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Speaker 1: Hey you, welcome to Weird House Cinema. Rewind. This is

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Speaker 1: Rob Lamb and today we have an episode that originally

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Speaker 1: published one three, twenty twenty five. This episode features a

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Speaker 1: guest host. My friend David Streepy of Talkin' Tofu the podcast,

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Speaker 1: returned to the show and discussed with me the nineteen

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Speaker 1: eighty seven miniaturization film Interspace, directed by Joe Dante and

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Speaker 1: starring Dennis Quaid, Martin Short, and Meg Ryan. A movie

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Speaker 1: that I loved as a kid and has just a

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Speaker 1: fabulously weird love triangle at the heart of it. So

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Speaker 1: let's jump right in.

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

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

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Speaker 1: and today I have a returning special guest co host.

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Speaker 1: We're joined once more by David Streepy of the Talking

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Speaker 1: TOFU podcast. Dave, welcome back to the show.

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Speaker 3: Thank you, thanks for having me back, and hello to

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Speaker 3: all the stuffies. I think I think we agreed that

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Speaker 3: they're called, so hello again to all of you. Glad

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Speaker 3: to be back.

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Speaker 1: That's right, we're gonna be talking about the gate three right, yes, no,

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Speaker 1: I wish.

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Speaker 3: Oh my god, could you imagine Old Man Terry now?

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Speaker 1: Instead, we're gonna be We were talking about like a

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Speaker 1: handful of potential movies and we ended up going with

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Speaker 1: the one. I think this one was probably the one

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Speaker 1: that you brought up that was the most holiday friendly,

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Speaker 1: and I think might be a stealth holiday film because

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Speaker 1: I did see a Santa Claus at one point.

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Speaker 3: That's all it takes to qualify, really, and this did

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Speaker 3: happen in California, so really you're only cues that it

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Speaker 3: is the holidays and a West Coast movie are from

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Speaker 3: the decorations and not from climate or any anything else

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Speaker 3: that's going on. Yeah, we did have we had a

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Speaker 3: bunch of really strong contenders for possibilities, but I think

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Speaker 3: this one, in addition to its appropriateness, it's the it's

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Speaker 3: a big one, but it kind of made a small

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Speaker 3: splash and a big splash at the same time. It's

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Speaker 3: really really unique.

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Speaker 1: Yeah, I don't feel like Interspace, the movie you're talking

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Speaker 1: about in nineteen eighty seven's Interspace. This is Joe Dante.

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Speaker 1: Film got a great cast, I mean, starring Dennis Quaid,

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Speaker 1: Martin short, Meg Ryan. I mean, it came out big

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Speaker 1: summer special effects movie apparently made money. This was not

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Speaker 1: a box office bomb by any stretch, and it amazed

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Speaker 1: a lot of kids. I was one of those kids

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Speaker 1: who watched this film multiple times. I guess I maybe

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Speaker 1: saw it on TV the first time and then maybe

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Speaker 1: just rented it a bunch of times after that on VHS.

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Speaker 1: But I was super into this picture. I would make

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Speaker 1: little lego models roughly based on the two main submarine

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Speaker 1: bots in the film.

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Speaker 3: Yeah, I think that you're right this one definitely. I

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Speaker 3: don't think it was a flop at the box office,

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Speaker 3: but maybe had higher hopes given the pedigree of everybody involved.

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Speaker 3: But I think it was a big renter. It was

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Speaker 3: a big VHS. I remember having a huge presence at

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Speaker 3: the video store, both in cardboard cutout, but also the

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Speaker 3: number of copies that were on the shelves. The availability

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Speaker 3: of the copies that were on the shelves. This movie

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Speaker 3: seemed to turn up quite a bit in sleepovers on

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Speaker 3: trips where you would get five bucks to go to

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Speaker 3: the video store and pick something out. I just remember

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Speaker 3: seeing this movie a lot, a lot, and I think

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Speaker 3: I mentioned this too. I texted you this while I

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Speaker 3: was rewatching recently there's like a whole hour of this

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Speaker 3: movie that I completely forgot about in the middle.

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Speaker 1: Yeah, yeah, I mean it's easy to expect with an

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Speaker 1: effects film like this, you have your big effects sequences,

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Speaker 1: you have your big finale. Those are the ones that

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Speaker 1: certainly stuck in my head the most. Also, some of

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Speaker 1: the like the Martin Short over the top freak out moment,

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Speaker 1: which I mean, if you're going to hire Martin Short,

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Speaker 1: especially you know during the eighties or the nineties or

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Speaker 1: well or subsequent decades, you're going to want at least

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Speaker 1: a little of that.

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Speaker 3: Or even now. Yeah, I think that's that's still a

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Speaker 3: stock in trade, and I think that, you know what,

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Speaker 3: I kind of maybe tuned out and we'll get to it,

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Speaker 3: of course. But what didn't really stick on my memory

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Speaker 3: was all the work needed to move Martin Short around

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Speaker 3: the board. Yes, and upon a rewatch, it's pretty compelling

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Speaker 3: stuff that's moving him around the board, But like you said,

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Speaker 3: I'm more fascinated with what's going on inside his body,

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Speaker 3: what the tech looks like, how he got there in

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Speaker 3: the first place, and how he's going to get out

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Speaker 3: of that situation. And there's a huge chunk in the

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Speaker 3: middle of that sandwich that I wasn't really thinking about.

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Speaker 1: Yeah, it's a film that is, it's constantly in motion.

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Speaker 1: It keeps adding new elements, often wild elements, on top

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Speaker 1: of characters. Yeah, new characters. There's a whole whole cast

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Speaker 1: of villains in this picture, as we'll discuss. So it's

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Speaker 1: it's never boring. It's in constant motion. It is like

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Speaker 1: Martin Short as a film.

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Speaker 3: Yeah, that's a good way to put it. Martin Short

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Speaker 3: film film modified.

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Speaker 1: Now, this is, of course a miniaturization film if you're

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Speaker 1: I think everyone out there is familiar with this subgenre

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Speaker 1: of science fiction by now, with the classic example being

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Speaker 1: Fantastic Voyage. This is essentially Fantastic Voyage through Martin Short.

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Speaker 1: I don't know that we've had a menturization film recently.

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Speaker 1: It seems like more recently you tend to see it

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Speaker 1: pop up like as a treatment on some sort of

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Speaker 1: a science fiction show. I think Rick and Morty did

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Speaker 1: a miniaturization episode years back, and I don't know that

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Speaker 1: we've had any kind of like big Fantastic Voyage style

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Speaker 1: adventure recently.

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Speaker 3: I think the one that stands out to me, and

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Speaker 3: it's not a movie, but the Futurama episode where Fry

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Speaker 3: eats an egg salad sandwich from a gas station. That's

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Speaker 3: a great one. The parasites from the sandwich colonize his body,

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Speaker 3: become super intelligent and have a whole civilization in there,

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Speaker 3: and they have to go inside to reconcile that.

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Speaker 1: Yes, that's a great one because it's it's fantastic voyage themed,

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Speaker 1: but it is also a Flowers for Algernon themed episode,

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Speaker 1: so it has a fair amount of depth to it

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Speaker 1: as well. And then just a lot of great jokes,

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Speaker 1: and there's the whole worm thing, like why are people

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Speaker 1: came over on the sandwich? Great stuff? All right, let's

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Speaker 1: go ahead and listen to at least some of the

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Speaker 1: trailer audio here. Let's let it roll.

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Speaker 4: Test pilot Tuck Pendleton wants to make history. Supermarket clerk

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Speaker 4: Jack Putter needs a vacation. I'm very late.

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Speaker 1: That's not good.

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Speaker 3: You know, it's coupon day.

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Speaker 4: Lieutenant Pendleton is about to be miniaturized, placed into this needle,

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Speaker 4: and then injected into this.

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Speaker 3: Rabbit rock and roll. But something went wrong.

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Speaker 4: And Tuck's about to get a new destination inside. Jack Putter.

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Speaker 4: Give yourself a shot of Adventure Inner Space.

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Speaker 1: All right, David, I see you had a note here

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Speaker 1: about the music in the trailer, possibly the trailer we

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Speaker 1: used here, but possibly another trailer. But still, this is

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Speaker 1: a great point regarding the music.

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Speaker 3: Yeah, this is the music used for the Fertelly chase

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Speaker 3: scene in Goonies, the dun dun't dun't dun't. It's always

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Speaker 3: great when a podcast guest just like hums a line, no,

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Speaker 3: timelessly for you. But it's really really it's the opening

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Speaker 3: scene of Gooney. It's really iconic bit of music. Cool

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Speaker 3: to see it here, but also a little bit strange

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Speaker 3: to see it here too.

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Speaker 1: Yeah, it's like when you encounter a trailer where they're

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Speaker 1: clearly using the Aliens theme song. You know, it's like,

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Speaker 1: that's great, you're really getting me amped up, but amped

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Speaker 1: up for a different movie, right.

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Speaker 3: Just kind of duck through the drawer for it and

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Speaker 3: got something that you knew I would recognize and knew

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Speaker 3: would pull me in.

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Speaker 1: I guess they still do this today, right, use because

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Speaker 1: the music's not always together when you're putting together a trailer,

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Speaker 1: or you're just like, well, we have rights to better music,

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Speaker 1: let's sell this puppy.

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Speaker 3: Yeah, I think that's you know, the marketing can be

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Speaker 3: that detached from the actual production that unless you've got

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Speaker 3: the Star Wars theme ready to go with your Star

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Speaker 3: Wars trailer, you're gonna take some liberties. And it really,

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Speaker 3: you know, matches the tone of the movie in a

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Speaker 3: way that if you weren't again hyper familiar with Goony

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Speaker 3: is the way that I was as a kid. That

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Speaker 3: was the other video that I was renting. The music

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Speaker 3: fits the tone of the trailer, fits the tone of

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Speaker 3: the movie really really well. It's a wacky, wacky movie.

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Speaker 1: Yeah, absolutely, all right. So some of you might be wondering, well,

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Speaker 1: where can I watch Innerspace before proceeding with the rest

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Speaker 1: of the episode. Well, luckily for you, this was a

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Speaker 1: major motion pictures it has not been entirely forgotten it

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Speaker 1: to make not as celebrated as it should be. But

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Speaker 1: you can find streams of it, you know, digital rentals

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Speaker 1: and purchases. A Blu Ray edition is out there, and

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Speaker 1: I do notice that it has an older director's commentary

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Speaker 1: on it with director Joe Dante, producer Michael Finnell, co

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Speaker 1: stars Kevin McCarthy and Robert Piccardo, and also visual effects

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Speaker 1: supervisor Dennis Murrean obviously an older director's commentary. I haven't

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Speaker 1: listened to it, but I don't think I've ever listened

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Speaker 1: to a Joe Dante commentary track. But he's one of

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Speaker 1: those guys that's so knowledgeable. I bet it's bet it's

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Speaker 1: pretty great.

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Speaker 3: That's really interesting that Kevin McCarthy and Robert Piccardo would

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Speaker 3: be the sit ins on that commentary and not Quaid

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Speaker 3: or Short or even Meg Ryan.

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Speaker 1: Well, you know, sometimes you can't get the big fish.

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Speaker 1: They move on to other projects.

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Speaker 3: I don't know, and there are their presence in the

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Speaker 3: movie is pretty significant. These guys are not bit players

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Speaker 3: at all. They're they're huge parts of the movie.

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Speaker 1: Plus with Joe Dante, you know that he loves like

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Speaker 1: an old, older act, you know, from classic Hollywood pictures.

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Speaker 1: So you know, there's Kevin McCarthy, and then he loves

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Speaker 1: to cast Robert Riccardo and put him in strange romantic

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Speaker 1: situations such as with the made up Grimlin from Grimlins Too'.

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Speaker 3: He's so weird in this movie is character.

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Speaker 1: I can't wait to get into that character. Yeah all right,

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Speaker 1: well let's talk a bit more about the people involved here,

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Speaker 1: starting with Joe Dante born nineteen forty six. Joe and

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Speaker 1: I have previously discussed Joe Dante on Weird House Cinema

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Speaker 1: because we talked about Grimlins too. One of the things

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Speaker 1: that I pointed out, just sort of to try and

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Speaker 1: sum him up, is that he's one of these guys

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Speaker 1: that seems to have a foot in two worlds, Like,

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Speaker 1: on one hand, he's like a horror legend, and on

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Speaker 1: the other hand he's this, you know, obvious Spielbergian Amblin

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Speaker 1: entertainment guy. And you see more of the second, but

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Speaker 1: also a little the first in this one. On the

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Speaker 1: horror front, you have the likes of the Howling from

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Speaker 1: eighty one, Piranha from seventy eight, and then you get

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Speaker 1: into that Grimlin zone, which is kind of crossing the threshold.

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Speaker 1: He directed the segment It's a Good Life in Twilight Zone,

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Speaker 1: the movie from nineteen eighty three, But then he also

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Speaker 1: did things like nineteen eighty five, It's The Explorers, eighty

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Speaker 1: nine's The Birds, nineteen ninety three, He's Manatee, and this

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Speaker 1: film especially, Yeah, it is definitely in that ambulance zone.

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Speaker 1: It is an ambulin entertainment picture.

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Speaker 3: Yeah, he's definitely. You know, he's he's this sounds like

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Speaker 3: a dig but I don't mean it that way. He

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Speaker 3: is like a ranch dressing of a director in that

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Speaker 3: he can go in any direction. I think he's got

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Speaker 3: strong horror chops, but he really shines when he's bringing

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Speaker 3: a bunch of different elements to a bunch of different

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Speaker 3: genres to the movie and creating something that's completely unique.

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Speaker 3: See it in Grimlins one hundred percent, and you really

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Speaker 3: see it here where the slapstick wouldn't work without the

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Speaker 3: spy espionage angle, without the tech angle, without the sci

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Speaker 3: fi element of it, Like it all blends together and

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Speaker 3: creates something that is really his signature, you know.

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Speaker 1: Yeah, And I would argue that it even feels more

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Speaker 1: cohesive than Grimlin's. Grimlin's certainly a better known film, but

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Speaker 1: that's one that I always felt like it didn't completely

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Speaker 1: know what it wanted to be. This film, I feel

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Speaker 1: like it balances everything pretty nicely. You know, nothing feels

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Speaker 1: out of step.

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Speaker 3: I agree. I think that he's having fun here, and

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Speaker 3: not to say that Grimlins is not fun, but Grimlins

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Speaker 3: feels like it's trying to send you a message as well.

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Speaker 3: And I think there's no message here. The message is

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Speaker 3: what if this happened?

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Speaker 1: Let's watch and let's keep upping the anti Yeah, yeah, oh,

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Speaker 1: I have a post editing insertion to make here. You

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Speaker 1: might have caught my mistake there. I just referenced a

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Speaker 1: nineteen ninety three Joe Dante movie that I said was

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Speaker 1: called called Manatee. The film is, of course Mattine. But

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Speaker 1: I left the mistake in because I don't know about you,

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Speaker 1: but I'm suddenly really fascinated with the idea of a

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Speaker 1: nineteen ninety three Joe Dante film about manates Who knows

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Speaker 1: what that would have consisted of. All right, now, let's

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Speaker 1: get back into the episode. Let's see getting into the

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Speaker 1: writers on this. Jeffrey Boehm, who lived nineteen forty six

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Speaker 1: through two thousand, has I believe the main screenplay credit here.

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Speaker 1: Accomplished American screenwriter whose credits include seventy eight Straight Time,

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Speaker 1: eighty three's The Dead Zone, eighty seven's The Lost Boys,

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Speaker 1: eighty nine's Indiana Jones, and In the Last Crusade, as

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Speaker 1: well as a couple of lethal weapon movies. He also

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Speaker 1: directed and wrote one episode of Tales from the Crypt

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Speaker 1: titled Creep Course.

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Speaker 3: Wow. I mean this is just home Run after Home Run. Yeah.

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Speaker 1: Yeah, he was involved in a lot of big projects.

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Speaker 1: The other name on the screenplay also a story and

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Speaker 1: co producer credit Chip Prosser born nineteen forty six, writer

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Speaker 1: and director, probably best known for this film that we

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Speaker 1: also work in the screenplay for to some degree. I'm

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Speaker 1: I'm not sure to what degree with nineteen eighty four

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Speaker 1: is Iceman?

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Speaker 3: So is this a Top Gun prequel?

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Speaker 1: No, it is an unfrozen cave man movie, all right.

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Speaker 1: Now getting into the cast for Innerspace, it is pretty

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Speaker 1: extensive with some great bit parts and cameos, which is

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Speaker 1: pretty standard for Joe Dante. So I'm going to try

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Speaker 1: to either go light on a number of them and

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Speaker 1: just skip some as well, and then also maybe come

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Speaker 1: back just in passing to some of the cameos as

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Speaker 1: they turn up. But the star, and I mean, really

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Speaker 1: this is this is a picture that has a trio

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Speaker 1: of leads. But Top Build anyway, is Dennis Quaid playing

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Speaker 1: Tuck Pendleton?

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Speaker 3: What a name?

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Speaker 1: Yeah, the names are pretty great. Tuck Pendleton is the

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Speaker 1: you can guess he is like a test pilot. He

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Speaker 1: would be at home in Top Gun.

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Speaker 3: Yeah, yeah, he's definitely. Look, kid, me couldn't get much

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Speaker 3: cooler than this actor in this role. I mean, yeah,

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Speaker 3: he in all the worst ways too. I think as

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Speaker 3: an adult, I'm a little bit repulsed by his demeanor,

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Speaker 3: his swagger. But as a kid, this was eighties cool.

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Speaker 3: With a little bit of reflection, I can see what

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Speaker 3: a rip on Tom Cruise this, this delivery is, and

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Speaker 3: it really seems like it's trying. He's trying for a

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Speaker 3: Maverick type thing, almost Maverick and Iceman merged together to

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Speaker 3: be a competent pilot who is also just a big

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Speaker 3: jerk as well.

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Speaker 1: Oh my goodness, I didn't even think about the Top

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Speaker 1: Gun connection, about this being a riff on Top Gun.

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Speaker 1: That's a film that kind of for me, it kind

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Speaker 1: of stands out of time for me, like I don't

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Speaker 1: necessarily think about it in connection to other projects. But

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Speaker 1: now that you've pointed out, yeah, I can't unsee it.

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Speaker 3: I think that you know, I made the mistake of

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Speaker 3: using these films as cues for how to act in

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Speaker 3: real life, which I think is a frequent eighties kid misstep.

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Speaker 3: But because of the frequency of viewing of this interspace

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Speaker 3: goonies Top Gun, it created a person that was very

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Speaker 3: not organic to me and and stuck out like a

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Speaker 3: soort of thumb whenever I would try to use it.

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Speaker 1: Yeah, I mean, he's not the it's not the worst

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Speaker 1: role model you could latch onto as far as a

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Speaker 1: lead character in an eighties picture. But yeah, he's he's

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Speaker 1: obnocked right right from the get go. He's obnoxious, he's drunk,

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Speaker 1: He clearly is a mess, and but he's he's portrayed

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Speaker 1: as a likable man, a lovable mess.

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Speaker 3: Yeah, it's a very very kind and funny take on

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Speaker 3: alcohol because he's drunk for a lot of the movie,

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Speaker 3: and alcohol is his motivation in a lot of cases.

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Speaker 3: He will get to it, but designs a robot to

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Speaker 3: pour a drink for him and does it poorly. One

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Speaker 3: of his big orders of business for Martin Short is

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Speaker 3: to pour some outlcohol for him. He's really booze centered.

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Speaker 1: Just drinking giant molecules of whiskey, as we'll get back to.

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Speaker 1: But yeah, I mean, Dennis Quaid, this is not an

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Speaker 1: actor that we really need to introduce much. I think

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Speaker 1: everybody knows who Dennis Quaid is, famous leading man brother

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Speaker 1: of Randy. Credits go back to the mid seventies, and

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Speaker 1: he's really been in all sorts of stuff, Like it's

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Speaker 1: really weird to look through his filmography, like just looking

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Speaker 1: at twenty twenty four. He managed to star in the

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Speaker 1: GOP Cinematic Universe film Reagan as Reagan, and he played

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Speaker 1: a major role in the body horror film The Substance.

