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Speaker 1: Dear listeners of Hollywoodland, does it feel like you're stuck

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Speaker 1: in limbo, standing under a flickering streetlight at the corner

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Speaker 1: of Hollywood and true crime, waiting for the next episode

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Speaker 1: of Hollywoodland to drop?

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Speaker 2: I got you.

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Speaker 1: Welcome to Hollywoodland, the rap party. What's going on, everybody?

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Speaker 1: My name is Zeth Lundy, writer, showrunner, and good doctor

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Speaker 1: here at Double Elvis. And today in the Hollywoodland Rap Party,

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Speaker 1: we are talking about Jack Nicholson and what may be

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Speaker 1: the greatest run in movie history. And on that topic,

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Speaker 1: later in the show, I'll be joined by Jake Brennan

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Speaker 1: of Disgraceland to give you guys our recommendations for some

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Speaker 1: of our favorite runs by actors, directors, and musicians. What

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Speaker 1: is a run, you ask? I'm talking about a extended

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Speaker 1: period of time, a decade perhaps, in which an actor

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Speaker 1: or a director, a musician, an artist was untouchable and unstoppable. Plus,

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Speaker 1: I've got your calls, your texts, and your emails. So

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Speaker 1: come on, everybody, let's party. Jack Nicholson, the subject this

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Speaker 1: week in Hollywoodland, is 89 years old. He has not

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Speaker 1: been seen in a film in 16 years since 2010

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Speaker 1: when he appeared in the James L. Brooks film, How

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Speaker 1: Do You Know? 16 years. That is a long-ass time

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Speaker 1: for one of our greatest actors to essentially go dark.

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Speaker 1: You do see him occasionally courtside at a ballgame event,

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Speaker 1: in the crowd at SNL's 50th anniversary special or, you know,

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Speaker 1: at the center of one of your favorite memes about

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Speaker 1: living life to its fullest and letting it all hang out.

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Speaker 1: But there's been no interviews, no taking stock of his

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Speaker 1: own career and his life, at least not publicly. You know,

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Speaker 1: the work is being allowed to speak for itself. And

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Speaker 1: in the case of Jack Nicholson, the work speaks very,

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Speaker 1: very loudly. I love to talk about run's in an

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Speaker 1: artist's career, which is to say a stretch of time,

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Speaker 1: a consecutive series of years in which a musician or

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Speaker 1: an actor or a filmmaker was just on a tear,

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Speaker 1: next level, untouchable, the platonic ideal, all that shit, right?

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Speaker 1: I'm reminded of Stevie Wonder, who was just back on

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Speaker 1: the news recently with the 50th anniversary of Songs and

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Speaker 1: the Key of Life and how that record came out

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Speaker 1: back in 1976 during this legendary run of albums that

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Speaker 1: Stevie was releasing at the time. And I'm reminded about

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Speaker 1: this concept again now, talking about Jack Nicholson, because he's

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Speaker 1: got arguably one of, if not the greatest runs of

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Speaker 1: all time. And his happens to be an entire decade,

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Speaker 1: the 1970s. I saw Ethan Hawke a while back, I

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Speaker 1: believe speaking on a podcast maybe, or it was just

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Speaker 1: an interview as part of a junket for a movie

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Speaker 1: or TV show he was in. And he was making

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Speaker 1: the argument that Jack Nicholson's decade, well, a decade plus

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Speaker 1: one year, 1969 to 1980, is the single greatest run

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Speaker 1: an actor has ever had. Ethan Hawke said something like,

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Speaker 1: you know, he walked up and kissed God 10 times

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Speaker 1: during this stretch. And this isn't the first time I've

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Speaker 1: heard this argument made, by the way. But it got

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Speaker 1: me to wondering, is this correct? Is Jack Nicholson's decade,

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Speaker 1: decade plus one year, the greatest run for an actor

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Speaker 1: in movie history. It seems like it might be on

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Speaker 1: the surface, but I wanted to litigate this a bit

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Speaker 1: further and really come out on the other side with

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Speaker 1: a definitive take on this question. Now, before we do that,

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Speaker 1: I think there's an important distinction to be made. Are

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Speaker 1: we talking the greatest performances in a film or are

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Speaker 1: we talking the greatest films? I think it's a little

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Speaker 1: bit of both because of course, you know, the person

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Speaker 1: has got to be good in the thing, right? But

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Speaker 1: I think the film being great weighs a little bit

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Speaker 1: more in my book. Like, you can give a great

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Speaker 1: performance in a film that nobody likes and nobody wants

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Speaker 1: to talk about anymore. And so I think that sort

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Speaker 1: of counts for less, you know? The movies have to

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Speaker 1: be great, right? Above all else. And of course, Jack

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Speaker 1: makes a lot of these movies great, but these movies

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Speaker 1: are just a great period, and Jack is great in them.

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Speaker 1: You know, I also think that the quality must be

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Speaker 1: matched by quantity. Like, John Cazale had a killer run

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Speaker 1: in the 1970s. Every movie he was in was nominated

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Speaker 1: for Best Picture, but he only made five films before

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Speaker 1: his death. So do we hold the lack of quantity

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Speaker 1: against John Cazale?

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Speaker 3: Perhaps.

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Speaker 1: I think part of the argument with Jack Nicholson is,

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Speaker 1: just like Ethan Hawke said, he walked up and kissed

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Speaker 1: God not five times, but ten times, right? So let's

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Speaker 1: just look at the data here, okay? Jack Nicholson... Even

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Speaker 1: before the decade starts, he appears in Dennis Hopper's groundbreaking

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Speaker 1: film Easy Rider in 1969 as a lawyer that Hopper

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Speaker 1: and Peter Fonda's characters pick up on the road. And

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Speaker 1: it should be mentioned, just to be mentioned, that immediately

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Speaker 1: before that, in 1968, Jack co-wrote the Monkees film Head, which,

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Speaker 1: if I'm being honest, is not very good at all.

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Speaker 1: I watched that recently, all the way through for the

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Speaker 1: first time. Thank you, Criterion Channel. And it's just, it's

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Speaker 1: an incredible artifact from its time. And just to think

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Speaker 1: about Jack Nicholson sitting around an apartment with the monkeys

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Speaker 1: getting high and writing a screenplay in the vein of

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Speaker 1: like a hard day's night is pretty incredible. But at

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Speaker 1: the end of the day, you know, I wish the

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Speaker 1: movie was better. The soundtrack is great, or the album

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Speaker 1: that came out of that is great. But the movie,

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Speaker 1: not so much. Anyways, 1969 kicks things off here, right?

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Speaker 1: And then here's Jack Nicholson's decade, okay? In 1970, he's

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Speaker 1: in a film called On a Clear Day You Can

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Speaker 1: See Forever. This is a musical. He's also in a

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Speaker 1: movie called The Rebel Rousers with Bruce Dern and Harry

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Speaker 1: Dean Stanton. This was a movie that had been shot

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Speaker 1: years prior, but had been put on a shelf and

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Speaker 1: was finally released after Easy Rider because it was one

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Speaker 1: of these biker films that And so it was trying

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Speaker 1: to catch the wind there with Easy Rider. Didn't really

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Speaker 1: catch it, though. 1970 is also the year of Five

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Speaker 1: Easy Pieces, which I believe is, no, it's not the

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Speaker 1: first film he made with Bob Raffleson, because Bob Raffleson

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Speaker 1: made Head. But this is a guy, this director, Bob Raffleson,

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Speaker 1: is somebody that Jack worked with a lot during this period.

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Speaker 1: And Five Easy Pieces is sort of like his first, like,

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Speaker 1: Jack's first, like, major, like, oh, wow, this guy, you know,

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Speaker 1: we got to keep an eye on this actor, right? 1971,

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Speaker 1: he makes Carnal Knowledge from Mike Nichols, co-starring Art Garfunkel.

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Speaker 1: He also makes A Safe Place with Orson Welles and

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Speaker 1: Tuesday Weld. This is kind of a disaster. And then

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Speaker 1: this is the year of his directorial debut, which is

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Speaker 1: a film called Drive, he said. And if you've heard

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Speaker 1: the Jack Nicholson episode that we released a few days ago,

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Speaker 1: You know that Jack had this legendary fight with the

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Speaker 1: MPAA over an X rating for this movie. He fought

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Speaker 1: the law, and the law did not win. Jack Nicholson won. 1972,

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Speaker 1: The King of Marvin Gardens, again for Bob Raffleson. 1973,

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Speaker 1: The Last Detail for Hal Ashby. 74, Chinatown, directed by

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Speaker 1: Roman Polanski. And then 1975 is a big year. Jack

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Speaker 1: stars in four movies that year. He's in Tommy, Ken

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Speaker 1: Russell's adaptation of the Who's Rock Opera. He's in The Passenger,

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Speaker 1: directed by Michelangelo Antonioni, which we will talk about in

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Speaker 1: depth later this week in the screening room. He's in

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Speaker 1: The Fortune. It's a Mike Nichols film, another Mike Nichols

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Speaker 1: film with Warren Beatty. And, of course, he's in One

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Speaker 1: Flew Over the Cuckoo's Nest, directed by Milos Forman, which

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Speaker 1: wins him the Best Actor Oscar. 1976, The Missouri Breaks,

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Speaker 1: an Arthur Penn movie with Marlon Brando. Also, The Last Tycoon,

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Speaker 1: an Ilya Kazan movie with Robert De Niro. 1978, Going South.

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Speaker 1: This is also directed by Jack. I remember the picture

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Speaker 1: on the cover of this VHS tape at the video

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Speaker 1: rental store back in the day just scared the shit

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Speaker 1: out of me because it's like Jack Nicholson is like

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Speaker 1: looking at you with that like devilish grin of his

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Speaker 1: and his head is near a noose. His head's not

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Speaker 1: in the noose, but it's near the noose and he's

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Speaker 1: giving you this, it always just creeped the shit out

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Speaker 1: of me. So I never, I never, I still haven't

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Speaker 1: watched Going South because it's the front of the VHS tape, man.

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Speaker 1: And then, of course, 1980 caps it all off with

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Speaker 1: his performance as Jack Torrance in Stanley Kubrick's adaptation of

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Speaker 1: Stephen King's The Shining. Now, going through this list, there

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Speaker 1: are 18 movies total in an 11-year period. And not

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Speaker 1: all of them are quote-unquote great films, but the ones

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Speaker 1: that are great are really great. And Jack is great

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Speaker 1: in them. Easy Rider, Five Easy Pieces, Carnal Knowledge, King

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Speaker 1: of Marvin Gardens, The Last Detail, Chinatown, The Passenger, One

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Speaker 1: Flew Over the Cuckoo's Nest, and The Shining. I mean, honestly, guys, like,

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Speaker 1: if it was just The Last Detail, Chinatown, The Passenger,

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Speaker 1: One Flew Over the Cuckoo's Nest, and The Shining, that's

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Speaker 1: pretty convincing there as it is, right? But taken all

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Speaker 1: together with all this other stuff going on, it's quite

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Speaker 1: one hell of a decade. But is this the greatest run?

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Speaker 1: Who else could have had a 10 run that is better? Well,

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Speaker 1: what about Robert De Niro? I'm choosing this strategically. I'm

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Speaker 1: going to start the decade in 1973, which is the

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Speaker 1: year of Mean Streets, the Martin Scorsese film. It's also

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Speaker 1: the year of a movie called Bang the Drum Slowly

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Speaker 1: that De Niro was in. 1974, The Godfather Part II. 1976,

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Speaker 1: he's in Taxi Driver. 1900, which is a Bertolucci film,

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Speaker 1: and The Last Tycoon. 1977, New York, New York, again

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Speaker 1: for Scorsese. 78, The Deer Hunter. 1980, Raging Bull. 1981,

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Speaker 1: True Confessions. I have not seen that before. 1982, The

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Speaker 1: King of Comedy. And 1984, Once Upon a Time in

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Speaker 1: America for Sergio Leone. You know, I guess you could

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Speaker 1: probably say seven of these are masterpieces. In my opinion,

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Speaker 1: it would be Mean Streets, Godfather II, Taxi Driver, The

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Speaker 1: Deer Hunter, Raging Bull, The King of Comedy, and Once

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Speaker 1: Upon a Time in America. Pretty solid. Pretty solid. I

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Speaker 1: think Jack's got him beat, but pretty solid. Pacino, Al Pacino.

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Speaker 1: This kind of surprised me a little bit. Again, strategically

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Speaker 1: choosing my decade here. We're going to look at the 70s,

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Speaker 1: I guess, for Pacino. but starting in 71 with The

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Speaker 1: Panic in Needle Park, 72, The Godfather, 73, Scarecrow and Serpico, 74,

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Speaker 1: The Godfather Part II, 75, Dog Day Afternoon, 77, Bobby Deerfield, 79,

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Speaker 1: and Justice for All, 1980, Cruising, the infamous William Friedkin picture.

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Speaker 1: You know, Pacino starts strong in the 70s, but I

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Speaker 1: gotta argue, you know, does not end as strong. The Godfather,

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Speaker 1: Godfather II, Dog Day Afternoon, I mean, those are incredible.

