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

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Speaker 1: Rob Lamb.

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Speaker 2: And this is Joe McCormick. And today we're bringing you

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Speaker 2: an older episode of Weird House Cinema. This one originally

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Speaker 2: published on August twenty third, twenty twenty four. It's our

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Speaker 2: feature on the Warriors.

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Speaker 1: Yeah, this one's a lot of fun. I mean, this

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Speaker 1: movie is a lot of fun. And I remember this

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Speaker 1: one being a blast to talk about.

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Speaker 3: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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

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Speaker 2: This is Rob Lamb and this is Joe McCormick.

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Speaker 1: And if you look at the various genres that we

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Speaker 1: cover here on Weird House Cinema, obviously there's a lot

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Speaker 1: of science fiction. There's a lot of horror, there's a

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Speaker 1: lot of fantasy. But obviously weird films don't necessarily need

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Speaker 1: space aliens or wizards or ghosts. Of our previous selections

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Speaker 1: reflect this. Three of them released in the same year

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Speaker 1: of nineteen sixty eight, Head, which you covered with Seth Danger,

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Speaker 1: Diabolic and Black Lizard, so a musical adventure, and two

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Speaker 1: stylized super criminal movies. A fourth nineteen sixty five faster.

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Speaker 1: Pussycat Kill Kill is also a crime movie, basically in

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Speaker 1: the exploitation genre, but it's also packed full of weirdness.

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Speaker 1: And so we're back with a fifth selection today that

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Speaker 1: contains no true speculative element. I mean, it's possibly set

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Speaker 1: in the future, but if so, the very near future,

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Speaker 1: it's you could make a case that this is an

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Speaker 1: alternate reality. There's a certain amount of surreal substance going

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Speaker 1: on with this film, but overall, yeah, no aliens, no wizards,

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Speaker 1: no ghost It concerns criminals, and it certainly stands tall

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Speaker 1: as a weird cult movie. It's Walter Hill's The Warriors

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Speaker 1: from nineteen seventy nine.

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Speaker 2: I don't know how you're saying that it contains no

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Speaker 2: speculative element. And it has street gangs that are in

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Speaker 2: baseball uniforms with face paint.

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Speaker 1: I mean that could happen. There's nothing in this film

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Speaker 1: that could not technically happen or have happened. But yeah,

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Speaker 1: it makes all of these and it's not just visual

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Speaker 1: choices that are strained. It's not like they had just

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Speaker 1: like a straightforward street crime plot and then just decided

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Speaker 1: to color up and gussie up the costumes there is

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Speaker 1: we'll get into. There are other aspects of the warriors

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Speaker 1: that make it stand out as well.

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Speaker 2: That's true, But I think it is just straightforwardly fair

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Speaker 2: to say that this movie is set in an alternate universe.

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Speaker 2: The gangs of this movie are just much more theatrical

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Speaker 2: and circus like than any gangs I'm aware of in reality,

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Speaker 2: at least in the modern world.

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Speaker 1: Yeah, And like, I always feel like this movie seems

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Speaker 1: to occupy the same cinematic universe as the nineteen seventy

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Speaker 1: three adaptation of the musical god Spell, you know, like

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Speaker 1: it it doesn't feel like it is it is actually

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Speaker 1: our reality. It's somewhere a little bit to the left,

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Speaker 1: a little bit to the right, Spock in a goatee territory.

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Speaker 2: Well, you know, another movie it kind of reminds me

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Speaker 2: of in this regard is another Walter Hill movie, which

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Speaker 2: is Streets of Fire, a film set that has an

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Speaker 2: urban setting. It has mostly like it doesn't really have

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Speaker 2: magic or like science fiction technology in it, but still

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Speaker 2: it feels like a fantasy. It doesn't feel like the

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Speaker 2: real world, and the gangs in it and the heroes

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Speaker 2: in it are all just kind of mythical in a way.

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Speaker 1: Yeah, yeah, I know, I know what you're talking about. Like,

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Speaker 1: similar things are often said about I don't know, Court

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Speaker 1: McCarthy comes to mind. You know, so many of most

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Speaker 1: of his books are not dealing with any kind of

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Speaker 1: speculative elopment. They're like to the you know, the average eye,

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Speaker 1: like straightforward Westerns, for example, but the way that he

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Speaker 1: writes them and the way that he approaches them it

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Speaker 1: ends up taking on all of these often overt mythical connotations.

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Speaker 1: So anyway, yeah, The Warriors. I was drawn to this

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Speaker 1: one in part, I think because I was like, maybe

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Speaker 1: we need a palate cleanser. You know, we've been doing

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Speaker 1: a lot of fantasy, a lot of sci fi. It's like,

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Speaker 1: take it down a little bit. And also I realized

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Speaker 1: we hadn't covered a seventies of film in several weeks,

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Speaker 1: and I'm like, okay, we need something from the nineteen seventies.

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Speaker 1: And then also, it's been rather hot recently. We were

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Speaker 1: kind of back into a cool spell now, but it's

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Speaker 1: been it's been kind of a hot summer of late,

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Speaker 1: and this is a movie that always screams summer in

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Speaker 1: the city. To me, it's just a very hot and

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Speaker 1: sweaty film. Most of the characters seem like they have

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Speaker 1: just been sweating for days, that patina of sweat on

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Speaker 1: them and most of the scenes. It's a grungey seventies

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Speaker 1: New York City film. And yeah, yeah, it's just as

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Speaker 1: part of the vibe. It's just this is a good

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Speaker 1: summer movie. In my opinion.

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Speaker 2: I was quite surprised to hear you describe it as

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Speaker 2: a cleanser in any way, because this film is de

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Speaker 2: I did lye dirty.

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Speaker 4: It needs a shower, it is.

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Speaker 1: Yeah. It is also interesting in that I was kind

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Speaker 1: of looking for a quick breather from a lot of

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Speaker 1: the alien related content that I've been picking for Weird

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Speaker 1: House and for other portions of the podcast stream, and

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Speaker 1: of course this one ends up having a number of

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Speaker 1: alien and aliens connections as well, which we'll get into now.

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Speaker 1: It's interesting. I was reading a little bit about the

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Speaker 1: production and the release so the Warriors of the movie

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Speaker 1: about street gangs, and even though it deals with them

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Speaker 1: in a manner that again feels very rather removed from reality,

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Speaker 1: it's worth noting that street gangs were an issue during

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Speaker 1: the filming and the release of the movie, so gangs

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Speaker 1: obviously have been a real issue around the world throughout

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Speaker 1: time and in urban and rural settings. So you know,

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Speaker 1: the film would seem to be removed enough from reality

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Speaker 1: to avoid controversy upon release, at least from our vantage point,

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Speaker 1: because especially as the decades set in, I think it

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Speaker 1: also takes on this additional air of otherness as we

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Speaker 1: have not only like the weirdness applied to the different

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Speaker 1: gangs in the way they're dressed, but also we're just

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Speaker 1: further and further from from the late nineteen seventies. But yeah,

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Speaker 1: at the time that they released it, apparently there were

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Speaker 1: various controversies. There were like gangs allegedly fighting in the theaters,

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Speaker 1: like the street gangs loved it. People who didn't like

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Speaker 1: the street gangs were very critical of the movie for

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Speaker 1: for highlighting street gang violence.

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Speaker 2: The Warriors is going to make people join gangs?

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Speaker 4: I don't know.

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Speaker 1: I mean it was a real concern at the time.

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Speaker 1: I was reading in the Psychotronic video. Guy Michael Weldon,

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Speaker 1: who I believe at the time he wrote this was

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Speaker 1: a New Yorker before he became a Georgian like me.

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Speaker 1: He has a record store in Augusta now Psychotronic Records,

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Speaker 1: so if anyone's on a road trip through Augusta, that's

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Speaker 1: an interesting place to stop. But anyway, he pointed out

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Speaker 1: that it got a lot of negative buzz on release

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Speaker 1: that he qualifies as like good negative buzz, so like ultimately,

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Speaker 1: you know, uplifted the film and I guess helped cement

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Speaker 1: its cult status. And he does point out that this

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Speaker 1: is not a film that is true to life regarding

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Speaker 1: life in New York City, but he does point out

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Speaker 1: accurately that it makes use of a lot of great

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Speaker 1: New York City locations. I mean, this is definitely a

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Speaker 1: movie filmed in New York and even if you're used

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Speaker 1: to today's New York City, you feel at home in

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Speaker 1: this film.

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Speaker 2: I know what you mean. There is something about the

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Speaker 2: use of New York locations in this movie. And I'm

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Speaker 2: not even in New Yorker myself. I've only been there

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Speaker 2: a few times. But something about it feels very familiar

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Speaker 2: and cozy to see all these shots in and references

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Speaker 2: to real places throughout New York, especially throughout the Bronx

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Speaker 2: and Manhattan and then Coney Island at the beginning in

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Speaker 2: the end, that it feels really cozy and familiar, and

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Speaker 2: at the same time, the setting, like the plot context

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Speaker 2: in which we encounter these locations is not at all familiar.

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Speaker 2: It's hostile territory where our main characters are in extreme danger,

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Speaker 2: but it just feels like it makes you want to

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Speaker 2: settle in with a cup of tea or something.

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Speaker 4: Do you know what I'm talking about?

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Speaker 1: Yeah, yeah, Yeah, it is weird how a film that

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Speaker 1: is you could, I guess roughly catalog in the sort

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Speaker 1: of the hell city world, you know, you know, sort

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Speaker 1: of like the post apocalyptic New York but without the apocalypse,

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Speaker 1: or more of like a slow apocalypse, and yet it

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Speaker 1: still feels like lovingly New York City in some strange way,

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Speaker 1: even though most of the scenes are about you know,

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Speaker 1: street gang members running from cops or karate kicking a cop,

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Speaker 1: or fighting each other as they flee in and out

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Speaker 1: of different subway stops.

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Speaker 2: Yeah, if you're not familiar with the terminology we've used before,

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Speaker 2: the hell city cliche in the movies is that it

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Speaker 2: was especially common in movies of say the seventies through

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Speaker 2: the nineties early nineties that would depict American cities, especially

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Speaker 2: New York City. You know, it would take the worst

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Speaker 2: components of urban poverty or decay or something, and then

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Speaker 2: take it to an almost fantasy level, so you would

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Speaker 2: have these cities depicted as places full of flaming garbage

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Speaker 2: cans and trash blowing in the wind, and around every

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Speaker 2: corner where there was somebody with a knife.

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Speaker 1: Yeah. Escape from New York is in many ways like

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Speaker 1: the prime example of this in which Manhattan has been

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Speaker 1: depopulated of everything, but criminals and extra criminals have been

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Speaker 1: added to establish a penal colony. So this movie doesn't

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Speaker 1: inspire to that level of hell city.

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Speaker 2: New York does still feel like lived in in this movie.

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Speaker 1: Yeah, like we have. It doesn't go to great pains

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Speaker 1: to establish this, but they did make sure that we

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Speaker 1: have the various shots where we see bystanders who seem

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Speaker 1: to be just normal folk. There is enough texture to

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Speaker 1: remind us that this is a place where normal people live.

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Speaker 1: This is just what happens in the contested street environment,

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Speaker 1: particularly at night.

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Speaker 2: Now, one thing that was new to me upon this

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Speaker 2: revisit of The Warriors, because I'd seen the movie years ago,

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Speaker 2: but I hadn't watched it in quite some time, so

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Speaker 2: I never noticed this before. But coming back to it. Now,

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Speaker 2: The Warriors is obviously based on a work of classical

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Speaker 2: Greek literature, which is The Anibasis by Xenophon, and so

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Speaker 2: I looked it up. And this is not just a

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Speaker 2: cursory kind of illusion or you know, kind of a

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Speaker 2: little bit of a match on the book on which

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Speaker 2: The Warriors was based, called The Warriors by Saul Yurik

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Speaker 2: was explicitly based on Xenophon, And apparently earlier cuts of

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Speaker 2: the movie and some versions of the screenplay just say

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Speaker 2: that this is the story told by Xenophon, but in

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Speaker 2: the modern day. So what's the deal with the Anabasis?

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Speaker 2: The Anibassis is the story of a company of ten

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Speaker 2: thousand Greek mercenaries who are travel out to fight a

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Speaker 2: war but become stranded in Mesopotamia. So they're fighting for

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Speaker 2: a Persian prince, Cyrus, the younger. Cyrus tried to challenge

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Speaker 2: his brother Arctic Serxes the second for the throne of

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Speaker 2: the Achemenid Empire, but was killed in the campaign in

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Speaker 2: four oh one BCE, sort of leaving his armies adrift.

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Speaker 2: So the Anabasis narrates the ten thousand Greek warriors attempt

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Speaker 2: to travel back from this far distant hostile territory in Mesopotamia,

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Speaker 2: back to friendly lands, back to Greek cities along the

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Speaker 2: sea in Asia Minor, and so they have to travel

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Speaker 2: through Mesopotamia through Armenia through Asia Minor, having many fascinating

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Speaker 2: and thrilling adventures along the way. And The Warriors follows

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Speaker 2: this general shape by having the gang make a perilous

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Speaker 2: journey back to home territory through strange lands full of

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Speaker 2: hostile armies and relentless pursuers. But there are also more

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Speaker 2: specific nods, like the fact that they are initially assembled

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Speaker 2: in the park by a leader named Cyrus, the name

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Speaker 2: of the Prince. The Persian Prince, and other characters in

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Speaker 2: the movie also have the names of famous Greek heroes.

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Speaker 2: There are characters named Ajax and Cleon and so forth.

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Speaker 2: Another thing about The Warriors that feels very ancient Greek

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Speaker 2: to me is its alien morality. It's a very interesting

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Speaker 2: way to depict street gangs in storytelling. So the movie

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Speaker 2: is decidedly told from the gangs and the gang member's

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Speaker 2: point of view. It is not from the point of

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Speaker 2: view of like an outsider interacting with the gang, or

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Speaker 2: with a kind of sermonizing tone that you might get

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Speaker 2: in some seventies movies that deal with gangs as like, oh,

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Speaker 2: this is a kind of social blight. Look at the

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Speaker 2: crime and the destruction. We are with the Warriors in

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Speaker 2: the movie. We're on the ground level with them, and

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Speaker 2: we're seeing things from their point of view. So they

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Speaker 2: are structurally the protagonists of the story. And yet the

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Speaker 2: Warriors are really not good guys. Other than placing them

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Speaker 2: in a very unfair predicament where they're framed for a

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Speaker 2: crime they didn't commit, there is little effort made to

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Speaker 2: make them morally palatable or sympathetic. So the Warriors are

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Speaker 2: not Robin Hood's band of merry men. They're not nice,

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Speaker 2: they're not helpful or chivalrous. For the most part, they

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Speaker 2: do not have a heart of gold. They are a tough, violent,

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Speaker 2: self interested criminal gang, and some of the guys in

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Speaker 2: the gang come off as overtly evil. For example, the

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Speaker 2: character Ajax is portrayed as someone who just totally violent

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Speaker 2: to the core, will commit rape or murder on a whim,

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Speaker 2: and the rest of the gang, though mostly not as

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Speaker 2: bad as Ajax, they're generally just threatening and rough with

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Speaker 2: innocent people.

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Speaker 1: Yeah, even Rembrandt, the most innocent seeming member of the

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Speaker 1: gang is just totally down to desecrate some tombstones. That's

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Speaker 1: his role in the gang. He's the artist. He's the

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Speaker 1: one that's supposed to, you know, throw up the tags

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Speaker 1: and all. And then you know, other members of the

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Speaker 1: gang casfully use homophobic or racist terms at times. And

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Speaker 1: on one hand, you know, perhaps they're going for that

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Speaker 1: sort of hard late seventies realism and so forth. But

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Speaker 1: I think, certainly to contemporary viewers, this also serves to

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Speaker 1: remind us the yeah, these are loudmouthed, troubled youth. Yes,

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Speaker 1: some of the youth are thirty. They are not good guys.

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Speaker 2: But I think it falls in with the style of

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Speaker 2: characterization that was very popular in a lot of the

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Speaker 2: great movies of the seventies, which often focused not on like,

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Speaker 2: you know, sweet lovable characters, but on characters that were

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Speaker 2: troubled and complex and interesting in the ways that they

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Speaker 2: were very morally imperfect or flawed. And so the warriors

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Speaker 2: are they're not Luke Skywalker and Princess Leah. You know,

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Speaker 2: they're dangerous people in a dangerous situation.

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Speaker 1: I like that you mentioned like nineteen fifties style street

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Speaker 1: gangs films and social problem works of previous decades, because yeah,

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Speaker 1: there's not a sense in this at all that there

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Speaker 1: is another way for these characters. We don't really know

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Speaker 1: anything about what their lives might consist, of, what their

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Speaker 1: home lives are like, Like this is just like this

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Speaker 1: is who they are. What else could they possibly be?

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Speaker 1: And in fact, one thing I was struck by in

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Speaker 1: this rewatch is that really, all the gang members there's

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Speaker 1: not a sense that they have homes or belongings of

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Speaker 1: any kind. There's no sense that the warriors themselves have

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Speaker 1: anything in their pockets, like if they have pockets on

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Speaker 1: those those tight fitting pants that most of them are wearing.

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Speaker 1: You know, it's like their only possession is their identity

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Speaker 1: as a warrior, and there's nothing else for them in

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Speaker 1: the world at all.

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Speaker 2: All they have is the perception they can create in

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Speaker 2: others that they are tough and they shouldn't be messed with.

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Speaker 1: Yeah, they don't even have weapons. They didn't be part

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Speaker 1: of it is plotting like where they've gone. It's kind

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Speaker 1: of like, I guess a weapon free zone or supposed

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Speaker 1: to be. Nobody else seems to obey this rule, but

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Speaker 1: like they didn't even come like strapped or whatever, so

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Speaker 1: so they have to improvise their weapons and or use

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Speaker 1: their fists and their kicks along the way, which you

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Speaker 1: know ultimately makes it a scrappier movie too.

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Speaker 2: Another thing I was noting is a similarity with Xenophon

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Speaker 2: is of course, Xenophon is a journey from deep within

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Speaker 2: the Persian Empire down to Mesopotamia back up to they're

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Speaker 2: trying to reach the sea, the Greek friendly or Greek

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Speaker 2: colony cities along the coast, and the journey of the

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Speaker 2: warriors is much the same. They're starting up in the

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Speaker 2: Bronx and they're ending they end up back by the sea.

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Speaker 2: The return home is the return to the coastline at

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Speaker 2: Coney Island.

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Speaker 1: Yeah yeah, Like, isn't it like a rallying cry in

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Speaker 1: the original work, like the Sea of the Sea, like

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Speaker 1: the Sea?

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Speaker 4: Yeah exactly, yes.

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Speaker 1: All right, Well, my elevator pitch for this one is

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Speaker 1: just street crime, but make it weird, and I think

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Speaker 1: they succeeded in making it weird. Occasionally I'll hear talk

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Speaker 1: of how they're looking to do a remake of this

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Speaker 1: or do a TV series of it, And at one

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Speaker 1: point I forget who was involved with. They were like, Yeah,

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Speaker 1: this time though, we're gonna make all the street gangs

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Speaker 1: super realistic. And I'm and I'm just instantly like like no, Like,

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Speaker 1: that's not what makes the Warriors special. I can't imagine

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Speaker 1: anyone wants that from the Warriors. If anything, make it weirder.

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Speaker 1: I want to see gangs based on I don't know

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Speaker 1: any s Jason Vorhez, you know things like that.

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Speaker 2: Okay, in this one, we got a gang dressed up

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Speaker 2: like baseball players. What if instead we get a gang

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Speaker 2: that are all dressed up like baseball mascots?

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Speaker 1: There you go, there, you go, Well, what would be.

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Speaker 2: The best mascot? I know it's not baseball, but you

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Speaker 2: could have a whole gang of gritty is. You could

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Speaker 2: have a whole gang of wiffs.

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Speaker 1: Yeah, gritty gang would work. I mean anything like, you know,

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Speaker 1: we could Witch of the East. Everybody's stressed like the

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Speaker 1: wicked Witch of the East. I mean, you name it.

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Speaker 1: As long as it's like uniform and and strange, it works.

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Speaker 1: Like not all the gangs and the Warriors are that strange,

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Speaker 1: but enough of them are that it pushes the pushes

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Speaker 1: us through the barrier into the salt dimension. All right,

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Speaker 1: let's go ahead and listen to a little trailer audio.

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Speaker 5: These are the armies of the night.

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Speaker 6: Where you dig itre you dig the Furies, the Boppers,

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Speaker 6: the High Hats, the Lizzies, the turnbul A Ses, the

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Speaker 6: Gramercy Riffs.