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Speaker 3: Oh, I have not seen The Substance yet. I'm excited

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Speaker 3: to though.

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Speaker 1: Yeah, I haven't seen anither of him yet. I'm gonna

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Speaker 1: I probably need to do him back to back. But yeah,

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Speaker 1: his career that was full of stuff like this, Like

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Speaker 1: it's a mix of genre films and mainstream dramas and

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Speaker 1: comedies as well as biopicks. I think he played Jerry

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Speaker 1: Lee Lewis in a biopick at one point, So yeah,

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Speaker 1: it's kind of hard to pin him down. I think,

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Speaker 1: for my money, when I think of Dennis Quaid films, though,

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Speaker 1: I instantly think of nineteen eighty five's Enemy Mine, where

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Speaker 1: it's it's Dennis Quaid Lewis gossip junior, human and alien

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Speaker 1: on a strange alien world. I was always very captivated

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Speaker 1: by that one.

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Speaker 3: For me, it's this movie. This is the image that

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Speaker 3: instantly comes to mind is his image from the poster,

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Speaker 3: which is, you know, he looks very handsome. He's got

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Speaker 3: a joker gran a Jack Nicholson joker grin that's maybe

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Speaker 3: digitally enhanced to be a little bit bigger than it

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Speaker 3: should be, and it just really sells his swagger. You know,

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Speaker 3: that look on his face, the way it's on the

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Speaker 3: poster really sells who he is in this movie.

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Speaker 1: Yeah, Yeah, he's having a great time. Yeah all right.

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Speaker 1: Our other main character that Dennis Quade's character is going

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Speaker 1: to be inside of in a miniaturized form is the

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Speaker 1: character Jack Putter, played by Martin Short born nineteen fifty

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Speaker 1: another name that scarcely requires introduction. Martin Short is just

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Speaker 1: a comedy legend.

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Speaker 3: Yeah. I don't know what to say about Martin Short,

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Speaker 3: so sorry that you had me on your podcast, But

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Speaker 3: he's just great. I mean, he's he's been a part

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Speaker 3: of my comedic sensibility since I was very very young.

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Speaker 3: In every role that he's in, from Three Amigos all

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Speaker 3: the way to only Mergers in the Building, he's just

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Speaker 3: fantastic and he is himself. He delivers every time, and

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Speaker 3: he's a chameleon in appearance. But his sensibility, his timing,

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Speaker 3: his slapstick is always very very Martin Short specific. I

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Speaker 3: think my favorite role of his has got to be

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Speaker 3: Jiminy Glick, a huge Click fan, and I was delighted

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Speaker 3: this past year when he reprised the role and did

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Speaker 3: a few more bits of him.

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Speaker 1: Yeah. I mean, he's one of those actors that when

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Speaker 1: I when I think of Martin Short, I instantly think

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Speaker 1: of those really you know, over the top in high

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Speaker 1: energy characters. I think of of Glick, I think of

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Speaker 1: Ed Grimley, of course, his character on Arrested Development, Jack Dorso,

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Speaker 1: you know, and he's he's great at that, and he's

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Speaker 1: great at those like freak out performances in a way

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Speaker 1: that they are very I feel like there are very

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Speaker 1: few actors I would even compare him to, like maybe

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Speaker 1: you know, compare him to the likes of you know,

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Speaker 1: Robin Williams or or Jim Carrey even you know where

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Speaker 1: they can they can hit that level of intensity, comedic intensity.

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Speaker 1: But then I would also compare him to the other

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Speaker 1: two in that, especially when you look at some recent

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Speaker 1: Martin Short performances, like he's he's a really strong actor,

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Speaker 1: you know, he's he's really great in these smaller non

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Speaker 1: comedic roles or stretches as well. And I think you

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Speaker 1: really see that on Only Murders in the Building, a

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Speaker 1: great TV series, obviously comedic series that doesn't take itself

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Speaker 1: itself too seriously, and he's surrounded by great actors and actresses,

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Speaker 1: but I am most frequently impressed by the smaller moments

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Speaker 1: with his character on that show.

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Speaker 3: Yeah, I think, especially in Only Murders in the Building,

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Speaker 3: I think he does a really good job of representing

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Speaker 3: not just the comedic bits, but the building itself and

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Speaker 3: life in the building and what it means to be

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Speaker 3: at that stage of your life in that building and

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Speaker 3: getting on in years, and what that means for your

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Speaker 3: relationship with your family. And yeah, that's never, not never,

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Speaker 3: it's rarely the focus. But when it is, or when

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Speaker 3: it turned to that, it doesn't seem out of character

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Speaker 3: or a stretch for him to be believable in those

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Speaker 3: somber moments.

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Speaker 1: Yeah. So I don't think we see as much from

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Speaker 1: him along those lines in interspace, but again, certainly in

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Speaker 1: other projects, he was also really good. Recently in the

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Speaker 1: series of The Morning Show, he had a small part

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Speaker 1: as a disgrace director named Dick Lundy and the name

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Speaker 1: sounds like a Martin short character, but it's like a

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Speaker 1: really serious, like creepy kind of character, a charismatic, charming,

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Speaker 1: sexual predator, sort of a guy.

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Speaker 3: Wow. Going back to comparing him with Robin Williams and

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Speaker 3: Jim Carrey almost called him James Carrey, Jim Carrey.

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Speaker 1: I think you know it's James Now, he's son.

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Speaker 3: That's right. I think he the roles the characters that

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Speaker 3: he creates, and I think this movie is a great example.

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Speaker 3: You can't imagine anybody else being these characters. And that's

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Speaker 3: true of Robin Williams and James Carey. You can't imagine

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Speaker 3: somebody else doing the mask or ace Ventura, you know,

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Speaker 3: you know. I was reading somewhere. I don't know if

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Speaker 3: this is true or not, but early versions of this

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Speaker 3: movie were pitched as Michael J. Fox enters the body

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Speaker 3: of Arnold Schwarzenegger, and I think it's a good one

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Speaker 3: two to show the difference in those characters in the movie.

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Speaker 3: But taking that literally, what a different experience that would

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Speaker 3: have been, you know what I mean? And even I'm

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Speaker 3: assuming in that scenario that Michael J. Fox would be

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Speaker 3: playing the Martin short role. Even if the miniaturization were reversed,

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Speaker 3: it would have been a completely different read, completely different character.

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Speaker 3: No shade on Michael J. Fox, of course, he's brilliant,

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Speaker 3: but it would have hit completely differently, been a completely

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Speaker 3: different kind of movie.

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Speaker 1: Yeah, I agreed, absolutely. All Right, get into the rest

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Speaker 1: of the cast. Here we have Meg Ryan playing Lydia Maxwell.

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Speaker 1: Meg Ryan born nineteen sixty one, another huge name that

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Speaker 1: I think most everyone's familiar with, mostly known for. I

431
00:23:33,400 --> 00:23:36,479
Speaker 1: guess her biggest successes were a handful of just highly

432
00:23:36,520 --> 00:23:40,000
Speaker 1: successful rom coms of the eighties and nineties. Eighty nine's

433
00:23:40,080 --> 00:23:43,600
Speaker 1: When Harry Met Sally ninety three, Sleepless in Seattle ninety eight,

434
00:23:43,640 --> 00:23:48,800
Speaker 1: So You've got mail, So pretty big deal. She's been

435
00:23:48,840 --> 00:23:50,520
Speaker 1: in other things, for sure. She was in nineteen eighty

436
00:23:50,520 --> 00:23:53,159
Speaker 1: three's Amityville three D, for example, the one with the

437
00:23:53,200 --> 00:23:56,000
Speaker 1: claw busting out of the VHS cover.

438
00:23:57,240 --> 00:24:00,800
Speaker 3: Also in Top Gun. Oh well, yeah, his wife. I

439
00:24:00,840 --> 00:24:03,000
Speaker 3: think I kind of feel like this is a Top

440
00:24:03,000 --> 00:24:06,879
Speaker 3: Gun episode. Rob, I'm gonna do best in a Top

441
00:24:06,920 --> 00:24:08,080
Speaker 3: Gun episode.

442
00:24:09,359 --> 00:24:12,440
Speaker 1: Yeah, but again, Yeah, she's great in this. We'll get into.

443
00:24:14,280 --> 00:24:17,960
Speaker 1: It's an interesting role. There is an interesting love triangle

444
00:24:18,040 --> 00:24:20,800
Speaker 1: in this picture that I was totally lost on me

445
00:24:20,960 --> 00:24:23,560
Speaker 1: as a kid, but watching it as a grown up

446
00:24:23,640 --> 00:24:26,960
Speaker 1: is just it's deeply weird. It's strange that they ever

447
00:24:27,000 --> 00:24:29,320
Speaker 1: even went for all of this, even with all the

448
00:24:29,359 --> 00:24:34,720
Speaker 1: restraint they show that it's a strange love triangle. Yeah,

449
00:24:34,760 --> 00:24:37,880
Speaker 1: but she's great. She has great chemistry with everyone, including

450
00:24:37,880 --> 00:24:40,879
Speaker 1: Dennis Quaid, who she would end up marrying after this picture.

451
00:24:41,160 --> 00:24:42,280
Speaker 3: That's right, that's right.

452
00:24:43,080 --> 00:24:45,720
Speaker 1: And spoiler, she marries his character at the end of

453
00:24:45,760 --> 00:24:46,280
Speaker 1: this movie.

454
00:24:46,640 --> 00:24:50,040
Speaker 3: So I got I got a lot to say about that.

455
00:24:50,040 --> 00:24:51,479
Speaker 3: That guest list is wild.

456
00:24:52,000 --> 00:24:54,920
Speaker 1: Yes, yes, it feels like a rap party.

457
00:24:55,240 --> 00:24:56,840
Speaker 3: We'll get back all right.

458
00:24:56,840 --> 00:24:59,159
Speaker 1: Now, getting into the many, many villains of this picture,

459
00:24:59,320 --> 00:25:02,439
Speaker 1: We'll start with the villain that we eventually are introduced to,

460
00:25:02,520 --> 00:25:05,680
Speaker 1: and that is a Victor Scrimshaw played by Kevin McCarthy,

461
00:25:05,960 --> 00:25:09,480
Speaker 1: who of nineteen fourteen through twenty ten American actor nominated

462
00:25:09,520 --> 00:25:11,480
Speaker 1: for an Oscar for his performance in the nineteen fifty

463
00:25:11,480 --> 00:25:14,040
Speaker 1: two adaptation of Death of a Salesman, but I think

464
00:25:14,359 --> 00:25:19,040
Speaker 1: known to many out there for his just wonderful paranoid

465
00:25:19,080 --> 00:25:22,680
Speaker 1: performance in nineteen fifty six is Invasion of the Body Snatchers.

466
00:25:22,680 --> 00:25:25,760
Speaker 1: The original Black and white One, also perhaps known to

467
00:25:25,800 --> 00:25:28,000
Speaker 1: many of you for his role in eighty nine's UHF.

468
00:25:28,520 --> 00:25:30,920
Speaker 1: I assume I don't remember who he played in UHF.

469
00:25:30,920 --> 00:25:34,440
Speaker 1: I'm assuming it was a villain, like a studio TV

470
00:25:34,520 --> 00:25:35,960
Speaker 1: studio villain of some sort.

471
00:25:36,800 --> 00:25:41,120
Speaker 3: Yeah, I don't recall. That's maybe we'll do UHF next time, Rob,

472
00:25:42,160 --> 00:25:45,439
Speaker 3: that's such a great movie that it's been way too

473
00:25:45,480 --> 00:25:46,320
Speaker 3: long since I've seen.

474
00:25:46,960 --> 00:25:50,320
Speaker 1: Yeah. Clearly though, Kevin McCarthy was a favorite of Joe

475
00:25:50,359 --> 00:25:52,640
Speaker 1: Dante's because some of his other credits include The Howling

476
00:25:52,840 --> 00:25:57,040
Speaker 1: the Burbs Piranha. He also pops up in nineteen ninety

477
00:25:57,080 --> 00:25:59,600
Speaker 1: one's Eve of Destruction. That's one that I never saw,

478
00:25:59,640 --> 00:26:01,520
Speaker 1: but saw the trailers for all the time. It has

479
00:26:01,560 --> 00:26:04,040
Speaker 1: like a killer lady terminator in it.

480
00:26:04,800 --> 00:26:07,920
Speaker 3: I remember him most specifically from The Distinguished Gentleman, the

481
00:26:08,000 --> 00:26:11,919
Speaker 3: Eddie Murphy movie from nineteen ninety two, where great premise,

482
00:26:12,000 --> 00:26:15,160
Speaker 3: Eddie Murphy runs for Congress using he has the same

483
00:26:15,440 --> 00:26:18,840
Speaker 3: name as a deceased congress person and uses the fact

484
00:26:18,880 --> 00:26:21,040
Speaker 3: that nobody knows whether the congressman died or not to

485
00:26:21,080 --> 00:26:22,040
Speaker 3: get elected.

486
00:26:23,200 --> 00:26:26,240
Speaker 1: But that I have never heard of this movie.

487
00:26:26,480 --> 00:26:30,080
Speaker 3: Amazing premise. Yeah, great, it's pretty fun movie, pretty fun movie.

488
00:26:30,320 --> 00:26:35,440
Speaker 3: It's part of that Eddie Murphy era with Boomerang early nineties,

489
00:26:36,119 --> 00:26:42,639
Speaker 3: but another great movie. But Kevin McCarthy plays a seasoned

490
00:26:42,760 --> 00:26:47,000
Speaker 3: congress person who knows the grift very well, kind of

491
00:26:47,040 --> 00:26:51,280
Speaker 3: takes Eddie Murphy under his wing and shows him how

492
00:26:51,320 --> 00:26:57,000
Speaker 3: to how to grift in in the right way, which

493
00:26:57,040 --> 00:26:58,440
Speaker 3: is to say, the political way.

494
00:26:59,000 --> 00:27:00,320
Speaker 1: All right, No, that it sounds for fun.

495
00:27:00,840 --> 00:27:03,400
Speaker 3: Really slimy guy. McCarthy plays him really well.

496
00:27:03,880 --> 00:27:06,680
Speaker 1: Yeah he is. He's really good at playing a slimy villain,

497
00:27:07,520 --> 00:27:13,000
Speaker 1: all right. Other villains include his kind of partner in crime.

498
00:27:13,080 --> 00:27:17,800
Speaker 1: Here is doctor Margaret Kanker. Canker played by Fiona Lewis

499
00:27:17,880 --> 00:27:21,000
Speaker 1: born nineteen forty six, British actress who we've discussed on

500
00:27:21,040 --> 00:27:23,000
Speaker 1: the show before because she was in nineteen seventy two's

501
00:27:23,119 --> 00:27:26,840
Speaker 1: Doctor Phibes Rises Again starring Vincent Price, and her other

502
00:27:26,880 --> 00:27:30,280
Speaker 1: credits include sixty seven's To Fearless Vampire Killers, seventy three's

503
00:27:30,320 --> 00:27:33,520
Speaker 1: Blue Blood with Oliver Reed, the nineteen seventy four Dracula

504
00:27:33,560 --> 00:27:40,440
Speaker 1: starring Jack Palance, seventy five Listomania, seventy seven's Tintoria, Killer Shark,

505
00:27:40,480 --> 00:27:43,520
Speaker 1: seventy eight's The Fury and eighty three Strange Invaders. This

506
00:27:43,640 --> 00:27:46,000
Speaker 1: was her last film role before her retirement.

507
00:27:46,640 --> 00:27:49,919
Speaker 3: Yeah. I wasn't familiar with her, but I felt like

508
00:27:50,000 --> 00:27:53,080
Speaker 3: I was. She looked so familiar, her performance was so

509
00:27:54,240 --> 00:27:57,280
Speaker 3: familiar to me, but I could not place it even

510
00:27:57,320 --> 00:27:59,840
Speaker 3: through an IMDb. I couldn't remember what she stood out

511
00:28:00,160 --> 00:28:07,280
Speaker 3: me from. But fantastic role, fantastic performance, and just something

512
00:28:07,280 --> 00:28:09,040
Speaker 3: It's gonna nag me until the day I die. What

513
00:28:09,119 --> 00:28:09,960
Speaker 3: I remember it from?

514
00:28:11,720 --> 00:28:14,159
Speaker 1: All Right? The next villain, Oh, this is This is

515
00:28:14,160 --> 00:28:16,280
Speaker 1: the one of the big ones, if not the biggest one.

516
00:28:16,320 --> 00:28:18,480
Speaker 1: This is the one I think everyone remembers. This is

517
00:28:18,560 --> 00:28:23,560
Speaker 1: mister Igo played by Oh they always intimidating. Vernon Wells

518
00:28:24,080 --> 00:28:27,440
Speaker 1: born nineteen forty five Australian actor, best known for playing

519
00:28:27,480 --> 00:28:30,680
Speaker 1: heavies for that like signature mug of his and he's

520
00:28:30,680 --> 00:28:32,240
Speaker 1: played some really iconic ones.

521
00:28:32,880 --> 00:28:38,080
Speaker 3: He's he's bad news. Yeah, he's just in this movie

522
00:28:38,120 --> 00:28:40,560
Speaker 3: in particular, the most fun kind of bad news, but

523
00:28:42,240 --> 00:28:47,480
Speaker 3: menacing without all right, there are a few tells that

524
00:28:47,560 --> 00:28:50,440
Speaker 3: he had, like really specific tells through the movie, but

525
00:28:50,600 --> 00:28:52,320
Speaker 3: most of it is just the aura that he brings

526
00:28:52,320 --> 00:28:54,160
Speaker 3: to the screen. He's he's a menace. He's one to

527
00:28:54,160 --> 00:28:54,680
Speaker 3: watch out for.

528
00:28:55,160 --> 00:28:58,600
Speaker 1: Yeah, and we'll discuss like his character is probably one

529
00:28:58,640 --> 00:29:02,000
Speaker 1: of the better sort of terminator esque villains, like a

530
00:29:02,040 --> 00:29:06,040
Speaker 1: spin on terminator without going too hard on the terminatorness,

531
00:29:06,080 --> 00:29:08,520
Speaker 1: you know, like, yeah, he's not really a cyborg, but

532
00:29:08,560 --> 00:29:12,240
Speaker 1: he's got like this cool prosthetic hand and I was

533
00:29:12,280 --> 00:29:15,760
Speaker 1: always like all in unprosthetic hand villains at this at

534
00:29:15,760 --> 00:29:17,200
Speaker 1: this age when I was a kid, you know, And

535
00:29:17,240 --> 00:29:19,160
Speaker 1: this guy's got all sorts of cool gadgets.

536
00:29:19,680 --> 00:29:22,720
Speaker 3: He does feel like more of a little stinker in

537
00:29:22,840 --> 00:29:25,840
Speaker 3: his actual actions than than he is a terminator that

538
00:29:25,960 --> 00:29:28,920
Speaker 3: will end your life even Yeah, that's always the threat

539
00:29:28,960 --> 00:29:29,880
Speaker 3: whenever he's around.

540
00:29:30,040 --> 00:29:32,160
Speaker 1: Yeah, but he'll also just pop a clowns balloon for

541
00:29:32,320 --> 00:29:35,719
Speaker 1: no reason except that he hates fun. So yeah, Wells,

542
00:29:35,800 --> 00:29:39,080
Speaker 1: Vernon Wells, he had some great roles. He played Wez

543
00:29:39,120 --> 00:29:41,600
Speaker 1: that's the mohawk, the mohawk guy in eighty one's The

544
00:29:41,680 --> 00:29:44,920
Speaker 1: Road Warrior. He was the Lord General in eighty five's

545
00:29:44,960 --> 00:29:48,160
Speaker 1: Weird Science, and then a big one. He's he's been it,

546
00:29:48,280 --> 00:29:52,440
Speaker 1: the guy with the mustache and commando amazing. He's the

547
00:29:52,440 --> 00:29:54,840
Speaker 1: one that he kills laughs because he likes him the most.

548
00:29:54,960 --> 00:29:56,800
Speaker 1: I can't I can never remember how that that's right.