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Speaker 1: Scarecrow is solid. Serpico, I've never been a big fan of.

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Speaker 1: And then Bobby Deerfield and Justice for All, I mean, again,

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Speaker 1: I think Jack's got Pacino beat. What about Meryl Streep? Again,

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Speaker 1: a strategic decade here, starting with 78 and The Deer Hunter. 79,

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Speaker 1: Meryl Streep is in Manhattan, the Woody Allen film. She's

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Speaker 1: in The Seduction of Joe Tynan. And she is in

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Speaker 1: Kramer vs. Kramer, for which she won an Academy Award. 1981,

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Speaker 1: The French Lieutenant's Woman. 1982, Still of the Night and

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Speaker 1: Sophie's Choice. 1983, Silkwood. 1984, Falling in Love. 1985, Plenty

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Speaker 1: and Out of Africa. 86, She's in Heartburn. 87, Ironweed.

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Speaker 1: And 1988, Evil Angels, a.k.a. A Cry in the Dark.

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Speaker 1: This is what I was talking about earlier. with balancing

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Speaker 1: the quality of the performance with the quality of the film.

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Speaker 1: I think you could make the argument that Meryl Streep

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Speaker 1: is great throughout this whole decade, but I'm not sure

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Speaker 1: that the quality of all the films really rises to

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Speaker 1: Jack Nicholson's level in the 70s. What about Denzel Washington?

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Speaker 1: Let's look at the 1990s for Denzel. We'll start in

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Speaker 1: 89 with Glory and the Mighty Quinn. 1990, he's in

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Speaker 1: Heart Condition and Mo' Betta Blues. 1991, he's in Mississippi

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Speaker 1: Masala and Ricochet. 92, he's in Malcolm X, which I

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Speaker 1: incidentally just rewatched recently. Still rules. 1993, Much Ado About Nothing,

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Speaker 1: The Pelican Brief, and Philadelphia. 95, Crimson Tide, Virtuosity, Devil

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Speaker 1: in a Blue Dress. 96, Courage Under Fire, The Preacher's Wife. 1998, Fallen,

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Speaker 1: He Got Game, and The Siege. And then in 99,

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Speaker 1: he was in The Bone Collector and The Hurricane. I

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Speaker 1: think we're running into a similar issue here that we've

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Speaker 1: run into with some other people where it's like the

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Speaker 1: highs are very high here for quality of movie and

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Speaker 1: quality of performance. But one thing that makes Denzel so incredible,

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Speaker 1: first of all, the dude, food acting, like I was

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Speaker 1: watching Malcolm X last night and I was saying to

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Speaker 1: my wife as we were watching it, like Philip Seymour

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Speaker 1: Hoffman used to talk about how cigarettes were great for

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Speaker 1: actors because it gives them something to do with their hands, right? Denzel,

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Speaker 1: what he does with food is incredible. He'll be like,

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Speaker 1: eating food and delivering these lines with this menace and control.

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Speaker 1: And he'll say these things that will kind of send

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Speaker 1: a chill down your spine, but he does it while

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Speaker 1: he's using his tongue to clean food out of his

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Speaker 1: mouth or whatever he's in the middle of eating. It's

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Speaker 1: incredible food work that Denzel's done. But beyond that, Denzel...

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Speaker 1: is so good that he can lift a subpar film.

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Speaker 1: You want to watch a movie because he is in it,

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Speaker 1: regardless of the fact that the film itself holds up, right?

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Speaker 1: And this happens time and time again with Denzel. It's

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Speaker 1: not the greatest film of all time, but he's so

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Speaker 1: good in it, you'll watch it. But again, I think

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Speaker 1: Jack's films, the quality of the films, and the quality

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Speaker 1: of the performance are both at a higher level. Denzel's

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Speaker 1: Performance quality certainly is always high. What about directors? Scorsese, 1980s,

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Speaker 1: in my opinion, is his greatest decade. That's the decade

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Speaker 1: of Raging Bull, The King of Comedy, After Hours, The

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Speaker 1: Color of Money, The Last Temptation of Christ, and Goodfellas.

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Speaker 1: What about Spielberg? Spielberg's 1980s, Raiders of the Lost Ark, E.T.,

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Speaker 1: Indiana Jones and the Temple of Doom, The Color Purple,

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Speaker 1: Empire of the Sun, Indiana Jones and the Last Crusade,

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Speaker 1: and always. What about the 90s for Spielberg? Hook, Jurassic Park,

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Speaker 1: Schindler's List, The Lost World, Jurassic Park, Amistad, Saving Private Ryan.

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Speaker 1: What about the 2000s, Steven Spielberg? AI, Artificial Intelligence, Minority Report,

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Speaker 1: Catch Me If You Can, The Terminal, War of the Worlds, Munich,

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Speaker 1: and Indiana Jones and the Kingdom of the Crystal Skull.

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Speaker 1: It's harder for directors because they aren't able to get

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Speaker 1: in as many films as an actor can, right? So

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Speaker 1: it's kind of an apples and oranges sort of thing.

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Speaker 1: But I think this is highly unscientific because we really haven't...

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Speaker 1: I don't have the time to fully litigate every single

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Speaker 1: actor's filmography here. But I think Ethan Hawke is probably right.

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Speaker 1: My gut tells me. I think Jack Nicholson has the

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Speaker 1: greatest decade, the greatest run for an actor. There's something

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Speaker 1: about all those films too, the great films in that

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Speaker 1: decade in which Jack's presence is so rebellious and he

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Speaker 1: taunts the status quo in this very charming yet very

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Speaker 1: mischievous way. You know, he's sort of the best avatar

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Speaker 1: for 1970s film because it really felt like the guardrails

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Speaker 1: had come off and the artist was in control and

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Speaker 1: there was no better artist flaunting that control than Jack Nicholson.

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Speaker 1: But I'm curious what you guys think. This week's question

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Speaker 1: of the week, which actor has the best run in

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Speaker 1: movie history? In your opinion, maybe it's a decade. Maybe

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Speaker 1: it's shorter than that or longer than that, but who

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Speaker 1: you got? Is it Jack? Is it Meryl Streep? Is

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Speaker 1: it Gary Oldman?

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Speaker 2: I don't know.

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Speaker 1: Call or text me, 617-906-6638. You can also email me

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Speaker 1: at disgracelandpod at gmail.com. Now, a little bit later in

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Speaker 1: the show, I'm going to be joined, as I am

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Speaker 1: every week, by Jake Brennan, host of Disgraceland, and we're

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Speaker 1: going to give you guys some of our recommendations. We

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Speaker 1: call them dirty wrecks around these parts, by the way.

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Speaker 1: We're going to give you our dirty wrecks for some

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Speaker 1: of our favorite runs in movie and music history. I'll

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Speaker 1: be bringing the movie wrecks as usual, and Jake will

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Speaker 1: have the music wrecks. So stick around for that. Stick

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Speaker 1: around also for later this week. I mentioned The Passenger earlier,

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Speaker 1: one of the four films that Jack Nicholson starred in

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Speaker 1: in the year 1975, and I'm going to feature that

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Speaker 1: film this Friday in a brand new episode of The

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Speaker 1: Screening Room right here in the feed. This was a

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Speaker 1: first timer for me, guys. I'd never seen The Passenger before.

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Speaker 1: It's been on my list forever. It's a major blind spot,

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Speaker 1: but I used this opportunity to correct that, and I'm

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Speaker 1: going to talk about it, talk about it all on Friday,

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Speaker 1: all right? And then next week on Monday, we'll be

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Speaker 1: back with a scripted and sound design episode from our

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Speaker 1: archive on Joan Crawford. I'm programming it here during this month, November,

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Speaker 1: because of her surprising connection to the JFK assassination, which

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Speaker 1: happened this month, 63 years ago. Actually, we've got two

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Speaker 1: episodes back to back that have something to do with

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Speaker 1: JFK assassination, Joan Crawford next week, and Woody Harrelson the

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Speaker 1: week after, but I'm getting ahead of myself. So let's

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Speaker 1: get back on track. Let's hear what y'all had to

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Speaker 1: say this past week, shall we? Your calls, your texts,

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Speaker 1: your emails, and more coming up right after this quick break.

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Speaker 1: All right, guys, Dr. Lundy back here with you, hanging

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Speaker 1: in the Hollywoodland wrap party. 617-906-6638. That's my number. That's

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Speaker 1: how you get in touch. You can call me. You

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Speaker 1: can text me. You can... What have we been talking

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Speaker 1: about this past week? We've been talking about New Hollywood's

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Speaker 1: Big Bang. We've been talking about serial killer movies. We've

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Speaker 1: been talking about autumnal films. I feel like you've got

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Speaker 1: to say serial killer movies and autumnal films because... autumnal

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Speaker 1: has a more sort of like, you know, debonair sort

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Speaker 1: of flair to it. So you're not going to say movies.

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Speaker 1: You're not going to degrade the word autumnal with movies.

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Speaker 1: You're going to say films, okay? So autumnal films. I

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Speaker 1: got a listener here who hit for the cycle on

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Speaker 1: all these subjects. Matt, can you play this voicemail from

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Speaker 1: the 630?

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Speaker 2: Hey, I just listened to Dr. Zeth's Hollywoodland about the

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Speaker 2: big bang in Hollywood. But it got me to thinking

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Speaker 2: about maybe possibly even a bigger bang that happened around

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Speaker 2: that time, maybe two years later, when Sam Peckinpah released

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Speaker 2: The Wild Bunch, which was ultra-violent for that time. And

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Speaker 2: I think that it really had a pretty big mark

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Speaker 2: on society and Hollywood today. In general, I also wanted

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Speaker 2: to mention Dr. Zep had talked about serial killer movies.

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Speaker 2: One that really resonated with me was John McNaughton's 1986

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Speaker 2: Henry portrait of a serial killer. While not a horror movie,

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Speaker 2: it definitely is a deep dive into the depraved mind

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Speaker 2: of not only one, but two serial killers. It's a

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Speaker 2: grimy little piece of film that I don't know that

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Speaker 2: many people.

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Speaker 3: Know about it.

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Speaker 2: You've probably heard of it or seen it. It is

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Speaker 2: like really dark and it's deep. And its location shooting

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Speaker 2: in Chicago is pretty incredible, especially from back then. Third,

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Speaker 2: my favorite autumnal film is a David Cronenberg film from

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Speaker 2: 1977 called Rabid. which I think Rabid tends to get

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Speaker 2: tossed off regarding Cronenberg's canon, but I think it's one

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Speaker 2: of his most important films because I think that what

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Speaker 2: that movie did was it influenced not only the body

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Speaker 2: horror that Cronenberg addressed after that film, but And also,

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Speaker 2: while it's not a zombie film, it certainly could be

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Speaker 2: put in with all of those zombie films. But the

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Speaker 2: difference between that one and every other one is that

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Speaker 2: it actually shows the inception of an infection. So yeah,

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Speaker 2: so I would definitely recommend it.

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Speaker 1: See what I said? Hitting for the cycle here. I

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Speaker 1: love this voicemail. Thank you, 630, for reaching out, talking

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Speaker 1: about new Hollywood's Big Bang, talking about serial killer movies,

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Speaker 1: talking about autumnal films. I almost mentioned The Wild Bunch

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Speaker 1: last week when I was talking about this stuff, this

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Speaker 1: new Hollywood Big Bang thing. And you're totally right. The

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Speaker 1: Wild Bunch comes out in 1969. It's one of the

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Speaker 1: most violent films that Hollywood has ever seen. And I

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Speaker 1: think it really blows the door open for what comes

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Speaker 1: down the pike in the 1970s. I think this is

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Speaker 1: everyone's gateway into Sam Peckinpah, right? This was the first

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Speaker 1: Peckinpah film I ever saw, really established his filmmaking syntax,

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Speaker 1: which is his style, which is very one of one,

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Speaker 1: all that's the slow motion violence. And yeah, I almost

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Speaker 1: talked about The Wild Bunch. I'm glad you mentioned it

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Speaker 1: because it definitely fits into the conversation here with Bonnie

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Speaker 1: and Clyde and with Point Blank. Henry Portrait of a

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Speaker 1: Serial Killer. I was talking about the Going South VHS

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Speaker 1: cover art before. Henry Portrait of a Serial Killer has

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Speaker 1: a very similar thing to me. I remember seeing a

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Speaker 1: still from this film. I think it was the cover,

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Speaker 1: the poster or the whatever, the cover art in Premiere

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Speaker 1: Magazine or somewhere else. And it's like the dude looking

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Speaker 1: in the mirror, right? He's like in this like dingy

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Speaker 1: bathroom looking in a mirror at himself. Just that image

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Speaker 1: alone was enough for me to be like, yeah, I

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Speaker 1: don't know.

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Speaker 2: I don't know.

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Speaker 1: This movie's for me. But it's been on my list

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Speaker 1: of blind spot movies for a long time, and I'm

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Speaker 1: going to get around to correcting that at some point.