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Speaker 5: And these are the Warriors. We know about the Warriors.

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Speaker 5: They're a heavy outfit. They're from Coney Island Warriors. You

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Speaker 5: guys are the big dudes.

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Speaker 6: Huh.

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Speaker 5: Now they're in the Bronx.

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Speaker 6: We're going back twenty seven miles behind enemy lines.

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Speaker 5: It's the only choice we get.

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Speaker 6: Between them and safety. Stand twenty thousand cups and one

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Speaker 6: hundred thousand sworn enemies.

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Speaker 5: I want them all. I want all the Warriors.

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Speaker 7: They've got one way out, They've got one chance, They've

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Speaker 7: got one night the Warriors.

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Speaker 1: Okay, So if you are looking to jump out and

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Speaker 1: watch or rewatch the Warriors for yourself before proceeding with

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Speaker 1: the rest of this episode, uh yeah, ahead and do it.

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Speaker 1: This movie is widely available again. Its cult status has

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Speaker 1: been assured for many, many years. So there have been

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Speaker 1: a number of nice editions that have come out, including

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Speaker 1: the Arrow limited Blu Ray, which looks really nice. All right,

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Speaker 1: let's get into the people who made this film, starting

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Speaker 1: at the top. The director also screenplay credit is Walter

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Speaker 1: Hill born nineteen forty two, a writer, director, and producer

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Speaker 1: with writing credits going back to nineteen seventy two, with

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Speaker 1: a couple of films that include the excellent Sam Peckinpack

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Speaker 1: crime thriller The Getaway starring Steve McQueen. He began directing

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Speaker 1: as well with nineteen seventy five's Hard Time starring Charles Bronson,

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Speaker 1: and in nineteen seventy nine he got into producing with

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Speaker 1: a little sci fi horror film called Alien, and he's

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Speaker 1: remained a producer on every Alien film since, including the

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Speaker 1: most recent Alien Romulus as part of Brandywine Productions.

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Speaker 2: Now, Rob you might have read about this more recently

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Speaker 2: than me, so correct me if I'm wrong about the

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Speaker 2: process here. But from what I recall, the original script

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Speaker 2: for Alien was by Dan O'Bannon, based on a story

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Speaker 2: by Ronald Shusett or shuss It, and that was the

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Speaker 2: first script by Obannon I think was pitched at a

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Speaker 2: more B movie level. It was sort of supposed to

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Speaker 2: be a smart but lower budget, scrappy movie made made

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Speaker 2: by somebody in the Roger Korman Camp. But then somehow

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Speaker 2: Walter Hill and David Geiler got their hands on it

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Speaker 2: and did and they sort of had more ambitions for it.

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Speaker 2: They were like, this is an interesting idea. We could

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Speaker 2: make this into a bigger budget, more artful kind of movie,

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Speaker 2: and so they took a pass at the script. Is

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Speaker 2: that how you understand it?

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Speaker 1: Yeah? Yeah, that's my understanding. So you know, Hill and Geler,

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Speaker 1: David Giler, who lived forty three through twenty twenty, they

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Speaker 1: did what I think is ultimately an uncredited rewrite on

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Speaker 1: the script, but you can find their rewrite on the script.

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Speaker 1: You shared it with me prior to our recording, and

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Speaker 1: we were both kind of looking through it and checking

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Speaker 1: out what their particular take on it was and how

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Speaker 1: it was written.

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Speaker 2: We can come back to that in a minute, because

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Speaker 2: I do want to talk about Walter Hill's screenwriting style now.

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Speaker 1: Outside of the Alien franchise, they also produced the Tales

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Speaker 1: from the Crypt TV series Demon Knight, the Tales from

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Speaker 1: the Crypt movie that we previously covered on Weird House Cinema,

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Speaker 1: and HBO's Deadwood. Walter Hill also scripted and directed three

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Speaker 1: different episodes of Tales from the Crypt, including the disturbingly

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Speaker 1: memorable Cutting Cards episode starring Lance Henrickson and Kevin Teege.

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Speaker 1: His other directing credits include nineteen eighty one Southern Comfort,

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Speaker 1: eighty two's forty eight Hours, eighty four Streets of Fire,

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Speaker 1: which we already mentioned, eighty five's Brewsters Millions, eighty eight's

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Speaker 1: Red Heat, ninety twoh Trespass, and his most recent directorial

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Speaker 1: effort was a twenty twenty two Western title Dead for

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Speaker 1: a Dollar.

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Speaker 2: Oh my god, Walter Hill did Red Heat.

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Speaker 1: I didn't know.

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Speaker 2: That's the one with Schwarzenegger, right, or he plays a

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Speaker 2: Soviet cop.

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Speaker 1: Yeah, I vaguely remember seeing this one back when I

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Speaker 1: was a kid.

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Speaker 2: I've never seen the whole movie, but I've seen clips

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Speaker 2: on YouTube. There is one where Schwarzenegger infamously like pours

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Speaker 2: several pounds of cocaine out of someone's artificial leg.

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Speaker 1: Yep Arnold and James Belushi quite as screenpairing.

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Speaker 4: Wow, I can only imagine the chemistry. I'll have to

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Speaker 4: watch that one someday.

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Speaker 2: But yeah, I wanted to come back to Walter Hill's

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Speaker 2: screenwriting style because occasionally I look up screenplays and read them,

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Speaker 2: and you know, compare what's on the page to what's

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Speaker 2: in the movie. And I have always found Walter Hill's

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Speaker 2: style to be very interesting and something that I like

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Speaker 2: a lot. So, just as one example, I'm going to

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Speaker 2: read some descriptive passages from opening shots of his Alien

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Speaker 2: screenplay with David Geiler. Interior engine room, empty cavernous interior

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Speaker 2: engine cubicle, circular jammed with instruments, all of them, idle

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Speaker 2: console chairs for two empty interior oily corridor, sea level

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Speaker 2: long dark, empty, turbose, throbbing, no other movement. Interior bridge vacant,

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Speaker 2: two space helmets resting on chairs. Electrical hum. Lights on

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Speaker 2: the helmets begin to signal one another. Moments of silence.

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Speaker 2: A yellow light goes on, data mind in the background,

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Speaker 2: electronic hum. A green light goes on in front of

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Speaker 2: one helmet, electronic pulsing sounds, A red light goes on

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Speaker 2: in front of other helmet. An electronic conversation ensues, reaches

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Speaker 2: a crescendo, then silence. The lights go off, save the yellow.

434
00:24:56,960 --> 00:24:58,840
Speaker 2: So maybe that'll give you a kind of idea. But

435
00:24:58,920 --> 00:25:06,720
Speaker 2: Walter Hill has a very terse, sparse, vertical screenwriting style,

436
00:25:06,760 --> 00:25:11,600
Speaker 2: and it especially comes through in physically descriptive passages where

437
00:25:11,640 --> 00:25:14,680
Speaker 2: he will sometimes describe a whole scene that he wants

438
00:25:14,720 --> 00:25:18,639
Speaker 2: to show you visually in a few words, just like

439
00:25:18,760 --> 00:25:22,160
Speaker 2: you know, a two word sentence on one line, return

440
00:25:22,600 --> 00:25:26,520
Speaker 2: next line, a three word sentence period. He often leaves

441
00:25:26,520 --> 00:25:29,600
Speaker 2: out the subject of the sentence in screenwriting if the

442
00:25:29,640 --> 00:25:33,280
Speaker 2: subject is the same as the previous sentence. So it's

443
00:25:33,400 --> 00:25:38,240
Speaker 2: just very tight writing that I think is extremely effective

444
00:25:38,280 --> 00:25:41,879
Speaker 2: as screenwriting because I cannot help but picture the scene

445
00:25:41,880 --> 00:25:44,159
Speaker 2: in my head when I read it. It just leaps

446
00:25:44,280 --> 00:25:48,639
Speaker 2: right into the mind's eye. And especially having seen the

447
00:25:48,680 --> 00:25:52,320
Speaker 2: movies that are made from these scripts, you can absolutely

448
00:25:52,359 --> 00:25:56,199
Speaker 2: see exactly from these short descriptive passages on the page

449
00:25:56,760 --> 00:25:59,760
Speaker 2: into what happened in the actual film.

450
00:26:00,119 --> 00:26:02,439
Speaker 1: Yeah, and just reading through some of these examples, it

451
00:26:02,480 --> 00:26:05,480
Speaker 1: feels like it flows on the page at the exact

452
00:26:05,520 --> 00:26:08,280
Speaker 1: same pace as it will flow on the screen. You know,

453
00:26:08,520 --> 00:26:10,840
Speaker 1: it doesn't get bogged down in a bunch of descriptions.

454
00:26:11,119 --> 00:26:13,640
Speaker 2: You're right that it doesn't get bogged down in overly

455
00:26:13,760 --> 00:26:17,080
Speaker 2: wordy description. But it is very descriptive. It's like very

456
00:26:17,200 --> 00:26:20,920
Speaker 2: visually evocative. It just uses as few words as possible.

457
00:26:21,280 --> 00:26:24,040
Speaker 2: And so anyway, I found the Warriors screenplay online as well,

458
00:26:24,119 --> 00:26:26,320
Speaker 2: we'll come back to this because there are some funny

459
00:26:26,359 --> 00:26:29,280
Speaker 2: things from it that we can talk about. It is

460
00:26:29,600 --> 00:26:31,880
Speaker 2: very different from the final film, and I think there

461
00:26:31,960 --> 00:26:35,320
Speaker 2: might be different cuts of the Warriors available. I watched

462
00:26:35,359 --> 00:26:38,680
Speaker 2: the theatrical cut, so maybe some of the stuff in

463
00:26:38,720 --> 00:26:41,600
Speaker 2: the screenplay that's not in the film is restored in

464
00:26:41,640 --> 00:26:45,159
Speaker 2: the director's cut. But for example, the screenplay has a

465
00:26:45,200 --> 00:26:48,320
Speaker 2: lot of stuff in the opening that we never get

466
00:26:48,400 --> 00:26:51,359
Speaker 2: in the movie, scenes with the Warriors on their home

467
00:26:51,400 --> 00:26:54,639
Speaker 2: turf in Coney Island before going off to the conclave

468
00:26:54,760 --> 00:26:59,359
Speaker 2: and having their dangerous adventure. And I don't know, it's

469
00:26:59,440 --> 00:27:03,679
Speaker 2: kind of interesting because I think these opening scenes really

470
00:27:04,200 --> 00:27:07,679
Speaker 2: soften the Warriors characters and make them more relatable to

471
00:27:07,720 --> 00:27:11,160
Speaker 2: see them at home first, just kind of being themselves

472
00:27:11,240 --> 00:27:14,719
Speaker 2: before they're in danger and out of their element. And

473
00:27:15,080 --> 00:27:17,159
Speaker 2: obviously we get a very little bit of that in

474
00:27:17,200 --> 00:27:19,080
Speaker 2: the movie, but it's mostly just the scenes where they're

475
00:27:19,119 --> 00:27:24,000
Speaker 2: being summoned and then they depart. So in the in

476
00:27:24,040 --> 00:27:26,840
Speaker 2: the script we have them say there's like a scene

477
00:27:26,880 --> 00:27:30,080
Speaker 2: where they're on the beach and Ajax, the character played

478
00:27:30,080 --> 00:27:32,399
Speaker 2: by James Ramar, who will talk about in a minute,

479
00:27:32,560 --> 00:27:37,840
Speaker 2: he's like working out on some exercise equipment, you know,

480
00:27:37,920 --> 00:27:40,359
Speaker 2: showing off his muscles, being a total jerk to the

481
00:27:40,400 --> 00:27:44,159
Speaker 2: other guys in the in the gang. And so for example,

482
00:27:44,200 --> 00:27:48,880
Speaker 2: we get this description beach Ajax pumps twice on the bars,

483
00:27:49,240 --> 00:27:54,840
Speaker 2: does a flying dismount, smiles wall Swan holding his knife,

484
00:27:55,359 --> 00:27:59,560
Speaker 2: just looking at the blade, Coney Island, the sun visible

485
00:27:59,600 --> 00:28:03,240
Speaker 2: over the amusement park, horizon line, and so again, very tight,

486
00:28:03,560 --> 00:28:07,639
Speaker 2: very evocative description, very few words, but it conjures a

487
00:28:07,720 --> 00:28:11,719
Speaker 2: strong feeling, and that feeling is eventually what's there on

488
00:28:11,760 --> 00:28:12,960
Speaker 2: the screen in the movie.

489
00:28:13,480 --> 00:28:16,040
Speaker 1: Yeah, yeah, this is This is interesting because because the

490
00:28:16,080 --> 00:28:19,440
Speaker 1: actual films we'll discuss, it has a very tight funnel

491
00:28:19,920 --> 00:28:21,960
Speaker 1: at the beginning. It really draws you in. Is highly

492
00:28:22,240 --> 00:28:27,040
Speaker 1: highly effective. I wouldn't change anything. But at the same time, yeah,

493
00:28:27,080 --> 00:28:29,080
Speaker 1: we don't really go into it with a sense of

494
00:28:29,080 --> 00:28:32,000
Speaker 1: what normal life is like for these guys, or indeed

495
00:28:32,000 --> 00:28:34,760
Speaker 1: what gang life consists of. And part of that also

496
00:28:34,760 --> 00:28:37,359
Speaker 1: works very well with the structure of the plot and

497
00:28:37,400 --> 00:28:40,120
Speaker 1: the sort of the mythic qualities of it, because you know,

498
00:28:40,160 --> 00:28:44,400
Speaker 1: again they are essentially like ancient mercenaries in a strange world,

499
00:28:44,480 --> 00:28:47,920
Speaker 1: and the less you know about what actual street level

500
00:28:48,000 --> 00:28:50,800
Speaker 1: gang day to day consists of like maybe the better

501
00:28:50,840 --> 00:28:52,240
Speaker 1: in this overall structure of the film.

502
00:28:52,720 --> 00:28:55,120
Speaker 2: H But now is it the case that Hill also

503
00:28:55,160 --> 00:28:57,000
Speaker 2: had a writing partner on this script?

504
00:28:57,600 --> 00:29:01,280
Speaker 1: Yes. David Shaber, who lived ineteen twenty nine through nineteen

505
00:29:01,360 --> 00:29:05,280
Speaker 1: ninety nine, American screenwriter and theater producer. His other screenplay

506
00:29:05,320 --> 00:29:08,880
Speaker 1: credits include nineteen eighty one's Nighthawks, nineteen ninety's The Hunt

507
00:29:08,920 --> 00:29:11,480
Speaker 1: for Red October, and ninety one's Flight of the Intruder.

508
00:29:12,360 --> 00:29:14,880
Speaker 1: And then, as we already mentioned, this is all based

509
00:29:14,920 --> 00:29:17,280
Speaker 1: on the novel by Saul Urick, who of nineteen twenty

510
00:29:17,320 --> 00:29:22,080
Speaker 1: five through twenty thirteen American novelist who was apparently partially

511
00:29:22,120 --> 00:29:26,560
Speaker 1: inspired not only by the classics, but partially inspired in

512
00:29:26,600 --> 00:29:31,120
Speaker 1: writing this nineteen sixty five novel by the unrealistic romanticism

513
00:29:31,200 --> 00:29:34,920
Speaker 1: of street gangs in West Side Story. I believe he

514
00:29:34,960 --> 00:29:37,440
Speaker 1: had worked with troubled youth to some extent, and so

515
00:29:37,720 --> 00:29:40,040
Speaker 1: he had a little insight into what the world consisted of,

516
00:29:40,080 --> 00:29:42,480
Speaker 1: and he's like, it's not that glamorous, I'm going to

517
00:29:42,520 --> 00:29:45,560
Speaker 1: write it. His other books include sixty eight's The Bag,

518
00:29:45,680 --> 00:29:49,400
Speaker 1: seventy five's In Island Death, and nineteen eighty one's Richard A.

519
00:29:49,960 --> 00:29:53,040
Speaker 1: The nineteen ninety nine film The Confession was an adaptation

520
00:29:53,080 --> 00:29:57,160
Speaker 1: of his nineteen sixty six novel Fertig. All right, let's

521
00:29:57,200 --> 00:30:00,440
Speaker 1: get into the cast here. So we may may not

522
00:30:00,520 --> 00:30:03,040
Speaker 1: mention all the warriors, but a lot of them are

523
00:30:03,080 --> 00:30:06,800
Speaker 1: played by actors who, you know, first time actors and

524
00:30:07,080 --> 00:30:09,800
Speaker 1: maybe went on to great things, or maybe you know,

525
00:30:09,880 --> 00:30:12,840
Speaker 1: ended up having a career shift pretty early on, but

526
00:30:13,040 --> 00:30:17,200
Speaker 1: starting at the top. Really, our central character is Swan.

527
00:30:18,080 --> 00:30:21,320
Speaker 1: Swan is played by Michael Beck. This is our handsome

528
00:30:21,400 --> 00:30:24,080
Speaker 1: and ultimately ends up being the de facto warlord of

529
00:30:24,120 --> 00:30:26,800
Speaker 1: the Warriors after some stuff goes down very early in

530
00:30:26,840 --> 00:30:30,239
Speaker 1: the plot. His Beck's TV and film credits go back

531
00:30:30,280 --> 00:30:33,800
Speaker 1: to nineteen seventy one, and apparently Hill discovered him for

532
00:30:33,880 --> 00:30:37,960
Speaker 1: this film while they were scouting an actor by the

533
00:30:38,040 --> 00:30:40,600
Speaker 1: name of Sigourney Weaver for a little science fiction film

534
00:30:40,600 --> 00:30:44,400
Speaker 1: they were involved in. The movie they were looking at

535
00:30:44,440 --> 00:30:48,000
Speaker 1: to scout Weaver was nineteen seventy eight mad Man, which

536
00:30:48,040 --> 00:30:52,720
Speaker 1: also features Beck as well as f Marie Abraham. So

537
00:30:52,800 --> 00:30:57,000
Speaker 1: Beck's subsequent credits included nineteen eighty Xanadu eighty two's Battle

538
00:30:57,040 --> 00:31:01,000
Speaker 1: Truck and Mega Force, the nineteen eighty three TV movie

539
00:31:01,040 --> 00:31:04,680
Speaker 1: The Last Ninja, the eighty five thriller Blackout, in various

540
00:31:04,680 --> 00:31:06,520
Speaker 1: TV and film projects.

541
00:31:06,480 --> 00:31:12,000
Speaker 2: Wow Xanadu, Megaforce, The Last Ninja. That is it is

542
00:31:12,000 --> 00:31:17,160
Speaker 2: is The Warriors generally considered Beck's like peak peak performance.

543
00:31:17,800 --> 00:31:19,840
Speaker 1: I think it might be. Yeah, I think this is

544
00:31:19,960 --> 00:31:22,520
Speaker 1: this is the shining gem in his filmography. And I

545
00:31:22,560 --> 00:31:25,040
Speaker 1: have to say, like, I think he he There was

546
00:31:25,080 --> 00:31:27,720
Speaker 1: some criticism leveled at him for some of his performances

547
00:31:27,720 --> 00:31:31,240
Speaker 1: in these, like you know, obviously probably not good action films,

548
00:31:32,800 --> 00:31:35,120
Speaker 1: but I have to say, I think he's really good

549
00:31:35,200 --> 00:31:37,320
Speaker 1: in this. I think, you know, he has a great look,

550
00:31:37,600 --> 00:31:41,040
Speaker 1: but he also is able to to bring the appropriate

551
00:31:41,080 --> 00:31:43,760
Speaker 1: presence as well. Like I have absolutely no problem with

552
00:31:43,840 --> 00:31:46,520
Speaker 1: Michael Beck's performance in The Warriors. Does he look a

553
00:31:46,520 --> 00:31:49,760
Speaker 1: little too old? Well, okay maybe, but I mean that

554
00:31:49,760 --> 00:31:53,640
Speaker 1: that's also kind of like a hallmark of like troubled

555
00:31:53,680 --> 00:31:56,320
Speaker 1: youth movies, So I mean even more likely to forgive

556
00:31:56,360 --> 00:31:59,560
Speaker 1: it because you know, you know, thirty year old youths

557
00:32:00,480 --> 00:32:04,560
Speaker 1: is a common occurrence in films such as these. All right,

558
00:32:04,600 --> 00:32:08,120
Speaker 1: So that's Swan. One of the other key Warriors of

559
00:32:08,200 --> 00:32:11,800
Speaker 1: note is Ajax who have already mentioned, played by James

560
00:32:11,840 --> 00:32:15,120
Speaker 1: Ramar born nineteen fifty three. We recently mentioned him on

561
00:32:15,160 --> 00:32:16,720
Speaker 1: the show before as well, because out of the one

562
00:32:16,760 --> 00:32:18,880
Speaker 1: hundred and eighty plus roles he's played over his I

563
00:32:18,920 --> 00:32:22,080
Speaker 1: think six decades of work, one of them is Lord

564
00:32:22,160 --> 00:32:28,480
Speaker 1: Rayden from nineteen ninety seven's Mortal Kombat Annihilation. Who so

565
00:32:29,000 --> 00:32:30,360
Speaker 1: this is the guy who's been in tons of stuff.

