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

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Speaker 1: and I know some of you are wondering, Hey, it's

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Speaker 1: a Friday, why are we doing a rewind episode? Or

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Speaker 1: you might be wondering, hey, didn't you say you were

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Speaker 1: going to do the one hundred and ninety ninth Weird

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Speaker 1: House Cinema selection today and it was going to be

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Speaker 1: the glorious virtual reality film from nineteen ninety five, Virtuosity. Well,

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Speaker 1: we've had some technical issues pop up and we're going

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Speaker 1: to have to delay that episode until next week, so

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Speaker 1: you have a little more time to watch Virtuosity ahead

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Speaker 1: of our episode. In the meantime, we're going to unleash

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Speaker 1: an episode from the vault here. This is going to

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Speaker 1: be our twenty twenty four episode on a Bucket of

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Speaker 1: Blood Seth Nicholas Johnson joined me on this recording to

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Speaker 1: discuss this excellent nineteen fifty nine Roger Corman beat Nick

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Speaker 1: horror comedy. Let's jump right in.

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

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

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Speaker 1: My co host Joe was out on holiday leave at

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Speaker 1: the time. Of this recording, so I turned a former

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Speaker 1: Weird House guest host and former producer on the show,

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Speaker 1: Seth Nicholas Johnson of the podcast Rusty Needles Record Club, Seth,

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Speaker 1: welcome back.

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Speaker 3: Thank you for having me, happy to be here.

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Speaker 1: Before we get into the movie and the movie selection here,

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Speaker 1: what have you been up to on Rusty Needles Record Club.

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Speaker 3: Well, I believe just yesterday we recorded our Best Albums

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Speaker 3: of twenty twenty three list, which is always fun. Not

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Speaker 3: only do I enjoy making that list every year, but

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Speaker 3: I also enjoy hearing everyone else's lists, like my co

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Speaker 3: host Scott's. When he was making his list, I gotta say,

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Speaker 3: despite the absolutely absurd amount of music that I consume

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Speaker 3: every year, and how all of my spare money goes

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Speaker 3: into listening to music and going to concerts and all

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Speaker 3: that stuff, I still hadn't heard probably two thirds of

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Speaker 3: his top ten list, which is amazing to me because

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Speaker 3: we're close friends with very similar taste in music, and

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Speaker 3: yet there's just so much wonderful music in the world

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Speaker 3: that I love this time of year, the Decembers and Januaries,

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Speaker 3: and you get to catch up on everyone's favorites of

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Speaker 3: the year. List, you're pretty much guaranteed gold from everyone.

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Speaker 3: I love it.

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Speaker 1: Yeah, yeah, I mean, I guess when you fill your

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Speaker 1: life with music, there are so many different corners of

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Speaker 1: your life. You have different musical tastes occupying, and yet

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Speaker 1: not all of them are gonna come up in conversation,

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Speaker 1: even with close collaborators or friends. You know, there's gonna

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Speaker 1: be some hidden gems in there as.

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Speaker 3: Well, exactly. So, yeah, it's a great time for music,

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Speaker 3: and yeah it's a fun show if there are any

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Speaker 3: music fans in the audience.

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Speaker 1: All right, Well, the movie for this week is a

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Speaker 1: nineteen fifty nine Roger Korman directed and of course produced

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Speaker 1: beat Nick horror comedy, know, I guess, a black comedy

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Speaker 1: if you will, titled A Bucket of Blood starring Dick Miller.

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Speaker 1: This was your pick, Seth, This was not one that

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Speaker 1: was really on my radar. How do you zero in

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Speaker 1: on this one? What's your history with the film?

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Speaker 3: Well, basically, I have a real love for what's known

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Speaker 3: as gray market DVDs. They're not quite black market DVDs.

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Speaker 3: They are legal, but just barely. You know, those kind

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Speaker 3: the kinds of things you find in a store or

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Speaker 3: online called like drive in Cult Classics thirty two movie

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Speaker 3: collection or the Classic Sci Fi Ultimate Collection Volume two.

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Speaker 3: So if it was Ultimate, I'm not sure why there's

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Speaker 3: a volume two, but hey, the Tales of Terror two

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Speaker 3: hundred Classic horror movies. Like I buy these collections often ultimately,

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Speaker 3: just because I'm a big fan of creativity overcraft. And

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Speaker 3: when I'm watching let's call it a typical Hollywood film,

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Speaker 3: it usually follows the same beats and has the same structure,

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Speaker 3: and it's just not very interesting to me because you

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Speaker 3: can predict where everything's gonna go, and it's whatever. It's boring.

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Speaker 3: So by just taking a step outside of that blueprint

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Speaker 3: for filmmaking, you end up in some weird corners. And

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Speaker 3: even if it's a bad movie, as long as it's interesting,

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Speaker 3: that's kind of enough for me. So by going down

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Speaker 3: the B movie routes, that's at least my reasoning for

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Speaker 3: why I love B movies and old movies and bad

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Speaker 3: movies is that you can't really predict where it's going,

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Speaker 3: which makes them far more interesting than the typical Hollywood

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Speaker 3: film these days. And uh yeah, yeah, so that's why

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Speaker 3: I went down that route. And then in one of

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Speaker 3: these collections, I actually dug through my DVDs and I

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Speaker 3: found the exact disc where I discovered this. This was

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Speaker 3: called Horror Classics and then it has the title here

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Speaker 3: four movies over four hours.

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Speaker 1: Well, that's reasonably cut down because I was thinking one

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Speaker 1: of the things about these, especially DVD releases, and they're

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Speaker 1: still putting them mount and some of them are, you know,

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Speaker 1: are very nice, and some of them are higher budget affairs.

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Speaker 1: But yeah, sometimes it's like four movies, and to your point,

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Speaker 1: other times it's like fifty movies. Yes, and you can

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Speaker 1: sort of do the algebra in your head. It's like, Okay,

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Speaker 1: the quality of those four films is now spread out

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Speaker 1: over like fifty titles. Here're going to be a number

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Speaker 1: of neglected films and forgotten films in this lot.

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Speaker 3: Well, for example, here's what's on this disc which I

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Speaker 3: was looking at the dates on it, and I purchased

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Speaker 3: this in two thousand and three from Platinum Disc Corporation

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Speaker 3: from Lacrosse, Wisconsin. So that's fun. But here's what was

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Speaker 3: on this disc. Horror Hotel, A Bucket of Blood, the

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Speaker 3: Devil's Hand, and I Bury the Living. I've actually seen

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Speaker 3: all four of those and they're actually not bad. But

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Speaker 3: I think that's the point though, is that usually when

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Speaker 3: you're watching these, it's a real roll of the dice

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Speaker 3: what the quality is going to be, because the reason

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Speaker 3: why people put out these gray market DVDs is because

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Speaker 3: it costs them very little. Either these are public domain

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Speaker 3: films or films that have just like the lowest licensing

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Speaker 3: fees ever, and so it's just a cheap way for

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Speaker 3: someone to make a quick buck, so they just you know,

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Speaker 3: I think shovel wear is a term for it when

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Speaker 3: it's applied to video games, but it's just it's nothing.

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Speaker 3: It's cheap nothing. So usually it's garbage. And every once

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Speaker 3: in a while you find a gem, and this a

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Speaker 3: Bucket of Blood is one of those very rare gems

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Speaker 3: in these piles of public domain and low licensing fees

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Speaker 3: movies on these gray market DVDs. And when I saw

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Speaker 3: it the first time, I immediately knew that it was

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Speaker 3: just a cut above the rest, and that it was

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Speaker 3: a movie that I was going to share with people

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Speaker 3: and show to people. And I think, more to the point,

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Speaker 3: I am an art school kid, you know, my college

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Speaker 3: degrees and the fine arts and all that kind of stuff.

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Speaker 3: So when I see things like beat nicks and cafes

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Speaker 3: and gallery showings and all those things. It just feels

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Speaker 3: very at home to me, and the lampooning of it

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Speaker 3: feels very direct and personal in a charming and fun way.

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Speaker 3: So I think that's another reason why I latch onto

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Speaker 3: it so directly.

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Speaker 1: Yeah, I mean, there's an authenticity to this film, right,

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Speaker 1: it feels like it's commenting on actual people and culture.

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Speaker 1: Sometimes the films of this caliber have that feeling of

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Speaker 1: like having been written by an alien, acted by aliens,

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Speaker 1: Like this is just a rough approximation of what human

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Speaker 1: beings are like. But there's real humanity in this even

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Speaker 1: though at the same time, of course it is a

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Speaker 1: horror film, horror comedy, a satire. It's not attempting to

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Speaker 1: adhere very closely to the contours of life, but it's

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Speaker 1: commenting on those contours for sure.

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Speaker 3: And some of those comments are still pretty valid. So, like,

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Speaker 3: this movie was made in the nineteen or sorry, late

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Speaker 3: nineteen fifties, I think it's fifty nine, and there's one

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Speaker 3: joke in here in particular where I was like, yeah,

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Speaker 3: that still hits home. It was all the beatniks were

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Speaker 3: like waking up and they're like flop house and they're

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Speaker 3: all sitting around to breakfast, and our protagonist walks in

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Speaker 3: and the head beatnik offers him breakfas And I wrote

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Speaker 3: this down because I loved it so much. He offers

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Speaker 3: him soy and wheat, germ pancakes or go. He pronounces

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Speaker 3: it organic, but it's organic organic guava nectar, calcium lactate

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Speaker 3: and tomato juice and gorbonzo omelets sprinkled with smoked yeast.

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Speaker 3: And I thought to myself, that's one hundred percent a

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Speaker 3: meal I run into in my little vegan cafes that

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Speaker 3: I go to. Like like, no over exaggeration, no like

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Speaker 3: playing it up for giggles. That's a real meal that

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Speaker 3: I have eaten in a standard typical twenty twenty three

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Speaker 3: or I guess twenty twenty four now vegan cafe.

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Speaker 1: Yeah, absolutely, Yeah. I was excited when I realized this

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Speaker 1: was going to be a beatnik movie because I was

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Speaker 1: recently reflecting to sort of, you know, casually want doing

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Speaker 1: something else, like around the house or something that I

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Speaker 1: don't think Weird House Cinema had featured a proper beatnik movie,

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Speaker 1: and this is a perfect one. Yeah, yeah, it hits

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Speaker 1: all the right notes, and there's not a note like.

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Speaker 1: It's not just casually beaten it. It's not like, Okay,

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Speaker 1: we kill a couple of beat Nicks off in the

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Speaker 1: first couple of minutes. It's devoted to commenting on beatnik culture,

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Speaker 1: right right for sure. Now, for anyone out there you're

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Speaker 1: not familiar with the term beatnik or you're only loosely

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Speaker 1: familiar with it. Roughly speaking, these were members of the

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Speaker 1: beat generation and more specifically followers of kind of an

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Speaker 1: anti materialistic bohemian lifestyle. You know, to varying degrees that

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Speaker 1: people are aligned with any given social movement. This would

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Speaker 1: have been the late fifties, early sixties, you know. Icons

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Speaker 1: like Alan Ginsberg are generally associated with this scene. They

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Speaker 1: were pre hippies, though many of them would go on

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Speaker 1: to become hippies.

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Speaker 3: It's also I love when the mainstream bastardizes subcultures. I

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Speaker 3: find it so funny every single time a lot of

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Speaker 3: eighties films when they're trying to identify and focus on

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Speaker 3: the punk scene, hilarious hippies. Yeah, yeah, Honestly, it's all

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Speaker 3: of the subcultures. Whenever the mainstream focuses on a subculture,

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Speaker 3: whether it be rave kids in their early two thousand anything, anything,

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Speaker 3: It's always ridiculous and always fun. Hackers, the film Hackers was.

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Speaker 3: It was a great version of that. They're all good.

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Speaker 3: Any any mainstream version of a subculture is lampoon worthy

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Speaker 3: in itself, and this is one of them for sure.

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Speaker 3: But I think they're they're pretty accurate.

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Speaker 1: Yeah, yeah, you always always paying with a broad brush.

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Speaker 1: But given that they get to devote the whole film

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Speaker 1: to Beatnicks, you have like these different caricatures of Beatninks.

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Speaker 3: Very true.

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Speaker 1: Now you mentioned the different subcultures across different decades. You know,

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Speaker 1: especially given that this film ultimately has a has a

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Speaker 1: simplistic but effective format, you know, you could easily apply

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Speaker 1: it to a different subculture like every decade, or even

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Speaker 1: every five years. And indeed, there's at least one seemingly

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Speaker 1: bad remake of this film from nineteen ninety five that

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Speaker 1: updates it for like gen X hipsters instead of Beatnicks.

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Speaker 3: I've seen it. I've seen. Yeah. The main reason I

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Speaker 3: watched it is, I believe years ago I was on

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Speaker 3: like IMDb trivia or something for this movie Bucket of Blood,

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Speaker 3: and while I was there, one of the Pieces of

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Speaker 3: Trivia was like, Will Ferrell plays a bit part in

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Speaker 3: the remake of this film, and so I had to

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Speaker 3: hunt it down and see it just to see what

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Speaker 3: it was like. Because one of the things this movie,

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Speaker 3: A Bucket of Blood, is clearly lacking as a budget,

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Speaker 3: Like it's clearly like a bottom of the barrel Roger Korman.

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Speaker 3: We have twelve dollars and five days, let's just make

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Speaker 3: a movie. And so because of that, you know, it

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Speaker 3: suffers from the things that do suffer without a budget.

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Speaker 3: But then I watched the remake, and I think if

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Speaker 3: I remember correctly, I may not. I think it was

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Speaker 3: a Showtime original movie, like Movie of the Week kind

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Speaker 3: of thing. So it still had a rock bottom budget,

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Speaker 3: and it was not improved with an increased budget, because

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Speaker 3: I don't believe they actually increased the budgets. And so

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Speaker 3: I think the original is all you need.

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Speaker 1: Yeah, yeah, The remake has Anthony Michael Hall, and I

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Speaker 1: think David Cross also shows up in it at some point,

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Speaker 1: but I have not seen it. I just watched a

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Speaker 1: clip of it and that was all I need.

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Speaker 3: Yes, Yes, that's correct, that's correct. If you're going to

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Speaker 3: watch one, I recommend the original.

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Speaker 1: All right, Well, let's go ahead and listen to a

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Speaker 1: little bit of the trailer audio on this one, so

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Speaker 1: folks can get a taste of what we're going to

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Speaker 1: be talking about here.

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Speaker 4: The artist, the poet, the figure muddle who loves to

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Speaker 4: show it.

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Speaker 1: Do you suppose he could be physically attracted to No man,

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Speaker 1: he ain't the type.

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Speaker 4: You don't get enough vitamin e. All these are beat

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Speaker 4: All these you'll meat him a bucket of blood. Let

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Speaker 4: us make the see crazy. Don't enjoy yourself where the hilarious,

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Speaker 4: enjoy the horrifying in a bucket of blood. Now you're

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Speaker 4: gonna shoot me, don't chir Come to the land of

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Speaker 4: living dreams, where realists dream of the unreal water. You've

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Speaker 4: done something to me, something deep down inside of my praana.

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Speaker 4: Oh what I want to be with you, Your creative

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Speaker 4: beat nicks at their bodiest, the creative urge at its

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Speaker 4: most primitive. IM deeply moved, And I shall compose a poem.

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Speaker 4: Love is art, Art is love. It's the weirdest and

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Speaker 4: the wildest.

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Speaker 3: I don't want to make statues anymore.

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Speaker 4: I want to get married to you.

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Speaker 1: All right, Well, if you want to go out and

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Speaker 1: watch this film before we discuss it anymore here and

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Speaker 1: get into some spoilers and so forth. Well, luckily you

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Speaker 1: don't have to go and get that bargain bin four

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Speaker 1: to fifty forgotten horror films because it's widely available digitally.

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Speaker 1: I watched this one on Prime and the film Detective

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Speaker 1: Studio put out a very nice blu ray of the

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Speaker 1: picture if you want to go physical media on it,

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Speaker 1: So you got plenty of options.

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Speaker 3: For sure, it's public domain, so you can find it

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Speaker 3: on YouTube, you can find it, you know, playing at

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Speaker 3: a gas station, pump, anywhere anywhere. Really that there's a screen.

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Speaker 1: That would be great. I wish they showed movies like

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Speaker 1: this gas station.

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Speaker 3: They should. You know, there's a couple of really good

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Speaker 3: restaurants where they'll do that just project public domain old films,

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Speaker 3: like on the walls while you eat. There was a

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Speaker 3: Burger place in Atlanta that did that that I really like.

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Speaker 1: Yeah, I know the place. All right. Let's get into

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Speaker 1: the people involved in this film. We mentioned already that

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Speaker 1: this is Roger Corman picture directed and produced Corman of course,

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Speaker 1: towering name in American bet cinema, and this is a

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Speaker 1: film that's often mentioned in highlights of his directorial output.

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Speaker 1: Even though I never it wasn't really on my radar.

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Speaker 1: I think it was probably because it had kind of

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Speaker 1: has this grotesque title bucket of Blood, that puts a

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Speaker 1: lot of ideas into your head. And I do have

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Speaker 1: to stress there is no bucket of blood that I remember.