549
00:29:58,440 --> 00:30:00,440
Speaker 1: But yeah, his Australian TV credit go back to the

550
00:30:00,480 --> 00:30:02,800
Speaker 1: mid seventies and he's one of these guys that remains

551
00:30:02,880 --> 00:30:05,040
Speaker 1: highly active in genre pictures. He's got like, you know,

552
00:30:05,320 --> 00:30:09,800
Speaker 1: like three dozen upcoming projects. That's sort of cheez. Yeah.

553
00:30:09,840 --> 00:30:12,760
Speaker 1: So he's great. But then we're not done with the villains.

554
00:30:12,800 --> 00:30:15,520
Speaker 1: We also have one more and it's another very memorable one,

555
00:30:15,800 --> 00:30:19,080
Speaker 1: and it is the Cowboy, played by Robert Picardo born

556
00:30:19,160 --> 00:30:22,440
Speaker 1: fifty three, frequently cast by Joe Dante in a variety

557
00:30:22,480 --> 00:30:24,600
Speaker 1: of roles. He gets to play a bad guy here,

558
00:30:24,640 --> 00:30:27,280
Speaker 1: though with plenty of comedic elements, and I just have

559
00:30:27,360 --> 00:30:30,120
Speaker 1: to say an accent of unknown origin. I have no

560
00:30:30,200 --> 00:30:35,360
Speaker 1: idea what they were going for here. I think it's

561
00:30:35,400 --> 00:30:39,080
Speaker 1: inoffensive because I have no idea, like what part of

562
00:30:39,120 --> 00:30:41,520
Speaker 1: the globe it's supposed to be. Like, I always thought

563
00:30:41,560 --> 00:30:44,440
Speaker 1: he was maybe supposed to be Russian, but I don't know.

564
00:30:44,480 --> 00:30:47,000
Speaker 1: I saw some write ups online where people make arguments

565
00:30:47,000 --> 00:30:48,640
Speaker 1: for other corners of the world.

566
00:30:49,280 --> 00:30:50,760
Speaker 3: You know you're gonna get mad at me, rob But

567
00:30:50,840 --> 00:30:53,880
Speaker 3: this is exactly like the bad Guy Meg Fighters and

568
00:30:53,960 --> 00:30:59,480
Speaker 3: Top Gun, where they're from somewhere else. They're not gonna

569
00:30:59,480 --> 00:31:01,360
Speaker 3: tell you what they're from because they don't want to

570
00:31:01,360 --> 00:31:04,800
Speaker 3: get at that country upset. But they're just kind of other,

571
00:31:05,040 --> 00:31:09,800
Speaker 3: you know. I think that in Robert's case, this accent

572
00:31:10,160 --> 00:31:14,800
Speaker 3: is either super offensive or engineered to be as inoffensive

573
00:31:14,840 --> 00:31:17,400
Speaker 3: as possible, because it could not be real and could

574
00:31:17,480 --> 00:31:20,479
Speaker 3: not harken to any specific existing accent.

575
00:31:21,120 --> 00:31:23,680
Speaker 1: Yeah, and then on top of that, he has this

576
00:31:24,480 --> 00:31:28,920
Speaker 1: like old Hollywood cowboy persona that he has completely taken on.

577
00:31:29,000 --> 00:31:31,160
Speaker 1: So he's always wearing the cowboy boots, often on the

578
00:31:31,160 --> 00:31:35,880
Speaker 1: other bells and whistles as well. It's it's a fun

579
00:31:35,960 --> 00:31:37,400
Speaker 1: and perplexing villain role.

580
00:31:38,000 --> 00:31:40,920
Speaker 3: He's I kept having to remind myself that he was

581
00:31:40,960 --> 00:31:45,040
Speaker 3: a villain. He doesn't seem villainous. Most of his scenes

582
00:31:45,040 --> 00:31:49,000
Speaker 3: are pretty silly, and I keep I kept having to

583
00:31:49,040 --> 00:31:52,000
Speaker 3: remind myself of what he was there to do, yes,

584
00:31:52,040 --> 00:31:54,120
Speaker 3: and why they needed to stop him.

585
00:31:54,880 --> 00:31:58,640
Speaker 1: Yeah, he is. The plot is fairly complex, but basically

586
00:31:58,760 --> 00:32:04,000
Speaker 1: he represents a buyer for stolen technology. We don't know

587
00:32:04,000 --> 00:32:06,800
Speaker 1: exactly who he's representing, but he's the bag man, right,

588
00:32:06,880 --> 00:32:07,840
Speaker 1: He's the guy with the money.

589
00:32:08,320 --> 00:32:10,080
Speaker 3: He's just going to go out and dance when he's

590
00:32:10,120 --> 00:32:10,520
Speaker 3: in town.

591
00:32:10,800 --> 00:32:14,200
Speaker 1: Yeah, he's he's also going to party. He's he's up

592
00:32:14,240 --> 00:32:16,840
Speaker 1: to like sleep with any of the leads of this picture,

593
00:32:16,960 --> 00:32:20,240
Speaker 1: like it doesn't matter to him. But yeah, he doesn't

594
00:32:20,280 --> 00:32:22,040
Speaker 1: really do anything bad. I don't think he tries to

595
00:32:22,080 --> 00:32:23,480
Speaker 1: kill anybody, right, He's.

596
00:32:23,480 --> 00:32:27,480
Speaker 3: No, he's pretty pretty silly guy. Uh, just good at

597
00:32:27,480 --> 00:32:30,360
Speaker 3: his job. I guess we don't really see that, but

598
00:32:31,040 --> 00:32:33,480
Speaker 3: we're told that he's good at his job, and he

599
00:32:33,520 --> 00:32:37,400
Speaker 3: seems pretty confident all things, you know, considered. He's a

600
00:32:37,440 --> 00:32:40,960
Speaker 3: pretty confident guy who knows himself, knows what he likes

601
00:32:41,320 --> 00:32:42,080
Speaker 3: and pursues it.

602
00:32:42,600 --> 00:32:46,080
Speaker 1: Yeah. Well, Pagardo is a familiar face I think to

603
00:32:46,680 --> 00:32:49,480
Speaker 1: film and TV viewers in general because on the TV front,

604
00:32:49,680 --> 00:32:51,120
Speaker 1: he was on The Wonder Years, or he had some

605
00:32:51,240 --> 00:32:52,680
Speaker 1: roles on The Wonder Years, and he wasn't I don't

606
00:32:52,680 --> 00:32:55,080
Speaker 1: think he was main cast. He's in China Beach, Star

607
00:32:55,160 --> 00:32:59,040
Speaker 1: Trek Voyager of course, and Stargate and then films. You know,

608
00:32:59,080 --> 00:33:02,360
Speaker 1: we have The Howling We all total recall he was

609
00:33:02,440 --> 00:33:06,320
Speaker 1: Johnny Cabb in nineteen ninety and he's also part of

610
00:33:06,360 --> 00:33:09,000
Speaker 1: the cast of twenty sixteens Cohen Brothers, The Coen Brothers

611
00:33:09,000 --> 00:33:11,720
Speaker 1: film Hail Caesar, but that has everybody in it, so

612
00:33:11,720 --> 00:33:13,520
Speaker 1: I don't know that we really need to single him

613
00:33:13,520 --> 00:33:15,960
Speaker 1: out for that. But yeah, he's always a terrific presence,

614
00:33:16,040 --> 00:33:16,400
Speaker 1: fun act.

615
00:33:16,480 --> 00:33:18,360
Speaker 3: Yeah, I'm a big, big fan of his from Star

616
00:33:18,400 --> 00:33:22,000
Speaker 3: Trek and Total Recall of course, probably my favorite movie

617
00:33:22,000 --> 00:33:25,480
Speaker 3: of all time. But a role that was created for him,

618
00:33:25,760 --> 00:33:29,200
Speaker 3: the Johnny Cabb, I believe, was molded in his image

619
00:33:29,240 --> 00:33:32,280
Speaker 3: before he was even signed on to the project. They

620
00:33:32,320 --> 00:33:34,440
Speaker 3: wanted him to be the Johnny Cab that badly.

621
00:33:35,040 --> 00:33:36,960
Speaker 1: You take Johnny Cab out of that picture, the whole

622
00:33:36,960 --> 00:33:37,960
Speaker 1: thing falls apart too.

623
00:33:38,520 --> 00:33:40,040
Speaker 3: It truly is the glue.

624
00:33:40,200 --> 00:33:45,120
Speaker 1: All right. And then the final main character supporting character

625
00:33:45,200 --> 00:33:47,440
Speaker 1: I guess really i'll mention is Wendy Shall, who plays

626
00:33:47,440 --> 00:33:51,600
Speaker 1: a character named Wendy. This is Jack's co worker at

627
00:33:51,600 --> 00:33:56,160
Speaker 1: the grocery. Born nineteen fifty four. I'm mentioning her mainly

628
00:33:56,200 --> 00:33:58,760
Speaker 1: because she was in Creature for eighty five, an alien

629
00:33:58,880 --> 00:34:02,160
Speaker 1: knockoff that Joe and I discussed on Weird House Cinema here.

630
00:34:02,600 --> 00:34:05,080
Speaker 1: She did a lot of TV, but her later film

631
00:34:05,160 --> 00:34:08,560
Speaker 1: credits include Oh, nineteen eighty seven's Munchies. It's a Gremlin's

632
00:34:08,600 --> 00:34:11,439
Speaker 1: knockoff a Gromlins movie. You got batteries not included. Eighty

633
00:34:11,520 --> 00:34:13,360
Speaker 1: nine is The Burbs, and she did a lot of

634
00:34:13,400 --> 00:34:16,160
Speaker 1: TV as well, X File six Feet under Star Trek Voyager,

635
00:34:16,480 --> 00:34:18,239
Speaker 1: and she's also done a lot of voice acting for

636
00:34:18,480 --> 00:34:19,879
Speaker 1: a family guy in American Dad.

637
00:34:20,840 --> 00:34:23,920
Speaker 3: Great job here too, being she does a lot with

638
00:34:23,960 --> 00:34:25,759
Speaker 3: a little doesn't have a ton of screen time, but

639
00:34:25,840 --> 00:34:28,160
Speaker 3: you really get a vibe of exactly who she is

640
00:34:28,320 --> 00:34:31,880
Speaker 3: from very few lines and just kind of her presence

641
00:34:31,880 --> 00:34:33,200
Speaker 3: and reaction to things.

642
00:34:33,680 --> 00:34:36,479
Speaker 1: Yeah, all right, Now, on the effects end of things,

643
00:34:36,520 --> 00:34:40,120
Speaker 1: this was a big industrial light and magic special effects movie,

644
00:34:40,160 --> 00:34:43,759
Speaker 1: so it involved just an army of talented professionals and

645
00:34:43,800 --> 00:34:46,200
Speaker 1: it won an OSCAR in nineteen eighty eight for Best

646
00:34:46,239 --> 00:34:51,440
Speaker 1: Special Effects, beating out Predator. So Predator versus Interspace Interspace

647
00:34:51,480 --> 00:34:57,560
Speaker 1: wins clearly. So, yeah, an army of people involved here.

648
00:34:57,880 --> 00:35:00,600
Speaker 3: It's no surprise this is a really well done movie

649
00:35:00,640 --> 00:35:03,400
Speaker 3: effects wise, and that you don't notice half of the

650
00:35:03,400 --> 00:35:07,480
Speaker 3: effects that are happening. They're so organic. Particularly for me,

651
00:35:08,320 --> 00:35:11,560
Speaker 3: anytime he's inside the body or we're seeing inside the body,

652
00:35:12,200 --> 00:35:14,200
Speaker 3: I'm not even clocking that as an effect. Most of

653
00:35:14,239 --> 00:35:17,719
Speaker 3: the time, there are a few set pieces inside of

654
00:35:17,719 --> 00:35:22,640
Speaker 3: the body that are tremendous, and we've got to talk

655
00:35:22,640 --> 00:35:24,960
Speaker 3: about those. But for the most part, you just kind

656
00:35:24,960 --> 00:35:27,319
Speaker 3: of believe that he's inside of body and that he's

657
00:35:27,400 --> 00:35:29,640
Speaker 3: on the other side of an ear or an eye,

658
00:35:29,880 --> 00:35:34,080
Speaker 3: and you know, you don't clock the amount of work,

659
00:35:34,160 --> 00:35:36,040
Speaker 3: or I don't clock the amount of work that's going

660
00:35:36,080 --> 00:35:37,719
Speaker 3: into creating an effect like that.

661
00:35:38,320 --> 00:35:41,000
Speaker 1: Yeah, and I thought the effects held up really well.

662
00:35:42,280 --> 00:35:44,000
Speaker 1: This is not a film where I felt like I

663
00:35:44,040 --> 00:35:48,320
Speaker 1: saw any wires, any scenes. You know, it all holds

664
00:35:48,360 --> 00:35:50,560
Speaker 1: up extremely well, so, you know, well deserving of that.

665
00:35:50,920 --> 00:35:55,800
Speaker 1: Oscar Dennis Murren was the visual effects supervisor for ILM

666
00:35:56,200 --> 00:36:00,160
Speaker 1: and I also mentioned in passing that Rob Boteen I'm

667
00:36:00,440 --> 00:36:03,600
Speaker 1: born nineteen fifty nine, a special makeup effects designer and

668
00:36:03,640 --> 00:36:06,120
Speaker 1: creator on this picture. He was involved in a lot

669
00:36:06,160 --> 00:36:11,400
Speaker 1: of you know, squirmy and drippy special effects pictures, the

670
00:36:11,520 --> 00:36:16,160
Speaker 1: likes of Squirm, the Howling, the Thing, RoboCop and Total Recall.

671
00:36:16,680 --> 00:36:17,880
Speaker 3: So he made the worm face.

672
00:36:18,480 --> 00:36:21,080
Speaker 1: Yeah, yeah, he was involved in the worm face. I

673
00:36:21,120 --> 00:36:23,400
Speaker 1: didn't get a chance to look up exactly what he

674
00:36:23,440 --> 00:36:27,759
Speaker 1: did on this picture, but I obviously I highly suspect

675
00:36:28,000 --> 00:36:30,560
Speaker 1: that it is the morphing the face morphing Seine that

676
00:36:30,600 --> 00:36:33,279
Speaker 1: we'll get into, because that's one of those that is

677
00:36:33,400 --> 00:36:37,759
Speaker 1: it's not grotesque unless you stop and really look at it,

678
00:36:37,800 --> 00:36:40,640
Speaker 1: and then you start really, oh this is this is grotesque.

679
00:36:41,080 --> 00:36:46,840
Speaker 3: But there's one that there are two big morph scenes

680
00:36:46,840 --> 00:36:48,520
Speaker 3: that I that I have in mind, and one of

681
00:36:48,560 --> 00:36:52,160
Speaker 3: them is a full blown you can see that that

682
00:36:52,280 --> 00:36:53,560
Speaker 3: is an effect set piece.

683
00:36:53,960 --> 00:36:55,800
Speaker 1: You know, Oh, that's the remorph.

684
00:36:55,880 --> 00:36:59,680
Speaker 3: I think, yes, yes, the full head goes on for

685
00:36:59,719 --> 00:37:03,480
Speaker 3: a long time. But just there are scenes with Martin

686
00:37:03,520 --> 00:37:06,600
Speaker 3: Short's mouth work where it's just his mouth and it's

687
00:37:06,680 --> 00:37:09,360
Speaker 3: Martin Short. It's not a prosthetic, it's not you know,

688
00:37:09,440 --> 00:37:14,040
Speaker 3: a stand in dummy head where it's just remarkable, how

689
00:37:14,200 --> 00:37:21,320
Speaker 3: believable an effect like that is?

690
00:37:24,680 --> 00:37:26,879
Speaker 1: All right? And then finally the music. It's a Jerry

691
00:37:26,880 --> 00:37:29,400
Speaker 1: Goldsmith score who lived nineteen twenty nine through two thousand

692
00:37:29,400 --> 00:37:33,080
Speaker 1: and four, film music legend. His other scores, of course,

693
00:37:33,120 --> 00:37:36,799
Speaker 1: include the likes of Grimlins and Alien from nineteen seventy nine.

694
00:37:37,400 --> 00:37:42,359
Speaker 3: Amazing and great stuff here. I think even right from

695
00:37:42,400 --> 00:37:44,920
Speaker 3: the jump the synth and the opening credits is incredible.

696
00:37:45,640 --> 00:37:47,680
Speaker 1: Let's get into those opening credits because this is. I

697
00:37:48,480 --> 00:37:51,919
Speaker 1: did remember the opening credits from because this one really

698
00:37:51,920 --> 00:37:54,440
Speaker 1: blew my mind as a kid, because you go into innerspace,

699
00:37:54,719 --> 00:37:58,520
Speaker 1: you're expecting all that, you know, the beautiful inner wonders

700
00:37:58,560 --> 00:38:01,480
Speaker 1: of a micro world, and that is where we are.

701
00:38:01,520 --> 00:38:03,399
Speaker 1: But as we zoom out, we realize we've just been

702
00:38:03,600 --> 00:38:07,400
Speaker 1: inside cocktail Ice for the whole opening of the credits.

703
00:38:07,880 --> 00:38:10,800
Speaker 3: Yeah, it's a tremendous effect. I think it's really really

704
00:38:10,840 --> 00:38:15,120
Speaker 3: well done and not really a trick either, because it

705
00:38:16,080 --> 00:38:18,680
Speaker 3: shows you the molecular level of what a glass of

706
00:38:18,719 --> 00:38:22,399
Speaker 3: ice would be. You just you're kind of entranced by

707
00:38:22,719 --> 00:38:24,080
Speaker 3: the pre science of it all.

708
00:38:25,200 --> 00:38:28,520
Speaker 1: And we realized that this cocktail Ice is at some

709
00:38:28,560 --> 00:38:31,680
Speaker 1: sort of a party, some sort of a formal get

710
00:38:31,719 --> 00:38:36,640
Speaker 1: together of military test pilots. There's cake there, models of

711
00:38:36,680 --> 00:38:41,680
Speaker 1: planes there, a bunch of a very top gun s

712
00:38:41,800 --> 00:38:46,520
Speaker 1: test pilot dudes. And then in to the fray enters

713
00:38:46,600 --> 00:38:50,359
Speaker 1: Lieutenant Tuck Pendleton. This is our main character, and he

714
00:38:50,480 --> 00:38:55,600
Speaker 1: is again already completely wasted. A big embarrassing scene follows

715
00:38:55,640 --> 00:38:58,120
Speaker 1: where he falls through a table. He gets into a

716
00:38:58,160 --> 00:39:01,800
Speaker 1: fight with the other flyboys in the kitchen, and clearly

717
00:39:01,840 --> 00:39:03,759
Speaker 1: he has a number of monkeys on his back here.

718
00:39:04,600 --> 00:39:06,520
Speaker 3: Yeah. The one thing that stood out to me during

719
00:39:06,560 --> 00:39:10,160
Speaker 3: this sequence is the fight choreography inside the kitchen. This

720
00:39:10,239 --> 00:39:13,200
Speaker 3: is another thing like it didn't need to be a

721
00:39:13,200 --> 00:39:17,360
Speaker 3: well choreographed fight, but it actually is well blocked. It's tight.

722
00:39:17,480 --> 00:39:21,520
Speaker 3: There is interesting action happening here. It could just be

723
00:39:22,280 --> 00:39:24,840
Speaker 3: this drunk guy pushes off a couple of guys, get subdued,

724
00:39:25,520 --> 00:39:27,640
Speaker 3: and Lydia takes him home. But it's more than that.

725
00:39:27,760 --> 00:39:31,440
Speaker 3: It's an actual interesting action sequence that doesn't really have

726
00:39:31,480 --> 00:39:34,160
Speaker 3: a lot of business in this movie. And you see

727
00:39:34,200 --> 00:39:36,920
Speaker 3: that happening a few more times throughout the film.

728
00:39:37,760 --> 00:39:40,520
Speaker 1: Yeah, it's like the stunt team knew they weren't going

729
00:39:40,600 --> 00:39:42,640
Speaker 1: to have many fisticuff scenes, so they were going to

730
00:39:42,680 --> 00:39:46,560
Speaker 1: really sell them yeah when they had them. So we

731
00:39:46,600 --> 00:39:51,000
Speaker 1: also see Lydia Maxwell. This is Meg Ryan's character. She

732
00:39:51,320 --> 00:39:55,120
Speaker 1: is his girlfriend, I believe, but she's also a reporter.