566
00:32:30,360 --> 00:32:33,680
Speaker 1: The Warriors, however, was only his second film role, following

567
00:32:33,720 --> 00:32:36,640
Speaker 1: his debut I think, just in a bit part the

568
00:32:36,760 --> 00:32:39,560
Speaker 1: year before in the prison movie on the Yard. Prior

569
00:32:39,600 --> 00:32:42,160
Speaker 1: to this, he'd done some stage work. He followed this

570
00:32:42,280 --> 00:32:45,760
Speaker 1: up with roles in nineteen eighties Cruising the Long Riders

571
00:32:45,800 --> 00:32:48,480
Speaker 1: forty eight Hours and nineteen eighty six's Clan of the

572
00:32:48,520 --> 00:32:51,000
Speaker 1: Cave Bear. He's done a ton of TV and film

573
00:32:51,040 --> 00:32:54,240
Speaker 1: work over the decades, often playing heavies and villains. He's

574
00:32:54,280 --> 00:32:57,600
Speaker 1: been in everything from two thousand's Hell Raiser Inferno to

575
00:32:57,720 --> 00:33:01,880
Speaker 1: twenty twenty three's Oppenheimer EV Viewers might know him best

576
00:33:02,120 --> 00:33:06,560
Speaker 1: from Dexter What He played Dexter's dad on that Yeah

577
00:33:06,600 --> 00:33:09,920
Speaker 1: So Yeah. Solid character actor. His stage work includes a

578
00:33:10,000 --> 00:33:13,800
Speaker 1: nineteen seventy nine Broadway production of Bent alongside Richard Gear

579
00:33:13,840 --> 00:33:14,840
Speaker 1: and Michael Gross.

580
00:33:15,120 --> 00:33:16,600
Speaker 2: I just had to look up who he played in

581
00:33:16,680 --> 00:33:19,920
Speaker 2: Oppenheimer because I forgot, But he played Henry Stimson, the

582
00:33:20,000 --> 00:33:21,480
Speaker 2: Secretary of War under Truman.

583
00:33:22,480 --> 00:33:25,000
Speaker 1: Is it a substantial role or kind of like a

584
00:33:25,040 --> 00:33:25,600
Speaker 1: bit part.

585
00:33:26,320 --> 00:33:29,000
Speaker 2: I think it must be a fairly short appearance, But

586
00:33:29,040 --> 00:33:32,080
Speaker 2: I don't know. The cast of Oppenheimer is so huge

587
00:33:32,120 --> 00:33:35,000
Speaker 2: it's easy to forget a lot of even quite familiar

588
00:33:35,000 --> 00:33:36,040
Speaker 2: actors when they show up.

589
00:33:36,480 --> 00:33:39,120
Speaker 1: James Ramar is one of those character actors who can

590
00:33:39,160 --> 00:33:41,760
Speaker 1: be really good in very small doses or can have

591
00:33:41,800 --> 00:33:44,720
Speaker 1: a more robust role in a picture. Like he just

592
00:33:44,760 --> 00:33:48,720
Speaker 1: has a great look, a very like Stern appearance, especially

593
00:33:48,920 --> 00:33:51,200
Speaker 1: you know as he aged and became this older actor, like,

594
00:33:51,240 --> 00:33:53,000
Speaker 1: you know, you can put him in anywhere in a

595
00:33:53,000 --> 00:33:54,040
Speaker 1: picture and he'll do well.

596
00:33:54,320 --> 00:33:55,440
Speaker 4: Yeah.

597
00:33:55,760 --> 00:33:59,120
Speaker 1: Now, interesting Aliens connection. This is one I hadn't I

598
00:33:59,160 --> 00:34:01,960
Speaker 1: wasn't familiar with. He originally had the role of Hicks

599
00:34:02,480 --> 00:34:07,400
Speaker 1: in nineteen eighty six is Aliens. But I believe the

600
00:34:07,440 --> 00:34:11,840
Speaker 1: story is that he ended up facing some drug charges

601
00:34:11,840 --> 00:34:14,520
Speaker 1: in the UK at the time. I'm not sure what

602
00:34:14,560 --> 00:34:17,560
Speaker 1: the full details on this were. It sounds like whatever

603
00:34:17,600 --> 00:34:20,560
Speaker 1: the particulars of the situation were it got worked out.

604
00:34:21,000 --> 00:34:23,600
Speaker 1: Things turned out out all right for James Ramar, but

605
00:34:24,640 --> 00:34:28,200
Speaker 1: due to the time schedule for the shooting of Aliens,

606
00:34:28,480 --> 00:34:30,680
Speaker 1: they had to pivot and cast someone else in the role.

607
00:34:31,040 --> 00:34:33,680
Speaker 1: And that is one of the reasons that the Hicks

608
00:34:33,719 --> 00:34:37,000
Speaker 1: in the movie. In some scenes especially, it looks like

609
00:34:37,040 --> 00:34:39,120
Speaker 1: his armor is a little too big because he was

610
00:34:39,200 --> 00:34:40,200
Speaker 1: cut size for him.

611
00:34:40,440 --> 00:34:42,960
Speaker 2: It was sized for James Ramar. Oh that's funny. Yeah,

612
00:34:43,000 --> 00:34:45,919
Speaker 2: I think I've read that. In some shots in Aliens,

613
00:34:46,320 --> 00:34:49,280
Speaker 2: when you're looking at Hicks's back, it's still James Ramar

614
00:34:49,360 --> 00:34:52,239
Speaker 2: in there, but they just didn't you know, it's him

615
00:34:52,280 --> 00:34:52,840
Speaker 2: from behind.

616
00:34:53,239 --> 00:35:04,480
Speaker 1: Yeah, all right, let's see who else do we have here. Oh,

617
00:35:04,760 --> 00:35:08,839
Speaker 1: we mentioned that Swan becomes the de facto leader of

618
00:35:08,880 --> 00:35:11,200
Speaker 1: the Warriors, but he's not the leader the beginning. The

619
00:35:11,239 --> 00:35:15,400
Speaker 1: leader is Cleon played by Dorsey Wright born nineteen fifty seven.

620
00:35:15,960 --> 00:35:17,799
Speaker 1: Not a ton of credits for this actor, but he

621
00:35:17,880 --> 00:35:20,080
Speaker 1: was in Hair the same year and has done some

622
00:35:20,160 --> 00:35:24,520
Speaker 1: assistant directing. Yeah, he is the initial leader of the Warriors,

623
00:35:24,560 --> 00:35:26,640
Speaker 1: but he does not last very long. Then we have

624
00:35:26,760 --> 00:35:30,160
Speaker 1: Snow played by Brian Tyler born nineteen fifty three, very

625
00:35:30,160 --> 00:35:32,799
Speaker 1: few acting credits, said to I believe have moved on

626
00:35:32,840 --> 00:35:35,480
Speaker 1: from acting to become a New York State trooper after

627
00:35:35,520 --> 00:35:40,879
Speaker 1: this picture. But he's loyal soldier in the Warriors, all right.

628
00:35:40,880 --> 00:35:44,240
Speaker 1: Next we have Coaches played by David Harris born nineteen

629
00:35:44,280 --> 00:35:46,400
Speaker 1: fifty nine, actor and producer who went on to peer

630
00:35:46,440 --> 00:35:49,520
Speaker 1: in a number of TV and film productions, including NYPD Blue,

631
00:35:49,760 --> 00:35:53,880
Speaker 1: in which he played Officer Donnie Simons. So very deadly

632
00:35:54,000 --> 00:35:58,879
Speaker 1: serious tone by Coachies here, he's often there's a lot

633
00:35:58,880 --> 00:36:00,960
Speaker 1: of dialogue back and forth between the warriors is so

634
00:36:01,000 --> 00:36:03,360
Speaker 1: they discuss what to do and what their objective should be.

635
00:36:03,400 --> 00:36:06,840
Speaker 1: And he's generally a very serious, sort of middle of

636
00:36:06,880 --> 00:36:11,120
Speaker 1: the road voice. Then we have this character Cowboy in

637
00:36:11,160 --> 00:36:13,600
Speaker 1: the Warriors. His main thing is he wears a cowboy

638
00:36:13,640 --> 00:36:15,680
Speaker 1: hat and he also wears a T shirt under his vest.

639
00:36:15,760 --> 00:36:18,880
Speaker 1: Most of them are wearing just the vest and a

640
00:36:18,920 --> 00:36:23,040
Speaker 1: patina of sweat. Yes, a Cowboy is played by Tom

641
00:36:23,280 --> 00:36:26,760
Speaker 1: mcketderick born nineteen forty eight. This is his only film

642
00:36:26,760 --> 00:36:28,960
Speaker 1: acting credit, but he went on to have a career,

643
00:36:29,000 --> 00:36:31,920
Speaker 1: apparently as a photojournalist, and is currently a theater producer.

644
00:36:33,400 --> 00:36:35,760
Speaker 1: Somewhere I read I have no idea if there's anything

645
00:36:35,760 --> 00:36:37,239
Speaker 1: to this at all. They're also you know, you run

646
00:36:37,280 --> 00:36:40,480
Speaker 1: a lot across a lot of facts about these films.

647
00:36:40,480 --> 00:36:42,239
Speaker 1: But I saw somewhere it was mentioned. It's like, oh,

648
00:36:42,320 --> 00:36:44,279
Speaker 1: they wanted Robert de Niro for this role, and I

649
00:36:44,320 --> 00:36:47,480
Speaker 1: was thinking, really, you have a small role for him,

650
00:36:47,680 --> 00:36:51,360
Speaker 1: a very small role, virtually unimportant. Like the only character

651
00:36:51,800 --> 00:36:54,520
Speaker 1: attribute to this guy is again basically the cowboy hat.

652
00:36:55,800 --> 00:36:57,839
Speaker 1: I heavily doubt that, but I don't know. Maybe it's

653
00:36:57,840 --> 00:36:59,720
Speaker 1: the case. I mean, you can shoot for the stars,

654
00:37:00,600 --> 00:37:01,400
Speaker 1: why not Brando?

655
00:37:02,320 --> 00:37:08,360
Speaker 2: Yeah, yeah, in nineteen seventy nine, Yeah, you know, de

656
00:37:08,480 --> 00:37:10,160
Speaker 2: Niro would have been interesting a swan.

657
00:37:10,480 --> 00:37:14,440
Speaker 1: Yeah, all right. We mentioned rim Brant already. He's the

658
00:37:14,719 --> 00:37:17,040
Speaker 1: artist of the crew and also the most innocent seeming.

659
00:37:17,320 --> 00:37:20,560
Speaker 1: You know, there's a boyish innocence to this character. Played

660
00:37:20,560 --> 00:37:24,120
Speaker 1: by Marcelino Sanchez, who lived nineteen fifty seven through nineteen

661
00:37:24,160 --> 00:37:27,720
Speaker 1: eighty six. This was the third film role for this actor.

662
00:37:27,760 --> 00:37:30,120
Speaker 1: He went on to appear in Chips in seventy seven,

663
00:37:30,520 --> 00:37:32,600
Speaker 1: forty eight Hours in eighty two, in Hill Street Blues

664
00:37:32,640 --> 00:37:35,640
Speaker 1: in eighty one. Diet tragically young as a result of

665
00:37:35,640 --> 00:37:40,200
Speaker 1: the AIDS epidemic. Now, if rim Brandt is there, I

666
00:37:40,200 --> 00:37:43,120
Speaker 1: guess to show us like this ounce of innocence and

667
00:37:43,200 --> 00:37:45,840
Speaker 1: youth that is still in the Warriors. The next character,

668
00:37:46,000 --> 00:37:51,520
Speaker 1: Vermin is just there for laughs. Clearly Vermin is It's

669
00:37:51,600 --> 00:37:55,239
Speaker 1: probably like the greenest feeling actor in the bunch, has

670
00:37:55,280 --> 00:37:58,960
Speaker 1: some of the dorkiest lines, but is clearly there, leaning

671
00:37:59,000 --> 00:38:01,400
Speaker 1: into this element of comic relief.

672
00:38:01,800 --> 00:38:03,799
Speaker 4: Oh yeah, I can see that, yeah.

673
00:38:03,840 --> 00:38:07,520
Speaker 1: Played by Terry Mikos, who was born in fifty three.

674
00:38:07,680 --> 00:38:10,480
Speaker 1: I think this was his first screen credit, following some

675
00:38:10,560 --> 00:38:12,680
Speaker 1: Broadway work, and I've read that he went on to

676
00:38:12,800 --> 00:38:17,120
Speaker 1: get into TV journalism and later politics. I don't think

677
00:38:17,160 --> 00:38:21,840
Speaker 1: as a politician, but it's sort of political infrastructure stuff,

678
00:38:22,080 --> 00:38:26,040
Speaker 1: and then sometime as a pastor as well, I believe. Oh,

679
00:38:26,080 --> 00:38:29,680
Speaker 1: and then we have a female character who is not

680
00:38:29,880 --> 00:38:31,880
Speaker 1: a member of the Warriors, at least when we first

681
00:38:31,960 --> 00:38:35,760
Speaker 1: encounter her, and that is Deborah van Valkenberg born nineteen

682
00:38:35,800 --> 00:38:39,200
Speaker 1: fifty two. She plays Mercy. This was her first screen credit,

683
00:38:39,440 --> 00:38:41,680
Speaker 1: followed by King of the Mountain in eighty one Streets

684
00:38:41,680 --> 00:38:44,040
Speaker 1: of Fire in eighty four. A lot of TV and

685
00:38:44,040 --> 00:38:48,640
Speaker 1: screenwork followed these pictures, including episodes of Monsters star Trek,

686
00:38:48,680 --> 00:38:52,759
Speaker 1: Deep Space nine and more. But Joe, I was about

687
00:38:52,840 --> 00:38:55,160
Speaker 1: to just go on to the next one. But then

688
00:38:55,200 --> 00:38:57,680
Speaker 1: when we were conversing back and forth online, you mentioned

689
00:38:57,719 --> 00:39:01,760
Speaker 1: another key credit, and that is Brain Smasher, A Love Story,

690
00:39:01,920 --> 00:39:05,320
Speaker 1: written and directed by Albert Pyne, starring Andrew dice Clay

691
00:39:05,440 --> 00:39:06,360
Speaker 1: and Terry Hatcher.

692
00:39:06,640 --> 00:39:09,600
Speaker 2: I can't even begin to imagine what this movie is.

693
00:39:10,160 --> 00:39:13,560
Speaker 2: It's an Andrew dice Clay movie where he fights Ninja's

694
00:39:13,800 --> 00:39:17,680
Speaker 2: and it has Terry Hatcher and Debora van Valkenberg. Directed

695
00:39:18,000 --> 00:39:21,760
Speaker 2: by the director of the nineteen ninety Captain America movie

696
00:39:22,239 --> 00:39:27,439
Speaker 2: and various other B action movies from the eighties such

697
00:39:27,440 --> 00:39:31,800
Speaker 2: as Cyborg starring Jean Claude van dam So. Brain Smasher

698
00:39:31,840 --> 00:39:34,839
Speaker 2: A Love Story. Just ponder that. I'm not even saying

699
00:39:34,840 --> 00:39:38,920
Speaker 2: you should necessarily see it, just consider it as an idea.

700
00:39:38,960 --> 00:39:42,239
Speaker 2: But I want to come back to Debora van Valkenberg

701
00:39:42,440 --> 00:39:45,880
Speaker 2: in The Warriors. I think she's the most interesting actor

702
00:39:45,920 --> 00:39:48,920
Speaker 2: in the movie. A lot of the performances of the

703
00:39:48,960 --> 00:39:53,759
Speaker 2: gang leaders are very good, but the kinds of characters

704
00:39:53,880 --> 00:39:59,040
Speaker 2: that they are portraying are by nature emotionally constrained on screen,

705
00:40:00,120 --> 00:40:03,440
Speaker 2: so they are guys who have to project a self

706
00:40:03,440 --> 00:40:09,080
Speaker 2: image that's strong, tough, dangerous, and uncaring, and they rarely,

707
00:40:09,200 --> 00:40:12,560
Speaker 2: if ever let this posture relax. So we see even

708
00:40:12,560 --> 00:40:15,200
Speaker 2: in Swan, the leader of the protagonists of the story,

709
00:40:15,600 --> 00:40:18,160
Speaker 2: he's often just he's a brick wall, and that's the

710
00:40:18,200 --> 00:40:21,000
Speaker 2: way his character is supposed to be. He's not letting

711
00:40:21,080 --> 00:40:24,160
Speaker 2: anything out and he's not letting anybody in. On the

712
00:40:24,239 --> 00:40:29,960
Speaker 2: other hand, Van Wolkenberg's character is complicated and paradoxical. There

713
00:40:29,960 --> 00:40:33,760
Speaker 2: are these interesting ways that she is both strong and weak.

714
00:40:34,280 --> 00:40:38,360
Speaker 2: She comes off as tough, experienced, almost fearless, and scenes

715
00:40:38,400 --> 00:40:44,000
Speaker 2: involving risk and physical danger, but in other scenes her

716
00:40:44,080 --> 00:40:47,560
Speaker 2: character is powerless, vulnerable and even kind of adject, and

717
00:40:47,680 --> 00:40:50,920
Speaker 2: scenes like the scenes later where she wants Swan's approval

718
00:40:50,960 --> 00:40:54,239
Speaker 2: and affection and he is just totally cold and even

719
00:40:54,280 --> 00:40:58,239
Speaker 2: emotionally cruel to her. And so she's very interesting. And

720
00:40:59,120 --> 00:41:02,719
Speaker 2: the way she bonds with Swan over the course of

721
00:41:02,760 --> 00:41:07,080
Speaker 2: the movie, especially leading up to an interesting wordless scene

722
00:41:07,080 --> 00:41:10,520
Speaker 2: on the subway later on, is very good and I

723
00:41:10,600 --> 00:41:11,160
Speaker 2: like her a lot.

724
00:41:11,840 --> 00:41:15,360
Speaker 1: Yes, I absolutely agree, great presence, and again, like so

725
00:41:15,400 --> 00:41:18,279
Speaker 1: many of these other characters, they are cold, They are.

726
00:41:18,320 --> 00:41:21,160
Speaker 1: They're putting out this macho image and that's it's key

727
00:41:21,200 --> 00:41:23,200
Speaker 1: to who they are. And in many ways, as far

728
00:41:23,200 --> 00:41:25,160
Speaker 1: as the film is concerned, that's all they are. That's

729
00:41:25,200 --> 00:41:26,879
Speaker 1: all that's going to ever be let out.

730
00:41:27,680 --> 00:41:27,880
Speaker 4: You know.

731
00:41:27,920 --> 00:41:31,120
Speaker 1: They have this huge wall up and she is this

732
00:41:31,200 --> 00:41:33,160
Speaker 1: character where we get to see a lot more, We

733
00:41:33,200 --> 00:41:37,160
Speaker 1: get i guess, a wider sense of like what her

734
00:41:37,200 --> 00:41:41,200
Speaker 1: hopes and dreams might be and who she is underneath

735
00:41:41,239 --> 00:41:44,040
Speaker 1: all of this. All right, some other characters involved in

736
00:41:44,080 --> 00:41:46,480
Speaker 1: the film. Here we have the character Cyrus, who will

737
00:41:46,520 --> 00:41:48,759
Speaker 1: largely come back to This is the man who would

738
00:41:48,800 --> 00:41:51,520
Speaker 1: be King of New York Street Gangs, played by Roger

739
00:41:51,600 --> 00:41:54,720
Speaker 1: Hill no relation, who have nineteen forty nine through twenty fourteen.