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Speaker 1: There's maybe a pan of blood, but it's not always

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Speaker 1: filled up. No, Yeah, it's not nearly as grizzly as

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Speaker 1: it implies. Obviously, you know, they're trying to get the

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Speaker 1: teens into the drive in here.

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Speaker 3: This is perhaps a movie title first situation, and perhaps

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Speaker 3: even a poster first. Did you see the poster for this? Yeah,

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Speaker 3: it's wonderful. It's like a page out of Mad magazine.

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Speaker 3: It's ridiculous.

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Speaker 1: Yeah, but it clearly doesn't have a monster, so that

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Speaker 1: might have been a And then I never really was

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Speaker 1: drawn into it before, just because it was it was

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Speaker 1: clearly not a monster film. It's talking about a bucket

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Speaker 1: of blood. And I ended up moving on to the

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Speaker 1: next thing. And there are a lot of things to

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Speaker 1: move on to in Roger Corman's filmography, but yeah, this

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Speaker 1: one stands out because it's actually, you know, a darkly

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Speaker 1: satirical horror comedy, and it kicks off a loose trilogy

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Speaker 1: of Corman directed in Charles B. Griffith's scripted black comedies. Again,

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Speaker 1: this was fifty nine A Bucket of Blood, followed up

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Speaker 1: by nineteen sixties The Little Shop of Horror, which I

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Speaker 1: think everyone is familiar with to some degree or another,

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Speaker 1: and then nineteen sixty one's Creature from the Haunted Sea.

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Speaker 3: All classics, all wonderful films.

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Speaker 1: Excellent. Yeah, I haven't seen Creature from the Haunted Sea,

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Speaker 1: but now now I'm interested to check it out.

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Speaker 3: I mean Roger Corman, I mean, I don't think he's underrated,

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Speaker 3: but perhaps people think of him mostly as someone who

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Speaker 3: had a lot of content, But he also had a

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Speaker 3: lot of quality. I have to say, like I think

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Speaker 3: think for his limitations in budget and time, he made

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Speaker 3: amazing pieces for what resources he had. If he had

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Speaker 3: more resources, actually who knows. Maybe he worked well under pressure,

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Speaker 3: But for the amount of money that he worked with

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Speaker 3: and the amount of time that he spent on them,

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Speaker 3: they're actually remarkable films.

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Speaker 1: Oh yeah, I mean, just just discussing films that have

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Speaker 1: been covered on Weird House in the past, that Joe

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Speaker 1: and I've talked about like nineteen fifty seven's Not of

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Speaker 1: This Earth very cheap, but the fact that the movie

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Speaker 1: is so cheap and you can still find things to

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Speaker 1: talk about, that there's still things that stand out and

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Speaker 1: are memorable and demand bad remakes decades later. It's commendable.

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Speaker 3: Yeah, And that you want to rewatch them and you

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Speaker 3: want to share them with your friends. That's really telling

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Speaker 3: when you when you just finished watching one hundred and

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Speaker 3: ninety nine other bad horror movies.

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Speaker 1: Yeah, and then you know, a film like nineteen sixty

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Speaker 1: four's Mask of the Red Death, you get to see

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Speaker 1: what Corman was capable of when he did have a

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Speaker 1: bigger budget backing him up right and did go for

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Speaker 1: like a stylistic picture.

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Speaker 3: That's a great example. Yeah.

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Speaker 1: This picture though, is again nineteen fifty nine. It's coming

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Speaker 1: on the heels. I think five different pictures that he

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Speaker 1: directed in the previous year in fifty eight, including Teenage Caveman,

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Speaker 1: and eight pictures from fifty seven, including Not of This

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Speaker 1: Earth and Attack of the Crab Monsters. So he's kind

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Speaker 1: of entering a new dimension here. You know, he directed

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Speaker 1: a lot of different things. We think of him, you know,

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Speaker 1: in terms of monster films, but he did westerns, he

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Speaker 1: did crime, he did dramas, and of course he did

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Speaker 1: black comedies and satires as we see in this picture.

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Speaker 1: Now the screenwriter again as Charles B. Griffith, who of

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Speaker 1: nineteen thirty through two thousand and seven American screenwriter, best

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Speaker 1: known for his work with Corman, which also included some acting.

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Speaker 1: And you know, as is often the case in the

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Speaker 1: Corman camp, you know, it's like you're just called on

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Speaker 1: to do different things. He worked on such films as

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Speaker 1: Not of This Earth from fifty six Attack of the

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Speaker 1: Crab Monsters fifty seven The Little Shop of Hers. He

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Speaker 1: also directed six films, including fifty nine Forbidden Island, seventy

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Speaker 1: nine's Up from the Depths in nineteen eighty nine's Wizards

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Speaker 1: of the Lost Kingdom too.

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Speaker 3: I actually like that one. That one's an MST three

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Speaker 3: K one, and I like that one quite a bit.

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Speaker 1: Oh yeah, I haven't.

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Speaker 5: I haven't watched that MST three K episode yet, but

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Speaker 5: yeah's I want to say, that's perhaps the second Netflix

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Speaker 5: season perhaps, And yeah, that was actually a good one.

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Speaker 3: I like that one.

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Speaker 1: This has some sort of crazy lion creature or something

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Speaker 1: in the sky.

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Speaker 3: I want to say that sounds about right. That sounds

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Speaker 3: about right. Mostly it was that kind of like comedic

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Speaker 3: relief and small child traveling across medieval Europe kind of situation.

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Speaker 1: Yeah, yeah, all right, getting into the cast here, this

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Speaker 1: film is all about Walter Paisley, and we're gonna have

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Speaker 1: a lot to say about the character of Walter Paisley

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Speaker 1: as we proceed here. But Walter Paisle was played by

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Speaker 1: the great Dick Miller, who lived nineteen twenty eight through

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Speaker 1: twenty nineteen. We've talked about him before on Weird House

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Speaker 1: cinema legendary character actor from the Bronx who made his

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Speaker 1: way to California in the mid fifties. He's trying to

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Speaker 1: make it, go at it as a writer, but then

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Speaker 1: he meets Roger Corman. Roger Corman didn't need writers, he

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Speaker 1: needed actors, so he started using him on pictures as

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Speaker 1: early as nineteen fifty five as apache Woman, in which

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Speaker 1: I believe he plays two different Dick parts. So it's like,

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Speaker 1: get in there, Dick, we need you in the background

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Speaker 1: here and okay, now wipe the makeup off. We need

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Speaker 1: you in this scene as well. And from that point

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Speaker 1: on he ends up showing up in other Corman pictures

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Speaker 1: such as Not of This Earth and he Not of

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Speaker 1: This Earth is a great example where he comes in.

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Speaker 1: He brings a lot of energy and creativity to the role.

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Speaker 1: I think he had libs some stuff. He takes something

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Speaker 1: that could just be a thankless, little extra role, this

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Speaker 1: guy's it's going to be killed by the alien menace

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Speaker 1: and makes it something memorable. And so it's no surprise

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Speaker 1: that Corman finally casts him in the lead. He cast

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Speaker 1: him in the lead in a crime drama titled Rock

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Speaker 1: all Night, and this kicks off a whole string of

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Speaker 1: roles in Corman pictures. It becomes an icon of genre cinema,

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Speaker 1: popping up later on in memorable roles in such pictures

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Speaker 1: as Grimlins, The Tales from the Crypt, Demon Knight, the Terminator.

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Speaker 1: Of course, he has that great small role as the

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Speaker 1: guy that's running the gun shop that the Terminator goes into.

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Speaker 1: So wherever he pops up, he's always a treat. And

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Speaker 1: while many film goers I think tend to associate him

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Speaker 1: with kind of snappy working man roles, you know, like

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Speaker 1: a terminator, just what you see here, Pal Bucket of

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Speaker 1: Blood casts him as a likable but ultimately dim witted,

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Speaker 1: outcast who desperately wants to belong. So if you're not

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Speaker 1: used to seeing him outside of those sort of working

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Speaker 1: man roles, you might be a little surprised at the

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Speaker 1: ultimately the depth that they get into here with this character.

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Speaker 1: It's also the first of several characters named Walter Paisley

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Speaker 1: that he ends up playing, right.

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Speaker 3: I was going through his IMDb recently because this is

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Speaker 3: something that I had heard but never really paid much

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Speaker 3: attention to, And yeah, I found about a dozen other

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Speaker 3: times he played someone named either Walter Paisley, Walter Walt

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Speaker 3: or something Paisley.

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Speaker 1: Like.

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Speaker 3: I saw these two cop films he was in where

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Speaker 3: he played like Sergeant Paisley back to back, and yeah,

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Speaker 3: it seems like that was that. I have to assume

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Speaker 3: that it's everyone paying homage back to this film, but

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Speaker 3: I guess it could also be that there was some

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Speaker 3: sort of inside joke where that's something happened even pre

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Speaker 3: this film with the name Walter Paisley, and even this

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Speaker 3: film is homage to some other inside joke about the

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Speaker 3: name Walter Paisley. But at least in cinema on screen,

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Speaker 3: this is the birth of the name Walter Paisley that

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Speaker 3: he then played that. I guess just the name because

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Speaker 3: it can't be the same role because again and again

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Speaker 3: and again, all the different Waltz and Walter's and Walter

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Speaker 3: Paisley's he plays, like, for example, the garbage man in

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Speaker 3: the Burbs. I believe that's a Walter Paisley. I may

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Speaker 3: be getting this one wrong, but so he kept working

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Speaker 3: with Joe Dante over and over. Joe Dante loved to

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Speaker 3: put him in any movie he ever did. I think

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Speaker 3: the show Let's see It was called Erie Indiana, and

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Speaker 3: I believe his role was in that episode. He would

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00:23:17,560 --> 00:23:21,080
Speaker 3: sneak around and whenever someone loses something, like they lose

432
00:23:21,080 --> 00:23:24,120
Speaker 3: a sock in the dryer, they lose the capital, their pen, whatever,

433
00:23:24,440 --> 00:23:27,639
Speaker 3: it's because Walter Paisley is sneaking up and stealing it.

434
00:23:28,640 --> 00:23:31,359
Speaker 3: Because it's a big part about like the American economy

435
00:23:31,560 --> 00:23:34,600
Speaker 3: where they need to ensure that people are still buying

436
00:23:34,680 --> 00:23:38,800
Speaker 3: new things. So Walter Paisley is sneaking around and stealing

437
00:23:38,840 --> 00:23:42,800
Speaker 3: people's belongings when they think that they lose them. Really remarkable. Oh,

438
00:23:42,880 --> 00:23:45,639
Speaker 3: I bring that up because Joe Dante produced that series.

439
00:23:45,640 --> 00:23:47,040
Speaker 3: That's the connection there.

440
00:23:47,200 --> 00:23:50,119
Speaker 1: Yeah, Okay, I remember Erie Indiana. I remember liking it,

441
00:23:50,160 --> 00:23:53,000
Speaker 1: but I haven't really revisited it since it originally aired.

442
00:23:53,480 --> 00:23:56,359
Speaker 3: Yeah, it was like X Files for kids, with definitely

443
00:23:56,359 --> 00:23:58,399
Speaker 3: some like Twilight Zone for kids mixed in there. It

444
00:23:58,480 --> 00:23:59,399
Speaker 3: was a fun series.

445
00:23:59,480 --> 00:24:02,760
Speaker 1: Yeah, yeah, all right, Well, yeah, Dick Miller the star

446
00:24:02,840 --> 00:24:04,960
Speaker 1: of this picture, and I think it's a pretty solid performance.

447
00:24:05,000 --> 00:24:08,199
Speaker 1: He's awkward and likable in the early goings, not just

448
00:24:08,240 --> 00:24:12,280
Speaker 1: socially awkward, but like physically bumbling in a very effective manner.

449
00:24:12,320 --> 00:24:14,440
Speaker 1: Like there's an early scene where he is frustrated he

450
00:24:14,480 --> 00:24:16,399
Speaker 1: goes to kick like a milk carton on the street

451
00:24:16,800 --> 00:24:19,639
Speaker 1: and falls. It's great.

452
00:24:20,400 --> 00:24:24,480
Speaker 3: No, he's very believable, and especially when you compare him

453
00:24:24,480 --> 00:24:26,960
Speaker 3: to like you said, his more like workman type characters

454
00:24:27,040 --> 00:24:29,560
Speaker 3: later where he's kind of like gruff and you know

455
00:24:30,000 --> 00:24:32,440
Speaker 3: what was he in chopping mall and I remember now correctly.

456
00:24:32,760 --> 00:24:36,200
Speaker 1: Yeah, it was a janitor who gets murdered by the robots.

457
00:24:36,000 --> 00:24:38,320
Speaker 3: Exactly like that, that kind of role. I think most

458
00:24:38,320 --> 00:24:40,719
Speaker 3: people associate him with just kind of like that, like

459
00:24:41,160 --> 00:24:44,720
Speaker 3: grumpy old man and part of the body counts basically,

460
00:24:45,359 --> 00:24:47,639
Speaker 3: But yeah, no, this is a true character. It's it's

461
00:24:47,720 --> 00:24:48,160
Speaker 3: quite good.

462
00:24:48,480 --> 00:24:51,240
Speaker 1: Yeah, And eventually this is a character that darkens somewhat.

463
00:24:51,560 --> 00:24:53,880
Speaker 1: It is titled a Bucket of Blood, and he's able

464
00:24:53,920 --> 00:24:55,719
Speaker 1: to push that portrayal to the dark side a bit

465
00:24:55,800 --> 00:24:58,199
Speaker 1: as well, you know, not to the degree that somebody

466
00:24:58,200 --> 00:25:00,840
Speaker 1: who specializes in that sort of thing. But then that

467
00:25:01,000 --> 00:25:05,280
Speaker 1: sort of actor wouldn't be necessarily be able to manage

468
00:25:05,320 --> 00:25:08,360
Speaker 1: the lovable and likable aspects of the character as well.

469
00:25:08,400 --> 00:25:10,520
Speaker 1: I mean, you know it would it would take a

470
00:25:10,520 --> 00:25:13,159
Speaker 1: special actor to really nail both of those, and I

471
00:25:13,160 --> 00:25:15,600
Speaker 1: think Dick Miller does a pretty darn good job here

472
00:25:15,880 --> 00:25:20,000
Speaker 1: for sure, all right. Other members of the cast, Carla

473
00:25:20,280 --> 00:25:22,240
Speaker 1: is the only beat Nick in the film that is

474
00:25:22,359 --> 00:25:25,439
Speaker 1: nice to him early on, and as such, this is

475
00:25:25,480 --> 00:25:29,280
Speaker 1: the woman of his dreams. She's played by Barbara Morris,

476
00:25:29,280 --> 00:25:31,560
Speaker 1: who lived nineteen thirty two. From nineteen seventy five, she

477
00:25:31,600 --> 00:25:34,919
Speaker 1: appeared in several Corman films, beginning in fifty seven with

478
00:25:35,320 --> 00:25:38,119
Speaker 1: a trio that included Rock All Night. She's also in

479
00:25:38,160 --> 00:25:41,200
Speaker 1: fifty eight Teenage Caveman. She's in fifty nine's The Wasp Woman,

480
00:25:41,240 --> 00:25:44,399
Speaker 1: and later on she appeared in Corman's nineteen sixty seven

481
00:25:44,520 --> 00:25:47,720
Speaker 1: LSD movie The Trip, which is pretty amusing. That's the

482
00:25:47,840 --> 00:25:51,240
Speaker 1: Dennis Hopper and his crew. Bruce dern is in it

483
00:25:51,280 --> 00:25:53,960
Speaker 1: as a guy that's here to guide you on your trip.

484
00:25:54,720 --> 00:25:56,600
Speaker 1: And then she pops up in nineteen seventies The Dune,

485
00:25:56,640 --> 00:25:59,040
Speaker 1: which horror one of her final roles. That's a film

486
00:25:59,080 --> 00:26:01,440
Speaker 1: that's been covered on Weird House as well. Not much

487
00:26:01,480 --> 00:26:06,480
Speaker 1: to say here, she's a likable, effective performance. Absolutely, Okay,

488
00:26:06,520 --> 00:26:10,159
Speaker 1: then we have we should mention that the central setting

489
00:26:10,240 --> 00:26:13,280
Speaker 1: for the whole picture is the beat Nick bar. I

490
00:26:13,280 --> 00:26:16,800
Speaker 1: guess it's more of a coffee shop type of situation,

491
00:26:17,200 --> 00:26:20,920
Speaker 1: coffee house beat Nick coffee house called the Yellow Door.

492
00:26:21,600 --> 00:26:24,960
Speaker 3: Yeah, it's kind of like that that typical coffee house

493
00:26:24,960 --> 00:26:26,439
Speaker 3: that you picture in your mind. Where has it a

494
00:26:26,440 --> 00:26:29,720
Speaker 3: little stage for like an open mic night type situation.

495
00:26:30,160 --> 00:26:33,400
Speaker 3: It's got you know, locals art hanging around the walls.

496
00:26:33,520 --> 00:26:37,240
Speaker 3: It's it's that general purpose local art scene.

497
00:26:37,480 --> 00:26:42,119
Speaker 1: Yeah. Yeah. And it's it's interesting that it's it's presented.