733
00:39:55,200 --> 00:39:56,920
Speaker 1: I don't know if she is here as a reporter

734
00:39:57,120 --> 00:39:59,719
Speaker 1: or as his girlfriend, but she kind of serves in both.

735
00:40:01,200 --> 00:40:04,000
Speaker 3: Yeah, it seems like there's an estrangement here, so I

736
00:40:04,000 --> 00:40:07,640
Speaker 3: think it's a former girlfriend. I'm not sure how recent

737
00:40:07,800 --> 00:40:11,640
Speaker 3: the formerness is, whether it's a fresh breakup, or an

738
00:40:11,640 --> 00:40:17,520
Speaker 3: on again, off again relationship, but this embarrassment, her responsibility

739
00:40:17,560 --> 00:40:21,640
Speaker 3: for him from this embarrassment. Maybe that's just a gesture

740
00:40:21,640 --> 00:40:23,680
Speaker 3: of kindness to everybody else in the room of being

741
00:40:23,719 --> 00:40:25,880
Speaker 3: I'm the one who can get him out of this situation,

742
00:40:26,400 --> 00:40:29,160
Speaker 3: or more of a responsibility of this is my date

743
00:40:29,400 --> 00:40:33,600
Speaker 3: and I need to get him out of here. There's

744
00:40:33,640 --> 00:40:39,080
Speaker 3: definitely a strong connection between the two and Tuck we

745
00:40:39,200 --> 00:40:41,040
Speaker 3: see in the next scene kind of wishes that it

746
00:40:41,280 --> 00:40:41,800
Speaker 3: were more.

747
00:40:42,280 --> 00:40:44,520
Speaker 1: Yeah. So she drags Tud back to his pad, and

748
00:40:44,560 --> 00:40:46,839
Speaker 1: this is you know, is you're figuring out who these

749
00:40:46,920 --> 00:40:49,600
Speaker 1: characters are, it becomes really apparent that this is his place,

750
00:40:49,680 --> 00:40:53,200
Speaker 1: this is not their place, because there are photos of SR.

751
00:40:53,239 --> 00:40:57,080
Speaker 1: Seventy one Blackbirds on the walls. There's also all this

752
00:40:57,200 --> 00:40:59,560
Speaker 1: bunny memorabilia that's going to make a lot more sense

753
00:40:59,560 --> 00:41:02,239
Speaker 1: here in a little bit. There's a Santa Claus on

754
00:41:02,280 --> 00:41:05,360
Speaker 1: the desk, so you know, holiday movie confirmed, or is

755
00:41:05,400 --> 00:41:08,000
Speaker 1: this guy's pad just so sloppy that there's a Sanda

756
00:41:08,080 --> 00:41:08,799
Speaker 1: up year round?

757
00:41:09,520 --> 00:41:12,560
Speaker 3: Yeah? Yeah, And right in the middle of the apartment

758
00:41:12,600 --> 00:41:18,720
Speaker 3: on the table, huge nineteen eighties robotic arm and anybody

759
00:41:18,760 --> 00:41:21,120
Speaker 3: who was alive during the eighties knows exactly what this

760
00:41:21,280 --> 00:41:24,839
Speaker 3: robot arm is. It's got one hinge and it's got

761
00:41:24,880 --> 00:41:28,400
Speaker 3: a pincher as it's hand. It's meant to pinch things,

762
00:41:28,480 --> 00:41:31,120
Speaker 3: pick them up, move them somewhere else, and release the

763
00:41:31,160 --> 00:41:35,279
Speaker 3: pinch here. He's got it built to pick up a

764
00:41:35,320 --> 00:41:38,080
Speaker 3: bottle of booze, turn it over to pour it into

765
00:41:38,120 --> 00:41:43,040
Speaker 3: a glass. He does it poorly, or whoever's controlling this

766
00:41:43,120 --> 00:41:46,400
Speaker 3: robot does it poorly, obviously meant to convey that Tuck's

767
00:41:46,400 --> 00:41:48,520
Speaker 3: doing a bad job of it, probably because he's wasted.

768
00:41:49,040 --> 00:41:53,399
Speaker 3: But somebody on this team is really good at articulating

769
00:41:53,400 --> 00:41:56,200
Speaker 3: a robot an eighties robot arm, because you see it

770
00:41:56,239 --> 00:41:58,919
Speaker 3: happen a few more times throughout the movie, and it's

771
00:41:58,960 --> 00:42:01,280
Speaker 3: done very elegantly every other time.

772
00:42:01,960 --> 00:42:05,720
Speaker 1: Now, would would this have been before the or after

773
00:42:05,880 --> 00:42:08,719
Speaker 1: the nes arm that played the Little Spin Top game?

774
00:42:09,280 --> 00:42:13,320
Speaker 3: Oh? So, this would have been after the Robotic Operating

775
00:42:13,360 --> 00:42:19,120
Speaker 3: Buddy rob for the Nintendo Entertainment System, where it's a

776
00:42:19,160 --> 00:42:22,879
Speaker 3: similar thing. You had to use the controller to make

777
00:42:22,920 --> 00:42:26,120
Speaker 3: the robot pick up a spinning gyro and drop it

778
00:42:26,160 --> 00:42:28,239
Speaker 3: onto either a red button or a blue button, which

779
00:42:28,239 --> 00:42:31,080
Speaker 3: would affect the level on the screen. That you are

780
00:42:31,120 --> 00:42:33,520
Speaker 3: trying to play and allow your guy to pass through.

781
00:42:34,360 --> 00:42:40,359
Speaker 3: Terrible game, terrible concept, but I think similar idea of, hey,

782
00:42:40,400 --> 00:42:44,040
Speaker 3: we're supposed to be a robotic society at this point,

783
00:42:44,280 --> 00:42:47,080
Speaker 3: we'd better start acting like it and developing all of

784
00:42:47,120 --> 00:42:49,600
Speaker 3: these things that were just clunky executions of what a

785
00:42:49,719 --> 00:42:51,040
Speaker 3: robotic society would do.

786
00:42:51,719 --> 00:42:53,880
Speaker 1: Yeah, So that energy is very strong in this picture

787
00:42:53,920 --> 00:42:58,480
Speaker 1: for sure. So they get settled in for the evening

788
00:42:58,640 --> 00:43:01,120
Speaker 1: and in more or less we're picking up the next

789
00:43:01,160 --> 00:43:08,800
Speaker 1: morning because that's when Cabby Dick Miller a frequently mentioned

790
00:43:08,840 --> 00:43:11,280
Speaker 1: actor on Weird House Cinema because he pops up in everything.

791
00:43:11,280 --> 00:43:13,279
Speaker 1: I think he has popped up in more films than

792
00:43:13,680 --> 00:43:16,799
Speaker 1: than than than any other actor that we've covered here

793
00:43:16,840 --> 00:43:19,480
Speaker 1: on the show. But he's there as a Cabby to

794
00:43:19,560 --> 00:43:21,920
Speaker 1: pick Lydia up in the morning. She is trying to

795
00:43:21,920 --> 00:43:26,080
Speaker 1: sneak out, leave a note and leave Tuck behind forever.

796
00:43:26,880 --> 00:43:30,000
Speaker 1: And we get this, we get this, you know, comedic

797
00:43:30,160 --> 00:43:34,560
Speaker 1: but but very very hunky scene where Tuck comes out

798
00:43:34,600 --> 00:43:36,719
Speaker 1: wearing only a towel and he's going to try and

799
00:43:36,719 --> 00:43:39,400
Speaker 1: talk her out of leaving. The towel gets stuck in

800
00:43:39,480 --> 00:43:43,720
Speaker 1: the door. Cab rides off, towel goes with the cab

801
00:43:44,280 --> 00:43:48,200
Speaker 1: full backside exposed. Yeah, so there's there's a lot more

802
00:43:48,239 --> 00:43:50,040
Speaker 1: beefcake in the picture than I remember.

803
00:43:50,600 --> 00:43:53,960
Speaker 3: Yeah, it's it's a really really hunky scene. A lot

804
00:43:54,000 --> 00:43:56,160
Speaker 3: of hunks in this movie, a lot of honky activity,

805
00:43:57,360 --> 00:43:59,920
Speaker 3: and even Martin Short gets to participate in and be

806
00:44:00,080 --> 00:44:02,600
Speaker 3: a hunk a little bit later. One thing I think

807
00:44:02,600 --> 00:44:05,520
Speaker 3: it's important to point out here is that Lydia did

808
00:44:05,520 --> 00:44:08,520
Speaker 3: try to leave the night before and a drunk Tuck

809
00:44:08,800 --> 00:44:15,120
Speaker 3: blocked her exit. So big red flag there does it casually,

810
00:44:15,320 --> 00:44:18,840
Speaker 3: which shows again what a lithario this guy is and

811
00:44:19,200 --> 00:44:22,640
Speaker 3: maybe gives a little bit of insight into his character.

812
00:44:23,680 --> 00:44:28,480
Speaker 3: But he, either for concern for his well being or

813
00:44:28,520 --> 00:44:33,120
Speaker 3: because he is such a wooer, plays the old timy

814
00:44:33,120 --> 00:44:37,400
Speaker 3: song Cupid for Lydia, which I guess is their song,

815
00:44:37,719 --> 00:44:42,200
Speaker 3: and that convinces her maybe to stay the night. I

816
00:44:42,200 --> 00:44:44,080
Speaker 3: don't know that that's what does it, but to your point,

817
00:44:44,080 --> 00:44:46,399
Speaker 3: we see her leaving the next morning and trying to

818
00:44:46,600 --> 00:44:50,439
Speaker 3: get away for good, so it at least satisfied what

819
00:44:50,640 --> 00:44:53,120
Speaker 3: Tuck was trying to get at that night. But the

820
00:44:53,480 --> 00:44:55,440
Speaker 3: song Cupid comes back into play a little.

821
00:44:55,280 --> 00:44:58,279
Speaker 1: Bit later yes, that one will be important. Now at

822
00:44:58,320 --> 00:45:01,680
Speaker 1: this point we switch over to our other main character,

823
00:45:02,239 --> 00:45:05,520
Speaker 1: because here we have Jack Putter played by Martin Short,

824
00:45:06,400 --> 00:45:08,880
Speaker 1: in to see his doctor, and this is some pretty

825
00:45:08,880 --> 00:45:12,279
Speaker 1: fun character work with the guy playing the doctor is

826
00:45:12,320 --> 00:45:16,720
Speaker 1: William Shallart who lived nineteen twenty two through twenty sixteen,

827
00:45:16,760 --> 00:45:20,480
Speaker 1: who did a lot of TV shows. But basically we

828
00:45:21,040 --> 00:45:25,560
Speaker 1: catch on pretty quickly that Putter is a hypochondriac that's

829
00:45:25,560 --> 00:45:29,120
Speaker 1: coming in all the time. It's clearly dealing with a

830
00:45:29,160 --> 00:45:33,120
Speaker 1: lot of very serious anxiety issues regarding his work. And

831
00:45:33,160 --> 00:45:36,840
Speaker 1: he starts telling this story about what this nightmare he

832
00:45:36,960 --> 00:45:40,760
Speaker 1: keeps having that he's very concerned about, in which he

833
00:45:40,800 --> 00:45:45,680
Speaker 1: is hideously overcharging this woman at the checkout register at

834
00:45:45,680 --> 00:45:46,200
Speaker 1: the grocery.

835
00:45:47,120 --> 00:45:53,920
Speaker 3: Yeah, and the doctor's prognosis or prescription to this grocery

836
00:45:53,960 --> 00:45:58,040
Speaker 3: store clerk is you should simply go on a vacation. Yeah,

837
00:45:58,120 --> 00:46:01,760
Speaker 3: you should simply go on a lavish vac cation. Which

838
00:46:02,400 --> 00:46:05,239
Speaker 3: how times have changed. Really that that's just that's the

839
00:46:05,880 --> 00:46:06,640
Speaker 3: that's the direction.

840
00:46:07,320 --> 00:46:10,480
Speaker 1: Yeah, this guy's having a mental health crisis, like at

841
00:46:10,480 --> 00:46:13,000
Speaker 1: this point, like he's he he is having a very

842
00:46:13,000 --> 00:46:15,239
Speaker 1: hard time and it's just like here's a prescription for

843
00:46:15,280 --> 00:46:16,560
Speaker 1: a trip to Mexico.

844
00:46:16,560 --> 00:46:17,840
Speaker 3: Right, you can probably afford it.

845
00:46:18,320 --> 00:46:20,880
Speaker 1: Yeah, all right, So you know at this point, okay,

846
00:46:20,960 --> 00:46:23,840
Speaker 1: the pieces, the main pieces are on the table concerning

847
00:46:23,840 --> 00:46:26,600
Speaker 1: our protagonists. But then we got to get into the

848
00:46:26,960 --> 00:46:29,600
Speaker 1: real plot. How are we going to get miniaturization involved here?

849
00:46:29,680 --> 00:46:32,200
Speaker 1: So we pick up with Silicon Valley dudes stuck in

850
00:46:32,239 --> 00:46:36,000
Speaker 1: traffic discussing a project. We have one of the guys

851
00:46:36,040 --> 00:46:40,680
Speaker 1: from the Top Gun Academy graduation thing earlier, and it's

852
00:46:40,719 --> 00:46:43,720
Speaker 1: there he's like, well, who have you hired to pilot

853
00:46:43,760 --> 00:46:46,319
Speaker 1: this prototype or whatever? And they're like, oh, we got

854
00:46:46,320 --> 00:46:49,920
Speaker 1: Tuck Pendleton. We hear he's great, And this dude's like,

855
00:46:50,080 --> 00:46:54,640
Speaker 1: that doesn't sound too great for me to me, Tuck Pimpleton,

856
00:46:54,840 --> 00:46:57,440
Speaker 1: not a great get for whatever you do we're doing here.

857
00:46:58,840 --> 00:47:01,880
Speaker 1: And then we kind of like fast forward a bit

858
00:47:01,920 --> 00:47:05,480
Speaker 1: and then here's here's Tuck Pendleton getting ready to jump

859
00:47:05,520 --> 00:47:08,279
Speaker 1: into the We don't know yet it's going to be

860
00:47:08,320 --> 00:47:10,560
Speaker 1: a pod of some kind, but he's getting himself amped

861
00:47:10,640 --> 00:47:13,759
Speaker 1: up with slaps to the face as well as as

862
00:47:13,760 --> 00:47:16,320
Speaker 1: well as with a fair amount of inappropriate coworker flirting.

863
00:47:16,840 --> 00:47:19,880
Speaker 3: Yeah, it's really strange the way that he walks in,

864
00:47:21,040 --> 00:47:25,720
Speaker 3: I believe one of the scientists or tech workers kisses

865
00:47:25,800 --> 00:47:28,239
Speaker 3: him on the cheek. He doubles back and does a

866
00:47:28,239 --> 00:47:32,040
Speaker 3: full blown mouth kiss with her. Just a real again,

867
00:47:32,160 --> 00:47:38,200
Speaker 3: the Fario level of swagger coming into this test pilot job.

868
00:47:40,160 --> 00:47:42,319
Speaker 3: You know, while the Silicon Valley dudes were arguing in

869
00:47:42,360 --> 00:47:45,439
Speaker 3: the car, he was defending Tuck as being somebody who

870
00:47:45,440 --> 00:47:48,480
Speaker 3: did his homework and can do the job. And you

871
00:47:48,520 --> 00:47:51,920
Speaker 3: see that, Like, that's the duality that we get with him,

872
00:47:52,120 --> 00:47:55,000
Speaker 3: is that he is a mess in every other realm

873
00:47:55,000 --> 00:47:57,400
Speaker 3: of his life, but he's a good test pilot. He

874
00:47:57,480 --> 00:47:59,560
Speaker 3: might be a drunk test pilot, but he's a good

875
00:47:59,600 --> 00:48:03,120
Speaker 3: test and he reinforces that kind of on his walk in,

876
00:48:03,760 --> 00:48:06,360
Speaker 3: and once he gets into mind is down to business.

877
00:48:06,360 --> 00:48:08,680
Speaker 3: He knows exactly the right questions to ask, the right

878
00:48:08,719 --> 00:48:12,239
Speaker 3: things to check. He's the voice of authority.

879
00:48:12,480 --> 00:48:15,320
Speaker 1: And it becomes clear pretty quickly that what they're about

880
00:48:15,320 --> 00:48:16,879
Speaker 1: to do is he's going to get in this pod

881
00:48:17,040 --> 00:48:19,520
Speaker 1: that is pretty really cool looking, looks like a cross

882
00:48:19,560 --> 00:48:23,360
Speaker 1: between a submarine and some spaceship, and they're going to

883
00:48:23,400 --> 00:48:27,120
Speaker 1: miniaturize him and inject him into a rabbit. Now, one

884
00:48:27,120 --> 00:48:31,080
Speaker 1: would assume that this is there have been multiple phases

885
00:48:31,120 --> 00:48:34,600
Speaker 1: before this that they have tests, you know, unmanned miniaturization,

886
00:48:35,360 --> 00:48:40,800
Speaker 1: that they have tested manned miniaturization, and they've also injected

887
00:48:40,880 --> 00:48:45,680
Speaker 1: miniaturized objects into test animals, and that now we're only

888
00:48:45,719 --> 00:48:48,160
Speaker 1: finally getting to the point where they're going to send

889
00:48:48,200 --> 00:48:52,479
Speaker 1: in human being into a rabbit. But who knows, maybe

890
00:48:52,520 --> 00:48:56,080
Speaker 1: they're just really having to push this project along and

891
00:48:56,120 --> 00:48:57,960
Speaker 1: this is just test number one. I don't know.

892
00:48:58,600 --> 00:49:01,400
Speaker 3: Yeah, and this is where we learned reason that rabbits

893
00:49:01,400 --> 00:49:04,719
Speaker 3: were so prominent in his apartment, and I get it,

894
00:49:05,400 --> 00:49:08,239
Speaker 3: but all the rabbit stuff in his apartment was like

895
00:49:09,080 --> 00:49:12,560
Speaker 3: a fan of rabbits, not somebody who's studying rabbits intensely.

896
00:49:12,640 --> 00:49:15,080
Speaker 3: It's somebody who like bugs. Bunny is in there and

897
00:49:15,120 --> 00:49:18,920
Speaker 3: things like that. And so this guy likes rabbits a

898
00:49:18,920 --> 00:49:21,239
Speaker 3: lot more than he really needs to to perform his

899
00:49:21,320 --> 00:49:24,240
Speaker 3: scientific role of being inside of a rabbit.

900
00:49:24,719 --> 00:49:27,520
Speaker 1: Yeah, he's researching at the wrong scale.

901
00:49:27,560 --> 00:49:27,919
Speaker 3: I think.

902
00:49:29,400 --> 00:49:32,240
Speaker 1: Now, I do really love these scenes where he's getting

903
00:49:32,280 --> 00:49:35,360
Speaker 1: into the cockpit of the pod. I think feel like

904
00:49:35,400 --> 00:49:37,359
Speaker 1: this is all really well done. It has a great

905
00:49:37,440 --> 00:49:39,640
Speaker 1: textured and believable NASA feel to it.

906
00:49:39,719 --> 00:49:44,319
Speaker 3: You know, Yeah, it's a very busy, very eighties in

907
00:49:44,360 --> 00:49:47,200
Speaker 3: the sense that it feels cramped. There's so much machinery

908
00:49:47,840 --> 00:49:52,480
Speaker 3: on top of itself, and the space is not you know,

909
00:49:52,640 --> 00:49:58,040
Speaker 3: a designer friendly lab, which I think you'll see a

910
00:49:58,080 --> 00:50:00,680
Speaker 3: contrast to that later on in the movie, but here

911
00:50:00,719 --> 00:50:05,240
Speaker 3: it just seems like these guys are scientists. They're bleeding

912
00:50:05,320 --> 00:50:08,560
Speaker 3: edge R and D. And then once you see the

913
00:50:08,840 --> 00:50:11,040
Speaker 3: space that the pod is in, it's Mylar city in

914
00:50:11,080 --> 00:50:14,560
Speaker 3: the best way. There's that gold Nasa milar wrapping the

915
00:50:14,719 --> 00:50:17,520
Speaker 3: entire room. All of the reflections off of that mylar

916
00:50:17,560 --> 00:50:20,200
Speaker 3: are heightening the effect. It's really really perfect.

