus episodes of Hollywood Land in which I get 398 00:21:31,760 --> 00:21:35,080 Speaker 1: into Christmas movies New Year's movies with Jake and also 399 00:21:35,160 --> 00:21:37,960 Speaker 1: with Matt. So the first one is coming this Friday, 400 00:21:38,359 --> 00:21:40,879 Speaker 1: I believe, So get ready. I'll talk about this a 401 00:21:40,920 --> 00:21:44,240 Speaker 1: little bit more later in the episode. Finally here, I've 402 00:21:44,240 --> 00:21:48,080 Speaker 1: got to address this man scandal here in Hollywood Land. 403 00:21:48,560 --> 00:21:51,000 Speaker 1: Scott in the six two three Calling me Out, he 404 00:21:51,040 --> 00:21:54,640 Speaker 1: wrote in I was listening to the Thanksgiving Cinema bonus episode, 405 00:21:54,680 --> 00:21:58,440 Speaker 1: and doctor Lundy made a pretty significant mistake that I'm 406 00:21:58,440 --> 00:22:00,399 Speaker 1: sure many people have already called out because I'm a 407 00:22:00,400 --> 00:22:02,760 Speaker 1: little bit behind, but I'll throw it out there anyhow. 408 00:22:03,240 --> 00:22:06,240 Speaker 1: John hughes only film rated R was not just planes, 409 00:22:06,240 --> 00:22:12,520 Speaker 1: trains and automobiles. The Breakfast Club is also rated are fuck, dude, 410 00:22:12,800 --> 00:22:16,480 Speaker 1: I cannot believe I biffed that. Oh my god, it's 411 00:22:16,480 --> 00:22:20,800 Speaker 1: so embarrassing. I appreciate you keeping me honest, calling me out. 412 00:22:20,960 --> 00:22:23,280 Speaker 1: Suddenly that little piece of trivia about planes trains not 413 00:22:23,400 --> 00:22:26,719 Speaker 1: on bils doesn't seem as significant anymore now that I've 414 00:22:26,760 --> 00:22:30,639 Speaker 1: been reminded that John Hughes actually had two R rated films. 415 00:22:30,720 --> 00:22:33,719 Speaker 1: Damn it all right, Well with that, I'm gonna take 416 00:22:33,720 --> 00:22:35,280 Speaker 1: a quick break before I say something else that I 417 00:22:35,320 --> 00:22:38,240 Speaker 1: shouldn't and I'll be right back, but talk about what 418 00:22:38,280 --> 00:22:53,520 Speaker 1: I've been watching over this last week. So stick around, yo, 419 00:22:53,640 --> 00:22:56,240 Speaker 1: yo yo. We are back, Zeth Lundy hanging out with 420 00:22:56,320 --> 00:22:59,359 Speaker 1: you here in the rap party. This past week. I 421 00:22:59,480 --> 00:23:03,200 Speaker 1: launched a lot of stuff, though perhaps I'm slacking over 422 00:23:03,280 --> 00:23:07,280 Speaker 1: and letterbox because I was looking at my diary there 423 00:23:07,280 --> 00:23:09,840 Speaker 1: for the last week to remind myself of what I've seen, 424 00:23:10,200 --> 00:23:12,879 Speaker 1: I don't think it really reflects the reality, which was 425 00:23:13,200 --> 00:23:15,280 Speaker 1: watching lots of stuff, So I don't know. I got 426 00:23:15,359 --> 00:23:18,080 Speaker 1: to get better at that, better at my letterbox life 427 00:23:18,119 --> 00:23:20,280 Speaker 1: over there. Okay. I watched a lot of music stuff 428 00:23:20,320 --> 00:23:22,159 Speaker 1: actually this past week, and a couple of things I 429 00:23:22,160 --> 00:23:25,640 Speaker 1: wanted to talk about. First is the new documentary It's 430 00:23:25,680 --> 00:23:30,119 Speaker 1: Never Over Jeff Buckley, which just premiered on HBO last week. 431 00:23:30,560 --> 00:23:32,680 Speaker 1: I really wanted to get to the theater to see 432 00:23:32,680 --> 00:23:34,919 Speaker 1: this when it first came out earlier this year, but 433 00:23:35,000 --> 00:23:37,360 Speaker 1: it played for like one