498
00:26:42,400 --> 00:26:44,960
Speaker 1: It's it's presented well, you believe that this is a

499
00:26:45,000 --> 00:26:49,160
Speaker 1: real place, but it's presented seemingly simultaneously, like from an

500
00:26:49,160 --> 00:26:51,919
Speaker 1: inward view as well as an outside view, because it

501
00:26:51,960 --> 00:26:54,879
Speaker 1: feels authentic. But then also there's this whole element of

502
00:26:54,960 --> 00:26:58,159
Speaker 1: like not one but two undercover cops have been assigned

503
00:26:58,200 --> 00:27:02,480
Speaker 1: to this place to track of the Beatnick heroin trade.

504
00:27:02,280 --> 00:27:04,399
Speaker 3: And going like twenty four hours, we see them like

505
00:27:04,520 --> 00:27:08,160
Speaker 3: trade off, you know, Yeah, my shift's done, your turn?

506
00:27:08,680 --> 00:27:11,800
Speaker 1: Yeah, there was there really that much heroin action going

507
00:27:11,840 --> 00:27:14,639
Speaker 1: on at your average like you know, small coffee house

508
00:27:14,920 --> 00:27:17,720
Speaker 1: in the late fifties. I don't know, but anyway, the

509
00:27:17,760 --> 00:27:22,040
Speaker 1: guy that runs the place is this character. Leonard decentis

510
00:27:22,800 --> 00:27:26,400
Speaker 1: played by Anthony Carbutten, who lived nineteen twenty five through

511
00:27:26,440 --> 00:27:30,520
Speaker 1: twenty twenty the immoral owner operator of the Beatnick coffee

512
00:27:30,520 --> 00:27:33,760
Speaker 1: house here. He appeared in various TV and film projects,

513
00:27:33,840 --> 00:27:36,600
Speaker 1: including several Corman pictures. He pops up in sixty one's

514
00:27:36,640 --> 00:27:40,159
Speaker 1: The Pit and the Pendulum, which of course stars Vincent Price.

515
00:27:40,720 --> 00:27:43,919
Speaker 3: Those were such great films. I love that run of

516
00:27:43,960 --> 00:27:46,399
Speaker 3: all the Poe films. Oh that's so funny.

517
00:27:46,800 --> 00:27:50,680
Speaker 1: Yeah, so I really like him in this picture, I think,

518
00:27:51,000 --> 00:27:54,640
Speaker 1: you know. So he's initially just another Beatnick jerk who

519
00:27:54,680 --> 00:27:57,760
Speaker 1: doesn't give Walter a chance. He's also Walter's boss, and

520
00:27:57,800 --> 00:27:59,800
Speaker 1: he's of course a mean boss who tells Walter he

521
00:27:59,840 --> 00:28:02,480
Speaker 1: has to do his job and so forth, quit staring

522
00:28:02,520 --> 00:28:06,159
Speaker 1: into the stars, quit talking to the customers. But he

523
00:28:06,280 --> 00:28:09,520
Speaker 1: ultimately becomes like the one person who knows the terrible

524
00:28:09,560 --> 00:28:12,679
Speaker 1: truth about what's going on, and he has to wrestle

525
00:28:12,720 --> 00:28:16,159
Speaker 1: with that, and we'll get into how he wrestles with

526
00:28:16,160 --> 00:28:18,199
Speaker 1: it and what sort of choices he makes based on

527
00:28:18,240 --> 00:28:18,920
Speaker 1: that knowledge.

528
00:28:19,080 --> 00:28:20,959
Speaker 3: It's fun as an audience that we can see his

529
00:28:21,000 --> 00:28:24,880
Speaker 3: motivation very clearly, but no one else can. Fun.

530
00:28:26,320 --> 00:28:29,720
Speaker 1: All right, We also have Ed Nelson popping up in

531
00:28:29,760 --> 00:28:32,639
Speaker 1: this one. Ed Nelson lived nineteen twenty eight through twenty fourteen.

532
00:28:32,680 --> 00:28:34,520
Speaker 1: He was the star of fifty eights The Brain Eaters,

533
00:28:34,840 --> 00:28:37,400
Speaker 1: which we've talked about on We Your House before. He

534
00:28:37,440 --> 00:28:41,440
Speaker 1: was a frequent Corman actor. In this he plays one

535
00:28:41,480 --> 00:28:46,000
Speaker 1: of those two undercover cops, Art Lacroix. And I'm not

536
00:28:46,040 --> 00:28:49,880
Speaker 1: sure what flavor Lacroix he would be, because he'd be

537
00:28:50,000 --> 00:28:53,479
Speaker 1: one of the less drinkable flavors. I think, you know,

538
00:28:53,760 --> 00:28:56,520
Speaker 1: because he has a very rough exterior. He's at first

539
00:28:56,600 --> 00:28:59,040
Speaker 1: you think he's like the sleazier of the beat Nicks,

540
00:28:59,080 --> 00:29:00,920
Speaker 1: and then you realize, oh, he's an undercover cop.

541
00:29:01,680 --> 00:29:04,280
Speaker 3: And he is dressed like an undercover cop, like a

542
00:29:04,320 --> 00:29:08,960
Speaker 3: big goofy hat a fur jackets like he's He's definitely like, hello,

543
00:29:09,000 --> 00:29:10,160
Speaker 3: fellow kids, I'm.

544
00:29:10,040 --> 00:29:12,840
Speaker 1: Here, all right. So we have a lot of beat

545
00:29:12,880 --> 00:29:14,720
Speaker 1: Nicks hanging out in there, and we do have kind

546
00:29:14,760 --> 00:29:17,680
Speaker 1: of like a lead beat Nick, your your head beat Nick.

547
00:29:17,920 --> 00:29:21,840
Speaker 1: This is the poet Maxwell, played by Julian Burton of

548
00:29:22,000 --> 00:29:24,760
Speaker 1: the nineteen thirty two through two thousand and six, mostly

549
00:29:24,760 --> 00:29:27,520
Speaker 1: a TV actor, perhaps best known for this film. Yeah.

550
00:29:27,560 --> 00:29:30,560
Speaker 1: He's the lead pompous beat Nick poet and ultimately the

551
00:29:30,560 --> 00:29:32,680
Speaker 1: taste maker at the Yellow Door. If he says something

552
00:29:32,720 --> 00:29:34,720
Speaker 1: is good, it is good and everyone falls in line.

553
00:29:35,280 --> 00:29:37,440
Speaker 1: I thought this character was a constant delight. He does

554
00:29:37,480 --> 00:29:40,840
Speaker 1: a lot of poetry performances, either officially or sort of

555
00:29:40,880 --> 00:29:43,680
Speaker 1: unofficially off mic because it's also just how he speaks

556
00:29:43,720 --> 00:29:46,800
Speaker 1: to everyone, and it ultimately plays an essential role in

557
00:29:46,800 --> 00:29:48,840
Speaker 1: both the plot and also just sort of the texture

558
00:29:48,840 --> 00:29:49,400
Speaker 1: of the film.

559
00:29:49,880 --> 00:29:53,600
Speaker 3: It's it's note perfect, pitch perfect for someone who is

560
00:29:53,600 --> 00:29:58,000
Speaker 3: both very pompous and yet like not phony, like he

561
00:29:58,280 --> 00:30:01,280
Speaker 3: does kind of back up what he's say. He's just

562
00:30:01,360 --> 00:30:05,560
Speaker 3: like a typical blow hard artist that really really buys

563
00:30:05,600 --> 00:30:08,920
Speaker 3: into their own their own scene and their own message

564
00:30:08,920 --> 00:30:11,960
Speaker 3: and their own intentions, and it's it's perfect, it's perfect.

565
00:30:12,160 --> 00:30:15,840
Speaker 3: I've met dozens of men just like Maxwell for sure.

566
00:30:16,320 --> 00:30:19,520
Speaker 1: And of course there's a hypocrisy to him as well, as.

567
00:30:19,360 --> 00:30:21,960
Speaker 3: We'll get out, of course, because that is a part

568
00:30:21,960 --> 00:30:23,600
Speaker 3: of art, absolutely.

569
00:30:25,240 --> 00:30:27,960
Speaker 1: All right. Moving on to the art direction on this film,

570
00:30:27,960 --> 00:30:31,080
Speaker 1: it's worth pointing out because it's Daniel Holler born nineteen

571
00:30:31,120 --> 00:30:33,400
Speaker 1: twenty nine. He's come up on the show before because

572
00:30:33,440 --> 00:30:36,320
Speaker 1: he went on to direct nineteen seventies The Dunwich Horror

573
00:30:36,680 --> 00:30:39,880
Speaker 1: and he also did production design on Mask of the

574
00:30:39,920 --> 00:30:42,560
Speaker 1: Red Death, so he worked with Corman a lot and

575
00:30:42,640 --> 00:30:45,560
Speaker 1: went on to went on to direct a number of

576
00:30:45,560 --> 00:30:46,360
Speaker 1: pictures as well.

577
00:30:46,880 --> 00:30:49,240
Speaker 3: I don't want to give away probably what he spent

578
00:30:49,320 --> 00:30:52,680
Speaker 3: most of his time and money on, but yeah, you

579
00:30:52,680 --> 00:30:55,200
Speaker 3: can tell well, I bet most of his time went

580
00:30:55,240 --> 00:30:56,800
Speaker 3: into but we'll talk about that later.

581
00:30:57,160 --> 00:31:00,360
Speaker 1: Because he couldn't take the same shortcuts that Walter did. Right,

582
00:31:00,800 --> 00:31:04,880
Speaker 1: Very true, very true, all right. Music wise, the score

583
00:31:05,120 --> 00:31:08,160
Speaker 1: is attributed to Fred Katz, who of nineteen nineteen through

584
00:31:08,160 --> 00:31:10,720
Speaker 1: twenty thirteen, and fittingly, there's a lot of a lot

585
00:31:10,760 --> 00:31:14,520
Speaker 1: of sacks, a lot of delirious beatnicked sacks that you've

586
00:31:14,560 --> 00:31:16,880
Speaker 1: heard and if you watch the films of this caliber,

587
00:31:16,880 --> 00:31:20,880
Speaker 1: you've heard it before. You know, the Sacks is drizzling.

588
00:31:21,600 --> 00:31:26,040
Speaker 1: There's like implied or overt drug use. It is supposed

589
00:31:26,040 --> 00:31:29,000
Speaker 1: to be the soundtrack of getting high in the late fifties.

590
00:31:28,840 --> 00:31:32,959
Speaker 3: And we have matching Stoner characters. We just really convey

591
00:31:33,080 --> 00:31:36,360
Speaker 3: that really lets you know what's happening behind the scenes

592
00:31:36,480 --> 00:31:38,720
Speaker 3: right here. But the Hayes coat is stopping them from

593
00:31:38,920 --> 00:31:39,880
Speaker 3: overtly telling you.

594
00:31:40,800 --> 00:31:43,520
Speaker 1: I was, yeah, you're referring to there's a there's a duo,

595
00:31:43,680 --> 00:31:47,600
Speaker 1: like the comedic duo of Stoner's. And I was constantly

596
00:31:47,640 --> 00:31:51,400
Speaker 1: floored by the humor because I it was not connecting

597
00:31:51,440 --> 00:31:53,120
Speaker 1: with me, And I wasn't sure how much of it is,

598
00:31:53,120 --> 00:31:55,320
Speaker 1: like the cultural distance, how much of it is like

599
00:31:55,360 --> 00:31:58,200
Speaker 1: the fact that they had to be a little careful

600
00:31:58,240 --> 00:32:01,760
Speaker 1: in how they they treated this humor, because you know,

601
00:32:01,760 --> 00:32:03,880
Speaker 1: they're supposed to be high all the time and they're

602
00:32:03,920 --> 00:32:06,400
Speaker 1: sort of drifting in and out of the room, blasted

603
00:32:06,440 --> 00:32:09,360
Speaker 1: out of their skulls. But I found very little that

604
00:32:09,360 --> 00:32:11,800
Speaker 1: they did was actually like overtly funny. I felt like

605
00:32:11,800 --> 00:32:12,680
Speaker 1: I was missing the joke.

606
00:32:13,360 --> 00:32:16,080
Speaker 3: I mean, they were definitely the Beavis and Butt Head

607
00:32:16,200 --> 00:32:18,320
Speaker 3: of the fifties or perhaps the Cheech and Chong of

608
00:32:18,360 --> 00:32:22,320
Speaker 3: the nineteen fifties, and yeah, all of their slang and

609
00:32:22,360 --> 00:32:25,720
Speaker 3: goofiness never really did much for me. But I did

610
00:32:25,760 --> 00:32:27,880
Speaker 3: notice one point that I was like, oh, that's clearly

611
00:32:27,920 --> 00:32:31,160
Speaker 3: a joke that they're making, which was like someone said

612
00:32:31,200 --> 00:32:33,960
Speaker 3: something and then one of the stoner beat nick says, oh,

613
00:32:33,960 --> 00:32:35,880
Speaker 3: what did he say so? And the other one goes,

614
00:32:35,880 --> 00:32:37,960
Speaker 3: didn't you hear him? He's like, nah, I'm too far out.

615
00:32:38,480 --> 00:32:39,719
Speaker 1: Ah. Oh yeah, that's good.

616
00:32:39,880 --> 00:32:41,840
Speaker 3: That's good of course.

617
00:32:42,440 --> 00:32:47,640
Speaker 1: Hours now, one final note on the saxophone music, though

618
00:32:48,160 --> 00:32:50,400
Speaker 1: the credited SAXOPHONEI ist here and we see him on

619
00:32:50,520 --> 00:32:54,360
Speaker 1: screen is Grammy nominated Paul Horn, who lived nineteen thirty

620
00:32:54,400 --> 00:32:57,280
Speaker 1: through twenty fourteen. Were you familiar with Paul Horn.

621
00:32:57,640 --> 00:33:00,400
Speaker 3: Only by name? I can't say I'm too familiar with

622
00:33:00,720 --> 00:33:03,040
Speaker 3: specific saxophone jazz.

623
00:33:03,800 --> 00:33:06,840
Speaker 1: Yeah, I wasn't either, But this guy apparently was a

624
00:33:06,880 --> 00:33:08,400
Speaker 1: pretty big deal. He went on to become a pretty

625
00:33:08,440 --> 00:33:12,120
Speaker 1: big deal. He got into the early New Age music scene,

626
00:33:12,480 --> 00:33:16,080
Speaker 1: particularly with a nineteen sixty nine album called Inside. Sometimes.

627
00:33:16,080 --> 00:33:18,720
Speaker 1: I think it's on like Spotify as Inside the taj

628
00:33:18,800 --> 00:33:22,320
Speaker 1: Mahll because it was apparently recorded inside the taj Mahll

629
00:33:22,920 --> 00:33:25,040
Speaker 1: and I was listening to part of it before we

630
00:33:25,080 --> 00:33:27,560
Speaker 1: came in to record this, and it's pretty good stuff.

631
00:33:27,560 --> 00:33:32,320
Speaker 1: It's like it's got that thing soothing, you know, very

632
00:33:32,360 --> 00:33:37,920
Speaker 1: obviously inspired by traditional Indian music and utilizing traditional Indian instruments.

633
00:33:38,640 --> 00:33:40,400
Speaker 1: But yeah, it's quite good. And apparently it was a

634
00:33:40,400 --> 00:33:42,440
Speaker 1: big hit in like the new age scene, and he

635
00:33:42,520 --> 00:33:45,640
Speaker 1: went on to doing albums for what is it Wyndham Hill,

636
00:33:46,080 --> 00:33:48,400
Speaker 1: you know, the big new age music label of the day.

637
00:33:49,200 --> 00:33:53,280
Speaker 3: I mean it matches this movie perfectly. It's a lone

638
00:33:53,360 --> 00:33:56,600
Speaker 3: saxophone wailing into the night is the sound of like

639
00:33:56,720 --> 00:34:00,360
Speaker 3: open mic nights at at a little coffee shop. So yeah, no,

640
00:34:00,440 --> 00:34:02,640
Speaker 3: it's perfect for this beatnik styled film.

641
00:34:02,840 --> 00:34:04,840
Speaker 1: Well, let's let's get into the plot a little bit. Now,

642
00:34:04,920 --> 00:34:07,240
Speaker 1: this is not one that we're going to necessarily do

643
00:34:07,360 --> 00:34:10,239
Speaker 1: like a blow by blow or beat by beat if

644
00:34:10,239 --> 00:34:14,080
Speaker 1: you will, if you want to get cheeky, you account

645
00:34:14,120 --> 00:34:15,840
Speaker 1: of what happens, and then to a certain extent, we

646
00:34:15,840 --> 00:34:19,360
Speaker 1: don't have to go beat by beat because the formula

647
00:34:20,160 --> 00:34:22,200
Speaker 1: you can pretty much guess at everything once we lay

648
00:34:22,239 --> 00:34:23,440
Speaker 1: out the initial steps.

649
00:34:24,160 --> 00:34:30,160
Speaker 3: I mean, it's basically five chunks of escalation, escalates one

650
00:34:30,239 --> 00:34:33,840
Speaker 3: after the other after the other, both in severity and

651
00:34:33,880 --> 00:34:36,759
Speaker 3: I suppose in motivation, but I suppose we should tell

652
00:34:36,760 --> 00:34:39,000
Speaker 3: the people what we're talking about before we start getting into

653
00:34:39,000 --> 00:34:39,840
Speaker 3: those five steps.