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Speaker 1: So thanks for the reminder. And also, you know, this

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Speaker 1: autumnal film you nominated, Rabid, by David Cronenberg, I was

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Speaker 1: not even aware of this movie. And I've been on

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Speaker 1: the record as of late for sort of being a

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Speaker 1: noob when it comes to Cronenberg, and I'm trying to

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Speaker 1: rectify that. But I have not heard of Rabid, so

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Speaker 1: now I'm interested in this as well. So, 630... Thank

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Speaker 1: you for the call. Thank you for the recs. If

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Speaker 1: you guys want to call, just like the 630, you

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Speaker 1: can do so by dialing 617-906-6638. Got a text here

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Speaker 1: from the 412. Says, hey, Dr. Lundy, cheating a little

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Speaker 1: because it's TV, but Twin Peaks is our annual post-Halloween rewatch.

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Speaker 1: I know it takes place in February, but it feels

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Speaker 1: like autumn to me. The woods, the coffee, the cozy sweaters,

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Speaker 1: the creeping sense that something is deeply wrong. Perfect fall viewing. 412,

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Speaker 1: I could not agree more. And incidentally, I'm doing the

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Speaker 1: same thing right now. I'm watching Twin Peaks from the beginning.

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Speaker 1: I'm watching it with my son. He's watching it for

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Speaker 1: the first time. He is suddenly interested in Lynchian stuff.

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Speaker 1: And I'm happy to report that not only is he

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Speaker 1: really enjoying it, but he's really reveling in the humor

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Speaker 1: of it all. You know, like, Agent Cooper, like the

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Speaker 1: dream logic of Agent Cooper throwing rocks at a bottle

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Speaker 1: to sort of narrow down suspects for who killed Laura Palmer,

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Speaker 1: like he thought that was hysterical. So yeah, I'm happy

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Speaker 1: to report the kids are all right. Twin Peaks is

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Speaker 1: still resonating. And it definitely feels, I guess I missed

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Speaker 1: the part where it takes place in February, because it

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Speaker 1: really does feel like fall for all the reasons that

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Speaker 1: you mentioned. Yeah, appreciate that 412.

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Speaker 3: 617-906-6638.

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Speaker 1: It's got a text here from the 270. And this

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Speaker 1: is about, we covered the Silence of the Lambs in

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Speaker 1: the screening room last week. Hey, Dr. Zeth, it's Kate

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Speaker 1: from the 270. Silence of the Lambs came out when

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Speaker 1: I was 15 and I saw it when my dad

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Speaker 1: decided to rent it from the local video store. Remember those?

416
00:25:57,330 --> 00:25:59,550
Speaker 1: We were so small town, we didn't have a blockbuster yet.

417
00:26:00,109 --> 00:26:02,330
Speaker 1: And we watched it in an afternoon where my mom

418
00:26:02,390 --> 00:26:05,689
Speaker 1: and brother weren't home. I was instantly pulled in and

419
00:26:05,710 --> 00:26:08,940
Speaker 1: didn't move the entire runtime. the camera angles where it

420
00:26:09,000 --> 00:26:11,340
Speaker 1: feels like every man looms over you and talks down

421
00:26:11,380 --> 00:26:13,899
Speaker 1: to you. God, I've been there my whole life and

422
00:26:13,920 --> 00:26:17,650
Speaker 1: at 15 was really starting to feel that personally. Then

423
00:26:17,670 --> 00:26:19,989
Speaker 1: I was barely five feet tall and tiny and when

424
00:26:20,010 --> 00:26:23,470
Speaker 1: you are, people think you're easy to intimidate. After all,

425
00:26:23,510 --> 00:26:25,379
Speaker 1: if they're a lot bigger, they can pick you up

426
00:26:25,450 --> 00:26:27,280
Speaker 1: and move you out of the way or where they

427
00:26:27,320 --> 00:26:29,320
Speaker 1: want you to go or somewhere they can make bad

428
00:26:29,359 --> 00:26:32,420
Speaker 1: things happen to you. Now at 51, I'm barely five

429
00:26:32,460 --> 00:26:34,470
Speaker 1: foot two in shoes and And while I'm a bit

430
00:26:34,510 --> 00:26:37,030
Speaker 1: more sturdy, men in particular will loom over you if

431
00:26:37,070 --> 00:26:40,149
Speaker 1: they want to intimidate you. This movie also, if I

432
00:26:40,609 --> 00:26:43,250
Speaker 1: hadn't already been fascinated by true crime, would have kicked

433
00:26:43,290 --> 00:26:46,010
Speaker 1: it off. As it was, it kicked it into high gear.

434
00:26:46,410 --> 00:26:48,710
Speaker 1: For the longest time, I wanted to be an FBI agent.

435
00:26:49,090 --> 00:26:51,210
Speaker 1: I got over it, but instead of law enforcement, ended

436
00:26:51,270 --> 00:26:54,800
Speaker 1: up in healthcare, going from pharmacy, I'm still a certified

437
00:26:54,840 --> 00:26:57,000
Speaker 1: pharmacy technician, it's a lot of work to get there

438
00:26:57,040 --> 00:27:00,139
Speaker 1: and less work to keep your certification, to ambulance billing,

439
00:27:00,460 --> 00:27:03,859
Speaker 1: to hospital switchboard, to medical reception, And now I'm an

440
00:27:04,020 --> 00:27:08,220
Speaker 1: ambulance dispatcher and EMD certified. So in the end, we

441
00:27:08,240 --> 00:27:11,460
Speaker 1: get calls that are the result of people finding bodies sometimes.

442
00:27:11,940 --> 00:27:14,879
Speaker 1: It's definitely not crime scene investigation or chasing down murderers,

443
00:27:15,270 --> 00:27:18,050
Speaker 1: but it still keeps the adrenaline going. I still watch

444
00:27:18,070 --> 00:27:22,230
Speaker 1: this movie once a year. It's that good. Kate, thank

445
00:27:22,250 --> 00:27:29,070
Speaker 1: you for that message. Fascinating career there. My oldest daughter,

446
00:27:30,830 --> 00:27:32,790
Speaker 1: this is her last year in high school, for the

447
00:27:32,810 --> 00:27:34,890
Speaker 1: longest time, she wanted to be an FBI agent as well.

448
00:27:34,930 --> 00:27:41,290
Speaker 1: She wanted to be like a psychological profile kind of thing,

449
00:27:41,310 --> 00:27:44,830
Speaker 1: like a mind hunter. So yeah, I hear that. She

450
00:27:44,990 --> 00:27:47,649
Speaker 1: sort of abandoned that idea, I don't know, like a

451
00:27:47,670 --> 00:27:49,530
Speaker 1: year ago or so. But for the longest time, she

452
00:27:49,550 --> 00:27:51,859
Speaker 1: was really holding on to it. I think this movie

453
00:27:51,890 --> 00:27:54,860
Speaker 1: really nails that. I talked about it already, and you've

454
00:27:54,980 --> 00:27:56,760
Speaker 1: just talked about it here too, but I'll just reiterate.

455
00:27:57,180 --> 00:28:01,640
Speaker 1: It really does nail that feeling of sort of being,

456
00:28:01,900 --> 00:28:04,620
Speaker 1: I don't know, maybe not the shortest person in the room,

457
00:28:04,640 --> 00:28:06,780
Speaker 1: but the most vulnerable person in the room and how

458
00:28:07,540 --> 00:28:11,640
Speaker 1: everyone just wants to take advantage of that and overcoming that,

459
00:28:11,720 --> 00:28:15,320
Speaker 1: overpowering that to, you know, get the bad guy in

460
00:28:15,359 --> 00:28:18,240
Speaker 1: the end, which is what happens. And Kate, thank you

461
00:28:18,260 --> 00:28:21,060
Speaker 1: so much for reaching out again. Keep the messages coming, 617-906-6638.

462
00:28:21,060 --> 00:28:27,450
Speaker 1: Text from the 304. Says, Dr. Zeth, you really should

463
00:28:27,470 --> 00:28:30,290
Speaker 1: read some Thomas Harris. Start with Red Dragon and then

464
00:28:30,430 --> 00:28:32,490
Speaker 1: go to Silence of the Lambs. They are the two

465
00:28:32,530 --> 00:28:35,690
Speaker 1: best and are in conversation. The later novels are good,

466
00:28:35,730 --> 00:28:38,110
Speaker 1: but you have to develop the taste for Harris. Once

467
00:28:38,130 --> 00:28:40,470
Speaker 1: you've read Red Dragon, I'll tell you my story about

468
00:28:40,510 --> 00:28:42,870
Speaker 1: the great Red Dragon and the woman clothed in the

469
00:28:42,930 --> 00:28:47,790
Speaker 1: sun by William Blake. Ooh, 304. Now you're speaking my language.

470
00:28:47,810 --> 00:28:51,170
Speaker 1: If you're speaking about the William Blake, love that dude's,

471
00:28:51,930 --> 00:28:56,440
Speaker 1: that dude's art. Text from the 901. Hey, Zeth, Elizabeth

472
00:28:56,560 --> 00:29:00,160
Speaker 1: from the 901 slash 731 here. I just drove an

473
00:29:00,220 --> 00:29:05,460
Speaker 1: hour to watch the You Can See Everything documentary. Wow,

474
00:29:05,540 --> 00:29:08,480
Speaker 1: definitely nothing like it before her husband. Like, what the hell?

475
00:29:08,530 --> 00:29:11,070
Speaker 1: I'm not sure if she just dates controlling partners or

476
00:29:11,090 --> 00:29:13,050
Speaker 1: if it's all part of their act. Such a weird

477
00:29:13,090 --> 00:29:16,210
Speaker 1: vibe in their rental. And by the end, doesn't Billy

478
00:29:16,250 --> 00:29:18,570
Speaker 1: appear to be on coke or something? The sniffling and

479
00:29:18,650 --> 00:29:23,280
Speaker 1: wild eyes. Wild ride. Anyway, love the show. Elizabeth, thank you.

480
00:29:23,360 --> 00:29:25,640
Speaker 1: I'm glad you sought that movie out, and I can

481
00:29:25,680 --> 00:29:28,920
Speaker 1: relate to driving an hour to see a decent film.

482
00:29:28,920 --> 00:29:31,690
Speaker 1: It's funny you said, is it all part of their act?

483
00:29:31,690 --> 00:29:34,540
Speaker 1: It's like, the more I think about this movie, the

484
00:29:34,540 --> 00:29:36,580
Speaker 1: more I'm like, is it really, is it actually not

485
00:29:36,600 --> 00:29:39,440
Speaker 1: a documentary? And everyone's just sort of like in on it.

486
00:29:39,460 --> 00:29:43,260
Speaker 1: And it's like, cause it's so, so fucking weird. Like,

487
00:29:43,320 --> 00:29:48,050
Speaker 1: why would you hire a documentary crew to come watch

488
00:29:48,170 --> 00:29:51,230
Speaker 1: every single intimate moment, you know, in the weeks leading

489
00:29:51,290 --> 00:29:53,290
Speaker 1: up to going to prison? And especially when you have

490
00:29:53,330 --> 00:29:56,440
Speaker 1: a couple of small kids there, But, you know, that's

491
00:29:56,600 --> 00:29:59,330
Speaker 1: the scene where Billy is full frontal nudity in the shower,

492
00:29:59,370 --> 00:30:02,410
Speaker 1: I think tells you a lot about, you know, narcissists

493
00:30:02,510 --> 00:30:08,090
Speaker 1: and maybe and, you know, just wanting to be filmed

494
00:30:08,110 --> 00:30:09,790
Speaker 1: all the time, I guess. I don't know if you

495
00:30:09,810 --> 00:30:12,860
Speaker 1: saw Elizabeth, but Billy did some like, ask me anything

496
00:30:12,940 --> 00:30:18,459
Speaker 1: thing on X the other day. I'm just thinking about

497
00:30:18,480 --> 00:30:21,459
Speaker 1: your comment about all his sniffling and wild eyes. You

498
00:30:21,480 --> 00:30:24,200
Speaker 1: should check that, Google that if you haven't seen that yet.

499
00:30:24,930 --> 00:30:28,450
Speaker 1: You could also email us here at the show, and

500
00:30:28,470 --> 00:30:33,850
Speaker 1: you could do that by emailing disgracelandpod at gmail.com. I

501
00:30:33,870 --> 00:30:37,490
Speaker 1: got an email from Jason with the subject line, Point Blank.

502
00:30:38,430 --> 00:30:42,570
Speaker 1: Says Dr. Z, Jason in 845. I think that Point

503
00:30:42,610 --> 00:30:46,500
Speaker 1: Blank is widely considered a seminal film by many, many people.