week in a theater that's 434 00:23:37,400 --> 00:23:39,760 Speaker 1: like an hour for me. So alas it was not 435 00:23:39,840 --> 00:23:42,000 Speaker 1: meant to be. And I'm kind of glad that I 436 00:23:42,040 --> 00:23:44,720 Speaker 1: watched it in the privacy and comfort of my own home, 437 00:23:44,800 --> 00:23:48,840 Speaker 1: because you know, to be honest, I would have been 438 00:23:48,840 --> 00:23:52,359 Speaker 1: crying my eyes out in the theater. It's a new 439 00:23:52,400 --> 00:23:55,520 Speaker 1: documentary by Amy Berg, who she most recently made the 440 00:23:55,560 --> 00:23:58,600 Speaker 1: series Phoenix Rising about Evan rachel Wood. I think it 441 00:23:58,640 --> 00:24:02,040 Speaker 1: was a two part doc series. First of all, Jeff 442 00:24:02,080 --> 00:24:06,160 Speaker 1: Buckley is one of my major loves musical voices. I mean, 443 00:24:06,280 --> 00:24:10,960 Speaker 1: the guy's voice was unlike any other. He fused together 444 00:24:11,080 --> 00:24:15,120 Speaker 1: Robert Plant and Nina Simone and uh noos fasse Ali Khan. 445 00:24:15,840 --> 00:24:18,320 Speaker 1: I hope I'm saying that name correctly in a way 446 00:24:18,359 --> 00:24:20,840 Speaker 1: that was just the definition of singular. You know, we 447 00:24:20,920 --> 00:24:23,240 Speaker 1: had a lot of these singular voices back in the nineties, 448 00:24:23,880 --> 00:24:26,320 Speaker 1: you know, whether it was like Kurt Cobain or Jeff 449 00:24:26,359 --> 00:24:29,520 Speaker 1: Buckley or even you know DiAngelo who just passed away. 450 00:24:30,000 --> 00:24:33,320 Speaker 1: But I still remember I think I was, Matt. I 451 00:24:33,320 --> 00:24:35,240 Speaker 1: think I was at your place when we heard that 452 00:24:35,280 --> 00:24:39,080 Speaker 1: Jeff Buckley had died. I remember being at your place 453 00:24:39,080 --> 00:24:42,200 Speaker 1: and either was on MTV news or I just remember 454 00:24:42,320 --> 00:24:45,040 Speaker 1: vividly being in your house and when when that news 455 00:24:45,080 --> 00:24:47,000 Speaker 1: came out. You know, I'm talking about how he fused 456 00:24:47,000 --> 00:24:49,480 Speaker 1: together all these influences, and you know, you could definitely 457 00:24:49,520 --> 00:24:52,520 Speaker 1: spot his influences, but he was he was entirely his 458 00:24:52,560 --> 00:24:56,119 Speaker 1: own artist. You know, when you talk about god given talent, 459 00:24:56,520 --> 00:25:01,359 Speaker 1: which Jeff Buckley definitely had, thankfully, that was nurtured by 460 00:25:01,359 --> 00:25:04,679 Speaker 1: his mother and was allowed to develop. But just beyond 461 00:25:04,720 --> 00:25:07,560 Speaker 1: his voice as well his as a songwriter. His songs 462 00:25:07,560 --> 00:25:10,040 Speaker 1: were just as singular as his voice. The chord phrasings 463 00:25:10,040 --> 00:25:13,520 Speaker 1: on guitar, the very unorthodox verses and choruses in the 464 00:25:13,560 --> 00:25:17,040 Speaker 1: way in which they connected. He didn't really follow any 465 00:25:17,160 --> 00:25:19,160 Speaker 1: rules for that kind of stuff. He's let his heart 466 00:25:19,160 --> 00:25:21,640 Speaker 1: and his voice be his guide. And you know, after 467 00:25:21,680 --> 00:25:24,320 Speaker 1: I watched this film, I went to try to figure 468 00:25:24,320 --> 00:25:27,920 Speaker 1: out how to play his song Grace on guitar and 469 00:25:28,640 --> 00:25:31,600 Speaker 1: really drove this point home for me, just how unorthodox 470 00:25:31,640 --> 00:25:34,680 Speaker 1: it was. The chords that he's using and how he's 471 00:25:34,760 --> 00:25:38,800 Speaker 1: using them, and it's just it's a song unlike any other. 