654
00:34:40,440 --> 00:34:43,759
Speaker 1: Yeah. So again, it's the late fifties. You've got this

655
00:34:43,840 --> 00:34:49,120
Speaker 1: beatnik hang, You've got this this coffee house. There's a

656
00:34:49,160 --> 00:34:54,600
Speaker 1: lot of poetry going on, visual arts, obviously smoking, and

657
00:34:54,640 --> 00:34:57,480
Speaker 1: also obviously some drug use going on. They're very clear

658
00:34:57,520 --> 00:35:00,360
Speaker 1: about that. The police are interested in this in this

659
00:35:00,480 --> 00:35:04,520
Speaker 1: place for that very reason. And you see, you know,

660
00:35:04,560 --> 00:35:07,440
Speaker 1: the typical interactions between you know, we have the you know,

661
00:35:07,480 --> 00:35:10,920
Speaker 1: the tastemaker Maxwell, and we have his hangers on. We

662
00:35:11,000 --> 00:35:15,120
Speaker 1: have the stoner duo, who are not artists and barely

663
00:35:15,200 --> 00:35:18,280
Speaker 1: seem to know really what's going on in their immediate vicinity,

664
00:35:18,280 --> 00:35:20,160
Speaker 1: but you know, they're they're there, they're there to hang out,

665
00:35:20,400 --> 00:35:22,759
Speaker 1: they're part of the scene. And in the midst of

666
00:35:22,800 --> 00:35:25,560
Speaker 1: all of this we have we have Walter Uh And

667
00:35:25,640 --> 00:35:28,760
Speaker 1: Walter just works at the coffee shop. He's going around

668
00:35:28,840 --> 00:35:31,920
Speaker 1: like busting the tables and so forth, bringing coffee out

669
00:35:31,960 --> 00:35:36,000
Speaker 1: to folks, but he's constantly distracted because he is ultimately

670
00:35:36,000 --> 00:35:37,799
Speaker 1: even though he works here, he is an outsider to

671
00:35:37,880 --> 00:35:41,880
Speaker 1: the actual scene. Uh. He is a loner. He desperately

672
00:35:41,880 --> 00:35:45,200
Speaker 1: wants to belong somewhere, and this is the primary culture

673
00:35:45,239 --> 00:35:47,840
Speaker 1: that he is apparently exposed to. So he wants to

674
00:35:47,880 --> 00:35:50,759
Speaker 1: be a part of what he sees here, and he

675
00:35:50,840 --> 00:35:53,279
Speaker 1: sees that the main thing he needs to do is

676
00:35:53,320 --> 00:35:54,920
Speaker 1: he needs to become an artist.

677
00:35:55,400 --> 00:35:58,200
Speaker 3: And yeah, I think most people become artists in real

678
00:35:58,200 --> 00:36:01,440
Speaker 3: life because they have affinity for it or perhaps some

679
00:36:01,480 --> 00:36:05,480
Speaker 3: sort of innate talent. Walter, as we see, doesn't really

680
00:36:05,600 --> 00:36:08,200
Speaker 3: have either of those things. It's like you said, it's

681
00:36:08,239 --> 00:36:11,279
Speaker 3: just logically he wants to be a part of this

682
00:36:11,440 --> 00:36:14,040
Speaker 3: social group, and the way to do that is to

683
00:36:14,160 --> 00:36:17,280
Speaker 3: be a popular artist amongst this social group.

684
00:36:17,920 --> 00:36:22,759
Speaker 1: Yeah, Unfortunately they're not they're not looking to let anybody in.

685
00:36:22,880 --> 00:36:24,919
Speaker 1: Certainly they're not looking to let him in. They're very

686
00:36:25,160 --> 00:36:30,800
Speaker 1: that everyone, with the exception of Clara, are pretty pretty

687
00:36:30,800 --> 00:36:33,680
Speaker 1: clear on this right that that he does not belong.

688
00:36:33,800 --> 00:36:36,000
Speaker 1: He's only here to pick up the coffee mugs and

689
00:36:36,080 --> 00:36:39,000
Speaker 1: so forth. So that's part of it. But he doesn't

690
00:36:39,000 --> 00:36:41,640
Speaker 1: seem to be drawn to the creative side of art

691
00:36:41,719 --> 00:36:45,160
Speaker 1: so much. He's drawn to the prospect of social belonging

692
00:36:45,280 --> 00:36:48,839
Speaker 1: and ultimately fame. But he doesn't put the time in,

693
00:36:48,920 --> 00:36:51,719
Speaker 1: and perhaps part of that is he doesn't know how

694
00:36:51,760 --> 00:36:53,759
Speaker 1: to put the time in. You know, he's he's I

695
00:36:53,760 --> 00:36:57,680
Speaker 1: guess exposed to this like very poetic vision of what

696
00:36:57,800 --> 00:37:01,840
Speaker 1: creativity is that Maxwell is spouting the idea that, like,

697
00:37:01,920 --> 00:37:04,560
Speaker 1: you know, creativity is just something that like the artist

698
00:37:04,680 --> 00:37:07,919
Speaker 1: breathes in and out, and it's not implied that it's

699
00:37:07,920 --> 00:37:11,880
Speaker 1: something that imployed, that takes work and dedication, that you

700
00:37:12,040 --> 00:37:15,000
Speaker 1: may fail at a lot before you get somewhere. And

701
00:37:15,040 --> 00:37:17,680
Speaker 1: so he also doesn't know how to fail. He doesn't

702
00:37:17,680 --> 00:37:19,040
Speaker 1: know how to set goes. He doesn't have any of

703
00:37:19,080 --> 00:37:22,400
Speaker 1: these tools, and he's also probably you know, supposed to

704
00:37:22,440 --> 00:37:25,520
Speaker 1: be picking up a lot of additional myths about creativity.

705
00:37:26,280 --> 00:37:28,160
Speaker 3: Yeah, we'll see this a little bit later when we

706
00:37:28,239 --> 00:37:31,359
Speaker 3: watch him attempting to make art on his own early on,

707
00:37:31,800 --> 00:37:34,880
Speaker 3: where he's trying to sculpt a bust of Karla, the

708
00:37:35,719 --> 00:37:38,200
Speaker 3: woman who's nice to him, and while he's doing it,

709
00:37:38,200 --> 00:37:40,759
Speaker 3: you can just see his anger and like he's trying

710
00:37:40,760 --> 00:37:42,399
Speaker 3: to like punch at it and jab at it. He's

711
00:37:42,440 --> 00:37:47,280
Speaker 3: like pianos, pian knows and he doesn't know, he doesn't

712
00:37:47,360 --> 00:37:50,160
Speaker 3: know how to actually do these things. He isn't going

713
00:37:50,200 --> 00:37:53,600
Speaker 3: through the steps. He just wants instantaneously, like he said,

714
00:37:53,640 --> 00:37:56,000
Speaker 3: to like breathe out the art and it exists.

715
00:37:56,520 --> 00:37:58,760
Speaker 1: Yeah, he's hitting that. I've heard it called the creative

716
00:37:58,760 --> 00:38:03,280
Speaker 1: cliff and and I. And it's interesting because I think

717
00:38:03,600 --> 00:38:06,400
Speaker 1: you know everyone out there, you know, myself included, I'm

718
00:38:06,400 --> 00:38:08,200
Speaker 1: sure you've had this experience. We've all had those b

719
00:38:08,280 --> 00:38:11,080
Speaker 1: and O's moments of the things we're working on where

720
00:38:11,120 --> 00:38:13,760
Speaker 1: you just you you can't do make the thing happen,

721
00:38:14,320 --> 00:38:17,560
Speaker 1: and and it's frustrating, and ultimately you know you have

722
00:38:17,640 --> 00:38:19,680
Speaker 1: to you have to stop, you have to come back.

723
00:38:20,200 --> 00:38:21,920
Speaker 1: But but again, he hasn't been trained any of that.

724
00:38:21,960 --> 00:38:23,360
Speaker 1: He hasn't been told any of that. He hasn't been

725
00:38:23,360 --> 00:38:27,120
Speaker 1: picking up on a culture that that that that that

726
00:38:27,239 --> 00:38:29,200
Speaker 1: that says that that is a part of the the

727
00:38:29,440 --> 00:38:32,320
Speaker 1: of being a creative person and engaging in creative endeavors.

728
00:38:32,360 --> 00:38:36,360
Speaker 1: So he just gets super frustrated, uh and and doesn't

729
00:38:36,400 --> 00:38:37,320
Speaker 1: know how to move forward.

730
00:38:37,800 --> 00:38:38,239
Speaker 3: Poor guy.

731
00:38:38,760 --> 00:38:41,560
Speaker 1: Yeah, but we have to stress that he is at

732
00:38:41,640 --> 00:38:45,600
Speaker 1: least initially a very likable guy. He's you know, he's

733
00:38:45,760 --> 00:38:48,720
Speaker 1: he's supposed to be a bit dim witted. He's supposed

734
00:38:48,760 --> 00:38:51,240
Speaker 1: to still, you know, be a nice guy. He wants

735
00:38:51,280 --> 00:38:54,239
Speaker 1: to make friends. Nobody else is letting him in or

736
00:38:54,280 --> 00:38:58,920
Speaker 1: giving him a chance except maybe Carla, and uh yeah.

737
00:38:58,960 --> 00:39:02,080
Speaker 1: At the same time, all he's exposed to is this

738
00:39:02,120 --> 00:39:05,440
Speaker 1: culture of there is only art. You know. Maxwell's constantly

739
00:39:05,480 --> 00:39:08,040
Speaker 1: talking about this in his poetry, like nothing else has

740
00:39:08,120 --> 00:39:13,000
Speaker 1: value except art. Everything else serves art. And these are

741
00:39:13,000 --> 00:39:15,359
Speaker 1: the ideas that take on literal weight and end up

742
00:39:15,400 --> 00:39:17,319
Speaker 1: festering in his increasingly troubled mind.

743
00:39:17,920 --> 00:39:19,759
Speaker 3: If he had just grown up in a different neighborhood,

744
00:39:19,800 --> 00:39:22,399
Speaker 3: maybe this entire movie would be aimed to him wanting

745
00:39:22,440 --> 00:39:25,080
Speaker 3: to become a baseball player or wanting to become a chef.

746
00:39:25,239 --> 00:39:27,279
Speaker 3: It was just, you know, this happened to be the

747
00:39:27,320 --> 00:39:29,960
Speaker 3: scene that he was in, and so this is what

748
00:39:30,040 --> 00:39:31,040
Speaker 3: he needed to do.

749
00:39:31,520 --> 00:39:33,719
Speaker 1: Oh and the chef is a great idea, because there's

750
00:39:33,719 --> 00:39:37,840
Speaker 1: your instant template for a cannibal movie. Yes, yeah, different

751
00:39:37,840 --> 00:39:42,160
Speaker 1: Walter Paisley wants to be a fine chef, doesn't have

752
00:39:42,239 --> 00:39:44,920
Speaker 1: the skills and ends up committing murder and cannibalism.

753
00:39:45,280 --> 00:39:49,279
Speaker 3: I can, and I bet I have seen that film.

754
00:39:49,440 --> 00:39:53,000
Speaker 1: So yeah, let's get to the point, because he's trying

755
00:39:53,000 --> 00:39:57,080
Speaker 1: to create. He wants to create, and he's failing. He

756
00:39:57,120 --> 00:40:01,920
Speaker 1: can't make a nose does not manifest out of the clay. Meanwhile,

757
00:40:02,120 --> 00:40:04,799
Speaker 1: the landlady, the nice but also nosy land lady, who

758
00:40:04,840 --> 00:40:07,320
Speaker 1: gets checking in on him, has a cat, a beloved

759
00:40:07,320 --> 00:40:11,080
Speaker 1: cat that has somehow climbed into the wall, and he's

760
00:40:11,120 --> 00:40:13,200
Speaker 1: got several things going and frustrated with the art, he's

761
00:40:13,200 --> 00:40:16,560
Speaker 1: trying to cook some sort of dinner, and then it's

762
00:40:16,600 --> 00:40:18,160
Speaker 1: clear that the cat is stuck in the wall, so

763
00:40:18,200 --> 00:40:21,319
Speaker 1: he does what a rational person does. He decides to

764
00:40:21,360 --> 00:40:24,400
Speaker 1: stab the wall to free the cat, and of course

765
00:40:24,560 --> 00:40:26,520
Speaker 1: murders the cat in the process.

766
00:40:26,880 --> 00:40:30,760
Speaker 3: Yeah, it's important to keep this in mind. The first

767
00:40:30,840 --> 00:40:35,320
Speaker 3: death was not human, and the first death was an accident.

768
00:40:36,160 --> 00:40:38,960
Speaker 3: I think it's also very important that something you'll read

769
00:40:38,960 --> 00:40:42,480
Speaker 3: a lot in oh, how to write a screenplay, movies

770
00:40:42,760 --> 00:40:44,560
Speaker 3: or books and things like that, where it'll be like,

771
00:40:45,360 --> 00:40:47,600
Speaker 3: the save the cat moment is something that gets brought

772
00:40:47,640 --> 00:40:50,080
Speaker 3: up often. You can look at the movie Alien for example,

773
00:40:50,640 --> 00:40:54,400
Speaker 3: et cetera, et cetera, And yeah, saving the cat is

774
00:40:54,440 --> 00:40:57,200
Speaker 3: a big thing for a protagonist to do, to show

775
00:40:57,239 --> 00:41:01,040
Speaker 3: that they are likable, and that they are caring and

776
00:41:01,080 --> 00:41:04,200
Speaker 3: empathetic towards other creatures, et cetera, et cetera. This is

777
00:41:04,200 --> 00:41:09,919
Speaker 3: the opposite. We start our film with killing a cat accidentally.

778
00:41:10,360 --> 00:41:12,560
Speaker 1: Yeah, he's trying to save it. He's trying to do right.

779
00:41:12,760 --> 00:41:15,640
Speaker 1: But if the hideous fumble, the cat doesn't suffer mine

780
00:41:15,719 --> 00:41:18,400
Speaker 1: just not too grotesque or anything. But he's left with

781
00:41:18,440 --> 00:41:22,120
Speaker 1: this dead cat, and something clicks in his head, right,

782
00:41:22,640 --> 00:41:25,919
Speaker 1: he realizes this is the opportunity. You know, He's got

783
00:41:25,920 --> 00:41:32,280
Speaker 1: Maxwell's poetic drivels running around his head and he realizes, Okay,

784
00:41:32,320 --> 00:41:35,400
Speaker 1: there is something I can do here, and then you

785
00:41:35,440 --> 00:41:36,680
Speaker 1: can probably guess what it.

786
00:41:36,640 --> 00:41:42,160
Speaker 3: Is, yeah, if you haven't caught on. Basically, he traces

787
00:41:42,280 --> 00:41:47,600
Speaker 3: the cat by covering the dead cat with clay, turning

788
00:41:47,640 --> 00:41:52,000
Speaker 3: it into a sculpture, which suddenly makes him hyper realistic

789
00:41:52,040 --> 00:41:54,640
Speaker 3: in his sculptures. That's something, I mean, how do you

790
00:41:54,640 --> 00:41:57,200
Speaker 3: get that kind of anatomy? You know, it's difficult to

791
00:41:57,320 --> 00:42:02,320
Speaker 3: really replicate the exact force and ratios of body parts

792
00:42:02,360 --> 00:42:05,040
Speaker 3: of a living creature, but he's got it overnight.

793
00:42:05,520 --> 00:42:09,680
Speaker 1: Yeah. Yeah, So he brings this this hideous sculpture in

794
00:42:09,760 --> 00:42:13,319
Speaker 1: which is just you know, supposed to be a dead

795
00:42:13,360 --> 00:42:17,120
Speaker 1: cat covered in clay, and then there's a knife sticking.

796
00:42:16,800 --> 00:42:17,200
Speaker 5: Out of it.

797
00:42:17,480 --> 00:42:19,280
Speaker 3: I love that he didn't remove the knife.

798
00:42:19,560 --> 00:42:22,840
Speaker 1: Yeah, he just left the knife in there. And you

799
00:42:22,880 --> 00:42:25,000
Speaker 1: know it first, you know, he brings us in, and

800
00:42:25,320 --> 00:42:27,920
Speaker 1: you know, Carla takes a look at it, and and

801
00:42:28,000 --> 00:42:31,000
Speaker 1: also decantist takes a look at it, and you know,

802
00:42:31,120 --> 00:42:33,640
Speaker 1: it's it's it's grim. And Desanta's is pretty quick to

803
00:42:33,800 --> 00:42:37,080
Speaker 1: want to just dismiss it. But Carla's nice and she's like,

804
00:42:37,120 --> 00:42:40,000
Speaker 1: I think you might have something here. And eventually Desanta's

805
00:42:40,040 --> 00:42:41,400
Speaker 1: is like, Okay, we'll put it in the corner. We'll

806
00:42:41,440 --> 00:42:43,440
Speaker 1: see if anybody buys it. It can go in the

807
00:42:43,440 --> 00:42:47,000
Speaker 1: corner of the coffee house and we'll just see what happens.