740
00:41:55,400 --> 00:41:57,719
Speaker 1: This is his most well known role, a small one,

741
00:41:57,719 --> 00:42:02,640
Speaker 1: but undeniably iconic. And then we have the picture's villain

742
00:42:03,200 --> 00:42:06,680
Speaker 1: is Luther, the leader of the rogues, played by David

743
00:42:06,719 --> 00:42:11,480
Speaker 1: Patrick Kelly born nineteen fifty one. Just an undeniable chaos

744
00:42:11,480 --> 00:42:14,920
Speaker 1: goblin in this picture. This was Kelly's first film and

745
00:42:14,960 --> 00:42:18,480
Speaker 1: TV role, but he had a background in music and

746
00:42:18,640 --> 00:42:22,719
Speaker 1: theater and apparently mime work under Marcel Marceau. I don't

747
00:42:22,760 --> 00:42:25,799
Speaker 1: know how much we see like the mime influences in

748
00:42:25,840 --> 00:42:27,960
Speaker 1: his performance. But I mean, I guess that's the thing

749
00:42:28,000 --> 00:42:32,040
Speaker 1: about mime, like serious mime work, is that you can

750
00:42:32,120 --> 00:42:34,520
Speaker 1: use it and apply it to like actual mime work,

751
00:42:34,560 --> 00:42:38,160
Speaker 1: but you can also use it just to fuel, you know,

752
00:42:38,200 --> 00:42:39,640
Speaker 1: a traditional performance.

753
00:42:40,000 --> 00:42:42,239
Speaker 2: Interesting, they didn't cast him as the leader of the

754
00:42:42,280 --> 00:42:45,120
Speaker 2: mimes guest, which yes is in the movie. One of

755
00:42:45,160 --> 00:42:46,600
Speaker 2: the gang are mimes.

756
00:42:47,000 --> 00:42:49,680
Speaker 1: We do not see anywhere near enough of the mime

757
00:42:49,760 --> 00:42:56,160
Speaker 1: gang though, But anyway, Kelly has yet such delicious villain

758
00:42:56,280 --> 00:42:58,600
Speaker 1: energy here that it should not come as a shock

759
00:42:58,680 --> 00:43:00,600
Speaker 1: that he went on to be in tons of projects

760
00:43:00,640 --> 00:43:04,640
Speaker 1: over the years, including forty eight Hours, nineteen eighty four's Dreamscape.

761
00:43:04,640 --> 00:43:08,160
Speaker 1: He's the villain in that, as I recall nineteen eighty

762
00:43:08,280 --> 00:43:10,680
Speaker 1: five's Commando. Do you remember who he played in Commando?

763
00:43:10,920 --> 00:43:14,120
Speaker 2: He's one of the subordinate villains in Commando. He's like

764
00:43:14,200 --> 00:43:18,200
Speaker 2: a schemy, weaseley guy who's working with the bad guys

765
00:43:18,239 --> 00:43:23,680
Speaker 2: against Arnold Schwarzenegger and his family. And there's some quip

766
00:43:23,719 --> 00:43:26,760
Speaker 2: where I think his character's name is Benny or something,

767
00:43:26,800 --> 00:43:29,759
Speaker 2: and Arnold Schwarzenegger says to him like Benny, I'll kill

768
00:43:29,800 --> 00:43:34,400
Speaker 2: you last and then not long after that, Schwarzenegger chases

769
00:43:34,480 --> 00:43:36,800
Speaker 2: him down and is like dangling him off a cliff

770
00:43:36,840 --> 00:43:39,760
Speaker 2: and says, when I said I'd kill you last I lied.

771
00:43:40,120 --> 00:43:42,799
Speaker 1: Oh, yes, I remember. I don't remember his performance, but

772
00:43:42,880 --> 00:43:46,960
Speaker 1: remember those lines for sure. Yeah. Kelly was also in

773
00:43:47,120 --> 00:43:49,759
Speaker 1: nineteen nineties The Adventures of Ford Fairlane. Getting back into

774
00:43:49,840 --> 00:43:54,120
Speaker 1: Andrew dice clay cinematic universe. He was in Twin Peaks,

775
00:43:54,360 --> 00:43:56,880
Speaker 1: nineteen ninety two's Malcolm X ninety four is the Crow,

776
00:43:57,400 --> 00:44:00,960
Speaker 1: twenty fourteen's John Wick It's twenty seven venteene sequel, and

777
00:44:00,960 --> 00:44:02,400
Speaker 1: he also had a role on Secession.

778
00:44:02,800 --> 00:44:05,719
Speaker 4: Oh who was he in Succession? I remember that he.

779
00:44:05,760 --> 00:44:09,680
Speaker 1: Was he a therapist? I didn't. I've only watched like

780
00:44:09,920 --> 00:44:12,000
Speaker 1: half of one episode of it. It looked really good,

781
00:44:12,000 --> 00:44:17,680
Speaker 1: but I need to press on with Succession. But yeah,

782
00:44:17,719 --> 00:44:19,440
Speaker 1: I don't know who he played. For some reason, I'm

783
00:44:19,480 --> 00:44:21,719
Speaker 1: thinking therapist is something I read, but that might be

784
00:44:21,800 --> 00:44:23,560
Speaker 1: another movie where he plays a therapist.

785
00:44:23,719 --> 00:44:25,960
Speaker 2: Well, I don't remember who he was in Succession. But

786
00:44:26,040 --> 00:44:29,239
Speaker 2: I'm pretty sure in Twin Peaks, which you mentioned, isn't

787
00:44:29,280 --> 00:44:32,480
Speaker 2: he the guy who shows up from France with Bagett

788
00:44:32,560 --> 00:44:34,400
Speaker 2: and Brie for Audrey Horn's dad.

789
00:44:34,840 --> 00:44:37,160
Speaker 1: I looked up some stills and I have one for you.

790
00:44:37,400 --> 00:44:39,719
Speaker 1: Here he is eating some bread, so I guess that

791
00:44:39,840 --> 00:44:40,360
Speaker 1: is correct.

792
00:44:40,640 --> 00:44:43,320
Speaker 2: They're like he shows up with the food and they're

793
00:44:43,360 --> 00:44:46,120
Speaker 2: in his office and they're going like, Brie.

794
00:44:48,840 --> 00:44:51,319
Speaker 1: Yeah. So this is a great role. We'll get into

795
00:44:51,360 --> 00:44:53,640
Speaker 1: a little bit of it later. But if you don't

796
00:44:53,640 --> 00:44:56,759
Speaker 1: remember much else from the film, you might remember warriors

797
00:44:56,840 --> 00:45:00,600
Speaker 1: come out to play a this is that guy. Let's

798
00:45:00,600 --> 00:45:02,680
Speaker 1: see who else is in this while we have Mercedes

799
00:45:02,800 --> 00:45:05,120
Speaker 1: Rule playing a character we'll come back to because I

800
00:45:05,120 --> 00:45:08,440
Speaker 1: don't want to spoil anything. Born nineteen forty eight, Academy

801
00:45:08,440 --> 00:45:10,759
Speaker 1: Award winning actress for her role in nineteen ninety two

802
00:45:10,800 --> 00:45:13,719
Speaker 1: is the Fisher King. Her other credits include nineteen eighty eight,

803
00:45:13,800 --> 00:45:15,920
Speaker 1: s Big and Married to the Mob, but this was

804
00:45:15,960 --> 00:45:19,760
Speaker 1: only her second film credit. Now. Also of note Lynn

805
00:45:19,760 --> 00:45:22,440
Speaker 1: thigpen is in this she lived nineteen forty eight through

806
00:45:22,440 --> 00:45:24,520
Speaker 1: two thousand and three. Do we ever see her whole

807
00:45:24,520 --> 00:45:26,280
Speaker 1: face or no her lips?

808
00:45:26,400 --> 00:45:26,480
Speaker 3: No.

809
00:45:26,640 --> 00:45:29,480
Speaker 2: She plays the radio DJ in the movie, who plays

810
00:45:29,480 --> 00:45:32,880
Speaker 2: an important role in the plot because somehow she is

811
00:45:33,160 --> 00:45:36,960
Speaker 2: receiving information to coordinate all of the gangs who are

812
00:45:36,960 --> 00:45:39,480
Speaker 2: trying to hunt down the Warriors. So I don't know

813
00:45:39,520 --> 00:45:42,400
Speaker 2: why a radio DJ is sort of on the payroll

814
00:45:42,520 --> 00:45:46,839
Speaker 2: of the Grammercy Riffs, but I guess she is. And

815
00:45:47,400 --> 00:45:51,879
Speaker 2: she like cues up songs that are thematically appropriate, so

816
00:45:51,920 --> 00:45:54,560
Speaker 2: she's like, hey, Warriors, if you're listening, and then puts

817
00:45:54,600 --> 00:45:55,640
Speaker 2: on Nowhere to Run.

818
00:45:56,160 --> 00:45:58,720
Speaker 1: Yeah. Yeah, it's a great way to incorporate the music.

819
00:45:58,719 --> 00:46:01,040
Speaker 1: And I guess this is just part of the riffs

820
00:46:01,440 --> 00:46:04,719
Speaker 1: like mass communication system, Like they're very organized and this

821
00:46:04,800 --> 00:46:06,440
Speaker 1: is part of their organization.

822
00:46:06,040 --> 00:46:10,240
Speaker 2: So like they communicate through commercial radio, which is great.

823
00:46:10,920 --> 00:46:14,279
Speaker 2: But as soon as I heard her voice, I was like,

824
00:46:14,360 --> 00:46:18,160
Speaker 2: wait a minute, I recognize her voice. Now she's actually

825
00:46:18,160 --> 00:46:19,840
Speaker 2: done a lot of things, so I think I recognized

826
00:46:19,840 --> 00:46:22,040
Speaker 2: her from multiple places. But I know the main thing

827
00:46:22,080 --> 00:46:24,759
Speaker 2: because it took me to childhood. There was a childhood

828
00:46:24,800 --> 00:46:28,240
Speaker 2: tie in for me, and I realized, like, oh, she's

829
00:46:28,360 --> 00:46:31,040
Speaker 2: the chief on Where in the world is Carmen San

830
00:46:31,040 --> 00:46:37,640
Speaker 2: Diego the geography trivia game show? I remember from when

831
00:46:37,680 --> 00:46:40,560
Speaker 2: I was a kid. She's the chief who likes all right,

832
00:46:40,600 --> 00:46:42,759
Speaker 2: gum shoes. You know, you got to chase Carmen San

833
00:46:42,800 --> 00:46:45,880
Speaker 2: Diego to wherever she is. This time Uruguay or whatever.

834
00:46:47,440 --> 00:46:50,560
Speaker 1: Oh, that's awesome. I don't think I ever watched Carmen

835
00:46:50,600 --> 00:46:54,560
Speaker 1: san Diego, but just looking over her filmography as she's

836
00:46:54,560 --> 00:46:56,839
Speaker 1: been in tons. She was in Godspell in seventy three.

837
00:46:56,880 --> 00:46:58,840
Speaker 1: I think she was also in the stage adaptation, but

838
00:46:58,880 --> 00:47:01,359
Speaker 1: she was having the original State version. But then she

839
00:47:01,440 --> 00:47:03,759
Speaker 1: was also in the film adaptation, so that's pretty cool.

840
00:47:04,600 --> 00:47:08,319
Speaker 1: But she's been in tons of stuff like Tootsie back

841
00:47:08,360 --> 00:47:10,799
Speaker 1: in eighty two, you know, on up through far more

842
00:47:11,280 --> 00:47:14,799
Speaker 1: I mean eighty nine's Lean on Me, and then far

843
00:47:14,840 --> 00:47:16,759
Speaker 1: more recently towards the end of her career. You know,

844
00:47:16,800 --> 00:47:20,440
Speaker 1: she was popping up on things like The District on TV.

845
00:47:21,560 --> 00:47:24,560
Speaker 1: She's in The Bicentennial Man in nineteen ninety nine, so

846
00:47:24,760 --> 00:47:28,960
Speaker 1: a load of credits here. You know, great voice obviously.

847
00:47:28,880 --> 00:47:32,080
Speaker 2: Yeah, And because she's just a voice, a voice going

848
00:47:32,120 --> 00:47:35,200
Speaker 2: through the airwaves in the story, we'd never actually see

849
00:47:35,239 --> 00:47:36,040
Speaker 2: her full face.

850
00:47:36,480 --> 00:47:38,000
Speaker 4: It's just a tight shot.

851
00:47:37,680 --> 00:47:40,839
Speaker 2: On her mouth while she's talking and saying kind of

852
00:47:41,160 --> 00:47:44,799
Speaker 2: ominous things to the warriors. In fact, strange tie in

853
00:47:45,200 --> 00:47:50,120
Speaker 2: she almost speaks the way Walter Hill writes screenplays. You know,

854
00:47:50,200 --> 00:47:53,920
Speaker 2: it's very like short sentences with a period and then

855
00:47:53,960 --> 00:47:54,880
Speaker 2: a pause.

856
00:47:56,440 --> 00:47:58,799
Speaker 1: All right, Let's see what one last mentioned as far

857
00:47:58,800 --> 00:48:01,439
Speaker 1: as the cast goes, because he's not even credited cast,

858
00:48:01,520 --> 00:48:04,839
Speaker 1: but apparently future director Robert Townsend is in this as

859
00:48:04,840 --> 00:48:07,719
Speaker 1: one of the Baseball Furies. That's one of the Baseball

860
00:48:07,760 --> 00:48:10,600
Speaker 1: Gang members that we'll get to later. I didn't eyeball

861
00:48:10,680 --> 00:48:15,120
Speaker 1: him personally, but he's supposedly in there. And let's see.

862
00:48:15,160 --> 00:48:17,840
Speaker 1: I'm going to just mention in passing that Bobby Mannix

863
00:48:18,040 --> 00:48:20,960
Speaker 1: has costume designer credit on this, and then Mary ellen

864
00:48:21,000 --> 00:48:26,200
Speaker 1: Winston also uncredited for costume work, because again, the costumes

865
00:48:26,200 --> 00:48:30,480
Speaker 1: for these gang members are so amazing, So the people

866
00:48:30,480 --> 00:48:34,600
Speaker 1: who made this happen deserve to be called out. Oh yeah, Also,

867
00:48:34,719 --> 00:48:40,120
Speaker 1: Anthony Pagan has fight choreography credit on this. This is

868
00:48:40,480 --> 00:48:42,480
Speaker 1: a guy who I think his only other fight choreography

869
00:48:42,480 --> 00:48:45,320
Speaker 1: credit in film or TV is ninety six is Vertical City.

870
00:48:46,239 --> 00:48:50,680
Speaker 1: Tons of various credits and roles related to other projects.

871
00:48:51,000 --> 00:48:53,640
Speaker 1: I think he had a background in stage combat I

872
00:48:53,719 --> 00:48:55,840
Speaker 1: was able to uncover, but at any rate want to

873
00:48:55,840 --> 00:48:59,040
Speaker 1: call him out because the action in Warriors is pretty wild.

874
00:48:59,400 --> 00:49:03,480
Speaker 1: It's convinced sing like, it feels brutal, but also has

875
00:49:03,560 --> 00:49:06,239
Speaker 1: that flare you know you're gonna see occasionally like the

876
00:49:06,239 --> 00:49:08,759
Speaker 1: warriors will like grilla press somebody and throw them or

877
00:49:09,239 --> 00:49:12,919
Speaker 1: backbody drops somebody through a bathroom stall door, that sort

878
00:49:12,960 --> 00:49:13,239
Speaker 1: of thing.

879
00:49:13,600 --> 00:49:19,920
Speaker 2: You know, This movie's mixture of gritty realism and fantasy

880
00:49:20,680 --> 00:49:23,760
Speaker 2: really comes through in the violence, because sometimes the violence

881
00:49:23,840 --> 00:49:28,040
Speaker 2: is shockingly hard, it's brutal and it hurts, and yet

882
00:49:28,080 --> 00:49:30,800
Speaker 2: at other times, yeah, it's like it's like pro wrestling.

883
00:49:31,440 --> 00:49:35,200
Speaker 1: Yeah, so yeah, I like how it kind of goes

884
00:49:35,200 --> 00:49:38,319
Speaker 1: back and forth there and then finally the music here.

885
00:49:38,480 --> 00:49:41,600
Speaker 1: The score is by Barry Devorzen born nineteen thirty four,

886
00:49:41,719 --> 00:49:44,280
Speaker 1: six time Grammy and one time Emmy Award winning composer.

887
00:49:44,560 --> 00:49:47,000
Speaker 1: He was also nominated for an Oscar in seventy two

888
00:49:47,040 --> 00:49:49,680
Speaker 1: for the track Blessed the Beasts and Children performed by

889
00:49:49,719 --> 00:49:52,839
Speaker 1: the Carpenters for the movie of the same name. Other

890
00:49:52,880 --> 00:49:56,839
Speaker 1: scores include seventy seven's Rolling Thunder, seventy eight's The Ninth Configuration,

891
00:49:57,320 --> 00:50:00,440
Speaker 1: Xanadu eighty six is Nine of the Creeps, and nineteen

892
00:50:00,560 --> 00:50:02,160
Speaker 1: nineties The Exorcist Part three.

893
00:50:02,480 --> 00:50:02,719
Speaker 4: Wow.

894
00:50:02,800 --> 00:50:05,560
Speaker 2: The same person did Xanadu and Night of the Creeps.

895
00:50:05,960 --> 00:50:09,640
Speaker 1: A number of Xanadu connections here between this movie and

896
00:50:09,680 --> 00:50:11,239
Speaker 1: then yeah, Night of the Creeps as well.

897
00:50:11,800 --> 00:50:13,640
Speaker 2: Should we do Xanadu on Weird House.

898
00:50:15,040 --> 00:50:17,680
Speaker 1: I've never seen it. I'm only familiar with it by reputation.

899
00:50:17,760 --> 00:50:20,760
Speaker 1: I think my wife likes it as a cheesy flake,

900
00:50:21,200 --> 00:50:22,840
Speaker 1: so I'd be open to looking at it.

901
00:50:23,360 --> 00:50:25,759
Speaker 2: I've seen it, I remember it being a good time.

902
00:50:25,760 --> 00:50:30,160
Speaker 1: Okay, But as far as the score goes, I love

903
00:50:30,239 --> 00:50:33,560
Speaker 1: divores and score here. It's an absolute synth rock jam.

904
00:50:34,600 --> 00:50:38,839
Speaker 1: I've heard it thrown into mixes before, and I think,

905
00:50:38,920 --> 00:50:40,799
Speaker 1: along with the cult status of the film, this is

906
00:50:41,120 --> 00:50:44,360
Speaker 1: a very well regarded score. Waxworks Records put This Baby

907
00:50:44,360 --> 00:50:48,040
Speaker 1: out remastered on crimson and leather colored vinyl several years back,

908
00:50:48,440 --> 00:50:50,200
Speaker 1: and of course you can stream it along with this

909
00:50:50,360 --> 00:50:54,400
Speaker 1: with the soundtrack selections wherever you stream your music. But

910
00:50:54,480 --> 00:50:57,760
Speaker 1: by and large, yeah, there's strong rock vibes to this picture.

911
00:50:58,080 --> 00:51:01,040
Speaker 1: Synth rock for the score, and then a number of

912
00:51:01,160 --> 00:51:04,920
Speaker 1: rock tracks as well, and it gets into some other

913
00:51:05,000 --> 00:51:10,919
Speaker 1: territory as well, but very synth rock candy.

914
00:51:16,080 --> 00:51:17,680
Speaker 2: All right, you want to talk about the plot, now,

915
00:51:18,000 --> 00:51:19,880
Speaker 2: let's do it. So we're not going to do a

916
00:51:20,040 --> 00:51:23,680
Speaker 2: detailed chronological plot recap this time, like we do in

917
00:51:23,719 --> 00:51:26,239
Speaker 2: some cases. I think we should do a broad outline

918
00:51:26,680 --> 00:51:29,440
Speaker 2: and then pause it places throughout the film to focus

919
00:51:29,440 --> 00:51:32,319
Speaker 2: on things we want to talk about. But we'll set

920
00:51:32,400 --> 00:51:35,600
Speaker 2: up the basic premise. The premise is that the Warriors

921
00:51:35,680 --> 00:51:39,480
Speaker 2: are one of many gangs in New York City, specifically

922
00:51:39,520 --> 00:51:44,000
Speaker 2: hailing from Coney Island in Brooklyn. And in this movie,

923
00:51:44,080 --> 00:51:47,960
Speaker 2: all of the gangs have specific home turf defined as

924
00:51:48,000 --> 00:51:51,440
Speaker 2: a neighborhood in New York, mostly in Brooklyn, Manhattan, and

925
00:51:51,480 --> 00:51:55,080
Speaker 2: the Bronx, And they all have a specific gang costume,

926
00:51:55,200 --> 00:51:58,760
Speaker 2: so not just colors or like a bandana or specific marker,

927
00:51:59,280 --> 00:52:03,319
Speaker 2: but full costumes. So, as we've said, one gang is mimes,

928
00:52:03,680 --> 00:52:08,439
Speaker 2: one gang is overalls, striped shirts and roller skates, one

929
00:52:08,480 --> 00:52:14,560
Speaker 2: gang is baseball. The Warriors have comparatively normal looking outfits.