917
00:50:20,600 --> 00:50:23,239
Speaker 1: Yeah, you can get and then inside and outside you

918
00:50:23,280 --> 00:50:27,440
Speaker 1: have like all these pixelated computer screens, video feeds. I

919
00:50:27,440 --> 00:50:29,880
Speaker 1: feel like there are more robot arms and whatever robot

920
00:50:29,920 --> 00:50:33,759
Speaker 1: arms are up to. So yeah, it all feels very real.

921
00:50:34,239 --> 00:50:35,560
Speaker 1: Love the look of all of this, and I feel

922
00:50:35,600 --> 00:50:38,520
Speaker 1: like it's aged really well and in a way that's

923
00:50:38,640 --> 00:50:41,120
Speaker 1: something that non analog wouldn't have, you know, if it

924
00:50:41,160 --> 00:50:43,840
Speaker 1: was all touch screens and you know, next generation stuff.

925
00:50:44,120 --> 00:50:46,600
Speaker 3: Yeah, there's a little bit of what you could arguably

926
00:50:46,640 --> 00:50:50,120
Speaker 3: say as a Hokier design tactic or effects tactic. That

927
00:50:50,880 --> 00:50:57,040
Speaker 3: has lights superimposed on the pod while it's being miniaturized.

928
00:50:57,960 --> 00:51:01,520
Speaker 3: It looks a little bit and off compared to all

929
00:51:01,560 --> 00:51:04,479
Speaker 3: of the other effects work that's going on, but again

930
00:51:04,520 --> 00:51:06,600
Speaker 3: it works. It's in that milar space. It's supposed to

931
00:51:06,640 --> 00:51:10,879
Speaker 3: be crackling and electrifying, similar to how the DeLorean does

932
00:51:10,960 --> 00:51:13,319
Speaker 3: right before it's about to jump through time, and so

933
00:51:13,440 --> 00:51:16,160
Speaker 3: it works. It's just a little bit lower five than

934
00:51:16,200 --> 00:51:18,359
Speaker 3: some of the other stuff we see, and they.

935
00:51:18,320 --> 00:51:21,560
Speaker 1: Seem to pull it off. They spin the thing around

936
00:51:21,600 --> 00:51:24,960
Speaker 1: in a centrifuge. They shrink it down to size. Now

937
00:51:25,000 --> 00:51:27,839
Speaker 1: the pod is this tiny speck inside of a syringe.

938
00:51:28,080 --> 00:51:30,480
Speaker 1: They use a magnification effect to take a look at it.

939
00:51:30,520 --> 00:51:34,000
Speaker 1: The lead doctor does. But you know that something is

940
00:51:34,040 --> 00:51:37,200
Speaker 1: going to shake things up, and that takes the form

941
00:51:37,320 --> 00:51:41,480
Speaker 1: of an attack by gas mask wearing goons. They come

942
00:51:41,480 --> 00:51:44,120
Speaker 1: in with an acid key card to like short out

943
00:51:44,160 --> 00:51:47,280
Speaker 1: the lock, and they're clearly trying to take over the operation.

944
00:51:48,080 --> 00:51:51,719
Speaker 3: Yeah. The thing I love about this takeover is that

945
00:51:51,800 --> 00:51:54,920
Speaker 3: they got these gas masks, but they're not flooding the

946
00:51:54,960 --> 00:51:58,760
Speaker 3: space with gas. They're using a fire extinguisher type device

947
00:51:59,080 --> 00:52:02,400
Speaker 3: to point the gas set. Somebody shoot a blast of

948
00:52:02,440 --> 00:52:05,320
Speaker 3: gas directly at them so that only that person is

949
00:52:05,400 --> 00:52:09,200
Speaker 3: knocked out by it, which is genius, Like, yeah, that's

950
00:52:09,239 --> 00:52:12,799
Speaker 3: how gas warfare would be, should be. I am not

951
00:52:12,880 --> 00:52:17,279
Speaker 3: advocating for gas warfare, but I were, that's how you

952
00:52:17,280 --> 00:52:18,040
Speaker 3: would do it.

953
00:52:18,480 --> 00:52:21,440
Speaker 1: They have a pretty non violent approach, like they're clearly

954
00:52:21,480 --> 00:52:24,760
Speaker 1: trying to cut down on casualties, though they do punch

955
00:52:24,760 --> 00:52:27,160
Speaker 1: a few people, which seems uncalled for if you have

956
00:52:27,200 --> 00:52:30,080
Speaker 1: those great gas cannons on hand. But still they quickly

957
00:52:30,120 --> 00:52:31,919
Speaker 1: take over things, and this is where we first see

958
00:52:32,280 --> 00:52:37,080
Speaker 1: Fiona Lewis's doctor Kinker taking control of the computers. There.

959
00:52:37,920 --> 00:52:42,000
Speaker 3: That's right. Clearly the bad guys have invaded this space,

960
00:52:42,840 --> 00:52:46,480
Speaker 3: but I did it did occur to me at this moment.

961
00:52:47,480 --> 00:52:50,680
Speaker 3: Were the other guys the good guys? I don't know

962
00:52:50,760 --> 00:52:54,240
Speaker 3: what the purpose of this project was. They don't really

963
00:52:54,280 --> 00:52:57,480
Speaker 3: state what they're going to do after they've successfully completed

964
00:52:57,480 --> 00:53:01,279
Speaker 3: the Rabbit project, but we're just supposed to assume that

965
00:53:01,320 --> 00:53:04,839
Speaker 3: their intentions were good. These guys' intentions were bad. And

966
00:53:04,880 --> 00:53:07,080
Speaker 3: I think you know, I mentioned that Gremlins was trying

967
00:53:07,080 --> 00:53:08,640
Speaker 3: to tell you a message in this movie is not

968
00:53:08,960 --> 00:53:10,840
Speaker 3: Maybe this movie is trying to tell you a message

969
00:53:10,840 --> 00:53:17,160
Speaker 3: about early Silicon Valley tech espionage and that it's really

970
00:53:17,200 --> 00:53:20,080
Speaker 3: just bad guys versus bad guys, and it's a question

971
00:53:20,160 --> 00:53:21,840
Speaker 3: of which one are you rooting for.

972
00:53:22,480 --> 00:53:25,560
Speaker 1: I did have a fun time trying to piece together

973
00:53:25,920 --> 00:53:28,880
Speaker 1: like the intended endpoint for this research, and we can

974
00:53:28,960 --> 00:53:30,920
Speaker 1: we can kind of feel it out a little bit

975
00:53:30,960 --> 00:53:33,960
Speaker 1: by seeing the capabilities of the pod. So the pod

976
00:53:34,480 --> 00:53:39,799
Speaker 1: allows the pilot to ultimately see and hear through the

977
00:53:39,800 --> 00:53:43,080
Speaker 1: host and or communicate with them, though I guess that

978
00:53:43,080 --> 00:53:47,840
Speaker 1: that's not necessary, and then also deliver a powerful electromagnetic

979
00:53:47,880 --> 00:53:51,880
Speaker 1: pulse that can like destroy electronics within a short term radius.

980
00:53:52,360 --> 00:53:54,319
Speaker 1: And so it seemed to me I was like, Okay,

981
00:53:54,360 --> 00:53:56,719
Speaker 1: I can imagine that this is building up maybe to

982
00:53:56,960 --> 00:53:59,960
Speaker 1: having a human pilot a rat into a sensitive environment

983
00:54:00,120 --> 00:54:03,320
Speaker 1: and then set off that pulse, or of course, ultimately

984
00:54:03,480 --> 00:54:08,160
Speaker 1: to some extent, like is planting a spy inside of

985
00:54:08,160 --> 00:54:12,760
Speaker 1: a human being and potentially doing that electromagnetic pulse elsewhere.

986
00:54:12,800 --> 00:54:15,560
Speaker 1: But oh then we see other capabilities that shake things

987
00:54:15,640 --> 00:54:17,320
Speaker 1: up even more, which we'll get do later.

988
00:54:17,920 --> 00:54:20,520
Speaker 3: Yeah. I think it's probably says more about me than

989
00:54:20,520 --> 00:54:23,600
Speaker 3: it does about the movie. But every application of this technology,

990
00:54:23,640 --> 00:54:25,680
Speaker 3: I could think of was a really dark and depressing

991
00:54:25,719 --> 00:54:31,840
Speaker 3: one that used another living being as a vessel to

992
00:54:31,960 --> 00:54:37,160
Speaker 3: achieve something via a smaller human being inside of that

993
00:54:37,280 --> 00:54:41,480
Speaker 3: vessel that might be small enough to escape whatever situation

994
00:54:41,840 --> 00:54:43,759
Speaker 3: it's putting the larger vessel into.

995
00:54:44,080 --> 00:54:46,840
Speaker 1: Yeah, I mean they kind of They definitely allude to

996
00:54:46,920 --> 00:54:50,319
Speaker 1: these espionage applications, but they never even once hint at

997
00:54:50,360 --> 00:54:53,200
Speaker 1: a medical application, not directly. I mean, there are a

998
00:54:53,200 --> 00:54:55,319
Speaker 1: couple of jokes, but for the most part, Yeah, the

999
00:54:55,360 --> 00:54:57,239
Speaker 1: idea that you would have a little submarine inside of

1000
00:54:57,239 --> 00:55:00,000
Speaker 1: person is not even explored. Is a medical breakthrough here?

1001
00:55:00,400 --> 00:55:05,160
Speaker 3: Well, Tuck casually turns Putter into we're getting ahead of ourselves,

1002
00:55:05,200 --> 00:55:08,360
Speaker 3: but he casually turns them into like a superhuman. Yeah,

1003
00:55:08,440 --> 00:55:11,480
Speaker 3: because it's convenient for that scene. So the technology is

1004
00:55:11,640 --> 00:55:13,880
Speaker 3: very easy to do once you're in there, apparently.

1005
00:55:14,400 --> 00:55:16,440
Speaker 1: Yeah, once you're inside at that scale, you can do

1006
00:55:16,480 --> 00:55:20,000
Speaker 1: anything you want, change faces up, cure diseases, I guess,

1007
00:55:20,640 --> 00:55:23,120
Speaker 1: but also make computers explode, and that seems to be

1008
00:55:23,160 --> 00:55:35,600
Speaker 1: the prime focus here. All Right, So what happens? Okay,

1009
00:55:35,680 --> 00:55:37,920
Speaker 1: so we have the ministure I sub it's in a syringe.

1010
00:55:37,920 --> 00:55:40,160
Speaker 1: They were going to inject it into the rabbit. But

1011
00:55:40,200 --> 00:55:43,200
Speaker 1: then all hell breaks loose. The doc, the main doctor here,

1012
00:55:43,360 --> 00:55:48,920
Speaker 1: escapes with the syringe, and then our villain, doctor Canker,

1013
00:55:49,160 --> 00:55:53,080
Speaker 1: calls for mister Igo to chase after him. So we

1014
00:55:53,120 --> 00:55:55,839
Speaker 1: get this big car bike chase, a number of big

1015
00:55:55,920 --> 00:55:58,480
Speaker 1: chase scenes that take place in the picture. On all

1016
00:55:58,520 --> 00:56:00,960
Speaker 1: heads to the mall and hey, that is where Jack

1017
00:56:01,239 --> 00:56:03,840
Speaker 1: is trying to book relaxing vacation, and I think you

1018
00:56:03,880 --> 00:56:05,360
Speaker 1: know where all this is going to come together.

1019
00:56:05,960 --> 00:56:07,920
Speaker 3: Yeah, and I just got to say, this car chase

1020
00:56:08,320 --> 00:56:13,040
Speaker 3: on the freeway again, way more elaborate, way more action packed,

1021
00:56:13,120 --> 00:56:16,000
Speaker 3: way more elegant than it needs to be. It could

1022
00:56:16,000 --> 00:56:18,239
Speaker 3: have been a quick shot that gets you to the mall,

1023
00:56:18,920 --> 00:56:23,479
Speaker 3: but it's really fun. And there are convertibles, there are

1024
00:56:23,640 --> 00:56:27,120
Speaker 3: this is actually happening on a busy freeway. It's really

1025
00:56:27,160 --> 00:56:29,239
Speaker 3: really exciting. Yeah.

1026
00:56:29,280 --> 00:56:31,040
Speaker 1: And then yeah, we get to the mall, Mister I

1027
00:56:31,120 --> 00:56:33,800
Speaker 1: goes using He's is the finger gun, which I remember

1028
00:56:33,960 --> 00:56:35,560
Speaker 1: just thinking was super cool when I was a kid,

1029
00:56:35,880 --> 00:56:38,640
Speaker 1: This crazy robot hand of his that he can make

1030
00:56:38,680 --> 00:56:40,600
Speaker 1: the make the finger guns and then actually fire the

1031
00:56:40,600 --> 00:56:41,160
Speaker 1: finger gun.

1032
00:56:41,880 --> 00:56:46,000
Speaker 3: Yeah, it's very inspector gadgety in the way that the

1033
00:56:46,040 --> 00:56:48,560
Speaker 3: tip of the finger kind of comes off to reveal

1034
00:56:48,600 --> 00:56:52,120
Speaker 3: the gun. But I mean, aside from that, like malls,

1035
00:56:52,560 --> 00:56:56,480
Speaker 3: this mall in particular, this is the height of malls

1036
00:56:57,400 --> 00:57:00,600
Speaker 3: at nineteen eighty nine. You know, you get not just

1037
00:57:00,640 --> 00:57:03,480
Speaker 3: a really busy, active, vibrant mall. You get one that's

1038
00:57:03,480 --> 00:57:08,080
Speaker 3: got mascots walking around, giving away or selling balloons, a

1039
00:57:08,120 --> 00:57:13,160
Speaker 3: lot of strange things happening for the scientist and mister

1040
00:57:13,280 --> 00:57:16,480
Speaker 3: Igo to disrupt from this chase, you know, they're really

1041
00:57:16,560 --> 00:57:18,600
Speaker 3: knocking a lot of people out of the way, ruining

1042
00:57:18,640 --> 00:57:21,280
Speaker 3: a lot of these mascots days. One of the mascots

1043
00:57:21,320 --> 00:57:23,600
Speaker 3: is a penguin who's giving away balloons to a pair

1044
00:57:23,680 --> 00:57:27,520
Speaker 3: of nuns, which is a very very funny visual throwaway.

1045
00:57:27,640 --> 00:57:31,920
Speaker 1: Yeah yeah, this whole sequence is feels very Joe Dante,

1046
00:57:32,040 --> 00:57:34,720
Speaker 1: like the bit where the doctor with the syringe. He

1047
00:57:34,760 --> 00:57:39,360
Speaker 1: ends up injecting Martin short in the buttock and then

1048
00:57:39,640 --> 00:57:43,320
Speaker 1: falls into the arms of three or four different mascots

1049
00:57:43,360 --> 00:57:47,440
Speaker 1: and dies and we get that hazy POV of him

1050
00:57:47,440 --> 00:57:49,840
Speaker 1: looking up at the mascots looming over him.

1051
00:57:50,240 --> 00:57:51,720
Speaker 3: Yeah. Fantastic.

1052
00:57:53,040 --> 00:58:00,880
Speaker 1: So at this point we have miniaturized Pendleton tuck of

1053
00:58:01,000 --> 00:58:06,560
Speaker 1: full sized Jack Martin short and that and we're off

1054
00:58:06,600 --> 00:58:08,080
Speaker 1: to the race. It's like, this is the this is

1055
00:58:08,080 --> 00:58:10,080
Speaker 1: the plot. It's we're going to get into this whole

1056
00:58:10,120 --> 00:58:14,680
Speaker 1: situation of how does Pendleton make Jack aware of his

1057
00:58:14,720 --> 00:58:17,680
Speaker 1: presence inside him? What kind of gadgets are going to

1058
00:58:17,680 --> 00:58:20,480
Speaker 1: allow that to happen? And then how are they going

1059
00:58:20,560 --> 00:58:22,560
Speaker 1: to figure out, you know, what sort of plot is

1060
00:58:22,600 --> 00:58:25,080
Speaker 1: going on, and how they're going to maneuver their way

1061
00:58:25,080 --> 00:58:25,520
Speaker 1: out of it.

1062
00:58:26,480 --> 00:58:30,760
Speaker 3: Yeah, I you know, throughout this whole. Basically from this

1063
00:58:30,920 --> 00:58:34,439
Speaker 3: point on, I have a tough time reconciling how big

1064
00:58:34,520 --> 00:58:36,880
Speaker 3: Tuck and the pod are supposed to be inside of

1065
00:58:36,920 --> 00:58:41,360
Speaker 3: the syringe and inside of Martin George's or Putter's body.

1066
00:58:41,560 --> 00:58:45,280
Speaker 3: The there are points at which the action is high

1067
00:58:45,920 --> 00:58:49,120
Speaker 3: and the pot is shaken around, so it's like, oh,

1068
00:58:49,160 --> 00:58:51,280
Speaker 3: so you must be big enough to be like moving,

1069
00:58:51,440 --> 00:58:54,880
Speaker 3: to be moved along by by the motions of the body.

1070
00:58:55,400 --> 00:58:58,520
Speaker 3: But then there are points where Tuck is so so

1071
00:58:58,520 --> 00:59:01,120
Speaker 3: so small that he and get through. He's at the

1072
00:59:01,240 --> 00:59:05,240
Speaker 3: atomic level to where he wouldn't be impacted by these

1073
00:59:05,280 --> 00:59:07,200
Speaker 3: other things. And this is me trying to apply my

1074
00:59:07,360 --> 00:59:11,000
Speaker 3: people outside and like trying to unsuspend my disbelief and

1075
00:59:11,040 --> 00:59:15,919
Speaker 3: pick it apart. But they do lean on just he's

1076
00:59:15,960 --> 00:59:18,960
Speaker 3: just small enough, Okay, They lean on you to just

1077
00:59:19,040 --> 00:59:21,320
Speaker 3: accept that fact and just go along for the ride. Yeah,

1078
00:59:21,360 --> 00:59:22,000
Speaker 3: I'm happy to do.

1079
00:59:22,720 --> 00:59:24,680
Speaker 1: The pod is as small or as large as the

1080
00:59:24,720 --> 00:59:27,360
Speaker 1: plot requires it to be. Can it be grabbed with

1081
00:59:27,360 --> 00:59:28,640
Speaker 1: a pair of tweezers? Yes?

1082
00:59:28,960 --> 00:59:29,160
Speaker 3: Can it?

1083
00:59:29,560 --> 00:59:31,960
Speaker 1: Can it cut its way through the wall of an

1084
00:59:32,040 --> 00:59:35,840
Speaker 1: artery without causing any kind of trouble inside the body? Absolutely?

1085
00:59:38,120 --> 00:59:40,280
Speaker 1: All right, So at this point we're gonna we're gonna

1086
00:59:40,280 --> 00:59:43,040
Speaker 1: proceed with like a little less attention to every little

1087
00:59:43,040 --> 00:59:45,720
Speaker 1: detail here, but we want to talk, certainly in broad

1088
00:59:45,760 --> 00:59:49,720
Speaker 1: strokes about like the central piece of technology here, the pod.