808
00:42:47,120 --> 00:42:49,920
Speaker 1: He doesn't seem to expect much, but of course, you

809
00:42:49,960 --> 00:42:52,759
Speaker 1: know what's going to happen. It catches on. People are

810
00:42:52,840 --> 00:42:56,560
Speaker 1: noticing this cool hyper realistic sculpture of a dead cat.

811
00:42:56,840 --> 00:43:07,560
Speaker 3: It's very telling and very accurate of the art scene.

812
00:43:09,080 --> 00:43:12,280
Speaker 1: Well, that's you want to walk us through the escalation

813
00:43:12,880 --> 00:43:16,480
Speaker 1: of these of these crimes each won a different artistic

814
00:43:16,520 --> 00:43:20,600
Speaker 1: creation by our protagonist Walter Paisley.

815
00:43:20,880 --> 00:43:25,040
Speaker 3: Yeah, almost an anti hero he's the subject for sure,

816
00:43:25,840 --> 00:43:29,560
Speaker 3: So we'll tell you now. Basically there's a rapid escalation

817
00:43:30,360 --> 00:43:34,319
Speaker 3: and his motivation changes from death to death to death

818
00:43:34,360 --> 00:43:36,719
Speaker 3: to death to death to moving on. So yeah, first

819
00:43:36,719 --> 00:43:40,640
Speaker 3: one is a cat and it's an accident, so perhaps

820
00:43:40,719 --> 00:43:44,360
Speaker 3: out of just desperation, he makes this statue and it's beloved.

821
00:43:44,760 --> 00:43:49,000
Speaker 3: Oh no, positive reinforcement. That's the worst thing anyone could

822
00:43:49,040 --> 00:43:53,640
Speaker 3: have done to Walter Paisley after accidentally killing something. So

823
00:43:53,760 --> 00:43:57,880
Speaker 3: he's very excited. He's he's he's uncloud nine. All the

824
00:43:57,920 --> 00:43:59,960
Speaker 3: other Beatniks are really proud of him for making a

825
00:44:00,080 --> 00:44:03,359
Speaker 3: this beautiful piece of art that Maxwell has said is good,

826
00:44:03,640 --> 00:44:05,560
Speaker 3: you know, So now everyone else is to say it's

827
00:44:05,600 --> 00:44:06,200
Speaker 3: good too.

828
00:44:06,160 --> 00:44:08,919
Speaker 1: I should add. They like it so much that there's

829
00:44:08,960 --> 00:44:10,440
Speaker 1: this one lady who comes up to him at the

830
00:44:10,480 --> 00:44:13,320
Speaker 1: coffee house and she just can't put it into words

831
00:44:13,400 --> 00:44:15,880
Speaker 1: how beautiful the work is. So she gives him a

832
00:44:15,960 --> 00:44:17,000
Speaker 1: whole lot of heroin.

833
00:44:17,400 --> 00:44:20,600
Speaker 3: Yes, she gives him a vial of heroin, and he

834
00:44:20,640 --> 00:44:22,920
Speaker 3: doesn't even know what it is. She just wanted to

835
00:44:22,960 --> 00:44:27,600
Speaker 3: be a part of this creation, and she thought that

836
00:44:27,719 --> 00:44:29,400
Speaker 3: the way she could do it. First, she tries to

837
00:44:29,440 --> 00:44:32,400
Speaker 3: go home with him, but he is very confused and

838
00:44:32,400 --> 00:44:35,040
Speaker 3: doesn't really understand what's happening. And then she goes, well,

839
00:44:35,160 --> 00:44:36,759
Speaker 3: I have to contribute. I have to be a part

840
00:44:36,760 --> 00:44:39,440
Speaker 3: of this, So then she gives him Heroin. Now, as

841
00:44:39,480 --> 00:44:43,239
Speaker 3: we've mentioned, there are two undercover cops who are on

842
00:44:43,480 --> 00:44:46,920
Speaker 3: constant rotation at this one coffee house. One of them

843
00:44:46,960 --> 00:44:51,800
Speaker 3: sees this handoff and follows Walter home. He interrupts Walter

844
00:44:51,880 --> 00:44:53,879
Speaker 3: in his house and goes, hello, Walter, and he's like, oh,

845
00:44:53,880 --> 00:44:55,480
Speaker 3: I know you. You come down to the store. How

846
00:44:55,520 --> 00:44:57,000
Speaker 3: are you come on in? Come on in, you know,

847
00:44:57,320 --> 00:44:59,080
Speaker 3: let's be friends or ray someone came to see me

848
00:44:59,120 --> 00:45:02,040
Speaker 3: at my house. And he's like, I'm an undercover cop.

849
00:45:02,239 --> 00:45:05,200
Speaker 3: I saw that you were handed Heroin. I'm gonna have

850
00:45:05,200 --> 00:45:07,120
Speaker 3: to take you in. He's like Heroin. He's like yeah, yeah,

851
00:45:07,120 --> 00:45:08,880
Speaker 3: that the little jar there's gonna be. He's like, you

852
00:45:08,920 --> 00:45:10,720
Speaker 3: know horse and he's like, oh, it wasn't that nicerver

853
00:45:10,840 --> 00:45:11,319
Speaker 3: to give me that.

854
00:45:11,320 --> 00:45:13,720
Speaker 1: Nice horse, that nice expensive horse.

855
00:45:14,000 --> 00:45:19,160
Speaker 3: Yes, And so he doesn't get it. He definitely doesn't

856
00:45:19,160 --> 00:45:21,880
Speaker 3: get it. Now, the undercover cop is frustrated, so he

857
00:45:22,000 --> 00:45:24,040
Speaker 3: tries to convince him and try to get what he

858
00:45:24,040 --> 00:45:25,920
Speaker 3: wants from him. So he pulls out his gun and

859
00:45:25,920 --> 00:45:27,960
Speaker 3: he's like, look, Walterrott, don't make me use this. I'm

860
00:45:28,000 --> 00:45:29,600
Speaker 3: gonna have to. He's like, oh, no, you're gonna shoot me.

861
00:45:29,640 --> 00:45:31,200
Speaker 3: He's like, no, I'm not gonna shoot you. I'm just

862
00:45:31,239 --> 00:45:34,600
Speaker 3: saying i'm a cop. I'm arresting you. Let's go. And

863
00:45:34,640 --> 00:45:36,120
Speaker 3: he's like, no, I don't want you to shoot me.

864
00:45:36,480 --> 00:45:38,200
Speaker 3: And so he was cooking at the time, and he

865
00:45:38,280 --> 00:45:40,879
Speaker 3: was holding like almost like a crape pan, let's say.

866
00:45:41,520 --> 00:45:43,680
Speaker 3: And so if you haven't seen a crape pan, it's

867
00:45:43,760 --> 00:45:46,759
Speaker 3: like a frying pan, except the edges are very, very low,

868
00:45:47,000 --> 00:45:52,600
Speaker 3: very a very shallow frying pan. And so Walter seemingly,

869
00:45:52,760 --> 00:45:56,080
Speaker 3: at least in his own mind for sure, in self defense,

870
00:45:56,760 --> 00:45:59,680
Speaker 3: swings this pan at the cop and we don't see

871
00:45:59,680 --> 00:46:02,160
Speaker 3: it on but later we will see just cleaves his

872
00:46:02,280 --> 00:46:05,759
Speaker 3: head right down the middle with this with this very

873
00:46:05,800 --> 00:46:09,680
Speaker 3: slim pan. So, first death was an animal and it

874
00:46:09,760 --> 00:46:14,200
Speaker 3: was an accident. Second death undercover cop quote unquote self defense.

875
00:46:15,040 --> 00:46:18,879
Speaker 3: Let's let's see where this keeps going. So obviously there's

876
00:46:18,880 --> 00:46:21,920
Speaker 3: the pattern here. So he covers this undercover cop in clay,

877
00:46:22,560 --> 00:46:26,160
Speaker 3: and I suppose we'll kind of let this part happen.

878
00:46:26,680 --> 00:46:29,920
Speaker 3: So the first person to realize what Walter is doing

879
00:46:30,280 --> 00:46:33,600
Speaker 3: is Leonard, the guy that owns the the the art house,

880
00:46:33,719 --> 00:46:37,040
Speaker 3: the coffee shop at the yellow door. And he sees

881
00:46:37,080 --> 00:46:39,680
Speaker 3: it because I believe the cat statue tips over and

882
00:46:39,719 --> 00:46:42,799
Speaker 3: just a little piece of fur is poking out, and

883
00:46:42,840 --> 00:46:46,360
Speaker 3: he's like, oh, you hack, fraud, you weirdo. What do

884
00:46:46,440 --> 00:46:48,440
Speaker 3: you do in trying to cover a dead cat and

885
00:46:48,480 --> 00:46:51,040
Speaker 3: clay and put it in my coffee house? This is ridiculous.

886
00:46:51,400 --> 00:46:53,720
Speaker 3: So he's about to like go tell it to Walter

887
00:46:53,800 --> 00:46:57,360
Speaker 3: and get mad at him when someone comes in, let's

888
00:46:57,360 --> 00:46:59,560
Speaker 3: call it a square patron comes in and it's like,

889
00:46:59,600 --> 00:47:01,840
Speaker 3: I need that cat sculpture. I'll pay you ten times

890
00:47:01,840 --> 00:47:04,000
Speaker 3: what you ask for. It's getting I must have it.

891
00:47:04,040 --> 00:47:06,359
Speaker 3: I must have it. And at first he's like, no,

892
00:47:06,400 --> 00:47:08,359
Speaker 3: I'm not gonna sell you a dead cat covered in clay.

893
00:47:08,360 --> 00:47:11,200
Speaker 3: He's I'll double it, and he's like, oh no, no, no,

894
00:47:11,280 --> 00:47:14,560
Speaker 3: I can't do that. I'll triple it. And you see it.

895
00:47:14,600 --> 00:47:18,000
Speaker 3: You see it Leonard's eye that he's like, oh, this

896
00:47:18,080 --> 00:47:22,640
Speaker 3: is money, this is absolutely money. Fine, I won't give

897
00:47:22,640 --> 00:47:25,840
Speaker 3: it to you today, but yes, we'll do it. Because

898
00:47:25,880 --> 00:47:27,640
Speaker 3: I'm sure, he goes through his mind. He's like, all right,

899
00:47:28,080 --> 00:47:31,920
Speaker 3: it's just a dead cat. It's fine, it's fine. Then

900
00:47:31,960 --> 00:47:34,720
Speaker 3: Walter brings in his next piece, which he has named

901
00:47:34,920 --> 00:47:40,840
Speaker 3: Murdered Man, and it's the undercover cop covered in clay,

902
00:47:41,680 --> 00:47:44,759
Speaker 3: and Leonard is the only one who puts two and

903
00:47:44,800 --> 00:47:48,680
Speaker 3: two together and understands what's happening, what has escalated. Everyone

904
00:47:48,760 --> 00:47:51,560
Speaker 3: else thinks it's a wonderful sculpture. How did you capture

905
00:47:51,600 --> 00:47:53,400
Speaker 3: that look of agony on his face?

906
00:47:53,719 --> 00:47:53,839
Speaker 1: Oh?

907
00:47:53,880 --> 00:47:56,680
Speaker 3: Your realism? Oh this is so wonderful. I remember there's

908
00:47:56,680 --> 00:47:58,000
Speaker 3: one point where someone's like, oh, how did you do

909
00:47:58,040 --> 00:48:00,360
Speaker 3: this so quickly? He's like, oh, you know, I just

910
00:48:00,440 --> 00:48:02,480
Speaker 3: put some clay on and fixed it up. No, no

911
00:48:02,640 --> 00:48:04,960
Speaker 3: big deal. He's like, must have taken you forever. It's like, no,

912
00:48:05,040 --> 00:48:08,640
Speaker 3: it doesn't take me too long. Like, okay, right, because

913
00:48:09,120 --> 00:48:11,920
Speaker 3: you're just putting a facade on this, you're not actually

914
00:48:12,400 --> 00:48:17,239
Speaker 3: sculpting anything. So everyone loves it except Leonard. Leonard feels ill.

915
00:48:17,320 --> 00:48:19,120
Speaker 3: Leonard does not want to be a part of this,

916
00:48:19,840 --> 00:48:21,840
Speaker 3: and he doesn't know what to do because on the

917
00:48:21,840 --> 00:48:24,560
Speaker 3: one hand, money and on the other hand, is he

918
00:48:24,680 --> 00:48:28,880
Speaker 3: like an accessory at this point? And so he's trying

919
00:48:28,960 --> 00:48:32,360
Speaker 3: to de escalate this whole situation. He's like, you know what, Walter,

920
00:48:33,280 --> 00:48:35,360
Speaker 3: why don't you maybe try some free form you know,

921
00:48:35,760 --> 00:48:38,680
Speaker 3: forget this human figure thing. No, no, nobody, nobody can

922
00:48:38,760 --> 00:48:42,960
Speaker 3: do that anymore. Just just just free form abstract things.

923
00:48:43,360 --> 00:48:46,640
Speaker 3: No more humans, no more death and destruction. Okay, And

924
00:48:46,680 --> 00:48:48,799
Speaker 3: everyone else is like, what he's so good at this,

925
00:48:49,080 --> 00:48:51,560
Speaker 3: clearly let him lean into this.

926
00:48:52,280 --> 00:48:55,319
Speaker 1: Yeah, Like Maxwell comes to his defense. It's like, don't

927
00:48:55,320 --> 00:48:56,680
Speaker 1: tell him how to do his art.

928
00:48:56,960 --> 00:49:01,359
Speaker 3: Yes, it's wonderful, and uh so there we are now

929
00:49:01,440 --> 00:49:04,759
Speaker 3: now now because of this new statue and and the

930
00:49:04,800 --> 00:49:09,120
Speaker 3: first cat statue, the whole place is a buzz and

931
00:49:09,200 --> 00:49:13,239
Speaker 3: Leonard has even in an attempt to just kind of

932
00:49:13,719 --> 00:49:17,120
Speaker 3: I guess h a to keep Walter away from him

933
00:49:17,120 --> 00:49:20,080
Speaker 3: a little bit. He has I guess fired is the

934
00:49:20,160 --> 00:49:22,040
Speaker 3: right wrong way to put it, but he has given

935
00:49:22,120 --> 00:49:26,000
Speaker 3: him an advance for his sculptures and said just just

936
00:49:26,040 --> 00:49:29,320
Speaker 3: go just leave, don't don't don't make any more statues

937
00:49:29,360 --> 00:49:30,800
Speaker 3: for now, Okay, just just relax.

938
00:49:31,200 --> 00:49:33,479
Speaker 1: Yeah, going on's a little sabbatical here, and he's clear

939
00:49:33,520 --> 00:49:36,319
Speaker 1: he's not. He's like, yeah, don't don't make any more

940
00:49:36,400 --> 00:49:40,000
Speaker 1: art just yet, because again money, but also yeah, he

941
00:49:40,120 --> 00:49:43,359
Speaker 1: knows that what then what another piece would mean? And

942
00:49:43,480 --> 00:49:46,640
Speaker 1: he's probably, you know, juggling around this idea is like,

943
00:49:46,640 --> 00:49:49,759
Speaker 1: am I an accessory to murder at this point? And

944
00:49:49,800 --> 00:49:52,080
Speaker 1: then also you can imagine he's telling himself but hey,

945
00:49:52,080 --> 00:49:54,839
Speaker 1: nobody else has to know that. I know, I can

946
00:49:54,880 --> 00:49:57,840
Speaker 1: just be as surprised as everyone else when this eventually

947
00:49:57,920 --> 00:49:59,800
Speaker 1: blows up. But I can make a little bit of

948
00:49:59,800 --> 00:50:00,720
Speaker 1: money in the meantime.

949
00:50:01,120 --> 00:50:03,960
Speaker 3: Absolutely, I mean, you know, the Yellow Door is not

950
00:50:04,080 --> 00:50:07,800
Speaker 3: a huge money making endeavor like the Beats and but

951
00:50:07,920 --> 00:50:10,880
Speaker 3: Head characters. I think they often say they have no

952
00:50:11,080 --> 00:50:14,839
Speaker 3: money and they're just hanging around. Yeah, I think there's

953
00:50:15,200 --> 00:50:17,440
Speaker 3: there's a lot of just people lurking there that aren't

954
00:50:17,480 --> 00:50:21,640
Speaker 3: actually giving Leonard any money. So moving on, the next

955
00:50:21,680 --> 00:50:25,000
Speaker 3: time we see Walter Paisley, suddenly he's got a little

956
00:50:25,040 --> 00:50:28,160
Speaker 3: money in his pocket. He has two successful sculptures. He

957
00:50:28,239 --> 00:50:30,840
Speaker 3: comes into the Yellow Door not as an employee but

958
00:50:30,920 --> 00:50:33,959
Speaker 3: as a guest. He's he's bought a fancy new beat

959
00:50:34,040 --> 00:50:37,600
Speaker 3: nick outfit. He's walking around like a little walking stick

960
00:50:37,640 --> 00:50:40,080
Speaker 3: that he refers to as his zen stick, which is

961
00:50:40,320 --> 00:50:45,480
Speaker 3: just remarkable, and everyone's just fawning over him. Maxwell invites

962
00:50:45,560 --> 00:50:48,279
Speaker 3: him down to be his special guest, et cetera, et cetera,

963
00:50:49,160 --> 00:50:51,279
Speaker 3: and this is all wonderful. Walter is having the best

964
00:50:51,280 --> 00:50:53,799
Speaker 3: time of his life. This is anything and everything he

965
00:50:53,880 --> 00:50:58,640
Speaker 3: ever wanted. He's getting it. But then an artist's model

966
00:50:58,719 --> 00:51:00,760
Speaker 3: who is often a part of the scene named Alice,

967
00:51:00,800 --> 00:51:02,759
Speaker 3: who's been out of town for the past week or two.