504
00:30:47,100 --> 00:30:50,140
Speaker 1: Also think Jacob's Ladder wouldn't exist either without it. It's

505
00:30:50,160 --> 00:30:53,830
Speaker 1: a fracture of the space-time continuum. I could not believe

506
00:30:53,850 --> 00:30:55,750
Speaker 1: it when I saw it 35 years ago and had

507
00:30:55,830 --> 00:31:00,610
Speaker 1: heard nothing about it. Jason, I agree with you. I

508
00:31:00,650 --> 00:31:03,470
Speaker 1: think that Point Blank is considered a seminal film now.

509
00:31:04,110 --> 00:31:07,970
Speaker 1: I'm just talking about, you know, when I was sort

510
00:31:07,990 --> 00:31:12,820
Speaker 1: of like learning all about film history as a high

511
00:31:12,860 --> 00:31:15,400
Speaker 1: school student and then a college student and then as

512
00:31:15,480 --> 00:31:19,300
Speaker 1: a young adult after that, you know, Bonnie and Clyde,

513
00:31:19,340 --> 00:31:22,180
Speaker 1: Bonnie and Clyde, Bonnie and Clyde, The Wild Bunch. Bonnie

514
00:31:22,200 --> 00:31:24,010
Speaker 1: and Clyde, The Wild Bunch, you'd hear about the stuff,

515
00:31:24,570 --> 00:31:27,150
Speaker 1: these movies all the time. No one ever talked about

516
00:31:27,210 --> 00:31:30,950
Speaker 1: Point Blank. Nobody ever talked about Point Blank. And people

517
00:31:31,010 --> 00:31:34,490
Speaker 1: talked less about John Borman as a director. It's like

518
00:31:34,510 --> 00:31:38,320
Speaker 1: the William Friedkin thing. William Friedkin was not talked about

519
00:31:38,340 --> 00:31:42,480
Speaker 1: the way he's talked about now, back in 1995. Okay,

520
00:31:42,520 --> 00:31:44,460
Speaker 1: I swear to God, no one was like, no one

521
00:31:44,480 --> 00:31:54,510
Speaker 1: was saying, oh, Coppola and Scorsese and Cassavetes and... De Palma,

522
00:31:56,730 --> 00:31:59,290
Speaker 1: and William Friedkin. No one was talking about William Friedkin.

523
00:31:59,370 --> 00:32:01,990
Speaker 1: People were talking about The Exorcist. People were talking about

524
00:32:02,020 --> 00:32:06,440
Speaker 1: The French Connection. But there wasn't this, like, the Friedkin-autourness

525
00:32:06,500 --> 00:32:08,760
Speaker 1: of it was not a thing. Just like John Borman

526
00:32:08,800 --> 00:32:11,000
Speaker 1: was not a thing. Not in the same way that

527
00:32:11,020 --> 00:32:13,620
Speaker 1: it is today. I think that's what I was getting at.

528
00:32:13,740 --> 00:32:16,550
Speaker 1: And I completely agree with you about Jacob's Ladder. Jacob's

529
00:32:16,590 --> 00:32:20,450
Speaker 1: Ladder definitely, definitely, I hadn't even thought about that, feels...

530
00:32:21,020 --> 00:32:23,520
Speaker 1: Like it's descended from this film, the way that it's

531
00:32:23,560 --> 00:32:27,520
Speaker 1: put together. I couldn't believe when I first saw Jacob's Ladder, what,

532
00:32:27,520 --> 00:32:29,680
Speaker 1: 35 years ago, I'm taking your word for it on that,

533
00:32:30,120 --> 00:32:32,570
Speaker 1: that I just couldn't believe that movie had been made.

534
00:32:32,590 --> 00:32:35,070
Speaker 1: It was just, that shocked me at the time. And

535
00:32:35,090 --> 00:32:36,830
Speaker 1: I'm sure it would still shock me if I watched

536
00:32:36,870 --> 00:32:40,709
Speaker 1: it again today. Thanks, Jason, as always, for the email.

537
00:32:41,210 --> 00:32:44,710
Speaker 1: Real quick, before I bring Jake Brennan in here, over

538
00:32:44,870 --> 00:32:49,710
Speaker 1: in Disgraceland All Access on Patreon, which is where we've

539
00:32:49,750 --> 00:32:55,760
Speaker 1: got a robust... community of discos here, listeners of Hollywoodland

540
00:32:55,840 --> 00:32:58,320
Speaker 1: and Disgraceland who are always in conversation in the chat.

541
00:32:59,120 --> 00:33:02,890
Speaker 1: Allen over there, Disco Allen, dropped a list of serial

542
00:33:03,010 --> 00:33:06,030
Speaker 1: killer flicks. I was asking last week what your favorite

543
00:33:06,070 --> 00:33:09,650
Speaker 1: serial killer movies are. Okay, so here's Allen's list. I

544
00:33:09,670 --> 00:33:11,170
Speaker 1: wanted to read this for you guys. If you're not

545
00:33:11,690 --> 00:33:15,040
Speaker 1: over there on Disgraceland, all access on Patreon. Maybe this

546
00:33:15,080 --> 00:33:18,400
Speaker 1: will whet your appetite to go dip your toe in

547
00:33:18,440 --> 00:33:20,840
Speaker 1: the water over there. So many mixed metaphors.

548
00:33:21,380 --> 00:33:21,620
Speaker 2: Dr.

549
00:33:21,660 --> 00:33:25,880
Speaker 1: Lundy, let's, you know, come on. Okay, here's Alan's message. Okay, Zeth,

550
00:33:26,080 --> 00:33:28,180
Speaker 1: I'm game. I won't call this a top 10, but

551
00:33:28,220 --> 00:33:31,440
Speaker 1: these are definitely some favorites. Besides, you sounded less than

552
00:33:31,500 --> 00:33:34,660
Speaker 1: enthused with the Conjuring films, and I feel the need

553
00:33:34,700 --> 00:33:37,380
Speaker 1: to vindicate myself. Hold on a second. Sidebar, this is

554
00:33:37,440 --> 00:33:39,880
Speaker 1: not me talking, not Alan. Alan, I'm sorry. I didn't

555
00:33:39,920 --> 00:33:43,250
Speaker 1: mean to come off like I was less than enthused

556
00:33:43,270 --> 00:33:45,670
Speaker 1: with the Conjuring films. I did like them, and I

557
00:33:45,710 --> 00:33:48,650
Speaker 1: appreciate the recommendation. You and some others recommended those to

558
00:33:48,690 --> 00:33:52,480
Speaker 1: me over time. So all good. I did enjoy them.

559
00:33:52,640 --> 00:33:54,280
Speaker 1: So thank you for the recs. All right, back to

560
00:33:54,360 --> 00:33:57,760
Speaker 1: Alan now. Silence of the Lambs. In previous messages, I

561
00:33:57,800 --> 00:34:00,270
Speaker 1: believe I've mentioned waffling back and forth over what's my

562
00:34:00,390 --> 00:34:04,930
Speaker 1: favorite film. Silence of the Lambs or the Godardian Chungking Express.

563
00:34:05,550 --> 00:34:08,110
Speaker 1: Silence is as close to perfection as movies get. I

564
00:34:08,150 --> 00:34:10,129
Speaker 1: used to have a VHS copy of the work print.

565
00:34:10,650 --> 00:34:17,860
Speaker 1: More George Romero, more Roger Corman. Wow. Night of the Hunter. Haunting, surreal, dreamlike.

566
00:34:18,000 --> 00:34:21,489
Speaker 1: It's expressionism meets conventional narrative. with Robert Mitchum as the

567
00:34:21,570 --> 00:34:25,450
Speaker 1: fucking devil. Love, hate, this is where Radio Raheem cribbed

568
00:34:25,510 --> 00:34:29,550
Speaker 1: his worldview. Henry, portrait of a serial killer. John McNaughton

569
00:34:29,610 --> 00:34:33,010
Speaker 1: and Michael Rooker confront audiences with 83 minutes of blunt

570
00:34:33,090 --> 00:34:36,589
Speaker 1: force nihilism. Even Siskel and Ebert were champions of this one.

571
00:34:37,590 --> 00:34:40,410
Speaker 1: I saw the devil. There are some truly great Asian

572
00:34:40,450 --> 00:34:43,710
Speaker 1: serial killer films, Vengeance is Mine and Cold Fish from

573
00:34:43,750 --> 00:34:46,830
Speaker 1: Japan come to mind, as do China's Dr. Lam and

574
00:34:46,870 --> 00:34:50,840
Speaker 1: The Untold Story. In terms of pure thriller intensity, nobody,

575
00:34:50,900 --> 00:34:53,299
Speaker 1: and I mean nobody, comes close to what the South

576
00:34:53,340 --> 00:34:58,140
Speaker 1: Koreans are doing, and I Saw the Devil is jaw-dropping. Dahmer.

577
00:34:58,590 --> 00:35:01,290
Speaker 1: People always forget Jeremy Renner got his start in this

578
00:35:01,330 --> 00:35:05,549
Speaker 1: award winner playing Jeffrey Dahmer. Late 90s talking head indie

579
00:35:05,610 --> 00:35:07,230
Speaker 1: flick that's more my dinner with.

580
00:35:08,910 --> 00:35:09,149
Speaker 2: Sorry.

581
00:35:09,450 --> 00:35:14,160
Speaker 1: More my dinner with Dahmer than Jeffrey of the Lambs.

582
00:35:14,239 --> 00:35:15,120
Speaker 1: Dinner with Dahmer.

583
00:35:15,600 --> 00:35:15,680
Speaker 2: Ugh.

584
00:35:16,700 --> 00:35:20,049
Speaker 1: Okay, Shadow of a Doubt slash Frenzy. Hitchcock goes from

585
00:35:20,120 --> 00:35:23,390
Speaker 1: classy to trashy. It's interesting to explore how Hitch deals

586
00:35:23,430 --> 00:35:26,750
Speaker 1: with similar subject matter decades apart. I love how Hitch

587
00:35:26,770 --> 00:35:30,090
Speaker 1: photographs Joseph Cotton like a vampire in Shadow and Frenzy's

588
00:35:30,130 --> 00:35:35,320
Speaker 1: Barry Foster like Frankenstein. Martin. George Romero's most personal work.

589
00:35:35,570 --> 00:35:38,719
Speaker 1: Romantics think it's a vampire film. We know better. It's

590
00:35:38,780 --> 00:35:41,819
Speaker 1: made all the more bleak with that 1970s rusted urban

591
00:35:41,860 --> 00:35:46,719
Speaker 1: decay you could only find in Pittsburgh. Perfect Blue. Satoshi

592
00:35:46,760 --> 00:35:49,299
Speaker 1: Kon passed away far too young. He knocked it out

593
00:35:49,320 --> 00:35:52,120
Speaker 1: of the park with his first film, an Italian reality

594
00:35:52,160 --> 00:35:55,950
Speaker 1: masquerading as a Japanese anime. A film so good that

595
00:35:55,989 --> 00:35:58,290
Speaker 1: Darren Aronofsky cribbed the shit out of it for Black

596
00:35:58,330 --> 00:36:03,310
Speaker 1: Swan and cops to it. The vanishing Scandinavian version, of course.

597
00:36:04,090 --> 00:36:08,239
Speaker 1: Late bloomer, zero budget, Japanese shot on video slice of

598
00:36:08,560 --> 00:36:12,540
Speaker 1: WTF where a palsy stricken paraplegic drives his scooter around

599
00:36:12,600 --> 00:36:16,450
Speaker 1: Stephen Hawking style to eliminate his victims. works as either

600
00:36:16,469 --> 00:36:23,110
Speaker 1: a complete genre deconstruction or pitch black parody played completely straight. Coincidentally,

601
00:36:23,630 --> 00:36:25,930
Speaker 1: I am wearing a Night of the Hunter t-shirt as

602
00:36:25,989 --> 00:36:28,650
Speaker 1: my Silence of the Lambs forearm ink stares up at

603
00:36:28,670 --> 00:36:33,520
Speaker 1: me judgmentally. I guess I'm still holding on to Halloween. Alan,

604
00:36:33,600 --> 00:36:37,160
Speaker 1: thank you a million percent for this killer, see what

605
00:36:37,180 --> 00:36:40,060
Speaker 1: I did there? Killer list. Some stuff that I love

606
00:36:40,140 --> 00:36:42,620
Speaker 1: on here, Night of the Hunter, Shadow of a Doubt,

607
00:36:42,700 --> 00:36:46,460
Speaker 1: one of my favorite, favorite Hitchcock films. and some stuff

608
00:36:46,480 --> 00:36:48,180
Speaker 1: that I'm going to seek out for sure, like I

609
00:36:48,219 --> 00:36:51,560
Speaker 1: saw the devil. Can't wait. Thanks, Alan. And again, if

610
00:36:52,219 --> 00:36:55,440
Speaker 1: you want some of this sweet, sweet disco chat action,

611
00:36:56,260 --> 00:37:00,170
Speaker 1: go to disgracelandpod.com. Right there on the homepage is information

612
00:37:00,590 --> 00:37:02,709
Speaker 1: and a link to sign up to become a member

613
00:37:02,750 --> 00:37:06,870
Speaker 1: of Disgraceland All Access, where you get perks like hanging

614
00:37:06,930 --> 00:37:09,810
Speaker 1: out and talking with me and Alan and Jake and

615
00:37:09,850 --> 00:37:13,480
Speaker 1: Matt from the Double Elvis team. You get... You can

616
00:37:13,500 --> 00:37:17,090
Speaker 1: get ad-free listening on all of our episodes, both Hollywoodland

617
00:37:17,300 --> 00:37:20,870
Speaker 1: and Disgraceland. And if you join at the Sound and

618
00:37:20,969 --> 00:37:24,469
Speaker 1: Fury tier, which is the video tier, you get our

619
00:37:24,550 --> 00:37:29,509
Speaker 1: Patreon-exclusive monthly video podcast called This Film Should Be Played Loud,

620
00:37:30,070 --> 00:37:33,840
Speaker 1: which is co-hosted by yours truly and Jake Brennan of Disgraceland.