930
00:52:14,640 --> 00:52:17,800
Speaker 2: They have leather vests with a large patch on the back,

931
00:52:18,640 --> 00:52:21,719
Speaker 2: and this can be worn with or without a shirt underneath.

932
00:52:22,600 --> 00:52:27,880
Speaker 1: Yeah, certain sort of like I don't know, like Native American,

933
00:52:28,520 --> 00:52:32,480
Speaker 1: vaguely Native American tribal aspects to their guard but it's

934
00:52:32,480 --> 00:52:37,279
Speaker 1: not overt. But they are all matching. They're very coordinated,

935
00:52:37,960 --> 00:52:39,600
Speaker 1: so they have a solid look going on.

936
00:52:40,200 --> 00:52:43,800
Speaker 2: At the outset of the story, a conclave of street

937
00:52:43,840 --> 00:52:46,920
Speaker 2: gangs has been called by the most powerful crew in

938
00:52:46,960 --> 00:52:50,960
Speaker 2: the city, the grammercy Riffs, and the charismatic leader of

939
00:52:51,000 --> 00:52:54,279
Speaker 2: the Rifts, Cyrus, has asked every gang in New York

940
00:52:54,320 --> 00:52:58,880
Speaker 2: to send a delegation of nine members to appear unarmed

941
00:52:59,280 --> 00:53:02,480
Speaker 2: at a meeting in Van Cortland Park in the Bronx

942
00:53:02,600 --> 00:53:05,839
Speaker 2: at midnight. What for, we don't know at first. They're

943
00:53:05,840 --> 00:53:07,719
Speaker 2: going to find out when they get there. So if

944
00:53:07,719 --> 00:53:10,439
Speaker 2: you're not super familiar with the geography of New York

945
00:53:10,520 --> 00:53:12,680
Speaker 2: to put this together for the warriors, it's going to

946
00:53:12,719 --> 00:53:15,720
Speaker 2: be a long trip. Coney Island is all the way

947
00:53:15,960 --> 00:53:19,400
Speaker 2: at the south end of Brooklyn and the meeting place

948
00:53:19,480 --> 00:53:21,680
Speaker 2: is way up north at the other end of the

949
00:53:21,719 --> 00:53:24,680
Speaker 2: city in the Bronx. I did a Google Maps measurement

950
00:53:25,080 --> 00:53:27,880
Speaker 2: and by road it's about thirty miles.

951
00:53:28,160 --> 00:53:30,520
Speaker 1: Yeah. Yeah, there's a lot of city up there if

952
00:53:30,520 --> 00:53:32,680
Speaker 1: you've ever had to jump around from one location to

953
00:53:32,760 --> 00:53:37,520
Speaker 1: the next, so it's quite quite an odyssey. By the way,

954
00:53:37,560 --> 00:53:40,560
Speaker 1: I'm sure folks have done like a warrior's pilgrimage where

955
00:53:40,560 --> 00:53:44,960
Speaker 1: they start at Van Cortland Park and make the appropriate

956
00:53:45,000 --> 00:53:47,399
Speaker 1: trip down through the boroughs and all the way out

957
00:53:47,400 --> 00:53:48,160
Speaker 1: to Coney Island.

958
00:53:48,640 --> 00:53:52,680
Speaker 2: Yeah, of course, Coney Island is famous for the Coney Island. Oh,

959
00:53:52,840 --> 00:53:54,440
Speaker 2: I don't actually know the name of it. The Coney

960
00:53:54,440 --> 00:53:58,600
Speaker 2: Island amusement park that's on the shore with the Wonder Wheel. Yeah,

961
00:53:58,640 --> 00:54:01,600
Speaker 2: the Wonder Wheel, big ferris wheel. And that's the opening

962
00:54:01,640 --> 00:54:03,560
Speaker 2: shot of the movie, as we see the Wonder Wheel

963
00:54:03,640 --> 00:54:06,040
Speaker 2: lit up at night with the neon lights as it

964
00:54:06,080 --> 00:54:10,480
Speaker 2: goes around. And so the warriors are departing for the conclave,

965
00:54:11,640 --> 00:54:14,640
Speaker 2: where all the delegations from all the major gangs in

966
00:54:14,680 --> 00:54:17,440
Speaker 2: New York are gathered in a sort of outdoor amphitheater,

967
00:54:17,520 --> 00:54:20,560
Speaker 2: and we see the different gangs heading out, getting onto

968
00:54:20,600 --> 00:54:23,680
Speaker 2: the subway or walking down the streets in order to

969
00:54:23,800 --> 00:54:27,279
Speaker 2: make it to the assembly. Now, one thing that was

970
00:54:27,400 --> 00:54:31,080
Speaker 2: quite hilarious was that, apart from the gangs we actually

971
00:54:31,120 --> 00:54:33,960
Speaker 2: meet and know of in the movie, in the Walter

972
00:54:34,080 --> 00:54:38,480
Speaker 2: Hill screenplay, there was a list of all the gangs,

973
00:54:39,160 --> 00:54:41,759
Speaker 2: and so Robb I pasted this list here for you

974
00:54:41,840 --> 00:54:44,359
Speaker 2: to look at. There are many things we could call out,

975
00:54:44,360 --> 00:54:46,200
Speaker 2: but I just wanted to mention so some of them

976
00:54:46,239 --> 00:54:49,280
Speaker 2: have very normal sounding gang names.

977
00:54:49,360 --> 00:54:50,839
Speaker 4: You know, they're called things like.

978
00:54:50,960 --> 00:54:54,319
Speaker 2: The Alley Kats, or the Blackjacks or whatever. But then

979
00:54:54,360 --> 00:54:59,520
Speaker 2: we also have here, are you ready, the Jesters, the Imps,

980
00:55:00,120 --> 00:55:06,040
Speaker 2: the big Trains, the Dingoes, the go Hards, the magicians,

981
00:55:06,640 --> 00:55:12,320
Speaker 2: the Terriers, the Queen's Bridge mutilators, the Xylophones, and the

982
00:55:12,440 --> 00:55:15,560
Speaker 2: yo Yo's What is that? What is the initiation to

983
00:55:15,600 --> 00:55:16,920
Speaker 2: get into the xylophones?

984
00:55:18,200 --> 00:55:21,520
Speaker 1: Oh? Man, and that is their signature weapon, Like yeah,

985
00:55:21,920 --> 00:55:23,120
Speaker 1: the design work on these.

986
00:55:23,440 --> 00:55:26,120
Speaker 2: Oh yeah, they've each got two mallets.

987
00:55:26,800 --> 00:55:29,319
Speaker 1: Yeah, there's so many, you know, I want to know, like,

988
00:55:29,520 --> 00:55:31,960
Speaker 1: who about the nickel steaks. What's their field?

989
00:55:32,239 --> 00:55:33,399
Speaker 4: I don't know where that is?

990
00:55:33,800 --> 00:55:38,640
Speaker 1: Yeah, yeah, yeah, the Shanghai Sultans, I mean, yeah, there's

991
00:55:38,680 --> 00:55:40,400
Speaker 1: so many of them. Well, some of these, and of

992
00:55:40,400 --> 00:55:43,160
Speaker 1: course we have some some very weird sounding ones that

993
00:55:43,200 --> 00:55:45,160
Speaker 1: we see only a little bit, like sort of like

994
00:55:45,480 --> 00:55:48,839
Speaker 1: you know, blink and you miss it. Like the moon

995
00:55:48,920 --> 00:55:51,320
Speaker 1: Runners are in there, and they have this weird logo

996
00:55:51,440 --> 00:55:52,799
Speaker 1: that you can look up online.

997
00:55:53,239 --> 00:55:56,840
Speaker 2: It's the Moonpie logo stabbing a sword through its own stomach.

998
00:55:57,320 --> 00:55:59,640
Speaker 1: Yeah, and then there's a what is it? The is

999
00:55:59,640 --> 00:56:01,040
Speaker 1: it of the Satan's Mothers?

1000
00:56:01,280 --> 00:56:04,239
Speaker 2: The Satan's Mothers. So they're like a motorcycle gang an

1001
00:56:04,239 --> 00:56:05,479
Speaker 2: Outlaw Motorcycle Group.

1002
00:56:05,680 --> 00:56:07,600
Speaker 1: Yeah, they're the only gang that seems to be an

1003
00:56:07,719 --> 00:56:10,800
Speaker 1: MC and we don't really see much of them, but

1004
00:56:10,840 --> 00:56:12,160
Speaker 1: they're in there. They're in the movie.

1005
00:56:12,360 --> 00:56:14,880
Speaker 2: Also, this list has doubles in it because it includes

1006
00:56:14,960 --> 00:56:18,799
Speaker 2: both the grammercy Rifts and just the Rifts that those

1007
00:56:18,840 --> 00:56:20,240
Speaker 2: can't be different gangs.

1008
00:56:20,600 --> 00:56:24,040
Speaker 1: Mm or it was due to a rift in the Rifts, well,

1009
00:56:24,160 --> 00:56:26,960
Speaker 1: I guess the Winter organization that never comes up in

1010
00:56:27,000 --> 00:56:31,080
Speaker 1: the movie. But just a glimpse into the wider imagined

1011
00:56:31,120 --> 00:56:35,960
Speaker 1: world of all these various street gangs and they're various

1012
00:56:35,960 --> 00:56:40,080
Speaker 1: costuming choices, the yo yo's, and Cyrus is going to

1013
00:56:40,800 --> 00:56:43,560
Speaker 1: unite all of them. That's the revision.

1014
00:56:42,960 --> 00:56:45,640
Speaker 2: Here, that's the point. So we get to this conclave

1015
00:56:46,440 --> 00:56:49,480
Speaker 2: and Cyrus, the leader of the Grammar sy Riffs again

1016
00:56:49,640 --> 00:56:52,040
Speaker 2: the biggest, most powerful gang in the city, addresses the

1017
00:56:52,040 --> 00:56:56,919
Speaker 2: crowd to make a very interesting case. So instead of

1018
00:56:57,400 --> 00:57:00,640
Speaker 2: fighting against one another all the time, the gang should

1019
00:57:00,719 --> 00:57:04,279
Speaker 2: agree to a truce. And in fact, Cyrus lays out

1020
00:57:04,320 --> 00:57:07,440
Speaker 2: a logical case for this. I think the direct quote

1021
00:57:07,520 --> 00:57:11,760
Speaker 2: is can you count, suckers? He yells, can you count?

1022
00:57:12,160 --> 00:57:17,280
Speaker 2: The idea is the city is gang members together massively

1023
00:57:17,360 --> 00:57:20,600
Speaker 2: outnumber the city's police by more than two or three times.

1024
00:57:21,320 --> 00:57:24,280
Speaker 2: The only thing that holds them back is that they

1025
00:57:24,280 --> 00:57:27,560
Speaker 2: are not united, and they're fighting each other. But if

1026
00:57:27,600 --> 00:57:32,360
Speaker 2: they form an alliance together, the gangs can overpower the police,

1027
00:57:32,520 --> 00:57:36,960
Speaker 2: overpower everyone, and rule the city. And so he again

1028
00:57:37,360 --> 00:57:40,120
Speaker 2: he insists, can you count? He says, the future is

1029
00:57:40,160 --> 00:57:41,520
Speaker 2: ours if you can count.

1030
00:57:42,240 --> 00:57:44,720
Speaker 1: Yeah. Like, he eludes to the fact too, that it's

1031
00:57:44,720 --> 00:57:48,840
Speaker 1: like even organized crime will bow before the might of

1032
00:57:49,280 --> 00:57:54,920
Speaker 1: their ascended power because they control the streets. And already

1033
00:57:54,960 --> 00:57:58,000
Speaker 1: he's achieved seemingly the impossible by getting a truce in

1034
00:57:58,080 --> 00:58:01,640
Speaker 1: place where all of these participating games have ceased fighting

1035
00:58:01,640 --> 00:58:03,640
Speaker 1: each other, at least for the time being. And if

1036
00:58:03,640 --> 00:58:06,560
Speaker 1: we can go the extra step and unite them under

1037
00:58:06,600 --> 00:58:12,160
Speaker 1: one charismatic ruler, under one highly organized gang's organizational system,

1038
00:58:12,520 --> 00:58:15,400
Speaker 1: then nothing can stop them. It'll be a new era,

1039
00:58:15,440 --> 00:58:18,280
Speaker 1: a new golden age of crime in New York City.

1040
00:58:18,480 --> 00:58:22,800
Speaker 2: Yeah, exactly so, Cyrus, I would say, is presented almost

1041
00:58:22,840 --> 00:58:25,640
Speaker 2: as a prophetic or christ like figure.

1042
00:58:25,680 --> 00:58:25,919
Speaker 4: Here.

1043
00:58:25,960 --> 00:58:30,439
Speaker 2: There is an aura of an aura of holiness to him,

1044
00:58:31,320 --> 00:58:34,360
Speaker 2: Except the kind of christ figure he is is one

1045
00:58:34,480 --> 00:58:37,920
Speaker 2: dedicated to a utopia of gang power.

1046
00:58:38,480 --> 00:58:41,440
Speaker 1: Yeah. And of course, the iconic line from all of

1047
00:58:41,480 --> 00:58:43,919
Speaker 1: this is that is he asked them if they can count,

1048
00:58:43,920 --> 00:58:47,280
Speaker 1: but he's also says can you dig it? Can you

1049
00:58:47,360 --> 00:58:50,680
Speaker 1: dig it? And they can dig it. Everyone can dig it.

1050
00:58:50,760 --> 00:58:53,240
Speaker 1: Everyone loves Cyrus and they are on board for this.

1051
00:58:53,280 --> 00:58:56,720
Speaker 2: Plan exactly right. The crowd likes what they are hearing,

1052
00:58:56,760 --> 00:59:00,440
Speaker 2: and they give Cyrus a very warm reception. But it

1053
00:59:00,480 --> 00:59:03,600
Speaker 2: is not to be. Nothing good can last, nothing gold

1054
00:59:03,640 --> 00:59:08,080
Speaker 2: can stay. Because while everyone is cheering and applauding and

1055
00:59:08,160 --> 00:59:11,160
Speaker 2: excited about the idea of a criminal conspiracy to overthrow

1056
00:59:11,200 --> 00:59:14,000
Speaker 2: the civil government and replace it with gang power, in

1057
00:59:14,040 --> 00:59:19,160
Speaker 2: the midst of all this euphoria, suddenly someone shoots Cyrus

1058
00:59:19,280 --> 00:59:23,120
Speaker 2: from the crowd and Cyrus falls down dead. Now we

1059
00:59:23,360 --> 00:59:27,640
Speaker 2: the audience get to see who did it. It was Luther,

1060
00:59:28,000 --> 00:59:29,680
Speaker 2: the leader of the rogues.

1061
00:59:29,840 --> 00:59:30,600
Speaker 4: The skin is.

1062
00:59:30,920 --> 00:59:32,280
Speaker 2: What's it David Patrick Kelly?

1063
00:59:32,360 --> 00:59:32,960
Speaker 4: Is that his name?

1064
00:59:33,120 --> 00:59:33,360
Speaker 1: Yep?

1065
00:59:34,000 --> 00:59:36,600
Speaker 2: Though most people in the crowd apparently have no idea

1066
00:59:36,600 --> 00:59:39,240
Speaker 2: who fired the shot, so the audience knows, but almost

1067
00:59:39,240 --> 00:59:44,080
Speaker 2: nobody in the scene knows. I'm kind of maybe we

1068
00:59:44,120 --> 00:59:48,720
Speaker 2: should do an aside on Luther here, because my read

1069
00:59:48,760 --> 00:59:51,160
Speaker 2: on Luther he's kind of hard to figure out. Luther,

1070
00:59:51,360 --> 00:59:54,440
Speaker 2: to me, does not seem stable enough to be a

1071
00:59:54,520 --> 00:59:58,920
Speaker 2: leader of anything, even a violent criminal enterprise. He is

1072
00:59:59,080 --> 01:00:01,440
Speaker 2: just as you said, He's like chaos goblin. He is

1073
01:00:01,480 --> 01:00:07,440
Speaker 2: a greasy, wide eyed, screaming ball of trouble and chaos.

1074
01:00:07,520 --> 01:00:12,400
Speaker 2: I don't know how anybody is following him, if that

1075
01:00:12,480 --> 01:00:14,880
Speaker 2: makes sense, Like you could imagine him just kind of

1076
01:00:15,000 --> 01:00:19,760
Speaker 2: acting on his own to cause chaos and destruction. But

1077
01:00:20,000 --> 01:00:22,000
Speaker 2: it's strange to me that he is portrayed as the

1078
01:00:22,120 --> 01:00:23,400
Speaker 2: leader of the rogues.

1079
01:00:24,240 --> 01:00:26,760
Speaker 1: I mean a similar issue with the Joker, especially as

1080
01:00:26,760 --> 01:00:30,160
Speaker 1: portrayed like by Heath Ledger. You know, great, great Joker,

1081
01:00:30,520 --> 01:00:32,880
Speaker 1: but you also have to wonder, like, why are people

1082
01:00:32,920 --> 01:00:39,439
Speaker 1: following this just obviously unhinged, chaotic individual. He just wants

1083
01:00:39,480 --> 01:00:41,320
Speaker 1: to burn a bunch of money and so forth. Like

1084
01:00:42,000 --> 01:00:45,160
Speaker 1: you know, Luther seems like a similar character. He just

1085
01:00:45,160 --> 01:00:48,440
Speaker 1: wants to watch the world burn, and I guess his

1086
01:00:48,640 --> 01:00:50,880
Speaker 1: entire crew is on board with that, but also takes

1087
01:00:50,960 --> 01:00:54,960
Speaker 1: orders from him. I don't know how you know your

1088
01:00:55,080 --> 01:00:57,240
Speaker 1: anarchist gang works in this respect.

1089
01:00:58,640 --> 01:01:00,680
Speaker 2: Well, maybe at the end of the movie they will

1090
01:01:00,720 --> 01:01:06,880
Speaker 2: explain a coherent reason why Luther did what he did so,

1091
01:01:07,240 --> 01:01:10,160
Speaker 2: but he So this is the twist, right, So Cyrus

1092
01:01:10,280 --> 01:01:13,680
Speaker 2: is shot at the same moment police arrive to break

1093
01:01:13,760 --> 01:01:17,760
Speaker 2: up the gathering and everybody begins to scatter. The Riffs

1094
01:01:18,200 --> 01:01:22,720
Speaker 2: surround their fallen leader and Cleon, the leader of the Warriors,

1095
01:01:22,760 --> 01:01:27,840
Speaker 2: who is portrayed as I think. Cleon is portrayed as

1096
01:01:27,880 --> 01:01:36,480
Speaker 2: a very smart, rational, level headed, uniting force, like he

1097
01:01:36,640 --> 01:01:38,840
Speaker 2: is what keeps the gang of the Warriors together and

1098
01:01:38,920 --> 01:01:41,600
Speaker 2: he is a strategic thinker. Did you get the same feeling.

1099
01:01:41,920 --> 01:01:43,640
Speaker 1: Yeah, yeah, we don't see much from him, but he

1100
01:01:43,680 --> 01:01:46,760
Speaker 1: seems to be well respected by everyone, even the ones

1101
01:01:46,760 --> 01:01:49,000
Speaker 1: that don't get along within the Warrior trinks. Right.

1102
01:01:49,120 --> 01:01:52,440
Speaker 2: So, but he goes up to see Cyrus's body. He

1103
01:01:52,480 --> 01:01:55,120
Speaker 2: approaches to see what's going on, while the rest of

1104
01:01:55,160 --> 01:01:57,680
Speaker 2: the Warriors start booking. They're they're getting out of there.

1105
01:01:58,200 --> 01:02:02,320
Speaker 2: But here here's another tragic moment. Looking I guess to

1106
01:02:02,400 --> 01:02:06,440
Speaker 2: cause more chaos and escape blame the murderer of Cyrus.

1107
01:02:06,560 --> 01:02:10,840
Speaker 2: Luther pipes up and starts screaming to the riffs. He says,

1108
01:02:10,920 --> 01:02:14,280
Speaker 2: the warriors did it, that warrior, I saw it. They

1109
01:02:14,400 --> 01:02:18,600
Speaker 2: killed Cyrus, and Cleon's standing there like what No, But

1110
01:02:18,920 --> 01:02:22,120
Speaker 2: Cleon is quickly surrounded by the Rifts and attacked, and

1111
01:02:22,200 --> 01:02:23,480
Speaker 2: I presume he has killed.