968
00:51:02,880 --> 00:51:06,040
Speaker 3: She says, she comes into the hangout and then like

969
00:51:06,080 --> 00:51:09,560
Speaker 3: everyone's fawning over Walter, and she's confused because she's like

970
00:51:09,640 --> 00:51:12,720
Speaker 3: what no, no, no, no, I'm awesome. You guys are awesome.

971
00:51:12,760 --> 00:51:15,400
Speaker 3: He's not awesome. He's just the bus boy. And they're like, no, no,

972
00:51:15,640 --> 00:51:17,680
Speaker 3: he's an artist now. And he's like, no, y'all, y'all

973
00:51:17,719 --> 00:51:19,319
Speaker 3: are putting me on, Like this is just a joke

974
00:51:19,360 --> 00:51:21,880
Speaker 3: for my benefit, Like he's just the bus boy. He

975
00:51:22,080 --> 00:51:24,480
Speaker 3: get him out of here. Walter doesn't like this. He

976
00:51:24,600 --> 00:51:26,400
Speaker 3: was just on the top of the mountain. He's not

977
00:51:26,400 --> 00:51:30,600
Speaker 3: gonna come down. So, like I said, she's an artist model.

978
00:51:30,719 --> 00:51:33,600
Speaker 3: He's mad at her. But she goes on home and

979
00:51:33,640 --> 00:51:36,000
Speaker 3: he follows her and he's like, I'd love to hire

980
00:51:36,040 --> 00:51:37,960
Speaker 3: you to be an artist model so I can make

981
00:51:37,960 --> 00:51:40,600
Speaker 3: another sculpture. And she's like, well that is my job. Fine,

982
00:51:40,680 --> 00:51:44,000
Speaker 3: let's do it. And he's like, yeah, let's do it now. Yeah. Yeah.

983
00:51:44,040 --> 00:51:47,759
Speaker 3: So she goes to his place and now Walter is

984
00:51:47,920 --> 00:51:50,799
Speaker 3: definitely crossing a line because you can see where this

985
00:51:50,880 --> 00:51:53,800
Speaker 3: is going. He kills her. He strangles her with a scarf,

986
00:51:54,120 --> 00:51:57,600
Speaker 3: and this one's just personal spite, like there's no self defense,

987
00:51:57,640 --> 00:52:00,880
Speaker 3: there's no accident. He is doing this because because Alice

988
00:52:01,040 --> 00:52:04,279
Speaker 3: was mean to him, and now he is he needs

989
00:52:04,320 --> 00:52:06,360
Speaker 3: a body for the arts. You know, it's it's very funny.

990
00:52:06,400 --> 00:52:09,520
Speaker 3: I was thinking about this. This movie came out from

991
00:52:09,560 --> 00:52:12,719
Speaker 3: the same writer director right before Little Shop of Horrors.

992
00:52:13,719 --> 00:52:17,440
Speaker 3: Many similarities. This situation here specifically is where it's like,

993
00:52:17,920 --> 00:52:22,120
Speaker 3: I gotta kill someone, well you're mean, I guess, I

994
00:52:22,160 --> 00:52:26,120
Speaker 3: guess you'll do. It's that same situation of a of

995
00:52:26,160 --> 00:52:28,879
Speaker 3: a of a ne'er do well, kind of nebish guy

996
00:52:29,400 --> 00:52:32,080
Speaker 3: just being like I need bodies. Here we go.

997
00:52:32,560 --> 00:52:35,040
Speaker 1: And so now now he's going in cold blood. And yeah,

998
00:52:35,080 --> 00:52:38,319
Speaker 1: it's a character that she's not hateable, No, she's but

999
00:52:38,360 --> 00:52:40,680
Speaker 1: she's not supposed to be one hundred percent likable. So

1000
00:52:41,360 --> 00:52:44,879
Speaker 1: you know, we're accelerating through that gray zone into like, yeah,

1001
00:52:44,920 --> 00:52:47,279
Speaker 1: it's clearly he's a murderer at this point, but he

1002
00:52:47,400 --> 00:52:51,200
Speaker 1: hasn't attempted to murder anyone that we really like yet.

1003
00:52:51,280 --> 00:52:54,319
Speaker 1: And you know, especially in a genre picture like I

1004
00:52:54,320 --> 00:52:56,839
Speaker 1: guess we were more forgiving of that sort of thing,

1005
00:52:57,320 --> 00:53:02,440
Speaker 1: Like the threshold of the uncrossable transgression is is maybe

1006
00:53:02,560 --> 00:53:05,080
Speaker 1: a little a little farther out in.

1007
00:53:05,040 --> 00:53:07,480
Speaker 3: A movie like this, but we still a room to escalate.

1008
00:53:07,719 --> 00:53:12,360
Speaker 3: So we continue, and once again Leonard is like stop,

1009
00:53:12,520 --> 00:53:16,720
Speaker 3: you have to stop, please stop, this is terrible. Stop stop, stop,

1010
00:53:17,120 --> 00:53:19,399
Speaker 3: But he just keeps on doing his thing, and he's

1011
00:53:20,160 --> 00:53:22,640
Speaker 3: he's he's really like kind of like hitting the thesis

1012
00:53:22,680 --> 00:53:24,640
Speaker 3: on the head at this point, because they threw like

1013
00:53:24,680 --> 00:53:27,240
Speaker 3: a big celebration for him where he got very drunk,

1014
00:53:27,640 --> 00:53:30,319
Speaker 3: and he's just kind of like lamenting and feeling kind

1015
00:53:30,320 --> 00:53:33,840
Speaker 3: of sad, and he starts like walking home alone by himself,

1016
00:53:34,320 --> 00:53:37,360
Speaker 3: and he literally says the phrase, I gotta do something

1017
00:53:37,400 --> 00:53:40,919
Speaker 3: before they forget. Yeah, it's just this this moment where

1018
00:53:40,960 --> 00:53:43,560
Speaker 3: it's like, yeah, that's a kind of all he has

1019
00:53:43,719 --> 00:53:47,160
Speaker 3: and all he wants is this moment of being in

1020
00:53:47,200 --> 00:53:50,680
Speaker 3: the spotlight and being admired. I don't want to put

1021
00:53:50,680 --> 00:53:53,800
Speaker 3: too many parallels here, but there's definitely some modern social

1022
00:53:53,840 --> 00:53:56,600
Speaker 3: media parallels there of things of just like I just

1023
00:53:56,600 --> 00:53:58,440
Speaker 3: got to do something for the gram. I just got

1024
00:53:58,480 --> 00:54:01,440
Speaker 3: to put something up on TikTok. It doesn't really matter

1025
00:54:01,520 --> 00:54:03,799
Speaker 3: what it is. I just need to stay in the

1026
00:54:03,880 --> 00:54:05,880
Speaker 3: spotlight for another minute. And kind of like we were

1027
00:54:05,880 --> 00:54:08,719
Speaker 3: saying before, where it's like he's not trying to get

1028
00:54:08,719 --> 00:54:11,840
Speaker 3: notoriety by being good at something. He's not trying to

1029
00:54:11,840 --> 00:54:15,600
Speaker 3: get notoriety because like he particularly loves making art, he

1030
00:54:15,719 --> 00:54:19,239
Speaker 3: just wants to be famous. And so again there's some

1031
00:54:19,239 --> 00:54:22,000
Speaker 3: social media parallels there of like just wanting fame for

1032
00:54:22,040 --> 00:54:23,719
Speaker 3: fame's sake, to fit in be a part of a

1033
00:54:23,760 --> 00:54:26,719
Speaker 3: social scene. And just like he said, I gotta do

1034
00:54:26,840 --> 00:54:29,640
Speaker 3: something before they forget, I just need to go. I

1035
00:54:29,719 --> 00:54:33,160
Speaker 3: just need to do. And so here's here's where he

1036
00:54:33,200 --> 00:54:36,399
Speaker 3: crosses yet another line, a further escalation. He's walking home

1037
00:54:36,520 --> 00:54:38,680
Speaker 3: drunk from the yellow door, and he sees like a

1038
00:54:38,680 --> 00:54:41,719
Speaker 3: construction worker, perhaps like making a furniture in like a

1039
00:54:41,719 --> 00:54:44,920
Speaker 3: little like outdoor kind of like alleyway workshop kind of thing,

1040
00:54:45,800 --> 00:54:48,560
Speaker 3: and he just kills the man. He cuts off his

1041
00:54:48,640 --> 00:54:52,359
Speaker 3: head with a like circular saw. Again, this is all

1042
00:54:52,400 --> 00:54:54,400
Speaker 3: Hayes code, so we don't see anything. There's like no

1043
00:54:54,560 --> 00:54:58,600
Speaker 3: violence in any of this. And he makes a bust.

1044
00:54:59,040 --> 00:55:01,319
Speaker 3: It's just the man his head that he covers in

1045
00:55:01,400 --> 00:55:03,839
Speaker 3: clay and like sticks on a stick. And if that's

1046
00:55:03,840 --> 00:55:07,560
Speaker 3: our hey, that happens all the time. But no, Leonard

1047
00:55:07,719 --> 00:55:11,480
Speaker 3: once again knows exactly what that is. And he's flipping out.

1048
00:55:11,560 --> 00:55:13,880
Speaker 3: He doesn't know what to do. You see him just

1049
00:55:14,040 --> 00:55:17,840
Speaker 3: acting like a like a very conflicted, you know, weirdo.

1050
00:55:18,440 --> 00:55:19,839
Speaker 3: And but he's like, all right, we're going to set

1051
00:55:19,880 --> 00:55:21,840
Speaker 3: up an art show because I got a cash in

1052
00:55:21,920 --> 00:55:22,680
Speaker 3: on this owl.

1053
00:55:22,960 --> 00:55:25,520
Speaker 1: That's his logical conclusion. Not this is the point where

1054
00:55:25,560 --> 00:55:28,520
Speaker 1: I call the police or even like set opposite and

1055
00:55:28,640 --> 00:55:31,640
Speaker 1: like convince everyone, Like now I realize what's up. He's like,

1056
00:55:32,120 --> 00:55:33,520
Speaker 1: let's go ahead and do that art show.

1057
00:55:33,520 --> 00:55:37,200
Speaker 3: Well, we can't exactly. This has a shelf life, and

1058
00:55:37,280 --> 00:55:40,640
Speaker 3: I need to get my money quick. Because he mentions

1059
00:55:40,680 --> 00:55:43,160
Speaker 3: this and this is actually very accurate. He gets a

1060
00:55:43,200 --> 00:55:47,200
Speaker 3: fifty percent cut of the sales of the pieces, and

1061
00:55:47,239 --> 00:55:49,800
Speaker 3: in fact we do see him take advantage of Walter

1062
00:55:49,880 --> 00:55:52,799
Speaker 3: early on. The dead Cat was originally being sold I

1063
00:55:52,840 --> 00:55:56,240
Speaker 3: believe for one hundred, and so Walter would have gotten fifty,

1064
00:55:56,280 --> 00:55:58,920
Speaker 3: and he would have gotten fifty. But the when he

1065
00:55:58,960 --> 00:56:00,200
Speaker 3: was like, no, I'm not going to sell. I'm not

1066
00:56:00,200 --> 00:56:01,520
Speaker 3: going to sell. I believe it went all the way

1067
00:56:01,560 --> 00:56:03,840
Speaker 3: up to five hundred. But when he paid Walter, he

1068
00:56:03,920 --> 00:56:07,840
Speaker 3: still only paid him fifty dollars. So Leonard is a

1069
00:56:07,920 --> 00:56:11,160
Speaker 3: villain here and he is taking advantage of Walter, but

1070
00:56:11,239 --> 00:56:13,840
Speaker 3: he really needs this money. So he's going to do

1071
00:56:14,200 --> 00:56:17,560
Speaker 3: an art show and it's going to bring in everybody,

1072
00:56:17,680 --> 00:56:19,040
Speaker 3: and so they do it. They bring him this big

1073
00:56:19,120 --> 00:56:21,839
Speaker 3: art show. Got a dead cat, got a dead cop,

1074
00:56:22,080 --> 00:56:24,680
Speaker 3: got a dead art model, got a dead construction worker's

1075
00:56:24,719 --> 00:56:28,600
Speaker 3: head on a stick, all covered in clay, and everyone's

1076
00:56:28,640 --> 00:56:30,960
Speaker 3: loving it. There's an art critic there saying, oh, I'm

1077
00:56:30,960 --> 00:56:33,080
Speaker 3: going to write this up and all these pieces are

1078
00:56:33,080 --> 00:56:34,919
Speaker 3: going to be worth ten times what they are now.

1079
00:56:34,960 --> 00:56:38,120
Speaker 3: And everyone's loving it. This is a great time. And

1080
00:56:38,600 --> 00:56:43,840
Speaker 3: at this point Walter Paisley is so you know, living

1081
00:56:43,880 --> 00:56:46,759
Speaker 3: his dreams, that he does something that he's wanted to do,

1082
00:56:47,000 --> 00:56:51,200
Speaker 3: which is to attempt a romantic relationship with Carla. She's

1083
00:56:51,200 --> 00:56:53,040
Speaker 3: the only one that's ever been nice to him. He's

1084
00:56:53,040 --> 00:56:57,799
Speaker 3: got to go and show her his feelings. He's at

1085
00:56:57,800 --> 00:57:01,640
Speaker 3: the peak of his career that perhaps he'll that he

1086
00:57:01,680 --> 00:57:04,080
Speaker 3: ever will be, he needs to do this now. So

1087
00:57:04,120 --> 00:57:07,319
Speaker 3: he confesses his feelings and she's like, nah, we can

1088
00:57:07,360 --> 00:57:09,440
Speaker 3: be friends, but I just don't see you that way.

1089
00:57:09,480 --> 00:57:12,719
Speaker 3: Typical trying to let him down, easy situation, and you

1090
00:57:12,800 --> 00:57:16,680
Speaker 3: see something kind of change in him, and he goes, yeah,

1091
00:57:16,680 --> 00:57:18,640
Speaker 3: how about I do a sculpture of you, Carla?

1092
00:57:18,720 --> 00:57:21,720
Speaker 1: Oh yeah, And now he's really crossed that line, Like

1093
00:57:21,800 --> 00:57:26,480
Speaker 1: now he's in the in the unredeemable area here because

1094
00:57:26,480 --> 00:57:28,840
Speaker 1: he's decided, well, if you're not going to be my partner,

1095
00:57:29,120 --> 00:57:30,320
Speaker 1: you are going to be my art.

1096
00:57:30,720 --> 00:57:34,480
Speaker 3: Absolutely. So it went from accident to self defense to

1097
00:57:34,640 --> 00:57:38,200
Speaker 3: personal spite with a stranger, random killing of a stranger.

1098
00:57:39,000 --> 00:57:42,200
Speaker 3: Now it's personal killing of someone that he knows well

1099
00:57:42,280 --> 00:57:45,880
Speaker 3: and has affection for. There's only one place you can

1100
00:57:45,920 --> 00:57:47,440
Speaker 3: go after this, and I bet you can guess what

1101
00:57:47,560 --> 00:57:59,840
Speaker 3: it is. So ultimately, I believe at the event someone

1102
00:58:00,080 --> 00:58:02,760
Speaker 3: think bumps into oh no no. I believe they see

1103
00:58:02,800 --> 00:58:07,760
Speaker 3: a fingernail poking out of the Alice sculpture and they're

1104
00:58:07,760 --> 00:58:09,600
Speaker 3: trying to figure out what it is. Then someone knocks

1105
00:58:09,640 --> 00:58:12,120
Speaker 3: over one of them and it cracks open and like

1106
00:58:12,400 --> 00:58:14,960
Speaker 3: so that the cat is out of the bag. Everyone

1107
00:58:15,040 --> 00:58:18,320
Speaker 3: knows and they are trying to go get Walter. Walter's like,

1108
00:58:18,320 --> 00:58:20,320
Speaker 3: I got to get out of here, so he runs home.