472 00:25:39,160 --> 00:25:41,439 Speaker 1: So it was that record though it's called Grace, so 473 00:25:41,520 --> 00:25:44,320 Speaker 1: one album he completed during his brief lifetime just an 474 00:25:44,359 --> 00:25:46,080 Speaker 1: all timer. I think David Bowie said it was the 475 00:25:46,119 --> 00:25:49,240 Speaker 1: greatest album ever made. That's in the dock, and the 476 00:25:49,320 --> 00:25:52,560 Speaker 1: recordings from those tiny shows that he performed at the 477 00:25:52,560 --> 00:25:57,119 Speaker 1: New York City cafe Shiney are just incredible. You're literally 478 00:25:57,160 --> 00:25:59,520 Speaker 1: hearing this artist becoming who he is in front of 479 00:26:00,119 --> 00:26:04,480 Speaker 1: friends and strangers. Great stuff, Grace and the Shine recordings 480 00:26:05,119 --> 00:26:07,720 Speaker 1: for those of you who don't know them. In this documentary, 481 00:26:07,720 --> 00:26:10,520 Speaker 1: we hear from his mother, and his bandmates and a 482 00:26:10,560 --> 00:26:13,840 Speaker 1: couple of his girlfriends, of all of them very close 483 00:26:13,880 --> 00:26:17,520 Speaker 1: to him. Lots of people who haven't spoken much publicly 484 00:26:17,520 --> 00:26:20,240 Speaker 1: about Jeff or in some cases haven't spoken at all publicly, 485 00:26:20,840 --> 00:26:24,840 Speaker 1: and so as a result, it's a very revealing, warts 486 00:26:24,920 --> 00:26:28,840 Speaker 1: and all portrait of this guy who could be very 487 00:26:28,880 --> 00:26:32,520 Speaker 1: sensitive and then could be very very not. It's really 488 00:26:32,600 --> 00:26:36,240 Speaker 1: the rare music doc that shows you the person from 489 00:26:36,520 --> 00:26:39,600 Speaker 1: all sides. And you know, I'm not ashamed to say, Man, 490 00:26:39,720 --> 00:26:42,600 Speaker 1: it wrecked me, It leveled me. I was a mess 491 00:26:42,680 --> 00:26:46,400 Speaker 1: at the end, and getting a little emotional now thinking 492 00:26:46,400 --> 00:26:49,359 Speaker 1: about it again. How it ends? I mean, we know 493 00:26:50,119 --> 00:26:51,840 Speaker 1: what happened to Jeff Buckley, but the way that the 494 00:26:52,240 --> 00:26:55,879 Speaker 1: narrative of the film, how it ends. Kudos to Amy 495 00:26:55,920 --> 00:26:58,520 Speaker 1: Berg because the way she made this thing and pieced 496 00:26:58,560 --> 00:27:04,040 Speaker 1: it together so powerful, so moving. Man. Music is incredible, 497 00:27:04,840 --> 00:27:07,360 Speaker 1: incredible documentary. I highly recommend it. And you're gonna see 498 00:27:07,359 --> 00:27:09,760 Speaker 1: all kinds of amazing footage of Jeff performing at all 499 00:27:09,760 --> 00:27:13,399 Speaker 1: stages of his career in this, so check that out. Also, 500 00:27:13,440 --> 00:27:14,960 Speaker 1: to stay on the music kick here for a second. 501 00:27:15,119 --> 00:27:17,800 Speaker 1: I know everyone and everyone's brother is talking about Geese, 502 00:27:17,800 --> 00:27:21,399 Speaker 1: not Goose, but Geese from Brooklyn. I think I already 503 00:27:21,400 --> 00:27:25,600 Speaker 1: mentioned their new record Getting Killed. They've got huge fans 504 00:27:25,640 --> 00:27:27,000 Speaker 1: like Patti Smith propping them. 505 00:27:27,080 --> 00:27:27,199 Speaker 3: Up. 506 00:27:27,240 --> 00:27:29,760 Speaker 1: But just last week or a few weeks back, they 507 00:27:29,760 --> 00:27:31,800 Speaker 1: put out their episode I guess you'd call it of 508 