1089
00:59:50,320 --> 00:59:53,360
Speaker 1: I definitely want to talk about the love triangle and

1090
00:59:53,520 --> 00:59:56,480
Speaker 1: the big finale and any other moments that stand out

1091
00:59:56,520 --> 00:59:59,880
Speaker 1: to us. But yeah, the big, the big thing of

1092
01:00:00,000 --> 01:00:01,640
Speaker 1: about the pod, and this was something that you know

1093
01:00:01,680 --> 01:00:03,800
Speaker 1: I loved as a kid, is that we get like

1094
01:00:03,840 --> 01:00:09,080
Speaker 1: this this first contact between Tuck Pendleton and Jack where

1095
01:00:09,440 --> 01:00:11,720
Speaker 1: you know you can use well, For first of all,

1096
01:00:11,720 --> 01:00:14,880
Speaker 1: he uses a device like fires a harpoon into the

1097
01:00:14,880 --> 01:00:16,800
Speaker 1: inside of his eyes so that he can see out

1098
01:00:16,800 --> 01:00:20,320
Speaker 1: of his his eyes see what Jack sees, and then

1099
01:00:20,400 --> 01:00:24,320
Speaker 1: later he also uses some sort of a harpoon type

1100
01:00:24,320 --> 01:00:27,000
Speaker 1: device inside of his ear so that he can hear

1101
01:00:27,080 --> 01:00:30,760
Speaker 1: him as well. And then at that point, like Tuck

1102
01:00:30,800 --> 01:00:33,640
Speaker 1: Pendleton is just completely jacked into the whole system. He

1103
01:00:33,640 --> 01:00:35,920
Speaker 1: can do all sorts of things as we'll see. You know,

1104
01:00:35,960 --> 01:00:40,640
Speaker 1: he can he can adjust like is adrenaline and then

1105
01:00:40,840 --> 01:00:45,200
Speaker 1: ultimately change his face. One of them really in addition

1106
01:00:45,240 --> 01:00:49,320
Speaker 1: to the electro magnetic pulse thing, changing his face, shifting

1107
01:00:49,360 --> 01:00:52,880
Speaker 1: his face into the face of another person, Well, that

1108
01:00:52,920 --> 01:00:55,040
Speaker 1: one really up the ante here. It's like, Wow, he

1109
01:00:55,080 --> 01:00:56,160
Speaker 1: can do anything in there.

1110
01:00:56,840 --> 01:01:01,160
Speaker 3: That one is more okay. I feel like the effects

1111
01:01:01,160 --> 01:01:05,800
Speaker 3: of hooking into the eye looked painful, and you know

1112
01:01:05,920 --> 01:01:09,560
Speaker 3: that's an effects success as far as I'm concerned. Same

1113
01:01:09,600 --> 01:01:12,360
Speaker 3: with the ear, but those all seem like I could

1114
01:01:12,360 --> 01:01:15,000
Speaker 3: wrap my head around those. And then yeah, he changes

1115
01:01:15,040 --> 01:01:17,200
Speaker 3: his face, which it's like, I feel like you need

1116
01:01:17,240 --> 01:01:20,360
Speaker 3: outside pieces to do that. You're not just read or

1117
01:01:20,440 --> 01:01:23,680
Speaker 3: rearranging cells at that point. You know, you're trying to

1118
01:01:23,720 --> 01:01:27,160
Speaker 3: take on an appearance and give a hair color and

1119
01:01:27,200 --> 01:01:29,640
Speaker 3: a hair consistency that he doesn't or I guess he

1120
01:01:29,680 --> 01:01:32,680
Speaker 3: had his original hair or he had Jack's hair. Still,

1121
01:01:34,680 --> 01:01:38,480
Speaker 3: but it just seemed like a huge leap of technology

1122
01:01:38,520 --> 01:01:40,360
Speaker 3: to be able to do that, and all of a

1123
01:01:40,360 --> 01:01:44,680
Speaker 3: sudden Tuck knows how to do this. Yeah, this is

1124
01:01:44,680 --> 01:01:47,760
Speaker 3: his first voyage too, or maybe not maybe his was

1125
01:01:47,800 --> 01:01:48,640
Speaker 3: it his first voice?

1126
01:01:48,680 --> 01:01:51,120
Speaker 1: Well, he was planning for rabbits, so he should if anything,

1127
01:01:51,200 --> 01:01:55,200
Speaker 1: he should be okay, but not particularly experienced with shifting

1128
01:01:55,280 --> 01:01:58,120
Speaker 1: rabbit faces around it. But a full blown Martin short

1129
01:01:58,160 --> 01:01:59,560
Speaker 1: face that seems like a lot.

1130
01:02:00,120 --> 01:02:01,840
Speaker 3: Yeah, he should have been able to turn the rabbit

1131
01:02:01,880 --> 01:02:05,480
Speaker 3: into the cowboy. Yeah, but not Jack Putter into the cowboy.

1132
01:02:05,560 --> 01:02:09,040
Speaker 1: Yeah, because that's a very expressive face to change into

1133
01:02:09,080 --> 01:02:11,800
Speaker 1: another very expressive face. You need something a little plainer,

1134
01:02:11,880 --> 01:02:13,960
Speaker 1: I think for your first big hurrah.

1135
01:02:14,000 --> 01:02:18,400
Speaker 3: Exactly exactly. I think, you know, I blame this movie

1136
01:02:18,680 --> 01:02:21,840
Speaker 3: as a child for my impression that I still have today,

1137
01:02:22,520 --> 01:02:25,400
Speaker 3: where my instinct is that there's a lot of empty

1138
01:02:25,400 --> 01:02:28,840
Speaker 3: space in the human body, and you can travel between

1139
01:02:28,880 --> 01:02:32,000
Speaker 3: the organs with you know, the same way that you're

1140
01:02:32,040 --> 01:02:34,880
Speaker 3: traveling between planets and the Solar System, that there's just

1141
01:02:34,920 --> 01:02:37,720
Speaker 3: a lot of dead space there, which is not true.

1142
01:02:37,800 --> 01:02:41,600
Speaker 3: Anybody who's seen a diagram of what's going on inside

1143
01:02:41,600 --> 01:02:45,360
Speaker 3: a human body knows how just packed together absolutely everything is.

1144
01:02:45,800 --> 01:02:50,520
Speaker 3: But my child mind saw the human body as spacious,

1145
01:02:51,520 --> 01:02:55,960
Speaker 3: well lit, lots of areas between your vital organs that

1146
01:02:56,000 --> 01:02:58,480
Speaker 3: you could just kind of hang out in and fly between.

1147
01:02:58,840 --> 01:03:00,600
Speaker 1: Yeah, he's inner space, inner goop.

1148
01:03:01,200 --> 01:03:04,120
Speaker 3: That's right, exactly exactly, and the title yeah supports that

1149
01:03:04,280 --> 01:03:06,960
Speaker 3: backs that up. I will say that I don't know

1150
01:03:07,000 --> 01:03:08,840
Speaker 3: how big or small this pod is. I'm ready to

1151
01:03:09,200 --> 01:03:12,200
Speaker 3: move away from that gripe. But he's able to get

1152
01:03:12,240 --> 01:03:13,680
Speaker 3: around that body real fast.

1153
01:03:14,080 --> 01:03:17,080
Speaker 1: Oh yeah, Like he starts off in the buttock and

1154
01:03:17,200 --> 01:03:21,680
Speaker 1: is almost immediately at the optic nerves. Maybe they cut something,

1155
01:03:21,960 --> 01:03:24,480
Speaker 1: but maybe he also he is just like firing through

1156
01:03:24,480 --> 01:03:25,360
Speaker 1: those blood vessels.

1157
01:03:25,720 --> 01:03:28,959
Speaker 3: Yeah, he gets into blood vessels and somehow is able

1158
01:03:29,000 --> 01:03:31,440
Speaker 3: to because it seems like a blood vessel is like

1159
01:03:31,440 --> 01:03:35,080
Speaker 3: a highway. Like the vessel goes to one part of

1160
01:03:35,080 --> 01:03:37,120
Speaker 3: your body and maybe has some off ramps on the

1161
01:03:37,120 --> 01:03:42,200
Speaker 3: way there, but you don't have full agency of where

1162
01:03:42,200 --> 01:03:44,560
Speaker 3: else to go in the body unless you kareene out

1163
01:03:44,600 --> 01:03:47,600
Speaker 3: of that blood vessel, which you're gonna start causing damage

1164
01:03:47,600 --> 01:03:49,160
Speaker 3: to your host at that point.

1165
01:03:49,760 --> 01:03:53,480
Speaker 1: Yeah, he does make the host uncomfortable at times. There's

1166
01:03:53,520 --> 01:03:55,480
Speaker 1: some related symptoms.

1167
01:03:56,240 --> 01:03:59,880
Speaker 3: I'm shocked that Martin Short did not display any sort

1168
01:03:59,920 --> 01:04:02,760
Speaker 3: of existential I mean, he had some existential dread at

1169
01:04:02,800 --> 01:04:05,600
Speaker 3: the beginning before he realized that there was a pod

1170
01:04:05,640 --> 01:04:09,240
Speaker 3: inside of him. To me, that would have just heightened

1171
01:04:09,280 --> 01:04:13,760
Speaker 3: the existential dread that there's now something, an actual thing

1172
01:04:14,000 --> 01:04:16,880
Speaker 3: inside of me that's talking to me and manipulating my

1173
01:04:16,960 --> 01:04:19,720
Speaker 3: body without me being able to stop it, if I,

1174
01:04:19,880 --> 01:04:20,640
Speaker 3: if I wanted to.

1175
01:04:21,160 --> 01:04:24,120
Speaker 1: Now some important plot stuff that you mentioned too, is

1176
01:04:24,120 --> 01:04:28,320
Speaker 1: that eventually Okay, Well, first of all, character wise, Jack

1177
01:04:28,520 --> 01:04:32,120
Speaker 1: and Pendleton, Jack and Tuck, they come together, they end

1178
01:04:32,240 --> 01:04:36,000
Speaker 1: up bonding over things like it becomes a very close relationship,

1179
01:04:36,040 --> 01:04:38,680
Speaker 1: not only because one is literally inside of the other,

1180
01:04:40,240 --> 01:04:43,760
Speaker 1: but but you know, they're they're the only people who

1181
01:04:43,760 --> 01:04:45,480
Speaker 1: can talk to each other, you know, they can They

1182
01:04:45,480 --> 01:04:48,720
Speaker 1: have this this very intimate relationship, which I think the

1183
01:04:48,760 --> 01:04:51,160
Speaker 1: movie does a good good job with, you know, building

1184
01:04:51,240 --> 01:04:53,640
Speaker 1: this relationship between the two. And then of course is

1185
01:04:53,680 --> 01:04:56,560
Speaker 1: ultimately going to introduce Meg Ryan's character Lydia, And then

1186
01:04:56,600 --> 01:04:58,720
Speaker 1: this is where we're gonna end up with this love triangle,

1187
01:04:58,720 --> 01:05:01,160
Speaker 1: which I have to say is one of the stranger

1188
01:05:01,240 --> 01:05:05,080
Speaker 1: love triangles I've ever seen, because again we have Jack

1189
01:05:05,720 --> 01:05:09,760
Speaker 1: in large, we have Tuck in small. She is Tuck's X.

1190
01:05:10,280 --> 01:05:16,280
Speaker 1: Tuck ends up essentially being like the romance whisperer for Jack,

1191
01:05:16,600 --> 01:05:21,640
Speaker 1: helping him to pursue his ex at the same time

1192
01:05:21,880 --> 01:05:25,800
Speaker 1: like he still has feelings for Lydia and they and

1193
01:05:25,840 --> 01:05:28,840
Speaker 1: also Lydia, I'm sorry. Also Jack and Tuck end up

1194
01:05:28,920 --> 01:05:32,760
Speaker 1: kind of bunding butting heads over this as well. It's

1195
01:05:32,800 --> 01:05:37,320
Speaker 1: it's bizarre and and and at the same time was

1196
01:05:37,360 --> 01:05:40,320
Speaker 1: completely lost on me as a kid. But it has

1197
01:05:40,360 --> 01:05:42,160
Speaker 1: to be one of the stranger love triangles I've ever

1198
01:05:42,160 --> 01:05:42,880
Speaker 1: seen in a picture.

1199
01:05:43,520 --> 01:05:46,120
Speaker 3: Yeah, it's tricky because you don't really get a clear

1200
01:05:46,160 --> 01:05:51,440
Speaker 3: picture of what Jack's steaks are and emotionally, and I

1201
01:05:51,480 --> 01:05:53,760
Speaker 3: mean you get you get the idea of his physical stakes,

1202
01:05:54,360 --> 01:05:59,280
Speaker 3: but you don't know he's obviously attracted to Lydia, but

1203
01:06:01,560 --> 01:06:05,560
Speaker 3: he's characterized as somebody who does not need a lot

1204
01:06:05,600 --> 01:06:09,040
Speaker 3: of convincing to help Tuck out. And sure that's motivated

1205
01:06:09,120 --> 01:06:11,040
Speaker 3: by the fact that Tuck is in his body and

1206
01:06:11,080 --> 01:06:13,920
Speaker 3: he and Tuck needs him, and maybe that is something

1207
01:06:13,920 --> 01:06:17,160
Speaker 3: that Jack wants as well as somebody to need him

1208
01:06:17,280 --> 01:06:21,600
Speaker 3: or need his help. But he's pretty willing both motivated

1209
01:06:21,640 --> 01:06:27,080
Speaker 3: by fear of the spies catching up to him, trying

1210
01:06:27,120 --> 01:06:30,440
Speaker 3: to get Tuck out of him their way, which is

1211
01:06:30,520 --> 01:06:33,000
Speaker 3: going to be ugly, trying to find a better way

1212
01:06:33,080 --> 01:06:35,280
Speaker 3: to do that, but also trying to help him, like

1213
01:06:35,280 --> 01:06:41,640
Speaker 3: you say, romantically convinced Lydia to trust him and to

1214
01:06:41,720 --> 01:06:45,880
Speaker 3: trust that Tuck needs her help as well. It's really

1215
01:06:45,920 --> 01:06:49,920
Speaker 3: interesting and kind of puts Jack in the middle in

1216
01:06:49,960 --> 01:06:54,760
Speaker 3: a way that supports kind of his warming warm he

1217
01:06:54,840 --> 01:06:58,000
Speaker 3: is not the right word, but the fact that people

1218
01:06:58,040 --> 01:07:01,280
Speaker 3: push him around on a regular basis. He's kind of

1219
01:07:01,320 --> 01:07:06,240
Speaker 3: being moved around as well, emotionally and not just physically

1220
01:07:06,240 --> 01:07:08,480
Speaker 3: the way that Tuck is doing to him with the pod.

1221
01:07:09,160 --> 01:07:11,760
Speaker 3: But I do think we've got a ticking clock here

1222
01:07:11,800 --> 01:07:14,840
Speaker 3: that we didn't speak about, which is tux oxygen is

1223
01:07:14,920 --> 01:07:15,360
Speaker 3: running out.

1224
01:07:15,440 --> 01:07:19,640
Speaker 1: Oh yes, yes, that's the pot Tuck. You guys running out.

1225
01:07:19,800 --> 01:07:21,920
Speaker 1: He's eventually going to die in there if he doesn't

1226
01:07:21,920 --> 01:07:23,200
Speaker 1: get out right.

1227
01:07:23,240 --> 01:07:26,600
Speaker 3: So you've got ticking clock a which is there's these

1228
01:07:26,640 --> 01:07:29,080
Speaker 3: guys on your tail that you don't want them to

1229
01:07:29,080 --> 01:07:31,560
Speaker 3: catch you because they're happy to kill Jack to get

1230
01:07:31,600 --> 01:07:34,240
Speaker 3: Tuck out of him if they need to. B If

1231
01:07:34,280 --> 01:07:37,720
Speaker 3: you want Tuck to succeed at again, whatever he's doing,

1232
01:07:38,520 --> 01:07:43,160
Speaker 3: you need to get back to the Good Lab quote

1233
01:07:43,240 --> 01:07:46,480
Speaker 3: unquote good Lab before tucks oxygen runs out and it

1234
01:07:46,520 --> 01:07:50,360
Speaker 3: gets real close and then you somehow have to save

1235
01:07:50,640 --> 01:07:54,520
Speaker 3: Tuck and Lydia's relationship. That's the sea ticking clock.

1236
01:07:55,000 --> 01:07:57,320
Speaker 1: Yeah, we also learn that there are like two little

1237
01:07:57,400 --> 01:08:00,200
Speaker 1: chips that are involved in the miniaturization process. There are

1238
01:08:00,200 --> 01:08:03,120
Speaker 1: other groups out there who have been working on miniaturization

1239
01:08:03,200 --> 01:08:08,600
Speaker 1: and they can miniaturize things, but apparently relargifying things is

1240
01:08:08,640 --> 01:08:10,680
Speaker 1: the hard part, and that's where you need both chips.

1241
01:08:10,720 --> 01:08:12,600
Speaker 1: The chip that is out here in the full sized

1242
01:08:12,640 --> 01:08:15,280
Speaker 1: world and the chip that is now on that pod

1243
01:08:15,680 --> 01:08:18,320
Speaker 1: inside of Jack's body. And so that's what the bad

1244
01:08:18,360 --> 01:08:21,080
Speaker 1: guys want. They need to get that chip off of

1245
01:08:21,120 --> 01:08:25,280
Speaker 1: that pod, and as we'll learn, they'll do anything in

1246
01:08:25,320 --> 01:08:27,120
Speaker 1: their power to do so.

1247
01:08:27,120 --> 01:08:31,320
Speaker 3: So that's where Robert Piccardo comes in as the Cowboy,

1248
01:08:31,439 --> 01:08:38,320
Speaker 3: the agent employed to retrieve one of the chips, and

1249
01:08:39,080 --> 01:08:44,639
Speaker 3: their plan is to appropriate the cowboys face onto Jack's

1250
01:08:44,680 --> 01:08:49,639
Speaker 3: face and then infiltrate the meeting with Scrimshaw to get

1251
01:08:49,920 --> 01:08:53,040
Speaker 3: that chip to take back to the quote unquote Good

1252
01:08:53,120 --> 01:08:57,400
Speaker 3: Lab so that they can re enlarge Tuck and save.

1253
01:08:57,240 --> 01:09:00,439
Speaker 1: Him, right, But then at the same time already had

1254
01:09:00,479 --> 01:09:03,360
Speaker 1: some run ends with the Good Lab where they've overheard

1255
01:09:03,560 --> 01:09:06,960
Speaker 1: the good scientists saying, you know, it's actually easier if

1256
01:09:06,960 --> 01:09:09,920
Speaker 1: we just let him die inside of Jack's body because

1257
01:09:09,960 --> 01:09:12,320
Speaker 1: nobody can get to that thing. It's miniaturized. Just let

1258
01:09:12,320 --> 01:09:14,519
Speaker 1: it go. You know, he'll get I guess, you know,

1259
01:09:15,240 --> 01:09:18,439
Speaker 1: excreted one way or another from Jack's body and it'll

1260
01:09:18,479 --> 01:09:20,439
Speaker 1: just be lost to time. And maybe that's easier.

1261
01:09:21,080 --> 01:09:26,200
Speaker 3: Yeah. I gotta say, all things being equal, taking humanity

1262
01:09:26,240 --> 01:09:28,920
Speaker 3: out of the equation altogether, which is what these scientists

1263
01:09:28,960 --> 01:09:31,599
Speaker 3: are doing, that's not a bad case.

1264
01:09:32,080 --> 01:09:36,519
Speaker 1: Yeah, and especially considering what mister Scrimshaw wants. We have

1265
01:09:36,560 --> 01:09:40,240
Speaker 1: a great later. So Drag gets abducted at least twice.

1266
01:09:40,240 --> 01:09:43,600
Speaker 1: I feel like it's like he's constantly escaping and re

1267
01:09:43,800 --> 01:09:46,880
Speaker 1: escaping and getting caught. There's one scene where mister scrimshow

1268
01:09:46,960 --> 01:09:51,160
Speaker 1: it's this great villain monologue about like, you know, nuclear

1269
01:09:51,200 --> 01:09:53,479
Speaker 1: weapons aren't theren't the future. Space is in the future.

1270
01:09:53,520 --> 01:09:58,080
Speaker 1: It's miniaturization. So great villain monologue there. But then we

1271
01:09:58,200 --> 01:10:00,160
Speaker 1: get what we also get time and time again, and

1272
01:10:00,400 --> 01:10:04,760
Speaker 1: a Pendleton Tuck assisted escape by Jack. So Jack's not

1273
01:10:04,800 --> 01:10:07,360
Speaker 1: necessarily he didn't realize when he's been trapped or see

1274
01:10:07,360 --> 01:10:11,360
Speaker 1: the light of the escape route. But that's where Tuck

1275
01:10:11,400 --> 01:10:13,920
Speaker 1: comes in. Tuck has his great gut instinct where he's like, okay,

1276
01:10:13,960 --> 01:10:17,760
Speaker 1: punch now, kick now, jump out of the moving vehicle now,

1277
01:10:17,880 --> 01:10:21,320
Speaker 1: And so you know, the movie stays in constant motion.