621
00:37:33,930 --> 00:37:37,180
Speaker 1: Every month we talk about the music in some of

622
00:37:37,239 --> 00:37:42,000
Speaker 1: our favorite movies of all time. Speaking of Jake Brennan,

623
00:37:42,460 --> 00:37:45,020
Speaker 1: he is here. He's in the house. Well, he's not

624
00:37:45,040 --> 00:37:51,830
Speaker 1: in my house, but he's in someone's house. Jake Brennan

625
00:37:51,870 --> 00:37:55,620
Speaker 1: is calling from inside the house. And right after this,

626
00:37:55,800 --> 00:37:58,400
Speaker 1: I'll be back having a conversation with Jake about our

627
00:37:58,480 --> 00:38:23,050
Speaker 1: favorite runs from music and movie history. Stay tuned. All right, everybody,

628
00:38:23,070 --> 00:38:25,410
Speaker 1: welcome back into the wrap party. I'm joined here right

629
00:38:25,710 --> 00:38:28,410
Speaker 1: now as I am every week. Well, not last week.

630
00:38:28,430 --> 00:38:29,489
Speaker 1: We missed you last week, man.

631
00:38:30,110 --> 00:38:32,030
Speaker 3: Thanks, man. It's good to be missed.

632
00:38:32,110 --> 00:38:34,969
Speaker 1: Jake, Jake Brennan from Disgraceland. Yes, you were sorely missed

633
00:38:35,010 --> 00:38:37,570
Speaker 1: last week. I kind of fumbled through the rec section

634
00:38:37,610 --> 00:38:40,880
Speaker 1: on my own. They were mildly dirty. They weren't like filthy.

635
00:38:41,219 --> 00:38:45,480
Speaker 3: They weren't fucking filthy. The filthy recs. These are dirty

636
00:38:45,540 --> 00:38:47,859
Speaker 3: heroin recs that I'm bringing today, okay? You good with that?

637
00:38:48,300 --> 00:38:48,839
Speaker 1: Yeah, yeah.

638
00:38:49,410 --> 00:38:52,830
Speaker 3: They're drunken, LSD-laden heroin wrecks, okay?

639
00:38:52,870 --> 00:38:56,279
Speaker 1: Wow, okay, great. Now we're talking about runs, right? We're

640
00:38:56,300 --> 00:38:59,540
Speaker 1: talking about, I was talking about Jack Nicholson earlier, and

641
00:38:59,660 --> 00:39:02,080
Speaker 1: Ethan Hawke had this whole thing about how Jack Nicholson's

642
00:39:02,600 --> 00:39:05,830
Speaker 1: run of films in the 70s was the greatest of

643
00:39:05,890 --> 00:39:07,610
Speaker 1: all time, and I kind of litigated that back at

644
00:39:07,630 --> 00:39:08,430
Speaker 1: the top of this episode.

645
00:39:09,370 --> 00:39:12,140
Speaker 3: Yeah, that's a great one. And I love this topic

646
00:39:12,180 --> 00:39:13,600
Speaker 3: and I love how you got to it. There's a

647
00:39:13,700 --> 00:39:15,820
Speaker 3: lot in music. There's a lot of different directions I

648
00:39:15,840 --> 00:39:17,540
Speaker 3: could have gone to in music. You had a great one,

649
00:39:17,600 --> 00:39:22,080
Speaker 3: Black Flag, which is what you texted me about. The

650
00:39:22,120 --> 00:39:24,450
Speaker 3: Rollins stuff alone there would have been fun to get into.

651
00:39:24,930 --> 00:39:27,870
Speaker 3: But I'm just coming out of this sort of, you know,

652
00:39:27,910 --> 00:39:32,029
Speaker 3: must be my 10th foray. into Rolling Stones lore in

653
00:39:32,090 --> 00:39:34,440
Speaker 3: my life. And I want to talk about this take

654
00:39:34,560 --> 00:39:36,840
Speaker 3: is not mine. I heard this take from somebody, I

655
00:39:36,900 --> 00:39:38,520
Speaker 3: think it was Bill Janovitz and I think it was

656
00:39:38,560 --> 00:39:39,739
Speaker 3: probably about 10 years ago.

657
00:39:40,140 --> 00:39:40,560
Speaker 1: Okay.

658
00:39:40,580 --> 00:39:42,520
Speaker 3: But I'm going to add to it here and it's fascinating.

659
00:39:42,940 --> 00:39:47,090
Speaker 3: And to me, it's the run of albums from Beggar's

660
00:39:47,170 --> 00:39:50,870
Speaker 3: Banquet to Exile on Main Street for the Rolling Stones. Specifically, though,

661
00:39:50,890 --> 00:39:52,810
Speaker 3: I'm not just here to say that run for the Stones.

662
00:39:53,130 --> 00:39:55,670
Speaker 3: I want to talk about Keith Richards and his creative

663
00:39:55,910 --> 00:39:58,470
Speaker 3: arc over that period. And I think it was Bill

664
00:39:58,530 --> 00:40:04,480
Speaker 3: or whoever made this point originally was arguing that beginning

665
00:40:04,560 --> 00:40:11,220
Speaker 3: with Beggar's Banquet, when Brian Jones is is going completely

666
00:40:11,400 --> 00:40:15,089
Speaker 3: off the rails creatively. The band has now become Mick

667
00:40:15,170 --> 00:40:20,530
Speaker 3: and Keith's band fully. And Brian's completely lost, nearly completely

668
00:40:20,590 --> 00:40:24,310
Speaker 3: lost to drugs and alcohol. And Keith then has to

669
00:40:24,410 --> 00:40:28,400
Speaker 3: creatively pick up the slack. And in the process of

670
00:40:28,500 --> 00:40:32,680
Speaker 3: picking up that slack, he's forced to drive himself to

671
00:40:32,820 --> 00:40:37,990
Speaker 3: create songs that are next level. fucking level. And that's

672
00:40:38,070 --> 00:40:41,230
Speaker 3: what happens specifically on let it bleed. It starts with

673
00:40:41,290 --> 00:40:44,919
Speaker 3: beggars banquet, but it really hits its apex moment with

674
00:40:45,120 --> 00:40:48,899
Speaker 3: let it bleed in those songs. Give me shelter. You

675
00:40:48,980 --> 00:40:50,320
Speaker 3: can't always get what you want.

676
00:40:50,739 --> 00:40:51,120
Speaker 1: Yeah.

677
00:40:51,520 --> 00:40:54,180
Speaker 3: Country honk, which of course started with honky tonk woman,

678
00:40:54,200 --> 00:40:56,100
Speaker 3: which I believe is beggars, beggars banquet. Right.

679
00:40:56,680 --> 00:40:58,509
Speaker 1: I think that may have just been a single, just

680
00:40:58,550 --> 00:40:58,870
Speaker 1: a single.

681
00:40:58,950 --> 00:40:59,089
Speaker 2: Okay.

682
00:40:59,170 --> 00:41:01,710
Speaker 3: Street fighting, man, all this stuff sort of comes to

683
00:41:01,750 --> 00:41:07,590
Speaker 3: fruition and it's driven out of This overcompensation that Keith

684
00:41:07,650 --> 00:41:11,290
Speaker 3: has to do creatively. Incredible. And it's before... So then

685
00:41:11,330 --> 00:41:15,930
Speaker 3: what happens, because this run for Keith continues to Sticky

686
00:41:16,010 --> 00:41:19,430
Speaker 3: Fingers and then Exile on Main.

687
00:41:19,250 --> 00:41:19,670
Speaker 2: Street, right?

688
00:41:19,710 --> 00:41:20,649
Speaker 3: That's the order, right?

689
00:41:20,810 --> 00:41:21,049
Speaker 2: Yeah.

690
00:41:21,230 --> 00:41:23,089
Speaker 3: Sticky Fingers happens and then Exile on Main Street.

691
00:41:23,110 --> 00:41:25,260
Speaker 1: Yeah, Exile and then... Goat's Head is after Exile?

692
00:41:25,440 --> 00:41:25,980
Speaker 2: Yeah. Okay.

693
00:41:26,020 --> 00:41:29,239
Speaker 3: But it stops at Exile on Main Street. And so

694
00:41:29,280 --> 00:41:32,190
Speaker 3: what happens is Mick Taylor... So they start Let It

695
00:41:32,290 --> 00:41:36,230
Speaker 3: Bleed without Brian Jones. He's not even coming to the studio.

696
00:41:36,290 --> 00:41:38,770
Speaker 3: Mick Taylor's already... He's not even in the band yet,

697
00:41:38,790 --> 00:41:41,069
Speaker 3: and he's fucking around with them in there. And so

698
00:41:41,320 --> 00:41:42,400
Speaker 3: I think this is sort.

699
00:41:42,280 --> 00:41:44,360
Speaker 1: Of the Ry Coover... My favorite lead guitarist for the Stones,

700
00:41:44,400 --> 00:41:46,560
Speaker 1: by the way. I wish he had been with them

701
00:41:46,580 --> 00:41:49,430
Speaker 1: for longer. I mean, I love Ronnie Wood, but... Man,

702
00:41:49,469 --> 00:41:51,770
Speaker 1: Mick Taylor on Exile, his leads are just delicious.

703
00:41:51,810 --> 00:41:57,109
Speaker 3: Oh, it's amazing. And this gets to my point. So

704
00:41:57,130 --> 00:42:01,430
Speaker 3: at this point, by the time Sticky Fingers starts to happen, well,

705
00:42:01,510 --> 00:42:04,650
Speaker 3: of course, he's kind of around in the world and

706
00:42:05,150 --> 00:42:08,050
Speaker 3: let it bleed. I have to correct myself from saying

707
00:42:08,070 --> 00:42:10,400
Speaker 3: let it be all the time. By the time Brian

708
00:42:10,440 --> 00:42:12,880
Speaker 3: is officially out of the band and let it bleed

709
00:42:12,940 --> 00:42:15,140
Speaker 3: comes out, and then they go on to do Sticky

710
00:42:15,180 --> 00:42:20,400
Speaker 3: Fingers without Brian and with Mick Taylor fully, Now Keith

711
00:42:20,440 --> 00:42:25,100
Speaker 3: has like this new toy, right? And Mick Taylor can

712
00:42:25,160 --> 00:42:28,879
Speaker 3: do all this shit that Keith doesn't have to worry about.

713
00:42:29,160 --> 00:42:32,350
Speaker 3: And this is simultaneously where things get great and the

714
00:42:32,430 --> 00:42:34,590
Speaker 3: wheels start to fall off for Keith Richards.

715
00:42:35,010 --> 00:42:35,230
Speaker 2: Sure.

716
00:42:35,270 --> 00:42:35,489
Speaker 3: Right?

717
00:42:35,770 --> 00:42:35,890
Speaker 2: Sure.

718
00:42:35,930 --> 00:42:38,370
Speaker 3: Because now he can take his eye off the ball

719
00:42:38,590 --> 00:42:40,710
Speaker 3: a little bit and in a weird way just become

720
00:42:40,850 --> 00:42:43,700
Speaker 3: more of the Keith Richards we've come to know. You

721
00:42:43,739 --> 00:42:48,819
Speaker 3: know what I mean? He's not the wood-shedding scientist maniac

722
00:42:49,280 --> 00:42:52,589
Speaker 3: that he was on Let It Bleed. He can fuck off,

723
00:42:52,670 --> 00:42:55,070
Speaker 3: and what happens? He fucks off. He gets into heroin

724
00:42:55,390 --> 00:42:59,650
Speaker 3: a little more fully than he was before. And exile

725
00:42:59,770 --> 00:43:03,370
Speaker 3: and sticky fingers and then exile become– Mick Taylor records.

726
00:43:03,770 --> 00:43:07,650
Speaker 3: My favorite Stone song is Sway. I don't even think

727
00:43:07,690 --> 00:43:10,569
Speaker 3: Keith Richards plays on that. I don't even think he's

728
00:43:10,739 --> 00:43:10,950
Speaker 3: on it.

729
00:43:10,950 --> 00:43:12,440
Speaker 1: I think it's all Mick.