00:27:31,800 --> 00:27:34,760 Speaker 1: this online show from the Basement, which you can watch 509 00:27:34,760 --> 00:27:37,280 Speaker 1: for free on YouTube. This is a show that's produced 510 00:27:37,280 --> 00:27:40,800 Speaker 1: by Nigel Godrich, who's best known for his work with Radiohead, 511 00:27:41,200 --> 00:27:43,840 Speaker 1: but he's also made killer records with Paul McCartney, with 512 00:27:43,920 --> 00:27:47,479 Speaker 1: Beck and do you guys know this Jason Faulkner record 513 00:27:47,520 --> 00:27:50,200 Speaker 1: can You Still Feel? One of the greatest power pop 514 00:27:50,359 --> 00:27:53,399 Speaker 1: records ever from the nineties. Nigel Godrich produced that. Check 515 00:27:53,440 --> 00:27:56,080 Speaker 1: that out Jason Faulkner Can You Still Feel? Anyways. I 516 00:27:56,480 --> 00:27:59,560 Speaker 1: don't know if these are all filmed in Nigel Godrich's 517 00:27:59,600 --> 00:28:02,480 Speaker 1: studio or if it's another location of his, but years 518 00:28:02,480 --> 00:28:05,280 Speaker 1: ago they made multiple episodes of the show, and I 519 00:28:05,280 --> 00:28:08,679 Speaker 1: think the episodes at first wore cherry pick different performances 520 00:28:08,680 --> 00:28:11,639 Speaker 1: by different artists in one episode. But I believe you 521 00:28:11,680 --> 00:28:15,399 Speaker 1: can now find entire, like you know, thirty to sixty 522 00:28:15,480 --> 00:28:19,639 Speaker 1: minute performances by these single bands. So there's there's an 523 00:28:19,640 --> 00:28:24,080 Speaker 1: episode with Radiohead, there's one with White Stripes, Sonic Youth, 524 00:28:24,119 --> 00:28:27,240 Speaker 1: PJ Harvey, Queens of the Stone Age, Auto Lux. I 525 00:28:27,280 --> 00:28:28,880 Speaker 1: think the first time I was ever aware of Auto 526 00:28:29,000 --> 00:28:30,720 Speaker 1: Lux and I fell in love with that band was 527 00:28:30,760 --> 00:28:34,159 Speaker 1: through the show. It's basically a band performing in this 528 00:28:34,720 --> 00:28:36,920 Speaker 1: room in the basement, and it's filmed and they're all 529 00:28:36,960 --> 00:28:40,240 Speaker 1: playing in a circle. They haven't really made these in 530 00:28:40,280 --> 00:28:43,040 Speaker 1: a while. I think I'm guessing that people just, you know, 531 00:28:43,120 --> 00:28:45,720 Speaker 1: Nigel Godris just got busy or whatever. But I think 532 00:28:45,760 --> 00:28:48,120 Speaker 1: they've made win sort of recently with Idols. And then 533 00:28:48,160 --> 00:28:51,160 Speaker 1: there's this new one with Geese, and in this new one, 534 00:28:51,200 --> 00:28:55,040 Speaker 1: they're just playing songs from the new album and dude, 535 00:28:55,080 --> 00:28:59,840 Speaker 1: it sounds so incredible, like in headphones, earbuds, whatever, however 536 00:28:59,880 --> 00:29:02,640 Speaker 1: you want to listen to it, the mix, how each 537 00:29:02,720 --> 00:29:06,120 Speaker 1: instrument sounds like. First of all, it sounds like you're 538 00:29:06,160 --> 00:29:08,120 Speaker 1: in the room with them, but you're able to hear 539 00:29:08,160 --> 00:29:11,960 Speaker 1: every single instrument perfectly. But I think I like how 540 00:29:12,000 --> 00:29:14,600 Speaker 1: this sounds even better than how the album sounds. And 541 00:29:14,640 --> 00:29:16,880 Speaker 1: I love how the album sounds. But there's something so 542 00:29:17,240 --> 00:29:22,040 Speaker 1: rich and warm about the sound, and the band is 543 00:29:22,360 --> 00:29:24,840 Speaker 1: so locked in. I mean, that's one of the hallmarks 544 00:29:24,880 --> 00:29:27,520 Speaker 1: of this series, is that the performances are so kinetic. 