1109
00:58:21,920 --> 00:58:24,080
Speaker 3: I guess I want to put this delicately because it's

1110
00:58:24,080 --> 00:58:27,280
Speaker 3: not a nice thing that happens. He puts a little

1111
00:58:27,280 --> 00:58:29,320
Speaker 3: bit of clay on his face, covers himself, just a

1112
00:58:29,360 --> 00:58:33,960
Speaker 3: little bit in clay, and he hangs himself and that

1113
00:58:34,160 --> 00:58:37,000
Speaker 3: is the end of the film. And I believe Maxwell

1114
00:58:37,040 --> 00:58:41,200
Speaker 3: says like, oh, it's his final piece, you know, And

1115
00:58:41,520 --> 00:58:46,080
Speaker 3: that's it. That's the whole movie. And it's very straightforward,

1116
00:58:46,240 --> 00:58:49,600
Speaker 3: very simple escalation, but just delicately done, and all the

1117
00:58:49,600 --> 00:58:53,200
Speaker 3: pieces kind of fit together in a real nice, a

1118
00:58:53,320 --> 00:58:57,400
Speaker 3: nice little you can you can feel the growth. It's

1119
00:58:57,640 --> 00:59:00,160
Speaker 3: it's almost like breaking bad in a way. You're okay

1120
00:59:00,200 --> 00:59:02,040
Speaker 3: with this character at first, and you just see them

1121
00:59:02,040 --> 00:59:04,040
Speaker 3: getting worse and worse and worse, and by the end

1122
00:59:04,080 --> 00:59:06,520
Speaker 3: you're like, no, I'm not with them. They're making they've

1123
00:59:06,560 --> 00:59:09,480
Speaker 3: made too many bad decisions against people. I like, I'm

1124
00:59:09,480 --> 00:59:10,160
Speaker 3: not in at all.

1125
00:59:10,560 --> 00:59:12,200
Speaker 1: Yeah, I mean, this is like a lot of these

1126
00:59:12,560 --> 00:59:14,480
Speaker 1: the pictures of this time period like, this is a

1127
00:59:14,560 --> 00:59:18,760
Speaker 1: very short run time sixty five minutes, so everything is

1128
00:59:19,000 --> 00:59:22,280
Speaker 1: very economically presented, like beat to beat. You can follow

1129
00:59:22,320 --> 00:59:24,880
Speaker 1: it very easily. There's not a lot of wasted motion.

1130
00:59:24,800 --> 00:59:29,400
Speaker 3: Here, absolutely, Robert. I must tell you about something that

1131
00:59:29,520 --> 00:59:32,280
Speaker 3: I attempted back when I believe I was in college

1132
00:59:32,320 --> 00:59:36,080
Speaker 3: at the time. I wanted to make a full length

1133
00:59:36,240 --> 00:59:41,280
Speaker 3: animated remake of this film by myself. At the time,

1134
00:59:41,360 --> 00:59:44,520
Speaker 3: I was really into rotoscope animation. There's a studio called

1135
00:59:44,520 --> 00:59:47,440
Speaker 3: Flat Black Films who did things like Waking Life and

1136
00:59:47,520 --> 00:59:51,120
Speaker 3: Scander Darkly stuff like that. Loved that animation style, and

1137
00:59:51,160 --> 00:59:53,360
Speaker 3: I decided I was going to make a rotoscoped film

1138
00:59:53,720 --> 00:59:57,400
Speaker 3: of this film A Bucket of Blood. So I started it,

1139
00:59:57,840 --> 01:00:01,160
Speaker 3: and I immediately realized how long it would take by

1140
01:00:01,240 --> 01:00:05,200
Speaker 3: myself to rotoscope an entire feature length film. But I

1141
01:00:05,240 --> 01:00:09,040
Speaker 3: did plan it all out, and the idea and all

1142
01:00:09,080 --> 01:00:11,200
Speaker 3: of the work I put into is still sitting there.

1143
01:00:11,200 --> 01:00:14,080
Speaker 3: In my first ten minutes of this film finished, i'd

1144
01:00:14,120 --> 01:00:17,360
Speaker 3: called it another Bucket of Blood. And my favorite part

1145
01:00:17,360 --> 01:00:19,880
Speaker 3: about this was that because it is black and white,

1146
01:00:20,000 --> 01:00:22,080
Speaker 3: I had the opportunity to do whatever I wanted with

1147
01:00:22,120 --> 01:00:26,880
Speaker 3: the color palette, and so I made each character within

1148
01:00:26,920 --> 01:00:29,840
Speaker 3: a completely different hue of a color palette that had

1149
01:00:29,920 --> 01:00:33,600
Speaker 3: a deeper meaning tied into like the representation of the

1150
01:00:33,640 --> 01:00:36,480
Speaker 3: color and what that color can mean in like the

1151
01:00:36,480 --> 01:00:40,120
Speaker 3: greater world. So, for example, Maxwell, because he was like

1152
01:00:40,280 --> 01:00:43,160
Speaker 3: the head of the whole yellow door scene, I made

1153
01:00:43,240 --> 01:00:45,600
Speaker 3: him purple because he was regal and the purple is

1154
01:00:45,640 --> 01:00:49,360
Speaker 3: often a royal color associated with that. Leonard because he

1155
01:00:49,440 --> 01:00:53,360
Speaker 3: runs the yellow door, his whole huge color palette was yellow.

1156
01:00:53,600 --> 01:00:56,240
Speaker 3: And also because he's quite a cowardly character, he won't

1157
01:00:56,240 --> 01:01:00,440
Speaker 3: actually take any action, won't do anything. Walter was completely

1158
01:01:00,480 --> 01:01:03,400
Speaker 3: in shades of green because not only was he green

1159
01:01:03,480 --> 01:01:06,320
Speaker 3: in terms of inexperience, he also had a bit at

1160
01:01:06,320 --> 01:01:09,160
Speaker 3: the green eyed monster he was. He was very envious

1161
01:01:09,160 --> 01:01:11,200
Speaker 3: of others and wanted to have what others had, et cetera,

1162
01:01:11,240 --> 01:01:13,880
Speaker 3: et cetera, et cetera. Like these, all all these things

1163
01:01:13,920 --> 01:01:16,040
Speaker 3: happened for like all the central characters, they all had

1164
01:01:16,560 --> 01:01:21,080
Speaker 3: a color coding that kind of like showed their future

1165
01:01:21,080 --> 01:01:25,280
Speaker 3: intentions and also perhaps said something about their personality. And

1166
01:01:25,320 --> 01:01:27,360
Speaker 3: I'm very sorry to say that I finished about oh

1167
01:01:27,400 --> 01:01:29,400
Speaker 3: five minutes of this five to ten minutes, and I

1168
01:01:29,480 --> 01:01:32,800
Speaker 3: was like, I will never do anything else. If I

1169
01:01:32,840 --> 01:01:35,800
Speaker 3: dedicate my time to this, this will absorb my entire

1170
01:01:35,840 --> 01:01:38,800
Speaker 3: life for the next five years if this is what

1171
01:01:38,920 --> 01:01:41,400
Speaker 3: I focus on. So so yes, I'm sad to say

1172
01:01:41,400 --> 01:01:43,800
Speaker 3: I never I never finished it, but I used some

1173
01:01:43,880 --> 01:01:46,320
Speaker 3: clips in like animation reels that I used to like

1174
01:01:46,320 --> 01:01:47,800
Speaker 3: get real animation jobs.

1175
01:01:48,320 --> 01:01:51,400
Speaker 1: Oh that's good. It's a great idea for a project.

1176
01:01:52,400 --> 01:01:54,880
Speaker 1: I guess you didn't have a B and No's moment,

1177
01:01:54,960 --> 01:01:57,920
Speaker 1: but you had this moment that Walter never has, where

1178
01:01:58,760 --> 01:02:00,800
Speaker 1: where you realized how much work it would take and

1179
01:02:00,880 --> 01:02:02,480
Speaker 1: what it would take out of you, and what the

1180
01:02:02,520 --> 01:02:05,200
Speaker 1: returns would be based on this investment.

1181
01:02:05,520 --> 01:02:09,440
Speaker 3: Absolutely, and in some ways. Rodoscoping, if folks don't know,

1182
01:02:09,560 --> 01:02:15,480
Speaker 3: is an animation style used with tracing over source film panels.

1183
01:02:15,960 --> 01:02:18,240
Speaker 3: So that being the case, I was well aware that

1184
01:02:18,280 --> 01:02:22,280
Speaker 3: my animation style was pulling off what Walter Paisley was

1185
01:02:22,320 --> 01:02:24,840
Speaker 3: doing in the film as well, that I was instead

1186
01:02:24,840 --> 01:02:28,320
Speaker 3: of applying clay to the figures, I was putting a

1187
01:02:28,400 --> 01:02:32,200
Speaker 3: layer of pixels over everyone. It was a fun project,

1188
01:02:32,240 --> 01:02:34,880
Speaker 3: but that's for when you're you know, in your twenties,

1189
01:02:35,000 --> 01:02:38,080
Speaker 3: and you have nothing but free time, and you think

1190
01:02:38,120 --> 01:02:41,040
Speaker 3: that you know every art project is achievable because you

1191
01:02:41,040 --> 01:02:43,680
Speaker 3: have infinite time in this world. Then you have to

1192
01:02:43,720 --> 01:02:46,680
Speaker 3: get jobs, you know.

1193
01:02:46,800 --> 01:02:50,200
Speaker 1: Looking back on Walter's creations like the first one is

1194
01:02:50,360 --> 01:02:53,520
Speaker 1: kind of an interesting stopping point because there are artists

1195
01:02:53,560 --> 01:02:58,120
Speaker 1: who use and have used animals and dead animals and

1196
01:02:58,160 --> 01:03:01,400
Speaker 1: adversity to varying degrees. They're actually as part of the

1197
01:03:01,440 --> 01:03:05,120
Speaker 1: work as we see with Walter, or of course as

1198
01:03:05,160 --> 01:03:08,640
Speaker 1: inspiration anatomical studies. I'm, of course very much opposed to

1199
01:03:08,800 --> 01:03:12,600
Speaker 1: any kind of animal cruelty based artwork, but just the

1200
01:03:12,640 --> 01:03:14,920
Speaker 1: idea of like a dead animal being used in the

1201
01:03:15,040 --> 01:03:18,040
Speaker 1: art is not completely out of bounds.

1202
01:03:18,400 --> 01:03:21,760
Speaker 3: A very famous one is Damien Hurst. Damien Hurst, he

1203
01:03:21,800 --> 01:03:25,840
Speaker 3: has done that with sharks, He has done that with gosh.

1204
01:03:25,840 --> 01:03:27,920
Speaker 3: I think there are other animals as well. His shark

1205
01:03:28,000 --> 01:03:31,800
Speaker 3: piece is the most famous. But you're absolutely right, and

1206
01:03:31,840 --> 01:03:37,240
Speaker 3: these are highly applauded, highly famous and well respected artists.

1207
01:03:37,440 --> 01:03:40,600
Speaker 3: Damien Hurst is one of the most popular modern artists

1208
01:03:40,600 --> 01:03:43,040
Speaker 3: in the world and he has done this. He displayed

1209
01:03:43,080 --> 01:03:45,439
Speaker 3: a dead shark in a tank and was like, that's

1210
01:03:45,440 --> 01:03:45,840
Speaker 3: my art.

1211
01:03:46,480 --> 01:03:48,439
Speaker 1: Yeah. And of course there are artists who have also

1212
01:03:48,680 --> 01:03:53,800
Speaker 1: used either anatomical fluids or parts or even cadavers to

1213
01:03:53,880 --> 01:03:56,720
Speaker 1: different degrees human cadavers. But of course one of the

1214
01:03:56,760 --> 01:03:59,080
Speaker 1: key rules is you were not allowed to make that

1215
01:03:59,120 --> 01:04:03,360
Speaker 1: cadaver yourself health and you need in any kind of

1216
01:04:03,360 --> 01:04:05,920
Speaker 1: fluids or parts you use, it needs to be above board,

1217
01:04:05,920 --> 01:04:07,640
Speaker 1: It needs to be consensual and above board.

1218
01:04:07,920 --> 01:04:11,320
Speaker 3: Yes, yes, I remember the body Works is like a

1219
01:04:11,400 --> 01:04:14,000
Speaker 3: museum piece where they did that as well. And another

1220
01:04:14,000 --> 01:04:18,520
Speaker 3: thing too that the artists who use these human or

1221
01:04:18,880 --> 01:04:23,640
Speaker 3: animal bodies death as as like the palette, they're not

1222
01:04:23,840 --> 01:04:27,360
Speaker 3: lying to you. They're not pretending that it's not a

1223
01:04:27,400 --> 01:04:30,760
Speaker 3: dead body. They are saying this is this, that's part

1224
01:04:30,800 --> 01:04:33,040
Speaker 3: of the message. They're not They're not hiding a dead

1225
01:04:33,040 --> 01:04:36,360
Speaker 3: body inside of a clay exterior.

1226
01:04:36,760 --> 01:04:39,560
Speaker 1: Now another interesting theme that I like, we get, we get,

1227
01:04:39,720 --> 01:04:41,320
Speaker 1: we get to see a little bit of this, reflections

1228
01:04:41,360 --> 01:04:45,600
Speaker 1: of it, perhaps in the like you know, the third act,

1229
01:04:45,640 --> 01:04:49,080
Speaker 1: I guess you know where Walter is concerned about what's

1230
01:04:49,160 --> 01:04:51,720
Speaker 1: next and you know, how am I gonna again we

1231
01:04:51,760 --> 01:04:53,040
Speaker 1: talked about this, how you know, I've got to put

1232
01:04:53,120 --> 01:04:54,840
Speaker 1: up something else. I've got to stay in the conversation.

1233
01:04:55,520 --> 01:04:57,640
Speaker 1: And at the same time, like fear that they're going

1234
01:04:57,680 --> 01:04:59,440
Speaker 1: to find him out, he's going to realize that he's

1235
01:04:59,480 --> 01:05:02,480
Speaker 1: a fraud. So we have that interesting texture that he is,

1236
01:05:03,000 --> 01:05:05,360
Speaker 1: I guess quite literally a fraud and there is this

1237
01:05:05,480 --> 01:05:08,920
Speaker 1: dark secret and people don't know the dark secret of

1238
01:05:08,960 --> 01:05:11,280
Speaker 1: how he's creating the art and it's not based in

1239
01:05:11,360 --> 01:05:14,840
Speaker 1: his sculpting talent that has come out of nowhere, and

1240
01:05:14,920 --> 01:05:16,920
Speaker 1: so you know, it gets into that whole like fear

1241
01:05:16,960 --> 01:05:19,680
Speaker 1: that I think even very successful artists have that like

1242
01:05:19,720 --> 01:05:22,240
Speaker 1: they're going to see through me, They're you know, they're

1243
01:05:22,280 --> 01:05:26,080
Speaker 1: going to they're going to to to realize the insecurities

1244
01:05:26,080 --> 01:05:28,200
Speaker 1: that I have about my creations.

1245
01:05:28,400 --> 01:05:31,000
Speaker 3: Imposter syndrome for sure. Yeah.

1246
01:05:31,040 --> 01:05:32,720
Speaker 1: And then also, you know, getting back to what you said,

1247
01:05:32,760 --> 01:05:34,520
Speaker 1: this idea of like how do I follow it up?

1248
01:05:34,720 --> 01:05:36,600
Speaker 1: Like what is the next thing that I have to do?

1249
01:05:36,720 --> 01:05:41,760
Speaker 1: And with Walter, like his pieces of art are literal crimes,

1250
01:05:41,960 --> 01:05:45,720
Speaker 1: they're literal, you know, traumatic experiences that you know, we're

1251
01:05:45,800 --> 01:05:48,120
Speaker 1: still taking a lot out of him. And yeah, we

1252
01:05:48,120 --> 01:05:50,160
Speaker 1: can sort of like roughly compare that to any creative

1253
01:05:50,200 --> 01:05:52,560
Speaker 1: process where it's like you put all this work into something,

1254
01:05:53,000 --> 01:05:55,480
Speaker 1: you know, you lose something in making it, Maybe you

1255
01:05:55,480 --> 01:05:57,840
Speaker 1: don't even love the thing when you're done with it. Anymore.

1256
01:05:57,880 --> 01:06:01,360
Speaker 1: But it's done, and then there is either the overt

1257
01:06:01,400 --> 01:06:04,360
Speaker 1: demand or just the pressure you feel to like you've

1258
01:06:04,360 --> 01:06:05,880
Speaker 1: got to do something else. Now you've got to go

1259
01:06:06,000 --> 01:06:07,840
Speaker 1: perhaps go through all of that again.

1260
01:06:08,720 --> 01:06:15,440
Speaker 3: Yeah, yeah, no, very understandable, very believable, And if folks

1261
01:06:15,680 --> 01:06:19,840
Speaker 3: are curious, this version of a story has been told

1262
01:06:19,920 --> 01:06:23,120
Speaker 3: multiple times in other lampoonings of the art world. There's

1263
01:06:23,120 --> 01:06:26,800
Speaker 3: a really great one called Art School Confidential, where a

1264
01:06:26,880 --> 01:06:31,640
Speaker 3: series of murders are taking place around like an art

1265
01:06:31,680 --> 01:06:35,439
Speaker 3: school campus and then like the paintings of the dead

1266
01:06:35,520 --> 01:06:40,600
Speaker 3: bodies are the remnants from the from the killer. And

1267
01:06:40,640 --> 01:06:43,240
Speaker 3: then there's an episode of CSI I remember where people

1268
01:06:43,320 --> 01:06:48,560
Speaker 3: were killing people and then the artist would then kind

1269
01:06:48,600 --> 01:06:52,960
Speaker 3: of like that like bodies exhibit, they would like plasticize

1270
01:06:53,400 --> 01:06:56,000
Speaker 3: them where they were just like standing on the street frozen,

1271
01:06:56,440 --> 01:06:59,920
Speaker 3: and that was like their art. Like this idea because

1272
01:07:00,080 --> 01:07:02,840
Speaker 3: when you think about like what are the extremes of

1273
01:07:02,880 --> 01:07:06,560
Speaker 3: where art can go, this is a logical slippery slope

1274
01:07:06,600 --> 01:07:09,520
Speaker 3: conclusion is like murder. Murder can be the thing because

1275
01:07:09,520 --> 01:07:13,200
Speaker 3: because there are also versions of this. There was an artist,

1276
01:07:13,320 --> 01:07:16,120
Speaker 3: for example, that his art piece was to be shot.