1112
01:02:23,880 --> 01:02:25,480
Speaker 1: I like the way that the Riffs come in on

1113
01:02:25,600 --> 01:02:28,120
Speaker 1: him and they begin using what I was thinking of

1114
01:02:28,200 --> 01:02:30,640
Speaker 1: as the elbow machine, like they're all kind of like

1115
01:02:30,680 --> 01:02:33,480
Speaker 1: pounding their elbows down in unison, which also reminded me,

1116
01:02:33,640 --> 01:02:36,480
Speaker 1: like it made me think of and maybe I'm overthinking

1117
01:02:36,560 --> 01:02:39,000
Speaker 1: this because I, you know, went into it expecting these

1118
01:02:39,600 --> 01:02:42,800
Speaker 1: you know, the the Greek saga to be underneath it all.

1119
01:02:43,000 --> 01:02:45,920
Speaker 1: But I was thinking of, like, you know, soldiers in

1120
01:02:46,000 --> 01:02:48,400
Speaker 1: a tight formation doing something in unison here.

1121
01:02:48,560 --> 01:02:51,320
Speaker 2: Oh interesting. That may not be exactly what they're going

1122
01:02:51,360 --> 01:02:53,640
Speaker 2: for here, but there absolutely are scenes in the movies

1123
01:02:53,680 --> 01:02:56,680
Speaker 2: where the gang members appear like in a phalanx, so

1124
01:02:57,000 --> 01:02:59,440
Speaker 2: you know they're in they're in an almost kind of

1125
01:02:59,440 --> 01:03:00,640
Speaker 2: classical formation.

1126
01:03:01,240 --> 01:03:03,880
Speaker 1: Yeah, the Riffs, especially, we get scenes later where they're

1127
01:03:03,920 --> 01:03:08,480
Speaker 1: all in formation. They're very stoic, very organized, in control.

1128
01:03:08,920 --> 01:03:12,840
Speaker 2: Now the scene is very scary and chaotic and effective,

1129
01:03:12,880 --> 01:03:15,880
Speaker 2: but it if I could issue one more criticism of it,

1130
01:03:15,880 --> 01:03:18,880
Speaker 2: it's the same thing with Luther I mentioned the second ago,

1131
01:03:18,960 --> 01:03:23,080
Speaker 2: like this obvious, like this guy's just shrieking and pointing

1132
01:03:23,120 --> 01:03:26,200
Speaker 2: at Cleon and there's nothing about Luther that suggests you

1133
01:03:26,200 --> 01:03:29,040
Speaker 2: should listen to or believe him, but they do.

1134
01:03:29,400 --> 01:03:32,480
Speaker 1: Or that he's tight with the Riffs at all. Yeah, yeah,

1135
01:03:32,520 --> 01:03:35,000
Speaker 1: but they're like Luther said it, I believe it. That's

1136
01:03:35,040 --> 01:03:35,840
Speaker 1: all there is to it.

1137
01:03:36,080 --> 01:03:36,640
Speaker 4: Yep, yep.

1138
01:03:37,800 --> 01:03:41,240
Speaker 2: So meanwhile, the rest of the Warriors, now without their

1139
01:03:41,280 --> 01:03:45,280
Speaker 2: strategic and uniting leader figure, they don't understand what's going on.

1140
01:03:45,400 --> 01:03:47,800
Speaker 2: They're just running away from the park and through an

1141
01:03:47,840 --> 01:03:51,720
Speaker 2: adjoining graveyard as the police flood in. And so this

1142
01:03:51,840 --> 01:03:55,000
Speaker 2: provides the setup for the return journey, which will take

1143
01:03:55,080 --> 01:03:57,240
Speaker 2: up most of the rest of the movie. The setup

1144
01:03:57,320 --> 01:04:00,760
Speaker 2: is that stranded and leaderless, the remaining Warriors have to

1145
01:04:00,800 --> 01:04:04,040
Speaker 2: make it back home to Coney Island, traveling along the

1146
01:04:04,040 --> 01:04:07,960
Speaker 2: way through through the territory of all the rival gangs.

1147
01:04:08,440 --> 01:04:13,240
Speaker 2: And not only are they traveling through baseline unfriendly territory,

1148
01:04:13,240 --> 01:04:16,520
Speaker 2: which is their initial understanding. Unknown to them is the

1149
01:04:16,560 --> 01:04:19,720
Speaker 2: fact that they have been blamed for the death of Cyrus,

1150
01:04:20,160 --> 01:04:22,520
Speaker 2: and now the Rifts have a bounty on their heads.

1151
01:04:22,960 --> 01:04:26,880
Speaker 2: The Rifts enlist all of the other gangs within Cyrus's

1152
01:04:26,880 --> 01:04:30,840
Speaker 2: truce to bring them the Warriors dead or alive, so.

1153
01:04:30,760 --> 01:04:33,040
Speaker 1: They have to deal with every gang in the city

1154
01:04:33,560 --> 01:04:36,400
Speaker 1: plus the police as they try to make it back

1155
01:04:36,440 --> 01:04:39,280
Speaker 1: through New York City to get back to Coney Island,

1156
01:04:39,320 --> 01:04:41,880
Speaker 1: where they'll presumably be safe or have at least more

1157
01:04:41,880 --> 01:04:44,520
Speaker 1: resources for safety than they have anywhere else in the city.

1158
01:04:44,760 --> 01:04:45,480
Speaker 4: Yeah.

1159
01:04:45,600 --> 01:04:48,760
Speaker 2: Also just a note that Rembrandt literally tags a grave

1160
01:04:48,920 --> 01:04:51,960
Speaker 2: stone as they're leaving the cemetery in Big w On

1161
01:04:52,000 --> 01:04:52,800
Speaker 2: a headstone.

1162
01:04:53,080 --> 01:04:56,000
Speaker 1: Yep, that's his role, he's the artist.

1163
01:04:56,360 --> 01:04:58,480
Speaker 2: So let's mention a few of the encounters they have

1164
01:04:58,640 --> 01:05:02,480
Speaker 2: along the way. One of them is that they are

1165
01:05:02,520 --> 01:05:05,160
Speaker 2: trying to get on the train. They're trying to get

1166
01:05:05,160 --> 01:05:07,520
Speaker 2: on the elevated train in the Bronx to get back

1167
01:05:07,640 --> 01:05:10,680
Speaker 2: downtown so they can I think they need to change

1168
01:05:11,000 --> 01:05:15,120
Speaker 2: trains at Union Station to get back to Brooklyn. So

1169
01:05:15,160 --> 01:05:17,800
Speaker 2: they arrive at the train station, but then they want

1170
01:05:17,840 --> 01:05:20,800
Speaker 2: to get up on the platform, but blocking their way

1171
01:05:21,200 --> 01:05:25,440
Speaker 2: is a skinhead school bus from Hell. Now, I think

1172
01:05:26,560 --> 01:05:28,720
Speaker 2: maybe you understand the culture here better than I do.

1173
01:05:28,800 --> 01:05:29,000
Speaker 5: Rob.

1174
01:05:29,080 --> 01:05:32,400
Speaker 2: I think the turnbull Acs or the gang here, and

1175
01:05:32,520 --> 01:05:35,840
Speaker 2: they are skinheads, but not the kind of skinheads we

1176
01:05:35,920 --> 01:05:38,320
Speaker 2: usually think of today. There's no indication as far as

1177
01:05:38,320 --> 01:05:40,880
Speaker 2: I can tell, that they're actually Nazis. They're just like

1178
01:05:41,000 --> 01:05:42,080
Speaker 2: they've got shaved heads.

1179
01:05:42,640 --> 01:05:44,760
Speaker 1: That's what I was getting from it, because it seems

1180
01:05:44,760 --> 01:05:48,800
Speaker 1: to be a multi racial group. They have shaved heads,

1181
01:05:49,040 --> 01:05:51,640
Speaker 1: but they don't have any otherwise. They don't have any

1182
01:05:51,640 --> 01:05:52,920
Speaker 1: identifying iconography.

1183
01:05:53,240 --> 01:05:58,120
Speaker 2: They do have a bus that says dudes on the back, yep.

1184
01:05:58,680 --> 01:06:00,840
Speaker 2: And so there's a very tense scene where the Warriors

1185
01:06:00,880 --> 01:06:03,200
Speaker 2: are hiding in the shadows and they're trying to work

1186
01:06:03,240 --> 01:06:05,240
Speaker 2: out should we try to get up on the platform

1187
01:06:05,440 --> 01:06:08,440
Speaker 2: or not, And as the train is arriving, they make

1188
01:06:08,440 --> 01:06:10,840
Speaker 2: a break for it. The bus tries to run them down.

1189
01:06:11,080 --> 01:06:13,680
Speaker 2: The bus is just full of these creeps with these

1190
01:06:14,040 --> 01:06:17,400
Speaker 2: bats and stuff, and they're there. Actually we're not to

1191
01:06:17,440 --> 01:06:19,720
Speaker 2: the bats yet. They've just got clubs and chains and

1192
01:06:19,760 --> 01:06:22,560
Speaker 2: things and they're threatening the Warriors. But the Warriors just

1193
01:06:22,600 --> 01:06:24,480
Speaker 2: barely make it. They make it onto the train and

1194
01:06:24,520 --> 01:06:25,320
Speaker 2: the train leaves.

1195
01:06:25,680 --> 01:06:30,120
Speaker 1: Yeah. It's a great sequence, Yeah, very terrifying, well shot,

1196
01:06:30,400 --> 01:06:31,720
Speaker 1: very apocalyptic feeling.

1197
01:06:32,360 --> 01:06:35,320
Speaker 2: However it is they're not going to make it all

1198
01:06:35,320 --> 01:06:37,600
Speaker 2: the way back because there is a fire on the

1199
01:06:37,640 --> 01:06:41,439
Speaker 2: tracks and they have to disembark. So after this they're

1200
01:06:41,480 --> 01:06:44,240
Speaker 2: on foot yet again, forced back onto the ground and

1201
01:06:44,320 --> 01:06:46,959
Speaker 2: they have to make their way through an unfamiliar neighborhood,

1202
01:06:47,120 --> 01:06:50,440
Speaker 2: this time the neighborhood that is controlled by a gang

1203
01:06:50,560 --> 01:06:55,720
Speaker 2: called the Orphans, who were not at the meeting. They

1204
01:06:55,760 --> 01:06:59,440
Speaker 2: were not invited to the conclave in the Bronx, apparently

1205
01:06:59,480 --> 01:07:02,440
Speaker 2: because they are not well known or respected enough to

1206
01:07:02,520 --> 01:07:06,160
Speaker 2: even receive an invitation. So this scene I think is

1207
01:07:06,280 --> 01:07:09,960
Speaker 2: very interesting because as that the warriors are outnumbered by

1208
01:07:09,960 --> 01:07:14,920
Speaker 2: the Orphans, but the Orphans are clearly a There's a

1209
01:07:15,040 --> 01:07:20,360
Speaker 2: danger extending from the orphans low esteem among their peers

1210
01:07:20,520 --> 01:07:24,160
Speaker 2: and their low self esteem. So these the orphans are

1211
01:07:24,960 --> 01:07:27,800
Speaker 2: kind of unsure of themselves, unsure of where they fit

1212
01:07:27,840 --> 01:07:31,920
Speaker 2: into the hierarchy and maybe have something to prove, and

1213
01:07:32,120 --> 01:07:35,760
Speaker 2: I think all that uncertainty creates this extra sense of

1214
01:07:36,240 --> 01:07:36,880
Speaker 2: danger there.

1215
01:07:37,960 --> 01:07:41,040
Speaker 1: Yeah. Yeah, like they're they're pretty low on the pecking order,

1216
01:07:41,240 --> 01:07:44,520
Speaker 1: but they have the numbers. This is their territory, so

1217
01:07:44,560 --> 01:07:46,320
Speaker 1: they have to they have to play it just right.

1218
01:07:46,360 --> 01:07:49,480
Speaker 1: They like Swan is telling everybody, it's like, no mouthing off,

1219
01:07:49,760 --> 01:07:53,160
Speaker 1: We're just gonna go through this without ruffling any fetters

1220
01:07:53,160 --> 01:07:55,680
Speaker 1: and we're going to be just fine. But we end

1221
01:07:55,720 --> 01:07:57,640
Speaker 1: up getting a lot of great tension, because this is

1222
01:07:57,640 --> 01:08:02,640
Speaker 1: where Mercy interjects self and just starts basically like stirring

1223
01:08:02,640 --> 01:08:06,720
Speaker 1: the whole situation up and telling the leader of the

1224
01:08:06,800 --> 01:08:08,960
Speaker 1: orphans here, who I didn't get the name of this actory,

1225
01:08:09,040 --> 01:08:10,840
Speaker 1: He wasn't in a ton of stuff, but we actually

1226
01:08:10,840 --> 01:08:14,120
Speaker 1: call Greco. I think, yeah, I believe that's it. He's

1227
01:08:14,120 --> 01:08:16,519
Speaker 1: great in this as the leader of the orphans because,

1228
01:08:16,560 --> 01:08:18,680
Speaker 1: like you know, clearly he has authority over them. He

1229
01:08:18,720 --> 01:08:21,880
Speaker 1: also is not really looking for some sort of a

1230
01:08:21,960 --> 01:08:25,559
Speaker 1: violent encounter, but if pushed, it's absolutely going to go

1231
01:08:25,600 --> 01:08:26,120
Speaker 1: that direction.

1232
01:08:26,400 --> 01:08:26,920
Speaker 4: That's right.

1233
01:08:27,000 --> 01:08:30,120
Speaker 2: You can tell he's afraid and he doesn't want to fight.

1234
01:08:30,280 --> 01:08:33,840
Speaker 2: But then Mercy pushes him, and his own gang starts

1235
01:08:33,880 --> 01:08:35,719
Speaker 2: kind of pushing him, and he feels like he can't

1236
01:08:35,720 --> 01:08:38,320
Speaker 2: lose his face, so he's got to escalate, and now

1237
01:08:38,400 --> 01:08:43,080
Speaker 2: everybody's escalating and and it ends up leading to a

1238
01:08:43,160 --> 01:08:48,559
Speaker 2: violent encounter where the warriors. Well, first Mercy follows them

1239
01:08:48,600 --> 01:08:51,840
Speaker 2: as they're making their way through the territory. Uh, she

1240
01:08:51,840 --> 01:08:54,240
Speaker 2: she sort of I think she wants one of their

1241
01:08:54,560 --> 01:08:56,080
Speaker 2: their gang insignia.

1242
01:08:56,600 --> 01:08:59,040
Speaker 1: Yeah, that was her whole thing. To the leader of

1243
01:08:59,080 --> 01:09:01,320
Speaker 1: the orphans, She's she's like, you can't just let them

1244
01:09:01,360 --> 01:09:02,680
Speaker 1: walk through. You've got to make them give up one

1245
01:09:02,680 --> 01:09:06,320
Speaker 1: of their vests. I want one of those vests. And

1246
01:09:07,400 --> 01:09:13,240
Speaker 1: that kind of begins the escalation right there, because Swan

1247
01:09:13,400 --> 01:09:15,160
Speaker 1: is like, now we're not doing that. We're marching through

1248
01:09:15,320 --> 01:09:16,800
Speaker 1: like soldiers through Avarnland.

1249
01:09:17,160 --> 01:09:20,960
Speaker 2: Yeah, So Mercy ends up following the warriors. She's kind

1250
01:09:20,960 --> 01:09:24,000
Speaker 2: of she's clearly interested in them and would probably rather

1251
01:09:25,000 --> 01:09:28,000
Speaker 2: follow them than stay with the Orphans. So Mercy ends

1252
01:09:28,080 --> 01:09:31,400
Speaker 2: up following the warriors through the territory. This leads to

1253
01:09:31,560 --> 01:09:36,519
Speaker 2: a scary confrontation where I think Ajax especially is treating

1254
01:09:36,520 --> 01:09:40,080
Speaker 2: her abusively and then threatening her with sexual violence. And

1255
01:09:40,160 --> 01:09:44,360
Speaker 2: then they have another confrontation with the with the Orphans,

1256
01:09:44,600 --> 01:09:48,560
Speaker 2: which is ultimately resolved because somebody throws a Molotov cocktail,

1257
01:09:48,680 --> 01:09:52,120
Speaker 2: which is a twist, and they end up having to

1258
01:09:52,200 --> 01:09:55,680
Speaker 2: run out of the territory and Mercy follows them and

1259
01:09:55,760 --> 01:09:58,840
Speaker 2: after this, shortly after this, they end up chased by

1260
01:09:58,880 --> 01:10:02,479
Speaker 2: the police and separated. So different parts of the gang

1261
01:10:02,640 --> 01:10:06,679
Speaker 2: are scattered in different directions. Uh, And there is one

1262
01:10:06,840 --> 01:10:08,639
Speaker 2: one member of the gang, is it the is it

1263
01:10:08,760 --> 01:10:11,800
Speaker 2: the scout Fox, the one who witnessed Luther as the

1264
01:10:11,880 --> 01:10:15,519
Speaker 2: murderer in the in the assembly who is killed in

1265
01:10:15,560 --> 01:10:16,320
Speaker 2: the subway station.

1266
01:10:17,439 --> 01:10:20,160
Speaker 1: Yeah, is this this in the altercation with the police. Yeah. Yeah,

1267
01:10:20,200 --> 01:10:22,080
Speaker 1: it's like he gets thrown into the tracks.

1268
01:10:21,840 --> 01:10:23,960
Speaker 2: Fighting with a police officer and he gets thrown onto

1269
01:10:24,000 --> 01:10:25,320
Speaker 2: the tracks in front of a train.

1270
01:10:25,880 --> 01:10:28,960
Speaker 1: Yeah, there was a frightening sequence there. And then I

1271
01:10:29,000 --> 01:10:31,960
Speaker 1: believe what Swan and Mercy end up like jumping down

1272
01:10:32,000 --> 01:10:34,719
Speaker 1: onto the tracks and escaping through the subway tunnel.

1273
01:10:35,360 --> 01:10:39,160
Speaker 2: So that might be later because they I think they're

1274
01:10:39,200 --> 01:10:42,240
Speaker 2: separated from Mercy. But then Swan meets up again with

1275
01:10:42,360 --> 01:10:43,000
Speaker 2: Mercy later.

1276
01:10:43,360 --> 01:10:44,280
Speaker 1: Okay, there you go.

1277
01:10:44,840 --> 01:10:47,720
Speaker 2: But another one of the encounters along the way is

1278
01:10:47,880 --> 01:10:51,280
Speaker 2: the Baseball Furies. Uh, this is the baseball Gang. When

1279
01:10:51,320 --> 01:10:54,760
Speaker 2: the gang splits up, half of them encounter the Baseball

1280
01:10:54,800 --> 01:10:57,680
Speaker 2: Furies and it plays, Uh, these are the guys in

1281
01:10:57,760 --> 01:11:01,120
Speaker 2: full Like are the Yankees uniforms are just generic baseball

1282
01:11:01,200 --> 01:11:04,960
Speaker 2: uniform I don't know, their baseball uniforms with like war

1283
01:11:05,000 --> 01:11:08,320
Speaker 2: paint on their faces and they're carrying bats and when

1284
01:11:08,360 --> 01:11:13,280
Speaker 2: they meet them. This sounds funny and it is funny,

1285
01:11:13,280 --> 01:11:16,479
Speaker 2: but it's also actually a little bit scary, especially because

1286
01:11:16,520 --> 01:11:19,040
Speaker 2: of the music that sounds like the music from Dawn

1287
01:11:19,040 --> 01:11:19,519
Speaker 2: of the Dead.

1288
01:11:20,040 --> 01:11:23,720
Speaker 1: Yeah, Devorzone is really on point here. Great portion of

1289
01:11:23,760 --> 01:11:24,160
Speaker 1: the score.

1290
01:11:24,439 --> 01:11:28,080
Speaker 2: So half of the gang Swan, Ajax, Snow and Cowboy

1291
01:11:28,240 --> 01:11:32,360
Speaker 2: are chased by baseball and they're chased through the park

1292
01:11:32,560 --> 01:11:35,759
Speaker 2: and they're running for a while until ultimately they decide

1293
01:11:35,760 --> 01:11:38,479
Speaker 2: to stand and fight, and they fight the baseball guys

1294
01:11:38,520 --> 01:11:39,519
Speaker 2: and they win the brawl.

1295
01:11:40,080 --> 01:11:43,280
Speaker 1: Yeah, great sequence with lots of baseball sword fights that

1296
01:11:43,400 --> 01:11:47,679
Speaker 1: again are both goofy and terrifying, like it's very brutal

1297
01:11:49,320 --> 01:11:53,680
Speaker 1: fight that happens here. And yeah, the baseball Furies are

1298
01:11:53,720 --> 01:11:56,200
Speaker 1: just so delightfully weird, Like I just I look at them.