545 00:29:27,920 --> 00:29:31,360 Speaker 1: But Geese, the band is so locked in in this performance. 546 00:29:31,400 --> 00:29:34,080 Speaker 1: And this is gonna sound funny, but I'm totally being honest. 547 00:29:34,080 --> 00:29:37,040 Speaker 1: Here they enter the Stevie wonder zone, the whole thing 548 00:29:37,080 --> 00:29:40,920 Speaker 1: with repetition with the vamp, you know, just like over 549 00:29:40,960 --> 00:29:44,080 Speaker 1: and over and the one line that's repeated over and 550 00:29:44,120 --> 00:29:46,680 Speaker 1: you kind of enter another state both as a performer, 551 00:29:46,920 --> 00:29:49,360 Speaker 1: you know, performing it, but even for the viewer watching 552 00:29:49,400 --> 00:29:52,920 Speaker 1: it trance like man, it's like Stevie's like ads or 553 00:29:52,960 --> 00:29:55,800 Speaker 1: another star from songs in the Key of Life. You know, 554 00:29:56,000 --> 00:29:58,880 Speaker 1: all the band members of Geese are locked inside this 555 00:29:58,960 --> 00:30:02,000 Speaker 1: groove bubble together and it's just so infectious. I sound 556 00:30:02,040 --> 00:30:04,240 Speaker 1: like I'm about to like go co host a fish 557 00:30:04,280 --> 00:30:07,640 Speaker 1: podcasts after this. Sorry, but totally worth checking out this 558 00:30:07,800 --> 00:30:09,720 Speaker 1: episode of the show if you haven't, if you haven't 559 00:30:09,800 --> 00:30:12,280 Speaker 1: checked out the band Geese, this is a great introduction 560 00:30:12,400 --> 00:30:16,040 Speaker 1: to that record and to who they are what they are. Okay, 561 00:30:16,080 --> 00:30:17,800 Speaker 1: And then I just want to mention this real quick 562 00:30:17,840 --> 00:30:20,680 Speaker 1: because I talked about getting the new Criterion four K 563 00:30:21,200 --> 00:30:24,719 Speaker 1: of Barry Lindon, but I finally, finally finally got around 564 00:30:24,760 --> 00:30:29,440 Speaker 1: to finding three hours alone. Super early one morning, I 565 00:30:29,520 --> 00:30:31,640 Speaker 1: dropped my daughter off at work. She works at six 566 00:30:31,680 --> 00:30:34,000 Speaker 1: in the morning on Sundays and nobody else gets up 567 00:30:34,000 --> 00:30:37,040 Speaker 1: in the house for hours, so I made some coffee. 568 00:30:37,280 --> 00:30:40,440 Speaker 1: I put on this new four K of Barry Linden, 569 00:30:40,800 --> 00:30:44,280 Speaker 1: which is the film that Stanley Kubrick made Between a Clockwork, 570 00:30:44,400 --> 00:30:47,600 Speaker 1: Orange and the Shining. This is from nineteen seventy five. 571 00:30:47,640 --> 00:30:51,400 Speaker 1: It stars Ryan O'Neil as an Irish rogue who's basically 572 00:30:51,440 --> 00:30:53,720 Speaker 1: trying to weasel his way up into high society in 573 00:30:53,720 --> 00:30:56,160 Speaker 1: like the seventeen hundreds. I mean, I don't know what 574 00:30:56,200 --> 00:30:58,200 Speaker 1: I can say about this. Other people haven't already said 575 00:30:58,200 --> 00:31:01,160 Speaker 1: in my letterbox review said, we wrote the agony and 576 00:31:01,240 --> 00:31:05,720 Speaker 1: ecstasy of inevitability, which is what this film is about. 