1277
01:07:16,600 --> 01:07:19,120
Speaker 3: He stood in a gallery and got shot by a

1278
01:07:19,160 --> 01:07:22,080
Speaker 3: gun and that was his art piece that day. So

1279
01:07:22,080 --> 01:07:23,560
Speaker 3: so you know, there are versions of this in the

1280
01:07:23,600 --> 01:07:27,600
Speaker 3: real world, and so it's it's fascinating. Yeah, yeah, yeah.

1281
01:07:27,640 --> 01:07:29,320
Speaker 1: And then of course you also have the various Wax

1282
01:07:29,400 --> 01:07:33,200
Speaker 1: Museum pictures where Atoy was some version of this as well.

1283
01:07:33,240 --> 01:07:37,560
Speaker 1: It's like the hideous secret behind these these wax doubles

1284
01:07:37,640 --> 01:07:39,960
Speaker 1: as that of course they're dead bodies that the wax

1285
01:07:40,000 --> 01:07:41,360
Speaker 1: master is covered up in wax.

1286
01:07:41,760 --> 01:07:44,480
Speaker 3: Yeah. Yeah, it's an interesting concept that can be approached

1287
01:07:44,600 --> 01:07:45,320
Speaker 3: multiple boys.

1288
01:07:45,760 --> 01:07:48,840
Speaker 1: Now, I'd say with the ending of the film, it like,

1289
01:07:48,840 --> 01:07:51,240
Speaker 1: like you said, it's it's a pretty dark ending, but

1290
01:07:51,320 --> 01:07:53,920
Speaker 1: it also happens really fast. It has that kind of

1291
01:07:54,000 --> 01:07:56,000
Speaker 1: quick wrap up feel that you find in a lot

1292
01:07:56,000 --> 01:07:58,320
Speaker 1: of especially like crime pictures of the time period, but

1293
01:07:58,360 --> 01:08:02,840
Speaker 1: even like very you know of superheroe, horror, sci fi things.

1294
01:08:02,880 --> 01:08:06,600
Speaker 1: It's like Enemy's Dead roll credits. So it's all very

1295
01:08:06,640 --> 01:08:09,320
Speaker 1: sudden and it's very much in keeping with the time period.

1296
01:08:09,320 --> 01:08:12,800
Speaker 1: But I found myself wondering again, he's just hanging up there,

1297
01:08:12,840 --> 01:08:16,479
Speaker 1: He's got some clay just smeared on him. What if

1298
01:08:16,560 --> 01:08:19,200
Speaker 1: they'd gone in a different direction, and what if Walter's

1299
01:08:19,240 --> 01:08:22,479
Speaker 1: final creation his own death was beautiful. What if it

1300
01:08:22,479 --> 01:08:26,000
Speaker 1: had been transcendent? What if it had been sublime? It

1301
01:08:26,000 --> 01:08:27,880
Speaker 1: would have been really in keeping with the feel of

1302
01:08:27,880 --> 01:08:31,680
Speaker 1: the film. But I can't help but imagine what that

1303
01:08:31,720 --> 01:08:34,759
Speaker 1: would have I guess it would have skewed the message

1304
01:08:34,760 --> 01:08:38,880
Speaker 1: of the film and perhaps an undesirable direction. But it

1305
01:08:39,000 --> 01:08:41,360
Speaker 1: might have also been just a little less dark in

1306
01:08:41,400 --> 01:08:41,880
Speaker 1: that regard.

1307
01:08:41,920 --> 01:08:46,920
Speaker 3: I'm not sure absolutely, And you know, there is also gosh.

1308
01:08:46,920 --> 01:08:50,679
Speaker 3: I suppose a fetishization is perhaps too extreme of a term,

1309
01:08:50,880 --> 01:08:55,000
Speaker 3: but you know, when artists die young, that is always

1310
01:08:55,000 --> 01:08:58,640
Speaker 3: a thing that occurs where people will then give a

1311
01:08:58,680 --> 01:09:03,120
Speaker 3: deeper embrace to their work, quite often for good reason,

1312
01:09:03,120 --> 01:09:06,280
Speaker 3: because it's wonderful art. But it is just, you know,

1313
01:09:06,320 --> 01:09:08,800
Speaker 3: it's a trope. It's a trope that if an artist

1314
01:09:08,800 --> 01:09:11,680
Speaker 3: dies young, their work is embraced even more so what

1315
01:09:11,920 --> 01:09:14,640
Speaker 3: would have happened the year after this? Would there have

1316
01:09:14,640 --> 01:09:18,080
Speaker 3: been artists that were really inspired by his work? Could

1317
01:09:18,120 --> 01:09:20,600
Speaker 3: there have been a bucket of blood too, where it

1318
01:09:20,680 --> 01:09:23,160
Speaker 3: was another artist in like art school who was studying

1319
01:09:23,200 --> 01:09:26,680
Speaker 3: Walter Paisley and then becomes a copycat murderer. I think

1320
01:09:26,680 --> 01:09:28,800
Speaker 3: that's the easiest idea in the world. It would have

1321
01:09:28,840 --> 01:09:29,439
Speaker 3: been wonderful.

1322
01:09:29,760 --> 01:09:32,400
Speaker 1: Yeah. Yeah, that's a great point. Yeah, the the cult

1323
01:09:32,400 --> 01:09:36,040
Speaker 1: of the the the the young artist that has we've

1324
01:09:36,080 --> 01:09:39,000
Speaker 1: tragically lost, but also just like the idea, like the

1325
01:09:39,000 --> 01:09:41,040
Speaker 1: cult of the young artist. I was listening to an

1326
01:09:41,120 --> 01:09:47,120
Speaker 1: MPR piece before this recording, and uh, the expert, I'm sorry,

1327
01:09:47,120 --> 01:09:48,760
Speaker 1: I don't I don't have the information in front of me.

1328
01:09:48,800 --> 01:09:51,439
Speaker 1: I can't remember what the expert's name was, but he

1329
01:09:51,520 --> 01:09:53,280
Speaker 1: was talking a bit about like this this myth, like

1330
01:09:53,320 --> 01:09:57,040
Speaker 1: the basic myth that, like real creativity, it comes young

1331
01:09:57,960 --> 01:10:00,920
Speaker 1: and it comes strong, you know, And it's the sort

1332
01:10:00,920 --> 01:10:03,559
Speaker 1: of creative myth that ends up having a negative impact

1333
01:10:04,520 --> 01:10:06,000
Speaker 1: on a lot of us. And you can imagine that

1334
01:10:06,080 --> 01:10:09,040
Speaker 1: sort of myth impacting the fictional Walter Paisley as well, Like,

1335
01:10:09,439 --> 01:10:13,160
Speaker 1: you know, I'm not a natural talent, then I must

1336
01:10:13,200 --> 01:10:15,760
Speaker 1: be lost. There's nothing I can do. And that's not

1337
01:10:15,840 --> 01:10:16,280
Speaker 1: the case.

1338
01:10:16,840 --> 01:10:21,919
Speaker 3: Yeah, absolutely, Yeah, No, it's for such a silly throwaway movie.

1339
01:10:22,040 --> 01:10:24,240
Speaker 3: There's a lot of thought that went into it, and

1340
01:10:24,280 --> 01:10:27,000
Speaker 3: a lot of thought you can have afterwards about its

1341
01:10:27,040 --> 01:10:31,960
Speaker 3: implications and it's greater effect. And yeah, in many ways,

1342
01:10:32,000 --> 01:10:34,880
Speaker 3: like I said that, the mirroring of our modern world

1343
01:10:34,920 --> 01:10:36,720
Speaker 3: and how perhaps it's not that different from how it

1344
01:10:36,760 --> 01:10:39,719
Speaker 3: was in the fifties. Comparing social media to the beatnick

1345
01:10:39,840 --> 01:10:44,280
Speaker 3: world of the nineteen fifties a lot of similar aspects,

1346
01:10:44,320 --> 01:10:45,200
Speaker 3: which is fascinating.

1347
01:10:45,640 --> 01:10:47,639
Speaker 1: I think my final thought well on this film would

1348
01:10:47,680 --> 01:10:50,920
Speaker 1: be I was really expecting someone to say daddy O

1349
01:10:51,080 --> 01:10:53,640
Speaker 1: at some point, and no one ever did. And it

1350
01:10:53,680 --> 01:10:58,360
Speaker 1: makes me wonder I've never researched when daddy oo enters

1351
01:10:58,520 --> 01:11:02,479
Speaker 1: public usage or becomes a sonociated with Beatnicks. Maybe I'm

1352
01:11:02,520 --> 01:11:04,080
Speaker 1: going on faulty information here.

1353
01:11:04,680 --> 01:11:07,920
Speaker 3: That's a great point. I actually own a couple of

1354
01:11:08,720 --> 01:11:12,679
Speaker 3: Beatnik comics from around this era. There's a comic artist

1355
01:11:12,720 --> 01:11:15,160
Speaker 3: I love named John Stanley, and he tried to make

1356
01:11:15,200 --> 01:11:17,759
Speaker 3: a whole series just about goofy Beatniks in the nineteen

1357
01:11:17,840 --> 01:11:21,400
Speaker 3: fifties and it was only popular enough to make two

1358
01:11:21,439 --> 01:11:24,479
Speaker 3: issues and then it was canceled. And the thing I

1359
01:11:24,520 --> 01:11:27,799
Speaker 3: remember in their slang is they use the word reat

1360
01:11:28,040 --> 01:11:31,840
Speaker 3: all the time r ee t to mean like correct, right,

1361
01:11:32,200 --> 01:11:35,360
Speaker 3: you know. And I remember, you know, in the twenty

1362
01:11:35,400 --> 01:11:39,439
Speaker 3: twenties being like huh, all right, like you know better

1363
01:11:39,479 --> 01:11:40,800
Speaker 3: than I do. But yeah, I thought you'd be saying

1364
01:11:40,840 --> 01:11:42,880
Speaker 3: things like daddy. Oh but no, no, no, they had

1365
01:11:42,880 --> 01:11:43,719
Speaker 3: their own slang.

1366
01:11:43,800 --> 01:11:44,080
Speaker 1: It was.

1367
01:11:45,160 --> 01:11:48,040
Speaker 3: It's fascinating seeing those little like time capsules.

1368
01:11:48,560 --> 01:11:50,280
Speaker 1: All right, Seth, Well, this has been a lot of fun.

1369
01:11:50,320 --> 01:11:53,719
Speaker 1: Thanks for coming on the show to discuss a bucket

1370
01:11:53,720 --> 01:11:56,640
Speaker 1: of Blood from nineteen fifty nine. Yeah, a lot to

1371
01:11:56,720 --> 01:12:00,320
Speaker 1: chew on with this one. Tell folks out there where

1372
01:12:00,320 --> 01:12:03,040
Speaker 1: they can find Rusty Needles Record Club and how they

1373
01:12:03,040 --> 01:12:03,880
Speaker 1: can get in touch with you.

1374
01:12:04,360 --> 01:12:08,840
Speaker 3: Absolutely so. Rusty Needles Record Club is a weekly podcast,

1375
01:12:08,920 --> 01:12:13,080
Speaker 3: new episode every Friday, and it's a podcast in the

1376
01:12:13,120 --> 01:12:15,760
Speaker 3: style of how podcasts used to be. Remember the old

1377
01:12:15,840 --> 01:12:20,280
Speaker 3: days folks like around, like let's say two thousand and four,

1378
01:12:21,200 --> 01:12:23,720
Speaker 3: when people made podcasts just for fun and didn't put

1379
01:12:23,720 --> 01:12:26,840
Speaker 3: ads in them and just kind of like, yeah, they

1380
01:12:26,880 --> 01:12:29,920
Speaker 3: were personal and simple and very niche. That's that's what

1381
01:12:30,000 --> 01:12:32,680
Speaker 3: Rusty Needle's Record Club is. It's a two thousand and

1382
01:12:32,720 --> 01:12:36,920
Speaker 3: four style podcast. And if you like music and you

1383
01:12:36,960 --> 01:12:39,560
Speaker 3: want to expand your musical horizons, or perhaps you just

1384
01:12:39,600 --> 01:12:41,240
Speaker 3: don't have anyone around you that you can have those

1385
01:12:41,320 --> 01:12:43,640
Speaker 3: kind of conversations with, you can at least have like

1386
01:12:43,680 --> 01:12:46,400
Speaker 3: a parasocial relationship with me and my co host Scott

1387
01:12:46,439 --> 01:12:49,480
Speaker 3: as we talk about music. Our goal of the podcast

1388
01:12:49,640 --> 01:12:52,559
Speaker 3: is to listen to every single album ever made, and

1389
01:12:52,720 --> 01:12:57,080
Speaker 3: so far we're doing great. It's we are progressively moving

1390
01:12:57,080 --> 01:13:00,439
Speaker 3: towards that direction. So if you want to join us,

1391
01:13:00,560 --> 01:13:03,719
Speaker 3: just look up Rusty Needles Record Club anywhere you listen

1392
01:13:03,720 --> 01:13:07,160
Speaker 3: to podcasts. We're available everywhere, and yeah, you'll find it.

1393
01:13:07,160 --> 01:13:10,479
Speaker 3: It's easy, that's it. I join us if you feel like.

1394
01:13:10,439 --> 01:13:15,200
Speaker 1: It, all right. As for Weird House Cinema, of course,

1395
01:13:15,360 --> 01:13:18,120
Speaker 1: Stuff to Blow Your Mind is primarily a science podcast

1396
01:13:18,160 --> 01:13:20,519
Speaker 1: with core episodes on Tuesdays and Thursdays, but on Fridays

1397
01:13:20,560 --> 01:13:22,519
Speaker 1: we set aside most serious concerns to just talk about

1398
01:13:22,560 --> 01:13:25,000
Speaker 1: a weird film on Weird House Cinema. If you want

1399
01:13:25,000 --> 01:13:27,240
Speaker 1: a nice list of all the films we've covered so

1400
01:13:27,320 --> 01:13:31,000
Speaker 1: far in the show, including I guess three episodes with

1401
01:13:31,040 --> 01:13:34,360
Speaker 1: you now seth because during Joe's Brintal leave we covered

1402
01:13:34,400 --> 01:13:36,920
Speaker 1: two films I think right. If you want to find

1403
01:13:36,960 --> 01:13:39,000
Speaker 1: all of those, well, you can find a nice list

1404
01:13:38,880 --> 01:13:41,439
Speaker 1: at letterboxed dot com. It's L E T T E

1405
01:13:41,600 --> 01:13:43,840
Speaker 1: R B O x D dot com. Our username is

1406
01:13:43,840 --> 01:13:46,599
Speaker 1: weird House. There's a nice list there. Dive in there

1407
01:13:46,800 --> 01:13:49,600
Speaker 1: find something you've never seen before, or find something you

1408
01:13:49,640 --> 01:13:54,760
Speaker 1: want to revisit. It's a great tool to use. And yeah,

1409
01:13:54,760 --> 01:13:57,599
Speaker 1: in general, I'll just ask everyone out there, Hey, if

1410
01:13:57,640 --> 01:14:00,519
Speaker 1: you've never rated and reviewed the podcast one of the

1411
01:14:00,520 --> 01:14:02,320
Speaker 1: many platforms where you can get it, why don't you

1412
01:14:02,360 --> 01:14:04,640
Speaker 1: do that? That could help us out. Another thing, if

1413
01:14:04,680 --> 01:14:07,479
Speaker 1: you listen to this on Apple on Apple device, just

1414
01:14:07,479 --> 01:14:10,599
Speaker 1: maybe pop in and make sure that you're still still subscribe,

1415
01:14:10,640 --> 01:14:12,840
Speaker 1: you're still getting downloads. That also helps us out in

1416
01:14:12,880 --> 01:14:16,200
Speaker 1: the long run. Thanks as always to our excellent producer

1417
01:14:16,280 --> 01:14:19,320
Speaker 1: JJ for helping put together the show here and if

1418
01:14:19,360 --> 01:14:21,719
Speaker 1: you want to get in touch with me and or Joe,

1419
01:14:22,000 --> 01:14:24,479
Speaker 1: you can email us at contact at stuff to Blow

1420
01:14:24,520 --> 01:14:32,360
Speaker 1: your Mind dot com.

1421
01:14:32,439 --> 01:14:35,400
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1422
01:14:35,479 --> 01:14:38,280
Speaker 2: more podcasts from my heart Radio, visit the iHeartRadio app,

1423
01:14:38,439 --> 01:14:41,680
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.