1299
01:11:56,200 --> 01:11:58,680
Speaker 1: We don't know much about them. We see them emerging

1300
01:11:58,720 --> 01:12:02,040
Speaker 1: from some sort of a basement, like ceremonially grabbing their

1301
01:12:02,439 --> 01:12:05,160
Speaker 1: their their baseball bats on the way out. But yeah,

1302
01:12:05,160 --> 01:12:07,400
Speaker 1: I just can't help but wonder, like what is their ideology,

1303
01:12:07,479 --> 01:12:10,840
Speaker 1: Like what are their sacred rights and observations? You know,

1304
01:12:10,880 --> 01:12:12,519
Speaker 1: they show us only a little bit and then our

1305
01:12:12,560 --> 01:12:16,240
Speaker 1: imagination fills in the rest and and they're to be

1306
01:12:16,320 --> 01:12:18,880
Speaker 1: clear a late film encounter. It's held up as a

1307
01:12:18,920 --> 01:12:21,800
Speaker 1: legit threat, like they're not just a novelty act, Like

1308
01:12:21,880 --> 01:12:23,800
Speaker 1: these are guys you don't want to mess with. But

1309
01:12:23,880 --> 01:12:26,599
Speaker 1: I'm like, what do they believe in? Like, do they

1310
01:12:26,600 --> 01:12:29,559
Speaker 1: have sacred rituals that involve Big League two? I want

1311
01:12:29,600 --> 01:12:30,400
Speaker 1: to know all about it.

1312
01:12:39,040 --> 01:12:39,519
Speaker 4: Let's see.

1313
01:12:39,520 --> 01:12:43,040
Speaker 2: So what happens after this? After the fight, Swan ends

1314
01:12:43,120 --> 01:12:45,639
Speaker 2: up meeting back up with Mercy somehow in the train

1315
01:12:45,760 --> 01:12:48,040
Speaker 2: station and they have to run away from police. So yeah,

1316
01:12:48,080 --> 01:12:50,880
Speaker 2: they run down into the tunnels ahead of the train

1317
01:12:51,040 --> 01:12:53,720
Speaker 2: and they're they don't get hit by the train, they're

1318
01:12:53,760 --> 01:12:56,280
Speaker 2: dodging it. But they're just traveling through the tunnels on foot.

1319
01:12:57,040 --> 01:13:01,560
Speaker 2: And Mercy clearly likes Swan, like she she is attracted

1320
01:13:01,560 --> 01:13:04,440
Speaker 2: to him, She's interested in him, she wants his approval

1321
01:13:05,160 --> 01:13:10,040
Speaker 2: and Swan, it's it's a fascinating dynamic here. Swan is

1322
01:13:10,200 --> 01:13:13,479
Speaker 2: just cold to her. He rebuffs her. He tells her

1323
01:13:13,479 --> 01:13:16,479
Speaker 2: that he sees her as promiscuous, he's mean to her.

1324
01:13:17,120 --> 01:13:20,800
Speaker 2: Underneath it all, he does seem to be interested in her.

1325
01:13:21,560 --> 01:13:23,720
Speaker 2: And so they sort of, you know, the kiss for

1326
01:13:23,760 --> 01:13:26,599
Speaker 2: a moment, but then he's like, no, basically, no time

1327
01:13:26,640 --> 01:13:29,000
Speaker 2: for loving tonight. We're back on the journey.

1328
01:13:29,160 --> 01:13:32,040
Speaker 1: Yeah, they spend a lot of time with this relationship,

1329
01:13:32,400 --> 01:13:35,160
Speaker 1: a relationship that in a lesser movie would probably be

1330
01:13:35,200 --> 01:13:37,280
Speaker 1: one of those like why are these two people in love? Like,

1331
01:13:37,439 --> 01:13:40,160
Speaker 1: you know, why of these two people attracted to each other?

1332
01:13:42,320 --> 01:13:45,559
Speaker 1: The screenplay in the direction here seems to, you know,

1333
01:13:45,640 --> 01:13:49,400
Speaker 1: recognize that that whatever is bringing these two characters together

1334
01:13:49,560 --> 01:13:52,160
Speaker 1: in this chaotic time, this chaotic setting, and at this

1335
01:13:52,240 --> 01:13:55,920
Speaker 1: chaotic point in both of their lives, like there needs

1336
01:13:55,960 --> 01:13:58,720
Speaker 1: to be something there, and the film does explore that

1337
01:13:59,200 --> 01:14:01,280
Speaker 1: and you see it come out in their performances. I

1338
01:14:01,280 --> 01:14:03,120
Speaker 1: think both of them, I think they have some great

1339
01:14:03,200 --> 01:14:07,240
Speaker 1: chemistry together playing these characters who are like clearly going

1340
01:14:07,280 --> 01:14:09,360
Speaker 1: through a very trying and traumatic situation.

1341
01:14:09,800 --> 01:14:11,599
Speaker 2: Now, maybe we should mention a few of the other

1342
01:14:11,680 --> 01:14:15,200
Speaker 2: things that recur as interludes, you know, little scenes we

1343
01:14:15,240 --> 01:14:17,880
Speaker 2: get throughout the runtime. We get a few scenes of

1344
01:14:17,920 --> 01:14:21,559
Speaker 2: the Riffs, like organizing and searching for the warriors. We

1345
01:14:21,600 --> 01:14:24,320
Speaker 2: get these scenes of them all these guys like standing

1346
01:14:24,360 --> 01:14:28,280
Speaker 2: at attention and in an abandoned building. They have a

1347
01:14:28,600 --> 01:14:31,360
Speaker 2: have an almost marine style call where they call out

1348
01:14:31,479 --> 01:14:32,200
Speaker 2: yeah right.

1349
01:14:32,880 --> 01:14:36,719
Speaker 1: H yeah, and we and the guy who has stepped

1350
01:14:36,720 --> 01:14:40,960
Speaker 1: in as leader of the Rifts. He has these really

1351
01:14:41,080 --> 01:14:44,759
Speaker 1: killer silver shades, so he has like Darth Vader energy

1352
01:14:44,880 --> 01:14:47,880
Speaker 1: if Darth Vader's whole thing was just having really cool sunglasses.

1353
01:14:48,200 --> 01:14:52,120
Speaker 2: Yes, of course, we get several scenes of Lynn Thigpin

1354
01:14:52,240 --> 01:14:57,120
Speaker 2: on the radio making announcements about places to hunt for

1355
01:14:57,280 --> 01:15:01,920
Speaker 2: the warriors and putting on me music that's thematically appropriate.

1356
01:15:02,360 --> 01:15:05,559
Speaker 2: We also get scenes with the rogues just running around

1357
01:15:05,560 --> 01:15:08,160
Speaker 2: and causing trouble, like they're driving a car that is

1358
01:15:08,240 --> 01:15:12,200
Speaker 2: sort of like a graffiti hearse and they just go

1359
01:15:12,320 --> 01:15:14,760
Speaker 2: up to I don't know vendors on the street and

1360
01:15:15,280 --> 01:15:16,679
Speaker 2: threaten them and cause trouble.

1361
01:15:17,040 --> 01:15:19,599
Speaker 1: Now, one thing we should mention is that Luther, I think,

1362
01:15:19,640 --> 01:15:23,240
Speaker 1: on two different occasions, calls in and checks with somebody.

1363
01:15:23,360 --> 01:15:24,840
Speaker 4: Yeah, what's going on there.

1364
01:15:25,080 --> 01:15:27,559
Speaker 2: I thought that what this was leading up to was

1365
01:15:27,600 --> 01:15:30,479
Speaker 2: that Luther it would be revealed because I didn't remember

1366
01:15:30,640 --> 01:15:33,840
Speaker 2: what would happen at the end. Yeah, same, I thought

1367
01:15:33,960 --> 01:15:36,040
Speaker 2: it would be revealed at the end that Luther was

1368
01:15:36,080 --> 01:15:38,240
Speaker 2: like checking in with someone who he was in a

1369
01:15:38,280 --> 01:15:41,479
Speaker 2: conspiracy with, like the second in command of the Riffs

1370
01:15:41,560 --> 01:15:42,360
Speaker 2: or something like that.

1371
01:15:42,680 --> 01:15:47,720
Speaker 1: Yeah, or perhaps the police even or organized crime or

1372
01:15:47,760 --> 01:15:52,360
Speaker 1: you know somebody like you know, he's somebody's stooge. Yeah,

1373
01:15:52,360 --> 01:15:55,400
Speaker 1: Like he's somebody's you know, like hired an anarchist.

1374
01:15:55,680 --> 01:15:58,080
Speaker 2: Yeah, he is on the phone with somebody, But who

1375
01:15:58,160 --> 01:16:00,479
Speaker 2: is it. Maybe it's revealed and I just missed, but

1376
01:16:00,720 --> 01:16:01,559
Speaker 2: I don't know.

1377
01:16:01,640 --> 01:16:03,880
Speaker 1: Or maybe it's something that it's in the screenplay or

1378
01:16:03,880 --> 01:16:07,439
Speaker 1: some earlier version of the earlier cut or of the

1379
01:16:07,439 --> 01:16:10,439
Speaker 1: film or earlier script. Who knows. But yeah, we'll get

1380
01:16:10,439 --> 01:16:13,559
Speaker 1: to we'll get to the fallout in a bit. Oh.

1381
01:16:13,560 --> 01:16:15,920
Speaker 2: There's also a scene where after their encounter with the

1382
01:16:15,960 --> 01:16:19,519
Speaker 2: Baseball Furies, the Warriors are trying to leave the park

1383
01:16:19,840 --> 01:16:23,400
Speaker 2: and the Ajax decides to stay behind to sexually assault

1384
01:16:23,439 --> 01:16:25,160
Speaker 2: a woman in the park, but it turns out to

1385
01:16:25,160 --> 01:16:27,599
Speaker 2: be a police stakeout and he gets caught and arrested.

1386
01:16:27,640 --> 01:16:29,120
Speaker 4: So Ajax is out of the picture.

1387
01:16:29,160 --> 01:16:32,000
Speaker 1: Now, Yeah, this is the scene with Mercedes Rule and

1388
01:16:32,600 --> 01:16:35,080
Speaker 1: it's a really well done scene. It's a very uncomfortable

1389
01:16:35,080 --> 01:16:38,760
Speaker 1: scene to watch, and I guess we get what we

1390
01:16:38,800 --> 01:16:43,439
Speaker 1: want because Ajax is arrested and defeated. And Ajax is

1391
01:16:43,479 --> 01:16:46,080
Speaker 1: not a character I think we ever were really supposed

1392
01:16:46,080 --> 01:16:49,040
Speaker 1: to root for, Like he was the worst of the Warriors,

1393
01:16:49,080 --> 01:16:52,840
Speaker 1: So I assume I am vindicated him being relieved that

1394
01:16:52,880 --> 01:16:53,759
Speaker 1: he has been arrested.

1395
01:16:54,160 --> 01:16:57,559
Speaker 2: Yeah, though the movie doesn't really celebrate his capture in

1396
01:16:57,600 --> 01:17:00,160
Speaker 2: a way. It's just it's a very matter of fact, like,

1397
01:17:00,439 --> 01:17:01,519
Speaker 2: well they got Ajax.

1398
01:17:01,560 --> 01:17:02,280
Speaker 4: Now there he is.

1399
01:17:02,560 --> 01:17:05,719
Speaker 1: It's his character flaws that bring about his own downfall. Yeah,

1400
01:17:05,760 --> 01:17:07,479
Speaker 1: and we don't miss him. But I guess at the

1401
01:17:07,560 --> 01:17:09,200
Speaker 1: end of the day, it is another thing that has

1402
01:17:09,240 --> 01:17:12,240
Speaker 1: diminished the numbers of the warriors here, and the more

1403
01:17:12,280 --> 01:17:14,679
Speaker 1: diminished they are, the less likely they are to survive

1404
01:17:14,880 --> 01:17:15,880
Speaker 1: to reach their destination.

1405
01:17:16,320 --> 01:17:17,679
Speaker 4: Yeah, that's right. Now.

1406
01:17:17,760 --> 01:17:21,320
Speaker 2: Another one of the encounters is that again the gang

1407
01:17:21,360 --> 01:17:25,680
Speaker 2: has been separated. So three of the warriors, including Rembrandt,

1408
01:17:26,040 --> 01:17:29,519
Speaker 2: the sort of most sensitive, the nicest seeming of them,

1409
01:17:29,520 --> 01:17:33,320
Speaker 2: who was tagging the gravestone, they get invited to a

1410
01:17:33,360 --> 01:17:36,920
Speaker 2: party by some women they meet in the subway station

1411
01:17:37,000 --> 01:17:41,200
Speaker 2: at Union Square. This turns out to be the Lizzies,

1412
01:17:41,360 --> 01:17:45,280
Speaker 2: which are an all woman gang, and they're like having

1413
01:17:45,280 --> 01:17:47,280
Speaker 2: a party, and at first they make it like, oh,

1414
01:17:47,320 --> 01:17:50,160
Speaker 2: you know, come over, hang out, we can party. But

1415
01:17:50,240 --> 01:17:52,400
Speaker 2: of course this turns into an ambush where they are

1416
01:17:52,520 --> 01:17:55,960
Speaker 2: also trying to kill the warriors on the order of

1417
01:17:56,000 --> 01:17:59,920
Speaker 2: the Riffs. So the guys here get ambushed and nearly killed,

1418
01:18:00,080 --> 01:18:00,919
Speaker 2: but they escape.

1419
01:18:01,640 --> 01:18:05,280
Speaker 1: Both the Lizzies and the female undercover cop. They seem

1420
01:18:05,320 --> 01:18:08,200
Speaker 1: to occupy the space of a mythic siren or a

1421
01:18:08,240 --> 01:18:11,960
Speaker 1: Circe like feminine threat to our warriors as they think

1422
01:18:12,000 --> 01:18:14,480
Speaker 1: their journey across this enemy territory.

1423
01:18:14,880 --> 01:18:17,599
Speaker 2: Now, eventually the warriors are all reunited. I think this

1424
01:18:17,640 --> 01:18:21,720
Speaker 2: is still in the Union Union Squares station. I don't

1425
01:18:21,720 --> 01:18:23,559
Speaker 2: know if I'm saying that right, the Union station or

1426
01:18:23,640 --> 01:18:28,320
Speaker 2: Union Square station, and in along this area they have

1427
01:18:28,400 --> 01:18:31,040
Speaker 2: to fight another gang that is pursuing them.

1428
01:18:31,520 --> 01:18:33,240
Speaker 4: This is the Punks.

1429
01:18:34,840 --> 01:18:39,439
Speaker 2: Overall's striped shirt, butt cut on the hair, and roller

1430
01:18:39,479 --> 01:18:40,679
Speaker 2: skates yep.

1431
01:18:40,800 --> 01:18:42,719
Speaker 1: Yeah, and one of them is super tall. I couldn't

1432
01:18:42,720 --> 01:18:44,600
Speaker 1: help but notice that there is one really tall like

1433
01:18:44,680 --> 01:18:47,519
Speaker 1: blonde guy in the group. All these gangs, even the

1434
01:18:47,560 --> 01:18:51,719
Speaker 1: goofy ones, come off as legitimately intimidating within the context

1435
01:18:51,720 --> 01:18:52,440
Speaker 1: of the film.

1436
01:18:52,560 --> 01:18:56,759
Speaker 2: Much like with The Baseball Furies. The costumes are funny

1437
01:18:57,640 --> 01:19:01,360
Speaker 2: and so it necessarily is funny at one level, but

1438
01:19:01,560 --> 01:19:06,799
Speaker 2: the staging in the cinematography is actually quite intimidating and scary.

1439
01:19:06,880 --> 01:19:11,000
Speaker 2: That yeah, like the way that the one of the punks,

1440
01:19:11,280 --> 01:19:14,480
Speaker 2: like the scout of the Punks, is just slazily following

1441
01:19:14,520 --> 01:19:17,080
Speaker 2: them through the subway station on roller skates, kind of

1442
01:19:17,120 --> 01:19:20,479
Speaker 2: weaving back and forth. The fact that he's on roller

1443
01:19:20,520 --> 01:19:24,000
Speaker 2: skates is funny, but it's framed in such a way

1444
01:19:24,000 --> 01:19:26,320
Speaker 2: that it actually does work. It's very threatening.

1445
01:19:26,960 --> 01:19:29,679
Speaker 1: Yeah, yeah, absolutely, And of course this leads to this

1446
01:19:30,240 --> 01:19:33,559
Speaker 1: huge fight in a subway station bathroom. I don't think

1447
01:19:33,560 --> 01:19:36,280
Speaker 1: I've ever been in a subway station bathroom this big.

1448
01:19:36,439 --> 01:19:40,000
Speaker 1: But I can't be this big by way. It looks

1449
01:19:40,080 --> 01:19:43,599
Speaker 1: like a legit location, So maybe they downsize them after this,

1450
01:19:43,600 --> 01:19:46,040
Speaker 1: They're like, we can't have this, you can't. We can't

1451
01:19:46,040 --> 01:19:50,559
Speaker 1: have bathrooms that are this spacious and susceptible to gang warfare.

1452
01:19:51,320 --> 01:19:53,080
Speaker 1: So we got to downsize them. I don't know, but

1453
01:19:53,439 --> 01:19:56,479
Speaker 1: they have a robust battle in here. This is one

1454
01:19:56,560 --> 01:20:00,000
Speaker 1: with backdrops through a stall door, a lot of cool

1455
01:20:00,200 --> 01:20:05,160
Speaker 1: fi choreography, and just feels like an equal mix of

1456
01:20:05,560 --> 01:20:08,840
Speaker 1: unrealistic and maybe even a little you know, fun, but

1457
01:20:08,960 --> 01:20:10,799
Speaker 1: also brutal and also high stakes.

1458
01:20:11,200 --> 01:20:14,640
Speaker 2: The warriors stage and ambush by they go into the

1459
01:20:14,680 --> 01:20:17,120
Speaker 2: bathroom and they know the punks are going to follow them,

1460
01:20:17,240 --> 01:20:20,160
Speaker 2: and they all go into the stalls and then the

1461
01:20:20,200 --> 01:20:23,280
Speaker 2: punks like go in and the warriors all burst out

1462
01:20:23,280 --> 01:20:25,880
Speaker 2: of the stalls at the same time to attack, and

1463
01:20:25,880 --> 01:20:27,559
Speaker 2: I'm like, I don't know if that gives you any

1464
01:20:27,600 --> 01:20:28,400
Speaker 2: advantage at all.

1465
01:20:28,920 --> 01:20:33,760
Speaker 1: Yeah, but it works. They seem to know what they're doing.

1466
01:20:33,840 --> 01:20:36,559
Speaker 1: They defeat the punks, and it's time to move on

1467
01:20:36,920 --> 01:20:38,080
Speaker 1: towards their destination.

1468
01:20:38,479 --> 01:20:41,960
Speaker 2: Also in this scene, I think Mercy proves herself to

1469
01:20:42,000 --> 01:20:44,160
Speaker 2: Swan in a way the way that she sticks with

1470
01:20:44,200 --> 01:20:47,600
Speaker 2: the gang and holds her own and she's sort of

1471
01:20:47,680 --> 01:20:53,080
Speaker 2: showing and emerging loyalty and dependability to her newfound friends.

1472
01:20:53,600 --> 01:20:58,320
Speaker 2: And so I think there's whereas Swan was cruel to

1473
01:20:58,320 --> 01:21:01,519
Speaker 2: her emotionally cruel to her in the scene before, something

1474
01:21:01,600 --> 01:21:04,000
Speaker 2: is kind of different with them after this when they're

1475
01:21:04,000 --> 01:21:05,000
Speaker 2: on the subway together.

1476
01:21:05,479 --> 01:21:08,599
Speaker 1: Yeah, and this this next subway scene really stood out

1477
01:21:08,640 --> 01:21:11,840
Speaker 1: to me on this viewing of the picture. So, you know,

1478
01:21:11,880 --> 01:21:14,400
Speaker 1: it's pretty late in the film at this point. The

1479
01:21:14,479 --> 01:21:16,559
Speaker 1: remains of the warriors here are all on the train.