577 00:31:05,720 --> 00:31:08,440 Speaker 1: It's about fate. It's about one's lot in life, despite 578 00:31:08,480 --> 00:31:11,800 Speaker 1: one's effort to alter the course of it. It's also 579 00:31:12,040 --> 00:31:15,120 Speaker 1: super funny, next to Doctor Strange Love. It's definitely Stanley 580 00:31:15,200 --> 00:31:17,960 Speaker 1: Kubrick's funniest film. And it also might be I know 581 00:31:18,040 --> 00:31:20,800 Speaker 1: this is this is saying a lot, but it might 582 00:31:20,840 --> 00:31:24,880 Speaker 1: be the most sort of masterfully shot and composed and 583 00:31:24,920 --> 00:31:27,880 Speaker 1: created and put together. There's been a lot of talk 584 00:31:27,920 --> 00:31:29,880 Speaker 1: over the years about how every shot in this film 585 00:31:29,880 --> 00:31:32,360 Speaker 1: looks like a painting, which is true, but it's a 586 00:31:32,560 --> 00:31:35,800 Speaker 1: far more livelier film than I've ever been led to believe. 587 00:31:35,920 --> 00:31:37,480 Speaker 1: I remarks like that, and I think I kind of 588 00:31:37,480 --> 00:31:39,800 Speaker 1: put this off for a long time because it's this 589 00:31:39,920 --> 00:31:43,280 Speaker 1: period piece epic, and people talked about it looked like 590 00:31:43,320 --> 00:31:44,600 Speaker 1: a painting, and I was like, well, it's gonna be 591 00:31:44,600 --> 00:31:46,680 Speaker 1: boring like a painting. Like it's gonna beautiful but boring. 592 00:31:46,960 --> 00:31:49,520 Speaker 1: It's very lively. There's so much going on in this 593 00:31:49,720 --> 00:31:53,000 Speaker 1: and Ryan O'Neal is just a man. What happened to 594 00:31:53,080 --> 00:31:55,000 Speaker 1: Ryan O'Neal? He was hot there for a minute. Man. 595 00:31:55,280 --> 00:31:58,520 Speaker 1: It's also got great narration, and I love a good 596 00:31:58,560 --> 00:32:02,000 Speaker 1: bit of narration, and like, of course Brian Cox's character 597 00:32:02,080 --> 00:32:05,280 Speaker 1: and adaptation, which I always think about when I hear 598 00:32:05,400 --> 00:32:09,080 Speaker 1: narration in the movie. If you remember adaptation, Brian Cox 599 00:32:09,200 --> 00:32:13,480 Speaker 1: was playing this like story consultant lecturer guy, and Nicholas 600 00:32:13,480 --> 00:32:16,160 Speaker 1: Cage goes to hear his talk about screenwriting, about writing 601 00:32:16,200 --> 00:32:18,080 Speaker 1: a script, and he says something like, you know, if 602 00:32:18,080 --> 00:32:19,920 Speaker 1: your movie has narration in it, then God help you. 603 00:32:20,120 --> 00:32:23,080 Speaker 1: And he says this as we're hearing voiceover narration from 604 00:32:23,160 --> 00:32:26,960 Speaker 1: Nicholas Cage's this hilarious meta moment. But I've always found 605 00:32:26,960 --> 00:32:30,560 Speaker 1: it narration to be a great way to enhance a film. 606 00:32:30,760 --> 00:32:33,160 Speaker 1: I don't find it to be a substitute for actual 607 00:32:33,200 --> 00:32:36,880 Speaker 1: acting and dialogue. As Brian Cox's character here, well I 608 00:32:36,880 --> 00:32:39,800 Speaker 1: believe was based on a real guy, but Barry lyndon guys. 609 00:32:39,920 --> 00:32:43,160 Speaker 1: Sanley Kubrick, you know, dude, co could do it all. 610 00:32:43,360 --> 00:32:45,720 Speaker 1: Let me know what you've been watching recently. Let me 611 00:32:45,760 --> 00:32:48,160 Speaker 1: know if you checked out the Geese Thing, what you 612 00:32:48,200 --> 00:32:50,600 Speaker 1: think about that. Have you seen the Jeff Buckley documentary? 