1278
01:10:22,040 --> 01:10:25,519
Speaker 3: Yeah, Jack gets a lot of heroic stunt opportunities to

1279
01:10:25,600 --> 01:10:29,599
Speaker 3: really look like like the hero, you know, and it's

1280
01:10:29,640 --> 01:10:32,240
Speaker 3: a lot of it's driven by Tuck, but he's the

1281
01:10:32,240 --> 01:10:35,599
Speaker 3: one doing it. It's not that Tuck's making his body move.

1282
01:10:35,680 --> 01:10:38,599
Speaker 3: Tuck's just guiding him through what to do. And that's

1283
01:10:38,680 --> 01:10:42,000
Speaker 3: kind of a Dumbo feather to Jack, where he's he

1284
01:10:42,120 --> 01:10:44,640
Speaker 3: has the confidence to actually execute on a lot of

1285
01:10:44,640 --> 01:10:46,360
Speaker 3: those things and he's successful at it.

1286
01:10:54,080 --> 01:10:56,200
Speaker 1: So at this point I don't know which thread to follow.

1287
01:10:56,240 --> 01:10:59,160
Speaker 1: We have more of the love triangle plot when that

1288
01:10:59,280 --> 01:11:02,800
Speaker 1: is propelling Jack ever closer to a sexual encounter with Lydia.

1289
01:11:02,840 --> 01:11:05,080
Speaker 1: It would seem though, again this is a PG film,

1290
01:11:05,160 --> 01:11:07,960
Speaker 1: so we're dealing in very broad strokes here, and a

1291
01:11:07,960 --> 01:11:11,240
Speaker 1: lot is implied and then and then we have the

1292
01:11:11,280 --> 01:11:16,360
Speaker 1: whole scheme to figure out what cowboy is up to. Uh.

1293
01:11:16,520 --> 01:11:21,120
Speaker 1: To seduce cowboy and then and then take advantage of him,

1294
01:11:21,439 --> 01:11:24,320
Speaker 1: and then the morphing of the face, the infiltration of

1295
01:11:24,360 --> 01:11:26,560
Speaker 1: the batties. Uh. And this is of course going to

1296
01:11:26,640 --> 01:11:31,920
Speaker 1: involve another round of chasing and escaping and everyone going

1297
01:11:31,960 --> 01:11:32,759
Speaker 1: after those chips.

1298
01:11:33,439 --> 01:11:35,920
Speaker 3: Yeah, I think it, you know, just to quickly top

1299
01:11:36,000 --> 01:11:39,880
Speaker 3: line the cowboy thread, I think they realized or they

1300
01:11:40,000 --> 01:11:43,799
Speaker 3: learned that the cowboy goes to a Club Inferno whenever

1301
01:11:43,840 --> 01:11:46,080
Speaker 3: he's in town because he loves to go dancing and

1302
01:11:46,120 --> 01:11:49,080
Speaker 3: meet women. So they go to Club Inferno as well.

1303
01:11:49,479 --> 01:11:53,760
Speaker 3: That's where Jack runs into Wendy from the grocery store.

1304
01:11:53,840 --> 01:11:56,400
Speaker 3: Wendy sees a new bad boy side of Jack that

1305
01:11:56,400 --> 01:11:59,840
Speaker 3: that piques her interest. But the long story short there

1306
01:11:59,880 --> 01:12:03,120
Speaker 3: is that Lydia is able to seduce the cowboy bring

1307
01:12:03,200 --> 01:12:05,680
Speaker 3: him back to the hotel. That's where they're able to

1308
01:12:05,760 --> 01:12:08,120
Speaker 3: knock him out and appropriate his face to go to

1309
01:12:08,280 --> 01:12:12,799
Speaker 3: the meeting with Scrimshaw. That disguise starts to fall apart

1310
01:12:12,840 --> 01:12:15,400
Speaker 3: in the middle of that meeting. I think that the

1311
01:12:15,560 --> 01:12:20,880
Speaker 3: cowboy has a gold toothcap that falls out of fake

1312
01:12:21,000 --> 01:12:24,600
Speaker 3: Cowboy's mouth, which tips Scrimshaw off gets all of the

1313
01:12:25,360 --> 01:12:31,559
Speaker 3: bad guys up in arms to capture Jack. Which there's

1314
01:12:31,600 --> 01:12:35,200
Speaker 3: a great line in lieu of champagne. How about some

1315
01:12:35,280 --> 01:12:39,960
Speaker 3: real pain pro pain. I had to give it a

1316
01:12:40,000 --> 01:12:42,479
Speaker 3: lot of flowers for going past. How about some real

1317
01:12:42,520 --> 01:12:45,120
Speaker 3: pain and add another pain to the line.

1318
01:12:46,360 --> 01:12:49,400
Speaker 1: Yeah, and we get some more inspector gadget Shenanigans for

1319
01:12:49,520 --> 01:12:53,280
Speaker 1: mister Igo because he pulls out the blowtorch. Uh, that's right, appended.

1320
01:12:53,400 --> 01:12:55,240
Speaker 1: Or maybe the blowtorch is just always in there as

1321
01:12:55,840 --> 01:12:59,479
Speaker 1: part of this Swiss army hand. But they're gonna they're like, oh,

1322
01:12:59,560 --> 01:13:03,200
Speaker 1: you know, the cowboy is known for his incredible pain tolerance,

1323
01:13:03,320 --> 01:13:05,240
Speaker 1: so let's just get an example of that here.

1324
01:13:05,840 --> 01:13:09,840
Speaker 3: That's right, And this is where the actual grotesque transformation

1325
01:13:10,000 --> 01:13:14,759
Speaker 3: scene from Cowboy face back to jackface happens. It freaks

1326
01:13:14,760 --> 01:13:18,280
Speaker 3: out everybody in the room. Scrimshaw's terrified, and rightly so,

1327
01:13:18,439 --> 01:13:20,200
Speaker 3: because it's it's a lot.

1328
01:13:20,720 --> 01:13:23,160
Speaker 1: Yeah, it is. It's very well done. Because if you

1329
01:13:23,200 --> 01:13:25,679
Speaker 1: slow it down or watch it twice, you're like, oh, yeah,

1330
01:13:25,680 --> 01:13:28,400
Speaker 1: this is this seems like bouteine material right here, like

1331
01:13:28,439 --> 01:13:32,599
Speaker 1: this is the thing, but it is, but it's it's

1332
01:13:32,640 --> 01:13:36,040
Speaker 1: blurry and sped up in a very comedic Looney Tunes fashion,

1333
01:13:36,479 --> 01:13:40,600
Speaker 1: and that ultimately like overwhelms the horrific aspects of it,

1334
01:13:41,120 --> 01:13:42,560
Speaker 1: but it's very well done.

1335
01:13:42,840 --> 01:13:46,880
Speaker 3: Yeah. Yeah. Another thing to point out, they obviously, you know,

1336
01:13:47,520 --> 01:13:54,840
Speaker 3: escape this this scenario, Lydia helps them escape. Jack transfers

1337
01:13:55,000 --> 01:14:00,880
Speaker 3: Tuck to Lydia through a French kiss, yes, which again

1338
01:14:01,240 --> 01:14:05,439
Speaker 3: I'm just gonna say, yeah, that works, you can do

1339
01:14:05,520 --> 01:14:09,160
Speaker 3: that first try. You know. While that happens, Tuck is

1340
01:14:09,160 --> 01:14:13,200
Speaker 3: inside Lydia's body, sees that Lydia is pregnant, presumably with

1341
01:14:13,320 --> 01:14:17,640
Speaker 3: his child. But the thing that gets me is that

1342
01:14:18,640 --> 01:14:22,920
Speaker 3: they then transferred Tuck back to Jack through another French kiss,

1343
01:14:24,600 --> 01:14:26,760
Speaker 3: which is like, I'm just this good at it that

1344
01:14:27,200 --> 01:14:30,200
Speaker 3: we can do this again. And it happened so quickly

1345
01:14:30,320 --> 01:14:32,160
Speaker 3: that it's like, I guess Tuck was just there at

1346
01:14:32,160 --> 01:14:33,080
Speaker 3: the mouth ready to go.

1347
01:14:34,800 --> 01:14:38,200
Speaker 1: French kisses work. French kisses are a complete exchange of

1348
01:14:38,240 --> 01:14:42,080
Speaker 1: all saliable content of the mouth and esophagus, right, That's.

1349
01:14:41,920 --> 01:14:43,840
Speaker 3: What we were warned about when we were younger.

1350
01:14:43,920 --> 01:14:50,240
Speaker 1: Yes, yeah, but again, like the whole the baby, the pregnancy,

1351
01:14:50,360 --> 01:14:54,760
Speaker 1: like this love triangle is very complex. Yeah, one might

1352
01:14:54,840 --> 01:14:57,519
Speaker 1: even argue too complex for a picture that is just

1353
01:14:57,520 --> 01:15:00,759
Speaker 1: trying to be a big summertime explosion of special effects.

1354
01:15:00,760 --> 01:15:03,320
Speaker 1: But it's one of his charms that it's all there.

1355
01:15:04,040 --> 01:15:06,400
Speaker 3: Yeah, and I think it is. It does serve the

1356
01:15:07,000 --> 01:15:10,519
Speaker 3: function of while Tuck is in Lydia's body, Jack's not

1357
01:15:10,680 --> 01:15:18,639
Speaker 3: necessarily aware of that yet, and he is still acting

1358
01:15:18,720 --> 01:15:23,200
Speaker 3: like a heroic, you know, fighter. He's knocking people out, he's,

1359
01:15:23,520 --> 01:15:25,280
Speaker 3: you know, doing all of the things that Tuck told

1360
01:15:25,360 --> 01:15:28,200
Speaker 3: him to do. Once he realizes that Tuck's not inside him,

1361
01:15:28,280 --> 01:15:31,559
Speaker 3: is inside Lydia, he loses that. He loses that Dumbo

1362
01:15:31,600 --> 01:15:33,720
Speaker 3: feather and the confidence kind of quickly.

1363
01:15:33,439 --> 01:15:38,040
Speaker 1: At that Dumbo feather exactly. Yeah. So all that's really

1364
01:15:38,040 --> 01:15:40,719
Speaker 1: well executed. But I know that those of you who

1365
01:15:40,840 --> 01:15:44,519
Speaker 1: grew up watching Innerspace are you've been waiting for us

1366
01:15:44,560 --> 01:15:47,400
Speaker 1: to get to the big showdown. The big showdown is

1367
01:15:47,400 --> 01:15:51,720
Speaker 1: twofold because so basically they bring captive Jack back to

1368
01:15:51,760 --> 01:15:56,120
Speaker 1: the bad Guy Lab, which is super sleek and very military.

1369
01:15:57,880 --> 01:16:02,120
Speaker 1: We'll describe their pod here minute. But of course Lydia

1370
01:16:02,240 --> 01:16:04,400
Speaker 1: is able to take control. She built out a handgun,

1371
01:16:05,479 --> 01:16:10,200
Speaker 1: but after they have already injected a new villain into

1372
01:16:10,280 --> 01:16:15,160
Speaker 1: Jack's body, they'll wait. At the same time, Tuck is

1373
01:16:15,200 --> 01:16:17,600
Speaker 1: not in Jack anymore at this point, right, Tuck is

1374
01:16:17,640 --> 01:16:21,320
Speaker 1: in Lydia. But they inject mister I go inside of

1375
01:16:21,400 --> 01:16:27,040
Speaker 1: just a frightening like military combat pod with big claws,

1376
01:16:27,360 --> 01:16:31,040
Speaker 1: an amazing design here. They injected that into him to

1377
01:16:31,160 --> 01:16:34,920
Speaker 1: go after the original pod, to get those chips and

1378
01:16:35,000 --> 01:16:35,679
Speaker 1: to kill Tuck.

1379
01:16:36,360 --> 01:16:39,080
Speaker 3: That's right. This enemy lab, it looks like the TV

1380
01:16:39,200 --> 01:16:42,720
Speaker 3: room from Willy Wonka's Coca factory. Of it's just all

1381
01:16:42,760 --> 01:16:46,320
Speaker 3: white and tons of space in contrast to the other lab,

1382
01:16:46,360 --> 01:16:49,559
Speaker 3: which has just stacks of machinery on top of stacks

1383
01:16:49,560 --> 01:16:53,840
Speaker 3: of machinery. But yeah, this this exopod, it's a suit.

1384
01:16:54,040 --> 01:16:59,160
Speaker 3: Whereas the you know, Tuck's in a little chair inside

1385
01:16:59,200 --> 01:17:01,920
Speaker 3: of a small room. It feels like this is a

1386
01:17:01,960 --> 01:17:05,479
Speaker 3: scuba suit that has attachments. It's a lot more menacing.

1387
01:17:05,720 --> 01:17:09,000
Speaker 3: Presumably this guy can whip around more quickly within the body,

1388
01:17:09,280 --> 01:17:11,800
Speaker 3: and he is designed to cause damage. That's what the

1389
01:17:11,800 --> 01:17:14,639
Speaker 3: suit is for, you know, so pretty scaring. Of course,

1390
01:17:14,640 --> 01:17:18,320
Speaker 3: it's all black compared to the silver white pod that

1391
01:17:18,320 --> 01:17:19,000
Speaker 3: that Tuck is in.

1392
01:17:19,360 --> 01:17:22,000
Speaker 1: Yeah, it's frightening, and you've got the one portal so

1393
01:17:22,120 --> 01:17:26,400
Speaker 1: you can have mister IGO's face, like the horrifying mug

1394
01:17:26,439 --> 01:17:32,920
Speaker 1: of his, like sneering through it and grinning. Yeah, terrifying pod.

1395
01:17:33,160 --> 01:17:36,160
Speaker 1: Enemy pod here, like a fighter pod that they have

1396
01:17:36,240 --> 01:17:39,240
Speaker 1: now injected into Jack, miniaturized and injected. And we get

1397
01:17:39,240 --> 01:17:42,040
Speaker 1: a nice bit from Scrimshaw where he turns to doctor

1398
01:17:42,120 --> 01:17:44,600
Speaker 1: Canker and he's like, you know, it's going to be

1399
01:17:44,640 --> 01:17:48,160
Speaker 1: easier if we just re enlarge him inside Jack's body afterwards,

1400
01:17:49,320 --> 01:17:51,840
Speaker 1: which is which is like, we never see something like

1401
01:17:51,880 --> 01:17:54,040
Speaker 1: that happen in the show, but just by mentioning the idea,

1402
01:17:54,400 --> 01:17:56,400
Speaker 1: it does bring about a certain amount of menace.

1403
01:17:56,760 --> 01:17:59,559
Speaker 3: Yeah, I love that. Again, take the humanity out of it,

1404
01:17:59,640 --> 01:18:02,479
Speaker 3: and these are all sound These are as sound ideas

1405
01:18:02,520 --> 01:18:07,880
Speaker 3: as any other suggestion. At this point, Lydia gets Tuck

1406
01:18:08,000 --> 01:18:12,400
Speaker 3: back into Jack with an intentional kiss to get him in.

1407
01:18:13,520 --> 01:18:16,920
Speaker 3: That's where Tuck can help Jack fight off mister Igo.

1408
01:18:17,320 --> 01:18:22,439
Speaker 3: Lydia also forces all of the scientists Scrimshaw and Canker

1409
01:18:22,560 --> 01:18:27,760
Speaker 3: into the miniaturization pod or into the miniagurization chamber and

1410
01:18:27,840 --> 01:18:30,040
Speaker 3: shrinks them all. Does not shrink them all to a

1411
01:18:30,080 --> 01:18:35,719
Speaker 3: microscopic size, which they are for the rest of the movie.

1412
01:18:36,080 --> 01:18:40,320
Speaker 1: Yes, so the big showdown then is twofold in the

1413
01:18:40,320 --> 01:18:44,920
Speaker 1: world at large. We have Jack and Lydia driving uh

1414
01:18:45,080 --> 01:18:47,519
Speaker 1: you know, down the highway in San Francisco, and then

1415
01:18:47,840 --> 01:18:52,439
Speaker 1: Scrimshaw miniaturize Scrimshaw and doctor Canker attack from the back seat,

1416
01:18:53,720 --> 01:18:57,520
Speaker 1: so they're wrestling them in the front and back seat. Meanwhile,

1417
01:18:58,040 --> 01:19:02,840
Speaker 1: inside of Jack's body on his esophagus, there is now

1418
01:19:02,880 --> 01:19:06,280
Speaker 1: a battle between the original pod and the new pod,

1419
01:19:06,560 --> 01:19:11,320
Speaker 1: between a Tuck and mister Igo. And this is just

1420
01:19:11,600 --> 01:19:14,320
Speaker 1: a really cool battle. I'm not saying it's like RoboCop

1421
01:19:14,400 --> 01:19:18,720
Speaker 1: RoboCop two level, but it's pretty great, with lots of

1422
01:19:18,760 --> 01:19:24,599
Speaker 1: gadget arms and cutting of robotic components, some nice back

1423
01:19:24,640 --> 01:19:25,400
Speaker 1: and forth.

1424
01:19:25,479 --> 01:19:28,120
Speaker 3: Well, and it moves to the stomach for the final

1425
01:19:28,320 --> 01:19:31,280
Speaker 3: blows of the scene, and that is probably my favorite

1426
01:19:31,280 --> 01:19:34,800
Speaker 3: set piece of the entire movie. It's this raging sea

1427
01:19:34,920 --> 01:19:38,479
Speaker 3: of stomach acid at the bottom. Again a ton of

1428
01:19:38,560 --> 01:19:41,720
Speaker 3: distance from the top of the esophagus where they enter

1429
01:19:41,840 --> 01:19:45,800
Speaker 3: the stomach to where the acid is. And Tuck has

1430
01:19:45,840 --> 01:19:50,479
Speaker 3: to get Jack's allergies. A Chekhov's gun that was introduced

1431
01:19:50,520 --> 01:19:54,559
Speaker 3: earlier in the movie needs to get him. I forget

1432
01:19:54,560 --> 01:19:57,599
Speaker 3: what he's specifically allergic to, but needs him to activate

1433
01:19:57,600 --> 01:19:59,759
Speaker 3: his allergies to get his stomach acid going.

1434
01:20:00,280 --> 01:20:02,799
Speaker 1: This is a great set piece for the finale. Here

1435
01:20:02,680 --> 01:20:04,760
Speaker 1: the stomach is like this. Like you said, there's a

1436
01:20:04,800 --> 01:20:07,400
Speaker 1: lot of space there is. It's very well lit. That's

1437
01:20:07,439 --> 01:20:10,160
Speaker 1: another thing about the inside of the body. You just

1438
01:20:10,160 --> 01:20:12,639
Speaker 1: go by innerspace and fantastic voyage. It's like a well

1439
01:20:12,680 --> 01:20:15,679
Speaker 1: lit nebula in there, which works. It is an inner

1440
01:20:15,680 --> 01:20:17,240
Speaker 1: space and so it should look like some of our

1441
01:20:17,240 --> 01:20:21,360
Speaker 1: most colorful visions of outer space, whereas in reality it's

1442
01:20:21,360 --> 01:20:23,960
Speaker 1: like that old saying, like a man's best friend outside

1443
01:20:23,960 --> 01:20:25,960
Speaker 1: of a book is a dog, and inside of a

1444
01:20:26,000 --> 01:20:27,120
Speaker 1: dog it's too dark to read.

1445
01:20:27,360 --> 01:20:30,800
Speaker 3: It's very dark and so well and I misspoke. It's

1446
01:20:30,880 --> 01:20:33,400
Speaker 3: not his allergies that he needs to trigger. He stresses

1447
01:20:33,520 --> 01:20:35,840
Speaker 3: Jack out to the point where he gets refluxed from

1448
01:20:35,840 --> 01:20:39,080
Speaker 3: the ayesh yes, and that's what causes the churn to

1449
01:20:39,240 --> 01:20:43,360
Speaker 3: which the fight then leads mister I go down into

1450
01:20:43,400 --> 01:20:45,840
Speaker 3: the stomach acid where he is eaten up down to

1451
01:20:46,479 --> 01:20:50,599
Speaker 3: a skeleton an aka ka ka kak bones skeleton, which.