730
00:43:12,460 --> 00:43:16,370
Speaker 3: I think it's all Mick Taylor. I'm not 100% sure

731
00:43:16,430 --> 00:43:18,589
Speaker 3: on that, but it is absolutely, if Keith is on it,

732
00:43:18,770 --> 00:43:20,430
Speaker 3: he's probably playing bass on it because he played bass

733
00:43:20,469 --> 00:43:22,509
Speaker 3: on fucking nearly everything on those albums.

734
00:43:22,530 --> 00:43:23,650
Speaker 1: Sure, yeah, yeah, yeah.

735
00:43:24,210 --> 00:43:29,230
Speaker 3: But it's Mick Taylor's song. And so anyways, Exile, I'm

736
00:43:29,969 --> 00:43:32,730
Speaker 3: not arguing that, you know, I'm not at all saying

737
00:43:32,770 --> 00:43:36,850
Speaker 3: that Mick Taylor is responsible for the greatness solely of

738
00:43:37,370 --> 00:43:41,000
Speaker 3: Sticky Fingers and Keith Richards. Just the opposite. I'm saying

739
00:43:41,020 --> 00:43:44,649
Speaker 3: that Mick Taylor's, presence allows Keith to become this other

740
00:43:44,710 --> 00:43:49,890
Speaker 3: type of creative genius, perhaps a little more hands-off than

741
00:43:49,910 --> 00:43:54,980
Speaker 3: he was with Let It Bleed, but it's still genius nonetheless.

742
00:43:56,100 --> 00:43:59,780
Speaker 3: And after Exiles, where the wheels start to really fall

743
00:43:59,880 --> 00:44:03,670
Speaker 3: off for him in the 70s, and he never, ever,

744
00:44:04,090 --> 00:44:07,390
Speaker 3: ever gets back to the greatness of I don't care.

745
00:44:07,450 --> 00:44:10,750
Speaker 3: I love some girls. It might be my second favorite

746
00:44:10,890 --> 00:44:12,320
Speaker 3: Stones album. I love it.

747
00:44:12,590 --> 00:44:12,670
Speaker 2: Wow.

748
00:44:12,690 --> 00:44:16,510
Speaker 3: It's top three for me with Exile and Sticky Fingers. Yeah, yeah.

749
00:44:17,070 --> 00:44:22,880
Speaker 3: but that's, that's Mick Jagger doing everything he can to keep.

750
00:44:22,719 --> 00:44:24,980
Speaker 1: The creative ship to stay relevant.

751
00:44:25,100 --> 00:44:25,339
Speaker 2: Yeah.

752
00:44:25,420 --> 00:44:25,660
Speaker 3: Yeah.

753
00:44:25,700 --> 00:44:25,899
Speaker 2: Right.

754
00:44:26,040 --> 00:44:28,560
Speaker 3: And I don't call, yeah, to stay relevant and to

755
00:44:28,620 --> 00:44:29,580
Speaker 3: just have an album.

756
00:44:29,890 --> 00:44:30,049
Speaker 2: Right.

757
00:44:30,070 --> 00:44:32,690
Speaker 3: And then of course, tattoo you is just like, you know, it's,

758
00:44:33,130 --> 00:44:35,590
Speaker 3: it's him even doing that to, to the nth degree.

759
00:44:35,670 --> 00:44:38,569
Speaker 3: Like really just cause Keith was so fucking checked out

760
00:44:38,610 --> 00:44:39,870
Speaker 3: by the way, I didn't even read it. I got

761
00:44:39,910 --> 00:44:44,140
Speaker 3: an email from, um, I got a text from, I

762
00:44:44,180 --> 00:44:46,279
Speaker 3: think it was the daughter of someone who worked on

763
00:44:47,160 --> 00:44:50,290
Speaker 3: the defense, Keith's defense team. His attorney. I got this.

764
00:44:50,310 --> 00:44:51,050
Speaker 3: No shit.

765
00:44:51,410 --> 00:44:51,730
Speaker 2: Yeah.

766
00:44:51,850 --> 00:44:54,030
Speaker 3: It's just reminding me. I get lost in the shuffle.

767
00:44:54,050 --> 00:44:57,330
Speaker 3: I'll read it next week in the after party. But,

768
00:44:57,370 --> 00:45:01,370
Speaker 3: you know, my point is that run for Keith Richards, Beggar,

769
00:45:01,430 --> 00:45:02,810
Speaker 3: beginning with Beggar's Banquet.

770
00:45:03,090 --> 00:45:03,290
Speaker 2: Yeah.

771
00:45:03,660 --> 00:45:06,920
Speaker 3: Fully coming to fruition creatively with Let It Bleed. And

772
00:45:06,960 --> 00:45:10,400
Speaker 3: then a new kind of creative awesomeness for Keith and

773
00:45:10,460 --> 00:45:12,799
Speaker 3: the band and Sticky Fingers and Exile on Main Street.

774
00:45:13,320 --> 00:45:16,160
Speaker 3: Those four records, that run, that run, man. Totally.

775
00:45:16,239 --> 00:45:19,580
Speaker 1: And that really redefined how we think about the Stones.

776
00:45:19,640 --> 00:45:21,299
Speaker 1: Because now when we think about the Rolling Stones, we

777
00:45:21,320 --> 00:45:26,060
Speaker 1: don't think about Mother's Little Helper or 19th Nervous Breakdown.

778
00:45:26,120 --> 00:45:28,800
Speaker 1: Do you know what I mean? You think about Brown

779
00:45:28,860 --> 00:45:31,690
Speaker 1: Sugar and you think about that new sound that they

780
00:45:31,730 --> 00:45:32,930
Speaker 1: tapped into. You know what I'm talking about?

781
00:45:33,390 --> 00:45:34,730
Speaker 3: I absolutely do.

782
00:45:34,750 --> 00:45:37,430
Speaker 1: I love that old shit. Sorry to cut you off.

783
00:45:37,489 --> 00:45:40,089
Speaker 1: It's some of my favorite shit. I love the what,

784
00:45:40,110 --> 00:45:42,480
Speaker 1: the Hot Rocks compilation with all those old singles? Yeah,

785
00:45:42,500 --> 00:45:43,259
Speaker 1: the early stuff. It's so great.

786
00:45:43,660 --> 00:45:43,879
Speaker 3: Yeah.

787
00:45:44,060 --> 00:45:46,319
Speaker 1: But it really, I can't think of another band, another

788
00:45:46,360 --> 00:45:49,580
Speaker 1: comp where they completely, I mean, maybe The Dead a

789
00:45:49,600 --> 00:45:52,540
Speaker 1: little bit when Pigpen died, because they definitely sort of

790
00:45:52,600 --> 00:45:55,120
Speaker 1: realigned their sound and what they were doing. And you

791
00:45:55,550 --> 00:45:57,109
Speaker 1: know what I mean? Like they had this whole like

792
00:45:57,270 --> 00:45:59,770
Speaker 1: R & B blues streak that kind of got cut

793
00:45:59,830 --> 00:46:01,870
Speaker 1: out and they went more into like jam territory.

794
00:46:02,310 --> 00:46:02,469
Speaker 2: Yep.

795
00:46:02,590 --> 00:46:04,170
Speaker 1: But I can't think of a comp that's like The

796
00:46:04,210 --> 00:46:06,610
Speaker 1: Stones where it's like so, there's such a dividing line

797
00:46:06,989 --> 00:46:08,799
Speaker 1: when Brian Jones checks out.

798
00:46:09,580 --> 00:46:13,049
Speaker 3: Yeah. The other thing that happened there too, which I

799
00:46:13,090 --> 00:46:16,610
Speaker 3: never discussed until you'll hear it in the upcoming Marianne

800
00:46:16,650 --> 00:46:19,590
Speaker 3: Faithful episode and the Brian Jones episode to a lesser degree.

801
00:46:20,150 --> 00:46:23,070
Speaker 3: But the other thing that happens in the run of

802
00:46:23,110 --> 00:46:27,200
Speaker 3: those four albums, in the mess of Brian Jones, is

803
00:46:27,280 --> 00:46:30,780
Speaker 3: the Stones beat– Keith and Mick beat their court cases.

804
00:46:31,940 --> 00:46:37,529
Speaker 3: They fucking– and it's a huge deal. And they don't

805
00:46:37,630 --> 00:46:41,410
Speaker 3: beat it by like doing what celebrities do now and

806
00:46:41,430 --> 00:46:47,600
Speaker 3: like full-throated apology. They're more Stones-ian. Their fingers are more

807
00:46:47,760 --> 00:46:50,319
Speaker 3: in the fucking air. Keith is like all set to

808
00:46:50,380 --> 00:46:52,120
Speaker 3: go to fucking prison for it. He's like, fuck it,

809
00:46:52,140 --> 00:46:53,219
Speaker 3: bring it on. You know what I mean?

810
00:46:53,500 --> 00:46:53,680
Speaker 2: Yeah.

811
00:46:54,020 --> 00:46:56,360
Speaker 3: And yeah, they wore suits to trial and shit, but

812
00:46:56,380 --> 00:46:58,799
Speaker 3: they were like stones fucking, you know what I mean?

813
00:46:58,820 --> 00:47:03,080
Speaker 3: They became more stonesy. And when they come out of that,

814
00:47:03,100 --> 00:47:06,419
Speaker 3: they come out of those trials, their myth had now

815
00:47:06,480 --> 00:47:08,920
Speaker 3: like fully kind of formed around them.

816
00:47:09,100 --> 00:47:09,660
Speaker 1: Wow.

817
00:47:09,980 --> 00:47:12,819
Speaker 3: At the same time, the music is going in this

818
00:47:12,980 --> 00:47:16,219
Speaker 3: total other fucking place. And then Altamont happens in the

819
00:47:16,260 --> 00:47:16,810
Speaker 3: middle of it.

820
00:47:17,040 --> 00:47:17,339
Speaker 2: Right. Right.

821
00:47:17,760 --> 00:47:22,450
Speaker 3: And it's just this whole amalgam of circumstances, creative and otherwise,

822
00:47:23,070 --> 00:47:28,669
Speaker 3: that are just beyond what anyone could ever contrive. And again,

823
00:47:28,690 --> 00:47:32,000
Speaker 3: that run. And I really feel like if Keith didn't–

824
00:47:32,310 --> 00:47:34,210
Speaker 3: and again, this isn't my take. I'm pretty sure it's

825
00:47:34,230 --> 00:47:36,950
Speaker 3: Bill Janovich's. I've got to write to Bill and confirm

826
00:47:37,010 --> 00:47:42,520
Speaker 3: or deny. But I really firmly believe that had Keith not–

827
00:47:42,940 --> 00:47:46,060
Speaker 3: sort of dug in around the time they were making,

828
00:47:46,120 --> 00:47:49,180
Speaker 3: let it bleed and put in that extra work creatively,

829
00:47:49,739 --> 00:47:51,520
Speaker 3: who knows what the fuck would have happened. And Marianne

830
00:47:51,540 --> 00:47:53,410
Speaker 3: faithful even talks about it in her book. She talks

831
00:47:53,450 --> 00:47:56,950
Speaker 3: about how dedicated Keith Richards was as an artist at

832
00:47:56,989 --> 00:48:00,049
Speaker 3: that point, as a guitar player and as a songwriter.

833
00:48:00,489 --> 00:48:02,069
Speaker 3: And as you know, he was somebody who was just

834
00:48:02,170 --> 00:48:05,400
Speaker 3: constantly like, like she says, I think she depicts it

835
00:48:05,440 --> 00:48:07,200
Speaker 3: as like, he would, he would have an idea and

836
00:48:07,860 --> 00:48:10,560
Speaker 3: you'd hear him talk about the idea once. And then

837
00:48:10,580 --> 00:48:13,330
Speaker 3: he would go away. And he would fuck with it

838
00:48:13,370 --> 00:48:16,290
Speaker 3: for like six weeks and come back and like, Oh,

839
00:48:16,390 --> 00:48:18,740
Speaker 3: here's fucking, you know, gimme shelter.

840
00:48:18,760 --> 00:48:19,500
Speaker 1: You know what I mean?

841
00:48:19,520 --> 00:48:22,259
Speaker 3: It's just like fully, that's not the example she uses.

842
00:48:22,300 --> 00:48:25,360
Speaker 3: I think it's Ruby Tuesday, even though that's kind of

843
00:48:25,400 --> 00:48:28,180
Speaker 3: associated with Brian. And it's just, we don't think of

844
00:48:28,219 --> 00:48:29,880
Speaker 3: Keith that way. We think of him as like this

845
00:48:30,020 --> 00:48:32,959
Speaker 3: wayward pirate who just shits out stuff whenever he gets

846
00:48:33,020 --> 00:48:35,980
Speaker 3: to it. But there was a real creative intent there

847
00:48:36,520 --> 00:48:39,680
Speaker 3: at the moment they needed it most. To me, it's

848
00:48:39,739 --> 00:48:42,000
Speaker 3: that run right now. That's what my head's in. So

849
00:48:42,020 --> 00:48:44,080
Speaker 3: when you hit me this morning, that's what I'm thinking.