613 00:32:50,960 --> 00:32:52,840 Speaker 1: What's your favorite Stanley Kubrick movie. I don't know if 614 00:32:52,840 --> 00:32:54,880 Speaker 1: these are all questions that I would like answers to. 615 00:32:54,960 --> 00:32:57,240 Speaker 1: If you want to give them to me, six one 616 00:32:57,280 --> 00:32:59,800 Speaker 1: seven nine oh six six six three eight, that's how 617 00:32:59,840 --> 00:33:02,320 Speaker 1: you get me. And I'm going to be right back 618 00:33:02,480 --> 00:33:04,280 Speaker 1: with a little bit more right after this, So don't 619 00:33:04,320 --> 00:33:32,320 Speaker 1: go anywhere, all right, everybody. Before we part ways again 620 00:33:32,480 --> 00:33:34,880 Speaker 1: for another week, I just wanted to circle back on 621 00:33:34,960 --> 00:33:38,960 Speaker 1: something I mentioned earlier, which is some bonus Hollywood Land 622 00:33:39,000 --> 00:33:42,320 Speaker 1: content coming your way very very soon over the next 623 00:33:42,400 --> 00:33:45,200 Speaker 1: few weeks. But first let me set this up. Okay, 624 00:33:45,240 --> 00:33:47,800 Speaker 1: I've been having a really great time just talking with 625 00:33:47,880 --> 00:33:51,720 Speaker 1: Jake about movies lately. As our all Access members already know. 626 00:33:51,960 --> 00:33:55,120 Speaker 1: Over in Patreon, we just launched a brand new video 627 00:33:55,160 --> 00:33:58,800 Speaker 1: podcast called This Film Should Be Played Loud, which is 628 00:33:58,840 --> 00:34:02,280 Speaker 1: a monthly offering over there and is where Jake and 629 00:34:02,320 --> 00:34:04,880 Speaker 1: I will talk about great movies through the lens of music, 630 00:34:05,200 --> 00:34:08,400 Speaker 1: you know, the needle drops, the soundtracks, scores. It's unlike 631 00:34:08,440 --> 00:34:10,719 Speaker 1: anything else we're doing. It's got a ton of visuals 632 00:34:10,719 --> 00:34:13,880 Speaker 1: in it to go along with it, video photos to 633 00:34:13,960 --> 00:34:17,080 Speaker 1: keep you super entertained. This first episode that's out now 634 00:34:17,200 --> 00:34:20,040 Speaker 1: is all about Goodfellas because well a couple of reasons. 635 00:34:20,400 --> 00:34:23,560 Speaker 1: Goodfellas has some Christmas stuff in it, and we're in 636 00:34:23,600 --> 00:34:26,000 Speaker 1: the middle of the holiday season here, and this year 637 00:34:26,080 --> 00:34:28,440 Speaker 1: is also the thirty fifth anniversary of the film, and 638 00:34:28,480 --> 00:34:30,200 Speaker 1: it just seemed like an obvious choice when we thought 639 00:34:30,200 --> 00:34:32,680 Speaker 1: about a great movie with a great soundtrack and a 640 00:34:32,840 --> 00:34:35,680 Speaker 1: rock and roll attitude and lots of crime other transgressions, 641 00:34:35,719 --> 00:34:38,319 Speaker 1: you know, like our bread and butter here. So check 642 00:34:38,360 --> 00:34:40,359 Speaker 1: that out. If you haven't, you can go right over 643 00:34:40,400 --> 00:34:43,399 Speaker 1: to Patreon if you want Patreon dot com slash Disgraceland, 644 00:34:43,560 --> 00:34:46,880 Speaker 1: or just go to our website disgracelandpod dot com and 645 00:34:46,920 --> 00:34:48,759 Speaker 1: you can sign up there. If you're not yet a 646 00:34:48,800 --> 00:34:52,120 Speaker 1: member of All Access. But this dovetails rate into what 647 00:34:52,160 --> 00:34:54,200 Speaker 1: I want to talk about, this bonus content here in 648 00:34:54,200 --> 00:34:56,680 Speaker 1: Hollywood Land. I mean, having so much fun talking with 649 00:34:56,760 --> 00:35:00,120 Speaker 1: Jake about this stuff, doing this film should be played loud, 650 00:35:00,640 --> 00:35:02,759 Speaker 1: that I thought, let's do this a little bit more, 651 00:35:02,840 --> 00:35:06,279 Speaker 1: and in particular, let's talk about Christmas movies, New Year's 652 00:35:06,320 --> 00:35:08,520 Speaker 1: movies that are, you know, movies that are more in 653 00:35:08,680 --> 00:35:12,120 Speaker 1: our lane here in hollywood Land and Disgraceland than than 654 00:35:12,200 --> 00:35:15,560 Speaker 1: the the same old five Christmas movies. They get crammed 655 00:35:15,600 --> 00:35:19,160 Speaker 1: down your throat every December. So coming this Friday, we 656 00:35:19,239 --> 00:35:21,560 Speaker 1: got a bonus episode for you in which Jake and 657 00:35:21,600 --> 00:35:24,400 Speaker 1: I are going to get into a bunch of crime 658 00:35:24,480 --> 00:35:29,719 Speaker 1: and grime filled Christmas films. And then next Friday, December nineteenth, 659 00:35:29,920 --> 00:35:32,480 Speaker 1: Double Elvis's own Matt Bowden is going to join me 660 00:35:32,520 --> 00:35:35,840 Speaker 1: to talk about weirdo, misfit, oddball Christmas movies. Actually I 661 00:35:35,880 --> 00:35:38,680 Speaker 1: think we're going to focus primarily on Gremlins. And then 662 00:35:38,840 --> 00:35:42,520 Speaker 1: the Friday after that, the twenty six, Jake will be 663 00:35:42,600 --> 00:35:44,080 Speaker 1: back on the co host seat and we're going to 664 00:35:44,160 --> 00:35:48,839 Speaker 1: tackle New Year's Eve films, Disgraceland, Hollywoodland, style. Okay. Now, 665 00:35:48,880 --> 00:35:50,640 Speaker 1: in addition to all that, I know that's a lot, 666 00:35:50,719 --> 00:35:52,400 Speaker 1: here's a few other things I got to remind you 667 00:35:52,400 --> 00:35:55,839 Speaker 1: about before I let you go. Number one, available right 668 00:35:55,880 --> 00:35:59,240 Speaker 1: now in your Hollywood Land feed. Our episode on John Waters. 669 00:35:59,520 --> 00:36:02,840 Speaker 1: Number two coming next week on Monday. Our episode on 670 00:36:02,920 --> 00:36:05,879 Speaker 1: David Lynch. Number three over in the feed of our 671 00:36:05,960 --> 00:36:10,040 Speaker 1: sister show, Disgraceland. Our brand new episode on Phil Spector. 672 00:36:10,080 --> 00:36:13,200 Speaker 1: And I cannot believe we've never done an episode on 673 00:36:13,280 --> 00:36:16,120 Speaker 1: Phil Spector. Of course, we did an entire series of 674 00:36:16,160 --> 00:36:18,560 Speaker 1: another show on him that would be Blood on the Tracks. 675 00:36:19,080 --> 00:36:22,200 Speaker 1: But you don't want to miss this because it's man, 676 00:36:22,280 --> 00:36:25,200 Speaker 1: It's got lots of crazy, lots of crazy shit, and 677 00:36:25,239 --> 00:36:28,400 Speaker 1: it's super Christmas themed as well. The number four in 678 00:36:28,480 --> 00:36:32,120 Speaker 1: honor of this week's episode, me Reading You John waters 679 00:36:32,239 --> 00:36:35,160 Speaker 1: brand new list of his favorite films from this year 680 00:36:35,480 --> 00:36:41,680 Speaker 1: twenty twenty five. Number one Eddington directed by Ari Astor. 681 00:36:42,960 --> 00:36:48,120 Speaker 1: Number two Final Destination, Bloodlines directed by Adam Stein and 682 00:36:48,280 --> 00:36:53,439 Speaker 1: Zach Lapowski directed by Dennis. Number three Oslow Trilogy seven 683 00:36:53,600 --> 00:36:57,680 Speaker 1: directed by Dak Johann, directed by Elaine. Number seven. Number 684 00:36:57,680 --> 00:37:02,000 Speaker 1: four Missy Record number eight directed by Oliver Lacks Ga 685 00:37:02,239 --> 00:37:05,960 Speaker 1: direct Number five was a Sauna was directed by matteas 686 00:37:06,080 --> 00:37:10,360 Speaker 1: Bro directed by Francois was number six as Rum Temperature, 687 00:37:10,400 --> 00:37:15,799 Speaker 1: directed by Dennis Cooper. Zach far direct, quit talking and 688 00:37:16,040 --> 00:37:17,640 Speaker 1: start mixing could