1480
01:21:16,640 --> 01:21:19,599
Speaker 1: They're exhausted, they're beat up. You know, they got cuts

1481
01:21:19,600 --> 01:21:22,360
Speaker 1: and scratches and bruises from this most recent battle and

1482
01:21:22,400 --> 01:21:24,880
Speaker 1: all the previous battles. So you know, they're just hanging

1483
01:21:24,880 --> 01:21:27,360
Speaker 1: on by a thread. They're on the train some of

1484
01:21:27,360 --> 01:21:30,000
Speaker 1: them are I think like Rembrandts, like laying down on

1485
01:21:30,040 --> 01:21:33,559
Speaker 1: the seats like he's just fallen asleep. But the Swan

1486
01:21:33,880 --> 01:21:37,519
Speaker 1: is conscious, Mercy's conscious setting up. And then we see

1487
01:21:37,560 --> 01:21:40,360
Speaker 1: a few civilians on the train, but then four youth

1488
01:21:40,439 --> 01:21:43,559
Speaker 1: board the train, and these are not gang members. Given

1489
01:21:43,600 --> 01:21:46,000
Speaker 1: their dress, we're to assume they're rich kids coming home

1490
01:21:46,000 --> 01:21:48,639
Speaker 1: from a night on the town. And they PLoP down

1491
01:21:48,680 --> 01:21:52,559
Speaker 1: opposite Swan and Mercy, and we get this long and

1492
01:21:52,680 --> 01:21:55,960
Speaker 1: fascinating I guess, ultimately kind of a stare down between

1493
01:21:56,280 --> 01:22:00,240
Speaker 1: the warriors and these rich kids. And it's it was

1494
01:22:00,320 --> 01:22:03,160
Speaker 1: just it's just nic. It's like drawn out. It's minimalist

1495
01:22:04,200 --> 01:22:06,799
Speaker 1: and really impressive. I think another film might have played

1496
01:22:06,800 --> 01:22:09,360
Speaker 1: this for a quick laugh, or escalated it to some

1497
01:22:09,400 --> 01:22:12,519
Speaker 1: form of physical confrontation, or indulged it with a lot

1498
01:22:12,560 --> 01:22:16,679
Speaker 1: of dialogue. But instead there's no dialogue in this sequence. Instead,

1499
01:22:16,720 --> 01:22:18,920
Speaker 1: he'll give this this what ends up being an intense

1500
01:22:19,000 --> 01:22:23,240
Speaker 1: stare down from Swan, and he nonverbally stresses that Mercy

1501
01:22:23,600 --> 01:22:26,040
Speaker 1: shouldn't flinch either, like she tries to sort of awkwardly

1502
01:22:26,080 --> 01:22:28,599
Speaker 1: look away and touch your hair, and he like nudges her,

1503
01:22:28,640 --> 01:22:31,120
Speaker 1: you know, and it's like, no, like, don't flinch. You've

1504
01:22:31,160 --> 01:22:33,080
Speaker 1: got to You've got to stare them down. You've got

1505
01:22:33,080 --> 01:22:37,240
Speaker 1: to like remain strong to who you are, and eventually

1506
01:22:37,360 --> 01:22:38,759
Speaker 1: they will be the ones to flinch.

1507
01:22:39,240 --> 01:22:41,880
Speaker 2: Yeah, exactly right. So yeah, I was wondering, what's what's

1508
01:22:41,880 --> 01:22:43,439
Speaker 2: gonna happen here? Is there going to be a fight,

1509
01:22:43,560 --> 01:22:48,479
Speaker 2: But no, instead they just sit there and Swan it's

1510
01:22:48,520 --> 01:22:51,160
Speaker 2: his sort of his first real show of tenderness to

1511
01:22:51,240 --> 01:22:54,240
Speaker 2: Mercy that he's like asking her to be a brick

1512
01:22:54,280 --> 01:22:57,760
Speaker 2: wall with him. Yeah, and so they are a brick

1513
01:22:57,800 --> 01:23:00,519
Speaker 2: wall together now, and the kids who look like they

1514
01:23:00,560 --> 01:23:03,160
Speaker 2: just came from prom or something, all dressed up in

1515
01:23:03,280 --> 01:23:08,360
Speaker 2: tuxedos and fancy dresses. They eventually they get creeped out

1516
01:23:08,400 --> 01:23:10,479
Speaker 2: and they get off the train at the next stop.

1517
01:23:10,800 --> 01:23:13,040
Speaker 1: Yeah. So just a really powerful scene and I think

1518
01:23:13,120 --> 01:23:16,559
Speaker 1: just great acting from Beck and Van Valkenberg here. So yeah,

1519
01:23:16,640 --> 01:23:18,360
Speaker 1: it was really impressed with this secret This is one

1520
01:23:18,360 --> 01:23:21,439
Speaker 1: that I did not remember from my initial dealing in

1521
01:23:21,439 --> 01:23:22,519
Speaker 1: the film many years ago.

1522
01:23:22,560 --> 01:23:26,479
Speaker 2: But it's great, I agree, Yeah, very strong. But there's

1523
01:23:26,479 --> 01:23:28,120
Speaker 2: still a final fight left to be had.

1524
01:23:28,520 --> 01:23:28,720
Speaker 1: Yep.

1525
01:23:29,360 --> 01:23:32,680
Speaker 2: So the warriors, the Warriors and Mercy do arrive back

1526
01:23:32,680 --> 01:23:35,439
Speaker 2: home in Coney Island, dawn is breaking, it's morning now,

1527
01:23:36,000 --> 01:23:38,400
Speaker 2: and as they go on to the beach, we start

1528
01:23:38,439 --> 01:23:42,200
Speaker 2: to hear a sound, a clinking sound, a rhythmic clinking

1529
01:23:42,280 --> 01:23:46,599
Speaker 2: of glass against glass, and it's coming from a car.

1530
01:23:46,720 --> 01:23:49,840
Speaker 2: Oh no, it is that tombstone hearst that we've seen

1531
01:23:49,920 --> 01:23:52,479
Speaker 2: rolling around with the rogues in it all day. And

1532
01:23:52,520 --> 01:23:56,400
Speaker 2: this is a famous moment from the movie where David

1533
01:23:56,400 --> 01:23:59,439
Speaker 2: Patrick Kelly Luther, the leader of the rogues, is clink.

1534
01:23:59,520 --> 01:24:03,519
Speaker 2: He has glass bottles on three of his fingers and

1535
01:24:03,560 --> 01:24:07,280
Speaker 2: he is rhythmically clinking them together like a drum, and

1536
01:24:07,360 --> 01:24:12,840
Speaker 2: he says, warriors come out to play, over and over.

1537
01:24:14,000 --> 01:24:17,360
Speaker 2: Very creepy. It's iconic for a reason. I don't know

1538
01:24:17,400 --> 01:24:20,400
Speaker 2: who had the idea of him to clink the bottles

1539
01:24:20,479 --> 01:24:21,559
Speaker 2: like that, but it's brilliant.

1540
01:24:21,840 --> 01:24:23,840
Speaker 1: Yeah, I think I've read that it's kind of a

1541
01:24:24,439 --> 01:24:26,439
Speaker 1: Kelly brought a lot to this, like basing it on

1542
01:24:26,680 --> 01:24:29,880
Speaker 1: some characters he'd encountered in life before. But yeah, through

1543
01:24:29,920 --> 01:24:33,880
Speaker 1: some combination of performer and writer and director, yeah, we

1544
01:24:33,920 --> 01:24:36,679
Speaker 1: get this just super iconic and creepy sequence.

1545
01:24:37,280 --> 01:24:41,479
Speaker 2: So the warriors quickly arm themselves with pipes, and scraps

1546
01:24:41,479 --> 01:24:43,519
Speaker 2: of wood and stuff they find under a I think

1547
01:24:43,640 --> 01:24:46,439
Speaker 2: under a set of bleachers out on the beach, and

1548
01:24:46,479 --> 01:24:48,960
Speaker 2: they go out onto the sand and the rogues pursue them,

1549
01:24:49,439 --> 01:24:52,320
Speaker 2: and the two gangs come face to face on the

1550
01:24:52,320 --> 01:24:58,000
Speaker 2: beach as dawn is breaking, and they ask Luther why

1551
01:24:58,040 --> 01:25:02,599
Speaker 2: he killed Cyrus and he says, quote, no reason.

1552
01:25:03,400 --> 01:25:09,559
Speaker 1: I just like doing things like that. Oh man, it's

1553
01:25:09,600 --> 01:25:11,160
Speaker 1: a real head scratcher. Yeah.

1554
01:25:11,200 --> 01:25:13,400
Speaker 2: I thought we were going to get an explanation from

1555
01:25:13,479 --> 01:25:15,759
Speaker 2: like who he was on the phone with and so forth.

1556
01:25:16,240 --> 01:25:18,160
Speaker 1: Yeah, I mean, because on one level, it seems like

1557
01:25:18,240 --> 01:25:20,719
Speaker 1: Luther would be the sort to gloat at this point

1558
01:25:20,800 --> 01:25:25,599
Speaker 1: about his powerful connections to certainly to some other gang

1559
01:25:25,680 --> 01:25:29,000
Speaker 1: or organized crime. But he doesn't. He's just like, nope,

1560
01:25:29,120 --> 01:25:31,639
Speaker 1: I just like cause and trouble and that's what I did.

1561
01:25:31,880 --> 01:25:32,679
Speaker 1: This is who I am.

1562
01:25:33,080 --> 01:25:36,280
Speaker 2: So it seems that Luther and Swan are setting up

1563
01:25:36,280 --> 01:25:38,080
Speaker 2: for a duel, but it's not going to be a

1564
01:25:38,080 --> 01:25:41,680
Speaker 2: fair one because Luther has a gun and Swan does not.

1565
01:25:41,880 --> 01:25:45,320
Speaker 2: But Swan does have a switchblade knife, and so it's

1566
01:25:45,560 --> 01:25:48,519
Speaker 2: actually it just came up on the show recently, that

1567
01:25:49,040 --> 01:25:52,240
Speaker 2: scene in The Magnificent Seven where James Coburn has a

1568
01:25:52,320 --> 01:25:54,400
Speaker 2: knife and the other guy has a gun, and there,

1569
01:25:54,479 --> 01:25:56,760
Speaker 2: you know, he brings a knife to a gunfight and

1570
01:25:56,800 --> 01:26:01,599
Speaker 2: he wins. The same thing happens here, actually, except Swan

1571
01:26:01,640 --> 01:26:05,000
Speaker 2: does not kill Luther. Swan throws the knife into Luther's

1572
01:26:05,000 --> 01:26:07,880
Speaker 2: hand and makes him drop the gun, and then right

1573
01:26:07,960 --> 01:26:12,040
Speaker 2: then the Riffs arrive. They apparently know the truth because

1574
01:26:12,400 --> 01:26:15,120
Speaker 2: a biker I think one of the Satan's mothers maybe

1575
01:26:15,760 --> 01:26:19,000
Speaker 2: showed up and told them that, hey, it was not

1576
01:26:19,400 --> 01:26:24,360
Speaker 2: the Warriors, it was Luther who shot Cyrus. So now

1577
01:26:24,400 --> 01:26:27,280
Speaker 2: that they know the truth, they tell the warriors were cool.

1578
01:26:28,360 --> 01:26:31,719
Speaker 2: You guys are good. But they surround Luther and the rogues.

1579
01:26:31,840 --> 01:26:34,679
Speaker 2: We don't see what happens, but it's presumably to kill them,

1580
01:26:35,040 --> 01:26:38,519
Speaker 2: and Luther is whining and protesting the whole time. He

1581
01:26:38,600 --> 01:26:41,840
Speaker 2: keeps saying, no, it was the warriors.

1582
01:26:42,800 --> 01:26:45,679
Speaker 1: Yeah, this would be another moment where if Luther could

1583
01:26:45,760 --> 01:26:48,800
Speaker 1: roll on anybody, it seems like he would have, even

1584
01:26:48,840 --> 01:26:50,960
Speaker 1: if it was the police, Like this would be the

1585
01:26:51,040 --> 01:26:53,400
Speaker 1: time to be like, let me tell you about the

1586
01:26:53,439 --> 01:26:55,240
Speaker 1: person that I was talking on the phone with. They

1587
01:26:55,240 --> 01:26:57,000
Speaker 1: set all this up, but it doesn't happen, So maybe

1588
01:26:57,040 --> 01:26:59,240
Speaker 1: there was nothing to it. Maybe really just did this

1589
01:26:59,320 --> 01:27:03,440
Speaker 1: because he likes chaos and it's just who he is. Yeah,

1590
01:27:03,479 --> 01:27:06,160
Speaker 1: but yeah, I presumably they kill him. They're probably not

1591
01:27:06,160 --> 01:27:07,719
Speaker 1: gonna let him off with a string warning.

1592
01:27:08,200 --> 01:27:10,960
Speaker 2: So we watched the Warriors and Mercy I guess. I

1593
01:27:10,960 --> 01:27:12,920
Speaker 2: guess Mercy is kind of part of the Warriors now

1594
01:27:12,960 --> 01:27:15,240
Speaker 2: in a way. They make their way happily down the

1595
01:27:15,280 --> 01:27:19,639
Speaker 2: beach and then we get autro music. Oh my lord,

1596
01:27:19,760 --> 01:27:22,679
Speaker 2: I was laughing at the Joe Walsh that comes in here.

1597
01:27:22,760 --> 01:27:23,520
Speaker 2: It's amazing.

1598
01:27:23,880 --> 01:27:26,639
Speaker 1: Yeah, this is the track in the City, co written

1599
01:27:26,640 --> 01:27:30,639
Speaker 1: by Divorce and later re recorded by the Eagles, So yeah,

1600
01:27:30,680 --> 01:27:33,880
Speaker 1: strong Eagles vibe. I think in the City is a

1601
01:27:33,880 --> 01:27:36,120
Speaker 1: great track. I've heard it many times before, you know.

1602
01:27:36,240 --> 01:27:39,679
Speaker 1: But I guess watching the movie here, it does feel

1603
01:27:40,120 --> 01:27:44,240
Speaker 1: from our modern perspective as being awfully yacht rocky. For

1604
01:27:44,760 --> 01:27:47,040
Speaker 1: the sequence we're greeted with here, it is.

1605
01:27:47,000 --> 01:27:50,320
Speaker 2: A weird fit for the Warriors. It's like, can you

1606
01:27:50,360 --> 01:27:53,040
Speaker 2: imagine if they'd played life in the fast Lane and

1607
01:27:53,160 --> 01:27:55,559
Speaker 2: the scene where the turnbull Acs are trying to run

1608
01:27:55,560 --> 01:27:56,920
Speaker 2: them down with the hell bus?

1609
01:27:57,320 --> 01:28:01,639
Speaker 1: Yeah yeah, yeah, So I don't know. I mean, it's

1610
01:28:01,800 --> 01:28:04,200
Speaker 1: it's iconic. It's here, it's part of the Warriors. You

1611
01:28:04,240 --> 01:28:07,520
Speaker 1: can't take it away, but it's it's an interesting.

1612
01:28:07,120 --> 01:28:09,439
Speaker 4: Choice, sure to make you lose your mind.

1613
01:28:11,400 --> 01:28:15,080
Speaker 1: All right, Well, there you have it. The Warriors a classic.

1614
01:28:16,320 --> 01:28:19,599
Speaker 1: We didn't even mention this, but there's like, it's interesting

1615
01:28:19,600 --> 01:28:22,960
Speaker 1: because we have like the Warriors cannon, you know, what

1616
01:28:23,360 --> 01:28:25,439
Speaker 1: we see in the film, like the gangs that are

1617
01:28:25,479 --> 01:28:27,880
Speaker 1: presented or mentioned in the film. And then there are

1618
01:28:27,880 --> 01:28:30,040
Speaker 1: the gangs that are mentioned in the screenplay that didn't

1619
01:28:30,040 --> 01:28:32,559
Speaker 1: make it into the picture. And then there is this

1620
01:28:32,960 --> 01:28:34,920
Speaker 1: added layer that I don't know much about, but I

1621
01:28:34,960 --> 01:28:37,960
Speaker 1: know that Rockstar Games came along at some point much

1622
01:28:38,040 --> 01:28:41,680
Speaker 1: later on and made a Warrior's video game, brought back

1623
01:28:41,680 --> 01:28:44,280
Speaker 1: a number of the actors from the picture, and I

1624
01:28:44,360 --> 01:28:47,360
Speaker 1: don't know to what extent they expanded the universe of

1625
01:28:47,400 --> 01:28:51,040
Speaker 1: the Warriors or brought in, like you know, expanded different gangs,

1626
01:28:51,120 --> 01:28:53,200
Speaker 1: or brought in any of the gangs from the screenplay.

1627
01:28:53,600 --> 01:28:56,480
Speaker 1: But I know, just from searching around for Warriors information,

1628
01:28:56,560 --> 01:28:59,240
Speaker 1: I kept running across stuff tied to this game.

1629
01:29:00,120 --> 01:29:03,479
Speaker 2: Warriors video game made in two thousand and five.

1630
01:29:03,720 --> 01:29:05,280
Speaker 4: That is so strange.

1631
01:29:05,680 --> 01:29:07,280
Speaker 1: Yeah, this was I don't think this was the time

1632
01:29:07,360 --> 01:29:09,240
Speaker 1: in which I was playing a lot of video games,

1633
01:29:09,240 --> 01:29:11,600
Speaker 1: so I don't have any experience with this one. So

1634
01:29:11,720 --> 01:29:15,560
Speaker 1: if there any big time Warrior fans out there, or

1635
01:29:15,720 --> 01:29:17,760
Speaker 1: just folks who played this video game, perhaps you can

1636
01:29:17,800 --> 01:29:20,000
Speaker 1: ride in and let us know what it consisted of

1637
01:29:20,080 --> 01:29:21,479
Speaker 1: and how it matches up with the film.

1638
01:29:21,840 --> 01:29:24,400
Speaker 2: Can you think of another example where in the two

1639
01:29:24,520 --> 01:29:27,719
Speaker 2: thousands there was a video game adaptation of a movie

1640
01:29:27,800 --> 01:29:29,000
Speaker 2: from the seventies.

1641
01:29:29,479 --> 01:29:31,760
Speaker 1: I mean, I'm assuming there was some sort of an

1642
01:29:31,760 --> 01:29:34,160
Speaker 1: alien game, but most of those would have probably been

1643
01:29:34,160 --> 01:29:37,040
Speaker 1: more based on aliens as opposed to alien.

1644
01:29:37,320 --> 01:29:40,639
Speaker 2: Yeah, anyway, it'd be interesting to hear about. Yeah, Okay,

1645
01:29:40,680 --> 01:29:42,920
Speaker 2: that's all the Warriors I got in me for today.

1646
01:29:43,320 --> 01:29:44,960
Speaker 1: All Right, we'll go and close this one up. But yeah,

1647
01:29:44,960 --> 01:29:46,920
Speaker 1: we'll just remind everyone that Stuffed to Blew Your Mind

1648
01:29:46,960 --> 01:29:49,639
Speaker 1: is primarily a science and culture podcast, with core episodes

1649
01:29:49,640 --> 01:29:52,439
Speaker 1: on Tuesdays and Thursdays, short form episode on Wednesdays, and

1650
01:29:52,439 --> 01:29:55,040
Speaker 1: then on Fridays, we set aside most serious concerns to

1651
01:29:55,160 --> 01:29:57,640
Speaker 1: just talk about a weird film on Weird House Cinema.

1652
01:29:58,080 --> 01:30:03,000
Speaker 1: You can follow the podcast feed on Instagram at STBYM podcast,

1653
01:30:03,400 --> 01:30:06,480
Speaker 1: and if you want to follow weird House Cinema exclusively

1654
01:30:06,640 --> 01:30:08,640
Speaker 1: go to letterbox dot com. It's l E T E

1655
01:30:08,800 --> 01:30:11,160
Speaker 1: R B O x D dot com. Our username is

1656
01:30:11,160 --> 01:30:12,439
Speaker 1: weird House and we have a list of all the

1657
01:30:12,479 --> 01:30:14,760
Speaker 1: movies we've covered so far, and sometimes there's a peek

1658
01:30:14,800 --> 01:30:17,519
Speaker 1: ahead at what's coming out next Huge things.

1659
01:30:17,560 --> 01:30:21,080
Speaker 2: As always to our excellent audio producer Jjposway. If you

1660
01:30:21,080 --> 01:30:23,040
Speaker 2: would like to get in touch with us with feedback

1661
01:30:23,040 --> 01:30:25,240
Speaker 2: on this episode or any other, to suggest a topic

1662
01:30:25,280 --> 01:30:27,160
Speaker 2: for the future, or just to say hello, you can

1663
01:30:27,240 --> 01:30:29,880
Speaker 2: email us at contact at stuff to Blow your Mind

1664
01:30:30,040 --> 01:30:37,160
Speaker 2: dot com.

1665
01:30:37,280 --> 01:30:40,200
Speaker 3: Stuff to Blow Your Mind is production of iHeartRadio. For

1666
01:30:40,320 --> 01:30:43,120
Speaker 3: more podcasts from my Heart Radio, visit the iHeartRadio app,

1667
01:30:43,240 --> 01:30:46,480
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