850
00:48:44,360 --> 00:48:44,580
Speaker 1: Yeah.

851
00:48:45,100 --> 00:48:46,120
Speaker 3: So what do you got? You going to lay on

852
00:48:46,160 --> 00:48:47,450
Speaker 3: some Jack for me or something else?

853
00:48:48,670 --> 00:48:50,710
Speaker 1: Well, I already talked about Jack, you know, and I

854
00:48:50,730 --> 00:48:53,509
Speaker 1: think it's pretty, I think the conclusion is, I think

855
00:48:53,590 --> 00:48:56,640
Speaker 1: Ethan Hawke is right, but I was looking at other examples.

856
00:48:56,700 --> 00:48:58,799
Speaker 1: I was looking at like De Niro and Pacino and like,

857
00:48:59,360 --> 00:49:03,440
Speaker 1: no one had a sustained period of like 10 plus

858
00:49:03,460 --> 00:49:07,290
Speaker 1: years like that. Where not every single thing was a masterpiece,

859
00:49:07,350 --> 00:49:10,210
Speaker 1: but there are enough, there's like 10 masterpieces within that

860
00:49:10,210 --> 00:49:13,549
Speaker 1: 11 year span, you know? But I was thinking about

861
00:49:13,610 --> 00:49:16,930
Speaker 1: like people that sort of define certain eras in my

862
00:49:16,969 --> 00:49:19,450
Speaker 1: mind and like, I was trying to think about character

863
00:49:19,530 --> 00:49:22,440
Speaker 1: actors like through the lens of character actors. And I

864
00:49:22,440 --> 00:49:26,040
Speaker 1: thought about Steve Buscemi in the nineties. And I feel

865
00:49:26,080 --> 00:49:28,820
Speaker 1: like Steve Buscemi in the nineties, and I won't read

866
00:49:28,950 --> 00:49:32,150
Speaker 1: every single thing he was in. 1990, he comes out

867
00:49:32,450 --> 00:49:34,750
Speaker 1: of the gate with King of New York and Miller's Crossing.

868
00:49:35,450 --> 00:49:37,870
Speaker 1: He goes on to be in, you know, a lot of,

869
00:49:38,300 --> 00:49:43,360
Speaker 1: Coen Brothers films and Tarantino films, Reservoir Dogs and Barton Fink,

870
00:49:44,000 --> 00:49:45,980
Speaker 1: Hudsucker Proxy, Pulp Fiction, of course.

871
00:49:46,300 --> 00:49:47,500
Speaker 3: Hi, my name's Buddy. Can I take your order?

872
00:49:47,640 --> 00:49:48,500
Speaker 2: Yeah.

873
00:49:49,520 --> 00:49:51,340
Speaker 1: He sort of owns this decade for me because I

874
00:49:51,380 --> 00:49:54,880
Speaker 1: remember being in the moment and he kept on coming

875
00:49:54,920 --> 00:49:56,680
Speaker 1: up in all these movies that I loved. And not

876
00:49:56,719 --> 00:50:00,310
Speaker 1: just Coen Brothers and Tarantino, but also like Adam Sandler.

877
00:50:00,350 --> 00:50:04,710
Speaker 1: He's like the guy who's... Has that list of people

878
00:50:04,730 --> 00:50:07,500
Speaker 1: who's going to kill him, Billy Madison. And when Billy

879
00:50:07,540 --> 00:50:10,420
Speaker 1: apologizes for being mean to him, he crosses him off

880
00:50:10,460 --> 00:50:15,239
Speaker 1: the lifts and he puts lipstick on. So like, I

881
00:50:15,260 --> 00:50:17,839
Speaker 1: just remember like seeing him repeatedly. Oh, that's, it's that

882
00:50:17,880 --> 00:50:19,940
Speaker 1: guy again. It's that like goofy looking guy who's been

883
00:50:19,960 --> 00:50:22,050
Speaker 1: in all these movies that I love. And he really

884
00:50:22,090 --> 00:50:26,310
Speaker 1: defined for me, 90s independent cinema, you know, for that

885
00:50:26,350 --> 00:50:26,930
Speaker 1: whole stretch.

886
00:50:28,370 --> 00:50:30,790
Speaker 3: I see it. I'm trying to, I'm trying to think

887
00:50:30,810 --> 00:50:32,810
Speaker 3: of him in Miller's Crossing. What the fuck is he

888
00:50:32,830 --> 00:50:33,590
Speaker 3: in Miller's Crossing?

889
00:50:34,050 --> 00:50:37,390
Speaker 1: He works at the nightclub and he has an incredible

890
00:50:37,450 --> 00:50:40,799
Speaker 1: scene where he talks super, super fast and this dumps

891
00:50:40,820 --> 00:50:43,839
Speaker 1: all this information. I'm speaking to Gabriel Byrne. I think

892
00:50:43,880 --> 00:50:47,050
Speaker 1: he's brothers. He's actually the brother of John Chicharro's character.

893
00:50:47,560 --> 00:50:49,430
Speaker 1: in that film, but he's literally in like one and

894
00:50:49,450 --> 00:50:50,050
Speaker 1: a half scenes.

895
00:50:50,130 --> 00:50:51,950
Speaker 3: I need to rewatch that movie. It's so great.

896
00:50:52,250 --> 00:50:54,830
Speaker 1: I rewatched it again recently, dude. It's, it's even better

897
00:50:54,850 --> 00:50:55,390
Speaker 1: than you remember.

898
00:50:55,410 --> 00:50:58,830
Speaker 3: It's so good. So I remember loving it. Like right

899
00:50:58,850 --> 00:51:01,450
Speaker 3: when I first started to like get into movies as

900
00:51:01,469 --> 00:51:03,620
Speaker 3: like a 19 year old, whatever, when I started watching

901
00:51:03,640 --> 00:51:05,719
Speaker 3: stuff that you couldn't just see on cable or get

902
00:51:05,760 --> 00:51:09,140
Speaker 3: at the blockbuster stuff, your friends turned you on to

903
00:51:09,400 --> 00:51:12,340
Speaker 3: older and going to college, you know? And did you

904
00:51:12,380 --> 00:51:13,299
Speaker 3: mention ghost world?

905
00:51:14,380 --> 00:51:15,820
Speaker 1: I didn't, but that's in there as well, isn't it?

906
00:51:15,820 --> 00:51:18,890
Speaker 1: Or is that in the 2000s? Oh, yeah, it might

907
00:51:18,910 --> 00:51:19,200
Speaker 1: be 2000.

908
00:51:19,200 --> 00:51:21,870
Speaker 3: Ghost World's early 2000s, but still. Scarlett Johansson.

909
00:51:22,270 --> 00:51:23,589
Speaker 1: But it kind of spills into that era.

910
00:51:23,630 --> 00:51:25,450
Speaker 3: It strikes me as a 90s thing. It does.

911
00:51:25,630 --> 00:51:27,009
Speaker 1: It does feel like a 90s thing, yeah.

912
00:51:27,250 --> 00:51:29,140
Speaker 3: But then he has this whole other thing where he

913
00:51:29,180 --> 00:51:32,660
Speaker 3: just becomes... I don't even know how to describe him

914
00:51:32,719 --> 00:51:37,069
Speaker 3: anymore because he's... He's super mainstream. If you put his

915
00:51:37,130 --> 00:51:40,049
Speaker 3: picture up in any kitchen in America, in any household,

916
00:51:40,190 --> 00:51:41,529
Speaker 3: everybody would recognize him.

917
00:51:41,590 --> 00:51:45,420
Speaker 1: And he's one of the biggest memes, the hello fellow kids,

918
00:51:45,560 --> 00:51:46,080
Speaker 1: is him.

919
00:51:46,580 --> 00:51:49,879
Speaker 3: And then he has a whole run in Portlandia as well.

920
00:51:49,920 --> 00:51:52,390
Speaker 1: Yeah, and the Sopranos too. Sopranos.

921
00:51:53,340 --> 00:51:56,160
Speaker 3: I mean, of course, Boardwalk Empire extended. So, I mean,

922
00:51:56,200 --> 00:51:58,400
Speaker 3: I don't know that the run, when I think of run,

923
00:51:58,460 --> 00:52:00,990
Speaker 3: I think of like, it's a run that starts and stops.

924
00:52:01,330 --> 00:52:01,590
Speaker 2: Okay.

925
00:52:01,910 --> 00:52:04,390
Speaker 3: Not to be contrarian, but I feel like Buscemi just

926
00:52:04,690 --> 00:52:05,270
Speaker 3: keeps on trucking.

927
00:52:05,290 --> 00:52:07,390
Speaker 1: Kept going. Yeah, I can see that. I just like,

928
00:52:07,489 --> 00:52:09,890
Speaker 1: I was looking at decades and I'm just thinking about

929
00:52:09,930 --> 00:52:11,170
Speaker 1: how he defined that decade for me.

930
00:52:11,860 --> 00:52:15,279
Speaker 3: Where would you put Bruce Willis as far as runs go?

931
00:52:17,739 --> 00:52:22,120
Speaker 1: I mean, because he had, he's starting with Moonlighting. And

932
00:52:22,180 --> 00:52:25,680
Speaker 1: going through like what, even after Pulp Fiction, because is

933
00:52:26,160 --> 00:52:27,200
Speaker 1: The Sixth Sense is after that?

934
00:52:27,219 --> 00:52:28,620
Speaker 3: I think so.

935
00:52:28,660 --> 00:52:30,470
Speaker 1: So like late 90s or something?

936
00:52:30,510 --> 00:52:31,850
Speaker 3: I mean, by the time he gets to Pulp Fiction,

937
00:52:31,890 --> 00:52:36,130
Speaker 3: he's already the biggest star in 90s Hollywood. It's like

938
00:52:36,190 --> 00:52:40,270
Speaker 3: him and Schwarzenegger, basically. Schwarzenegger had a pretty good run

939
00:52:40,489 --> 00:52:40,870
Speaker 3: as well.

940
00:52:41,030 --> 00:52:43,190
Speaker 1: He did too. He did. But you know, Schwarzenegger did

941
00:52:43,210 --> 00:52:45,430
Speaker 1: not cross over into independent cinema the way that Bruce

942
00:52:45,450 --> 00:52:47,570
Speaker 1: Willis did. I mean, I mean, think about that in

943
00:52:47,590 --> 00:52:47,910
Speaker 1: the moment.

944
00:52:47,969 --> 00:52:52,810
Speaker 3: Or the way Buscemi did with mainstream cinema. Exactly. Yeah.

945
00:52:52,830 --> 00:52:53,770
Speaker 1: They traded places that way.

946
00:52:53,950 --> 00:52:54,109
Speaker 2: Yeah.

947
00:52:54,690 --> 00:52:58,910
Speaker 3: Oh, where's the Schwarzenegger indie film? Like, uh, like there

948
00:52:58,969 --> 00:53:00,680
Speaker 3: is with Stallone. I should have asked him when I

949
00:53:00,719 --> 00:53:02,960
Speaker 3: saw him in Budapest this summer. That would have been

950
00:53:02,980 --> 00:53:05,980
Speaker 3: a good question. Interrupt his chess game.

951
00:53:06,000 --> 00:53:07,180
Speaker 1: Where's your fucking indie film?

952
00:53:07,850 --> 00:53:10,990
Speaker 3: Where's your slot? Where's your cop land, dude? You're fucking due.

953
00:53:11,550 --> 00:53:12,130
Speaker 1: What's up?

954
00:53:12,790 --> 00:53:13,270
Speaker 3: Seriously.

955
00:53:13,610 --> 00:53:14,030
Speaker 2: Seriously.

956
00:53:14,050 --> 00:53:15,110
Speaker 1: Yeah.

957
00:53:15,150 --> 00:53:17,719
Speaker 3: You know, it's hard to think about runs because it's

958
00:53:17,800 --> 00:53:21,080
Speaker 3: easier to think about, I think, in the monoculture, which

959
00:53:21,100 --> 00:53:23,520
Speaker 3: we don't really have anymore. Like who's on a run

960
00:53:23,580 --> 00:53:26,180
Speaker 3: right now? You know what I mean? I guess Ethan

961
00:53:26,219 --> 00:53:27,299
Speaker 3: Hawke is kind of on his own.

962
00:53:27,420 --> 00:53:28,450
Speaker 1: Ethan Hawke's on a run.

963
00:53:28,800 --> 00:53:32,989
Speaker 3: Although, fuck that TV show. I hate that. What, The Lowdown? Yeah,

964
00:53:33,010 --> 00:53:33,690
Speaker 3: I did not like that.

965
00:53:33,710 --> 00:53:35,169
Speaker 1: Oh, I liked the first. I haven't watched the second

966
00:53:35,190 --> 00:53:36,049
Speaker 1: season yet, but I did like the first season.

967
00:53:36,070 --> 00:53:37,170
Speaker 3: You know why I don't like it so much?

968
00:53:37,469 --> 00:53:37,649
Speaker 2: Why?

969
00:53:38,030 --> 00:53:41,060
Speaker 3: Because it's made for me. I am literally the person

970
00:53:41,100 --> 00:53:44,120
Speaker 3: it's made for. Right. And it's just, I don't know.

971
00:53:44,140 --> 00:53:45,470
Speaker 1: It's not as cool as I want it to be.

972
00:53:45,480 --> 00:53:47,239
Speaker 1: Is it condescending to you or something?

973
00:53:47,580 --> 00:53:49,840
Speaker 3: No, I just want it to be cooler. And I

974
00:53:49,920 --> 00:53:52,810
Speaker 3: see him in so many, he's so good. I know.

975
00:53:53,190 --> 00:53:58,040
Speaker 3: He's so incredible, dude. Yeah. What was that? Blue Moon?

976
00:53:58,120 --> 00:53:58,580
Speaker 3: Blue Moon.

977
00:53:59,600 --> 00:54:02,800
Speaker 1: Yeah. God damn. Yeah. Yeah.

978
00:54:03,800 --> 00:54:06,020
Speaker 3: Fucking A. I know. He's on a heater, that guy.

979
00:54:07,239 --> 00:54:09,500
Speaker 1: And it's funny, too, because he's had so many of

980
00:54:09,520 --> 00:54:12,610
Speaker 1: these moments in his life where there's the Dead Poets

981
00:54:12,630 --> 00:54:16,630
Speaker 1: Society era, Ethan Hawke, and the Training Day era, Ethan Hawke.

982
00:54:16,870 --> 00:54:17,730
Speaker 3: Reality Bites.

983
00:54:18,310 --> 00:54:18,730
Speaker 2: Yeah.

984
00:54:18,750 --> 00:54:19,910
Speaker 1: When we hated him.

985
00:54:20,320 --> 00:54:22,440
Speaker 3: When we couldn't like him because he was too good

986
00:54:22,480 --> 00:54:24,760
Speaker 3: looking and too fucking cool. And then it took like

987
00:54:24,880 --> 00:54:27,120
Speaker 3: adulthood and maturity for us to be like, all right, well,

988
00:54:27,160 --> 00:54:28,780
Speaker 3: that movie's awesome.

989
00:54:29,660 --> 00:54:31,759
Speaker 1: Because he's like aged gracefully like the rest of us.

990
00:54:31,800 --> 00:54:31,930
Speaker 2: Yeah.

991
00:54:31,950 --> 00:54:32,489
Speaker 3: I got to qualify.

992
00:54:32,510 --> 00:54:32,730
Speaker 2: Hold on.

993
00:54:32,730 --> 00:54:34,370
Speaker 3: I got to qualify the low down thing. I just,

994
00:54:34,510 --> 00:54:36,509
Speaker 3: I watch a lot of shitty television. I watch worse

995
00:54:36,570 --> 00:54:38,730
Speaker 3: television than the low down. And again, I just want,

996
00:54:38,770 --> 00:54:42,009
Speaker 3: I just want, imagine like somebody, somebody makes you like

997
00:54:42,050 --> 00:54:46,090
Speaker 3: a cheeseburger specifically for you. Right. And they just don't,

998
00:54:46,360 --> 00:54:48,350
Speaker 3: you know, and like, you're all excited. You're over their

999
00:54:48,390 --> 00:54:50,649
Speaker 3: house and you're ready to eat their cheeseburger. You're really,

1000
00:54:50,930 --> 00:54:52,469
Speaker 3: and then it's not what you want. It's not as

1001
00:54:52,489 --> 00:54:54,730
Speaker 3: good as it can be and you're bummed out. I

1002
00:54:54,770 --> 00:54:55,310
Speaker 3: hear you. You know?

1003
00:54:55,610 --> 00:54:55,770
Speaker 2: Yeah.

1004
00:54:56,190 --> 00:54:58,250
Speaker 3: I feel bad now because I really like Ethan Hawke

1005
00:54:58,350 --> 00:55:00,410
Speaker 3: and I want him to keep being Ethan Hawke. Not

1006
00:55:00,430 --> 00:55:02,680
Speaker 3: that my criticism that he'll never hear will have any

1007
00:55:02,739 --> 00:55:06,900
Speaker 3: impact on that at all. Give me one more. Give

1008
00:55:06,920 --> 00:55:07,259
Speaker 3: me one more.

1009
00:55:09,000 --> 00:55:10,520
Speaker 1: I think Robert Altman's run from 1970 to 1975 is

1010
00:55:10,600 --> 00:55:17,720
Speaker 1: one of the best of all time. Okay, deep cut. 1970,

1011
00:55:17,719 --> 00:55:23,480
Speaker 1: he put out MASH and Brewster McCloud, 71, McCabe and Mrs. Miller, 72, Images, 73,

1012
00:55:23,480 --> 00:55:28,140
Speaker 1: The Long Goodbye, 74, Thieves Like Us and California Split,

1013
00:55:28,540 --> 00:55:31,819
Speaker 1: and 75, Nashville. Every single film, a different genre. He's

1014
00:55:31,840 --> 00:55:34,310
Speaker 1: got a war. He's got a Western. He's got a

1015
00:55:34,630 --> 00:55:38,120
Speaker 1: detective noir. He's got a buddy gambling film. He's got

1016
00:55:38,160 --> 00:55:40,200
Speaker 1: a musical. You know what I mean? Like every single movie,

1017
00:55:40,640 --> 00:55:41,560
Speaker 1: completely different.

1018
00:55:41,960 --> 00:55:43,419
Speaker 3: I was going to say, I haven't seen two thirds

1019
00:55:43,460 --> 00:55:45,460
Speaker 3: of those movies, but the third that I have seen

1020
00:55:45,540 --> 00:55:47,340
Speaker 3: are some of the best movies I've ever seen in

1021
00:55:47,360 --> 00:55:49,970
Speaker 3: my life. And even though, to your point, even though

1022
00:55:49,989 --> 00:55:52,830
Speaker 3: they're genre films, they're Robert Altman films.

1023
00:55:53,050 --> 00:55:53,510
Speaker 1: Exactly.

1024
00:55:53,770 --> 00:55:54,950
Speaker 3: I don't think of them as genre films.

1025
00:55:54,989 --> 00:55:56,610
Speaker 1: No, I don't either. I don't, but it's fascinating.

1026
00:55:56,670 --> 00:55:58,330
Speaker 3: I don't think of McCabe and Mrs.

1027
00:55:58,350 --> 00:55:58,529
Speaker 2: Miller.

1028
00:55:58,550 --> 00:56:00,649
Speaker 3: I've seen that fucking so many times and I do

1029
00:56:00,710 --> 00:56:03,290
Speaker 3: not think of it as a Western. And it's duh.

1030
00:56:04,330 --> 00:56:04,790
Speaker 2: You know what I mean?

1031
00:56:04,810 --> 00:56:06,650
Speaker 1: I know, which I guess is the brilliance of it

1032
00:56:06,690 --> 00:56:08,610
Speaker 1: is that you forget that it's a genre film because

1033
00:56:08,950 --> 00:56:11,089
Speaker 1: he's transcended the genre, right?

1034
00:56:11,270 --> 00:56:13,050
Speaker 3: What an artist. Yeah, exactly.

1035
00:56:13,070 --> 00:56:15,149
Speaker 1: Yeah, totally. And I mean, he made good movies after,

1036
00:56:15,530 --> 00:56:17,819
Speaker 1: some good movies after that as well, but. I think

1037
00:56:18,580 --> 00:56:20,900
Speaker 1: just that brief period of time. I mean, what, what

1038
00:56:20,940 --> 00:56:24,880
Speaker 1: was that? Two, four, six, eight movies in five years.

1039
00:56:25,300 --> 00:56:26,000
Speaker 3: That's insane.

1040
00:56:26,040 --> 00:56:26,859
Speaker 1: That are all that good.

1041
00:56:27,300 --> 00:56:31,029
Speaker 3: Yeah. All right, dude, as always inspiring stuff. Yeah, man.

1042
00:56:31,570 --> 00:56:32,080
Speaker 1: Appreciate it.

1043
00:56:32,330 --> 00:56:34,470
Speaker 3: I've now got a, my, my watch list has increased

1044
00:56:34,530 --> 00:56:36,230
Speaker 3: as it does every week when I talk to you.

1045
00:56:36,690 --> 00:56:38,770
Speaker 1: Well, Criterion is working again, so you can get into that.

1046
00:56:39,150 --> 00:56:39,629
Speaker 3: No shit.

1047
00:56:39,969 --> 00:56:40,820
Speaker 2: Really? Oh yeah.

1048
00:56:40,890 --> 00:56:42,219
Speaker 3: As of like the last five days.

1049
00:56:42,540 --> 00:56:42,700
Speaker 2: Yeah.

1050
00:56:42,719 --> 00:56:44,219
Speaker 3: It's gotta be. But you know, this is going to

1051
00:56:44,239 --> 00:56:46,880
Speaker 3: have an adverse effect on my magazine reading time. You

1052
00:56:46,900 --> 00:56:48,940
Speaker 3: know what I mean? Which is my new thing. We

1053
00:56:48,960 --> 00:56:50,299
Speaker 3: haven't talked about that. We'll get into that later.

1054
00:56:50,320 --> 00:56:51,400
Speaker 1: We have not. All right, man.

1055
00:56:51,420 --> 00:56:53,180
Speaker 3: I gotta get out of here.

1056
00:56:53,300 --> 00:56:53,939
Speaker 1: Talk to you later.

1057
00:56:54,280 --> 00:56:54,540
Speaker 2: Later.

1058
00:56:54,800 --> 00:57:12,090
Speaker 1: All right, Hollywoodland gang, there you go. Some dirty wrecks

1059
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Speaker 1: for some of our favorite runs by actors, musicians, artistes. which,

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Speaker 1: of course, naturally begs the question, what is your favorite

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Speaker 1: run by an actor or a director or, I don't know,

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Speaker 1: an editor, a cinematographer, whatever? Just keep it movie-centric here

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Speaker 1: for Hollywoodland. I mean, you can give us music choices

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Speaker 1: if you want, and Jay can respond to those over

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Speaker 1: in Disgraceland either way. 617-906-6638. Call that number, text that number.

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Speaker 1: You can also email disgracelandpod at gmail.com. Or if you're

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00:57:48,690 --> 00:57:50,810
Speaker 1: a member of Disgraced Land All Access on Patreon, you

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Speaker 1: can just jump into the chat. While you're doing that,

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Speaker 1: let us recap, shall we? Number one, first of all,

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Speaker 1: right now in your Hollywoodland feed, our episode on Jack Nicholson.

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Speaker 1: Number two, coming at you this Friday, we've got a

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Speaker 1: new episode of The Screening Roman. This week, I'm talking

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Speaker 1: all about the 1975 Michelangelo Antonioni film, The Passenger. Number three,

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Speaker 1: next week on Monday, we're bringing you our fully scripted

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Speaker 1: and sound design episode on Joan Crawford. Number four, over

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Speaker 1: in our sister show, Disgraceland, we've got a brand new

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Speaker 1: episode on Buddy Holly, which asks the question, did Buddy

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Speaker 1: Holly shoot down his own plane? Check that out in

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Speaker 1: the Disgraceland feed. You can hear that on Apple Podcasts,

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00:58:34,570 --> 00:58:38,840
Speaker 1: the iHeartRadio app, or wherever you get your podcasts. Number five,

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Speaker 1: This film should be played loud. Our video podcast available

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Speaker 1: exclusively to members of Disgraceland All Access on Patreon. Our

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Speaker 1: latest episode on Shaun of the Dead is available right now.

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Speaker 1: Looks like we're going to have a new episode, I believe,

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Speaker 1: on planes, trains, and automobiles coming at you at the

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Speaker 1: end of the month for Thanksgiving. But there's so many

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Speaker 1: there in the archive for you to watch right now. Goodfellas, Trainspotting,

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Speaker 1: The Big Lebowski, Dazed and Confused, High Fidelity, Do the

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Speaker 1: Right Thing, You do the right thing. Go over to

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Speaker 1: disgracelandpod.com for more information and to sign up. And now

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Speaker 1: in honor of this week's episode, here's what America was

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Speaker 1: watching at the movies in December 2010, the month that

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Speaker 1: Jack Nicholson's final film, How Do You Know, was released

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Speaker 1: in theaters. Number one, Tron Legacy. Directed by Joseph Kosinski.

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Speaker 1: Number two, Tangled. Directed by Nathan Grano and Byron Howard.

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Speaker 1: Number three, Little Fockers. Directed by Paul Weitz. Number four,

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Speaker 1: The Chronicles of Narnia, The Voyage of the Dawn Treader.

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Speaker 1: Directed by Michael Apton. Number five, True Grit. Directed by

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Speaker 1: Joel and Ethan Coen. Number six, Yogi Bear. Directed by

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Speaker 1: Eric Brevik. Number seven, Harry Potter and the Deathly Hallows

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Speaker 1: Part 1. Directed by David Leitz. Quit talking and start mixing.