1452
01:20:50,439 --> 01:20:53,599
Speaker 1: Is a skeleton, and the remains the prothetic arm trying

1453
01:20:53,640 --> 01:20:58,240
Speaker 1: to drill through the portal of the original pod. Yeah,

1454
01:20:58,479 --> 01:21:01,760
Speaker 1: so good, great, great, and kill quality kill here all

1455
01:21:01,800 --> 01:21:02,040
Speaker 1: the way.

1456
01:21:02,120 --> 01:21:04,599
Speaker 3: Yeah. Yeah. So they get back to the good lab,

1457
01:21:06,080 --> 01:21:10,040
Speaker 3: they can't get Tuck out, or they can't quickly get

1458
01:21:10,120 --> 01:21:13,559
Speaker 3: Tuck out. The oxygen is at zero. At this point,

1459
01:21:15,080 --> 01:21:19,200
Speaker 3: they think they've lost all hope. Jack realizes that he's

1460
01:21:19,240 --> 01:21:24,000
Speaker 3: allergic to hairspray, which is the element that was introduced

1461
01:21:24,000 --> 01:21:28,400
Speaker 3: earlier in the movie. Is given some hairspray, sneezes Tuck

1462
01:21:28,560 --> 01:21:31,680
Speaker 3: out onto one of the scientist's glasses.

1463
01:21:31,720 --> 01:21:34,599
Speaker 1: And then they tweezer it. They tweezeerr it, and they

1464
01:21:34,640 --> 01:21:37,680
Speaker 1: get it back into the chamber. They resize him, they

1465
01:21:37,680 --> 01:21:41,120
Speaker 1: re enlarge him, and we get our big happy ending,

1466
01:21:41,680 --> 01:21:44,880
Speaker 1: which is of course a wedding in true Shakespearean fashion.

1467
01:21:44,960 --> 01:21:48,000
Speaker 1: We end with a lavish wedding. But who's going to

1468
01:21:48,000 --> 01:21:50,240
Speaker 1: be married, Well, we know who's going to be married, right,

1469
01:21:50,800 --> 01:21:52,000
Speaker 1: It's going to be tucking Lydia.

1470
01:21:52,520 --> 01:21:55,360
Speaker 3: It's tucking Lydia. Jack is the best man, which again

1471
01:21:55,760 --> 01:21:58,000
Speaker 3: just met these guys, but they've been through a lot together,

1472
01:21:58,080 --> 01:22:00,400
Speaker 3: so I kind of understand that. What I don't understand

1473
01:22:00,439 --> 01:22:03,200
Speaker 3: is why Wendy is at the wedding. Don't understand why

1474
01:22:03,240 --> 01:22:06,000
Speaker 3: mister Wormwood, the boss at the grocery store, is at

1475
01:22:06,000 --> 01:22:08,400
Speaker 3: the wedding. What I don't understand is why the doctor

1476
01:22:08,439 --> 01:22:11,040
Speaker 3: who prescribed the vacation for Jack is at the wedding.

1477
01:22:11,160 --> 01:22:12,240
Speaker 3: This is not Jack's wedding.

1478
01:22:12,800 --> 01:22:16,880
Speaker 1: Yeah, the jerky military guy is there, apparently with his son.

1479
01:22:17,320 --> 01:22:21,040
Speaker 1: It's this. The events of this film just brought everyone

1480
01:22:21,120 --> 01:22:24,639
Speaker 1: together into this like tight knit community, this tight knit family,

1481
01:22:25,560 --> 01:22:28,520
Speaker 1: in ways that are perhaps a little inexplicable.

1482
01:22:29,120 --> 01:22:32,000
Speaker 3: Yeah, and so it seems like a happy ending, but

1483
01:22:33,200 --> 01:22:36,280
Speaker 3: not quite. We see that the cowboy is the limo driver,

1484
01:22:37,880 --> 01:22:41,559
Speaker 3: and that I believe Scrimshaw and Margaret are inside of

1485
01:22:41,600 --> 01:22:44,799
Speaker 3: the suitcase. Yes, and are being placed into the trunk.

1486
01:22:45,200 --> 01:22:48,719
Speaker 3: So they're driving off on their happy wedding honeymoon drive

1487
01:22:49,240 --> 01:22:52,960
Speaker 3: down a twisty mountain road, and Jack realizes that the

1488
01:22:53,040 --> 01:22:55,080
Speaker 3: job's not done and he needs to help them out.

1489
01:22:55,640 --> 01:22:57,679
Speaker 1: That's right. Oh, and we also find out that Tuck

1490
01:22:57,760 --> 01:23:02,360
Speaker 1: has the chips, the very coveted dangerous technology chips are

1491
01:23:02,400 --> 01:23:07,240
Speaker 1: his cufflings. So they set up a sequel here that

1492
01:23:07,320 --> 01:23:10,439
Speaker 1: of course never happened. But I remember at the time

1493
01:23:10,960 --> 01:23:12,680
Speaker 1: as a kid, I just thought, if you set up

1494
01:23:12,680 --> 01:23:15,439
Speaker 1: a sequel like this, it will happen. It's going to happen.

1495
01:23:16,400 --> 01:23:18,120
Speaker 1: I feel like I spent spent a fair amount of

1496
01:23:18,160 --> 01:23:21,960
Speaker 1: time just assuming Interspace too was coming right down the pipe,

1497
01:23:21,960 --> 01:23:24,559
Speaker 1: and then it was coming up next never happened.

1498
01:23:25,080 --> 01:23:28,080
Speaker 3: I kind of love the and then the adventures continued

1499
01:23:28,400 --> 01:23:33,519
Speaker 3: layer of it. I wish that more franchise films took

1500
01:23:33,560 --> 01:23:36,639
Speaker 3: that under advisement. I think it's okay to say Indiana

1501
01:23:36,720 --> 01:23:39,479
Speaker 3: Jones went on more adventures after this one, and that,

1502
01:23:39,600 --> 01:23:41,000
Speaker 3: you know what, I don't really need to show you

1503
01:23:41,040 --> 01:23:43,400
Speaker 3: what the last one is or the second to last

1504
01:23:43,479 --> 01:23:46,080
Speaker 3: one is, or continue that storyline if I don't want to.

1505
01:23:46,520 --> 01:23:49,120
Speaker 3: Sometimes it's fun to just say. And their lives continued

1506
01:23:49,160 --> 01:23:52,040
Speaker 3: to be that exciting, and so I agree with you.

1507
01:23:52,120 --> 01:23:54,960
Speaker 3: I think that there was this left a door opened

1508
01:23:55,000 --> 01:23:56,800
Speaker 3: to a sequel, and there seemed to be a lot

1509
01:23:56,840 --> 01:24:02,959
Speaker 3: of enthusiasm for that. Maybe the box office return diminished

1510
01:24:03,040 --> 01:24:06,280
Speaker 3: that hope, but I kind of like it where it is,

1511
01:24:06,400 --> 01:24:09,960
Speaker 3: where if the job's not done, they're still gonna have

1512
01:24:10,000 --> 01:24:13,880
Speaker 3: more fun. This guy's life has been inexplicably changed for

1513
01:24:14,400 --> 01:24:17,160
Speaker 3: and put on a different path that he didn't choose,

1514
01:24:17,160 --> 01:24:18,720
Speaker 3: but he's gonna roll with it. You know, he's a

1515
01:24:18,760 --> 01:24:20,880
Speaker 3: different person now, and I kind of really like that

1516
01:24:20,960 --> 01:24:21,320
Speaker 3: for him.

1517
01:24:21,960 --> 01:24:24,160
Speaker 1: Yeah. Yeah, it's like, I think it's great you have

1518
01:24:24,240 --> 01:24:25,880
Speaker 1: to set up these sequels that never happened. As long

1519
01:24:25,920 --> 01:24:28,120
Speaker 1: as you told a complete story, you put everything on

1520
01:24:28,160 --> 01:24:32,639
Speaker 1: the table, then I'm fine with just sort of dreaming

1521
01:24:32,640 --> 01:24:34,640
Speaker 1: about what else could have been possible. And this is

1522
01:24:34,640 --> 01:24:36,960
Speaker 1: a film that does leave everything on the table and

1523
01:24:37,200 --> 01:24:39,680
Speaker 1: busts out all of its tricks. So yeah, I don't

1524
01:24:39,680 --> 01:24:42,639
Speaker 1: feel like they held anything back with inner Space. They

1525
01:24:42,720 --> 01:24:46,559
Speaker 1: just left that window open to potentially dream up innerspace too.

1526
01:24:47,080 --> 01:24:50,639
Speaker 3: Yeah, it's very strict. I mean, it's such a bizarre

1527
01:24:50,640 --> 01:24:55,080
Speaker 3: fever dream of an ending scene where all of the

1528
01:24:55,200 --> 01:24:57,519
Speaker 3: characters from the movie are invited to the wedding of

1529
01:24:57,560 --> 01:25:00,240
Speaker 3: somebody who most of the characters have never met, and

1530
01:25:00,280 --> 01:25:02,200
Speaker 3: then all of the bad guys are also at the

1531
01:25:02,240 --> 01:25:08,080
Speaker 3: wedding in disguise to attack these two characters. After the wedding,

1532
01:25:08,200 --> 01:25:09,800
Speaker 3: what are they going to do to Tug? I guess

1533
01:25:09,840 --> 01:25:11,719
Speaker 3: they're good they I guess they know about the cup leakes.

1534
01:25:12,080 --> 01:25:17,720
Speaker 1: Yep, somebody's gonna get minurized again. It's they're gonna be Shenanigan's.

1535
01:25:17,160 --> 01:25:20,640
Speaker 3: Yeah, great time twist in the night away takes us

1536
01:25:20,640 --> 01:25:23,120
Speaker 3: into the credits. The credits are actually a pretty tight

1537
01:25:23,200 --> 01:25:26,200
Speaker 3: credit roll where you're not it's not ten minutes long.

1538
01:25:26,240 --> 01:25:28,280
Speaker 3: It's like a good three to five minutes credits twist

1539
01:25:28,280 --> 01:25:30,040
Speaker 3: AND's playing the entire time and then you're out.

1540
01:25:30,520 --> 01:25:32,240
Speaker 1: Yeah, and that's inner space.

1541
01:25:32,720 --> 01:25:34,519
Speaker 3: Yeah, fun, fun time.

1542
01:25:35,000 --> 01:25:37,639
Speaker 1: Yeah. I really enjoyed revisiting this one, and I feel

1543
01:25:37,640 --> 01:25:40,559
Speaker 1: like it largely held up. Yeah, you know, it was

1544
01:25:40,560 --> 01:25:44,080
Speaker 1: still very entertaining today. The effects were tremendous, performances were great.

1545
01:25:45,360 --> 01:25:46,920
Speaker 1: You know, you never know exactly what it's going to

1546
01:25:46,920 --> 01:25:48,280
Speaker 1: be like going back to a film from you know,

1547
01:25:48,320 --> 01:25:51,960
Speaker 1: the nineteen eighties, mid nineteen eighties and see how everything lands.

1548
01:25:52,000 --> 01:25:53,840
Speaker 1: But yeah, this was a fun one. Good pick.

1549
01:25:53,920 --> 01:25:57,479
Speaker 3: Yeah, Yeah, this one for me, it like we were

1550
01:25:57,479 --> 01:26:00,800
Speaker 3: saying at the top, it's stitched into my memory of

1551
01:26:00,840 --> 01:26:03,040
Speaker 3: being a certain age because of how much I saw

1552
01:26:03,080 --> 01:26:05,960
Speaker 3: it at that age, and even though I did drop

1553
01:26:06,000 --> 01:26:09,600
Speaker 3: out a significant chunk of it from my memory, a

1554
01:26:09,640 --> 01:26:13,200
Speaker 3: lot of it took me back into that spare bedroom

1555
01:26:13,240 --> 01:26:15,320
Speaker 3: at my grandmother's house, sitting and watching it on a

1556
01:26:15,360 --> 01:26:19,280
Speaker 3: tiny TV. And to that point, it's not just the

1557
01:26:19,320 --> 01:26:23,439
Speaker 3: nostalgia of that viewing it holds up. It's fun. I'm

1558
01:26:23,520 --> 01:26:25,479
Speaker 3: having the same kind of fun that I was having

1559
01:26:25,560 --> 01:26:26,760
Speaker 3: back then watching it again.

1560
01:26:27,360 --> 01:26:30,479
Speaker 1: All Right, Dave Boy, As we begin to lead out here,

1561
01:26:31,080 --> 01:26:35,080
Speaker 1: let's talk Talking Tofu for a minute here in case

1562
01:26:35,360 --> 01:26:37,880
Speaker 1: listeners don't remember from last time, tell us a little

1563
01:26:37,880 --> 01:26:40,880
Speaker 1: bit about what Talking Tofu is and tell us what

1564
01:26:41,080 --> 01:26:43,200
Speaker 1: has come out recently in the podcast and what's coming

1565
01:26:43,200 --> 01:26:43,799
Speaker 1: out in the future.

1566
01:26:44,320 --> 01:26:49,120
Speaker 3: Sure, yeah, So Talking Tofu is myself and my co

1567
01:26:49,200 --> 01:26:53,479
Speaker 3: host slash wife Becky Streepy. We're both vegans and we

1568
01:26:54,800 --> 01:26:57,599
Speaker 3: felt like there's not a lot of fun vegan content

1569
01:26:57,640 --> 01:27:00,720
Speaker 3: out there. Some of the stuff that you see about

1570
01:27:00,760 --> 01:27:02,519
Speaker 3: being vegan can be kind of hard handed in the

1571
01:27:02,560 --> 01:27:05,439
Speaker 3: way that it convinces you of the value and the

1572
01:27:05,520 --> 01:27:11,040
Speaker 3: virtue of adopting a different lifestyle, whereas we don't really

1573
01:27:11,400 --> 01:27:13,360
Speaker 3: think about that much on a day to day basis.

1574
01:27:13,360 --> 01:27:14,800
Speaker 3: We just have a lot of fun with it. We

1575
01:27:14,840 --> 01:27:18,000
Speaker 3: love food, we love eating food, we love trying new food,

1576
01:27:18,120 --> 01:27:21,080
Speaker 3: we love crusting out on junk food, and so our

1577
01:27:21,120 --> 01:27:23,879
Speaker 3: podcast is a lot of that. It's us trying new things,

1578
01:27:24,400 --> 01:27:27,840
Speaker 3: trying new foods. Usually each episode we'll talk about some

1579
01:27:27,920 --> 01:27:30,120
Speaker 3: takeout or a restaurant that we went to, whether it's

1580
01:27:30,160 --> 01:27:32,280
Speaker 3: in town or on one of our travels. We travel

1581
01:27:32,360 --> 01:27:34,679
Speaker 3: quite a bit, and we'll usually try a new snack

1582
01:27:34,720 --> 01:27:37,040
Speaker 3: on the pod, and then we'll spend the other seventy

1583
01:27:37,040 --> 01:27:39,559
Speaker 3: percent of the time talking about whatever BS has happened

1584
01:27:39,600 --> 01:27:41,920
Speaker 3: to us that week, whatever show we watched that week,

1585
01:27:41,960 --> 01:27:46,240
Speaker 3: what movies were into. We just talked about Wicked at length,

1586
01:27:46,280 --> 01:27:47,960
Speaker 3: which we both saw in the theater and loved it

1587
01:27:48,040 --> 01:27:52,080
Speaker 3: and has a very strong pro animal message unintentionally, I think,

1588
01:27:53,479 --> 01:27:56,599
Speaker 3: but just a lot of fun some of the stuff

1589
01:27:56,640 --> 01:27:59,720
Speaker 3: that we've talked about lately. We just went to Disneyland

1590
01:27:59,760 --> 01:28:02,799
Speaker 3: reas and did a round up of all the vegan

1591
01:28:03,040 --> 01:28:05,680
Speaker 3: snacks and food you can eat at Disneyland in and

1592
01:28:05,720 --> 01:28:09,439
Speaker 3: around those parks. We've traveled to Vegas recently, did a

1593
01:28:09,520 --> 01:28:11,960
Speaker 3: couple of trips to Vegas and a few Vegas episodes.

1594
01:28:12,760 --> 01:28:15,799
Speaker 3: We are traveling this weekend to New York City. Probably

1595
01:28:15,800 --> 01:28:19,720
Speaker 3: come out with a New York City roundup. Obviously will

1596
01:28:19,720 --> 01:28:22,759
Speaker 3: not be comprehensive, as there are lots of vegan options

1597
01:28:22,800 --> 01:28:24,839
Speaker 3: in New York City, but just kind of a rundown

1598
01:28:24,880 --> 01:28:26,800
Speaker 3: of what we did while we were up there, and

1599
01:28:26,840 --> 01:28:28,840
Speaker 3: again we're just having fun and keeping it light and

1600
01:28:28,880 --> 01:28:36,440
Speaker 3: showing that it's fun to be vegan. So yeah, that's that's,

1601
01:28:36,920 --> 01:28:37,760
Speaker 3: that's what we're up to.

1602
01:28:38,439 --> 01:28:41,080
Speaker 1: All right, that's talking to That's t a l k

1603
01:28:41,280 --> 01:28:46,160
Speaker 1: I n Apostrophe TOFU podcast. That's right, So look that up.

1604
01:28:46,160 --> 01:28:47,959
Speaker 1: You can find that wherever you get your episodes.

1605
01:28:48,439 --> 01:28:50,080
Speaker 3: Yeah, yeah, we gotta get you on there.

1606
01:28:50,320 --> 01:28:53,439
Speaker 1: Yeah, anytime. All right, all right, we're gonna gohe and

1607
01:28:53,520 --> 01:28:56,240
Speaker 1: close out this episode. But I'll just remind everyone out

1608
01:28:56,240 --> 01:28:58,080
Speaker 1: there that Stuff to Blow Your Mind is primarily a

1609
01:28:58,120 --> 01:29:01,240
Speaker 1: science and culture podcast, with core episodes Tuesdays and Thursdays,

1610
01:29:01,640 --> 01:29:04,479
Speaker 1: short form episodes on Wednesdays and on Fridays. We set

1611
01:29:04,520 --> 01:29:07,519
Speaker 1: aside most serious concerns to just talk about weird films

1612
01:29:07,600 --> 01:29:10,000
Speaker 1: on Weird House Cinema, and if you want a full

1613
01:29:10,040 --> 01:29:11,960
Speaker 1: list of the movies we've covered over the years, you

1614
01:29:12,000 --> 01:29:15,519
Speaker 1: can find them on letterboxed. Our user name there is

1615
01:29:15,560 --> 01:29:17,760
Speaker 1: weird House. Got a nice list there, so you can

1616
01:29:17,840 --> 01:29:20,240
Speaker 1: just dive in there and see what we've chatted about

1617
01:29:20,240 --> 01:29:23,320
Speaker 1: in the past. As always, thanks to the great JJ

1618
01:29:23,439 --> 01:29:26,840
Speaker 1: Possway for producing and editing the show, stitching everything together

1619
01:29:26,880 --> 01:29:29,000
Speaker 1: and making it sound right. And if you want to

1620
01:29:29,040 --> 01:29:32,360
Speaker 1: reach out to me, to Joe, to JJ, or if

1621
01:29:32,400 --> 01:29:35,200
Speaker 1: you want to reach out to Dave, I'll shoot that

1622
01:29:35,360 --> 01:29:38,519
Speaker 1: on todave as well. That you can email us at

1623
01:29:38,600 --> 01:29:47,520
Speaker 1: contact at stuff to Blow your Mind dot com.

1624
01:29:47,640 --> 01:29:50,600
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1625
01:29:50,680 --> 01:29:53,479
Speaker 2: more podcasts from my heart Radio, visit the iHeartRadio app,

1626
01:29:53,640 --> 01:29:56,840
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows