1 00:00:18,560 --> 00:00:21,440 Speaker 1: What's happening, everybody. Welcome to this screening room, our weekly 2 00:00:21,520 --> 00:00:24,520 Speaker 1: episode of the Hollywood Lamb Podcast, where we get to 3 00:00:24,520 --> 00:00:27,080 Speaker 1: do a deep dive into one film that is thematically 4 00:00:27,160 --> 00:00:29,800 Speaker 1: or spiritually, or in the case of this week's episode, 5 00:00:29,960 --> 00:00:34,040 Speaker 1: connected directly to the subject we're featuring. My name is 6 00:00:34,120 --> 00:00:36,960 Speaker 1: Zeth Lundy. I'm a writer and showrunner here at Double Elvis, 7 00:00:37,320 --> 00:00:39,839 Speaker 1: and this week we featured an episode back on Monday 8 00:00:39,880 --> 00:00:43,080 Speaker 1: all about Heath Ledger. We've been talking about movies that 9 00:00:43,320 --> 00:00:46,120 Speaker 1: changed you as a person. By all accounts, Playing the 10 00:00:46,200 --> 00:00:49,440 Speaker 1: role of the Joker changed Heath Ledger, and so naturally, 11 00:00:49,760 --> 00:00:51,960 Speaker 1: the movie I'm going to talk about today is that film, 12 00:00:52,040 --> 00:00:55,120 Speaker 1: The Dark Knight, released in America back in July of 13 00:00:55,160 --> 00:00:58,440 Speaker 1: two thousand and eight, directed by Christopher Nolan, written by 14 00:00:58,520 --> 00:01:02,160 Speaker 1: Jonathan Nolan and Christopher Nolan, starring Christian Bale as Batman, 15 00:01:02,520 --> 00:01:06,440 Speaker 1: Michael Caine as Alfred, Gary Oldman as James Gordon, Aaron 16 00:01:06,480 --> 00:01:10,520 Speaker 1: Eckhart as Harvey Dent aka two Face, Maggie Gillenhall as 17 00:01:10,640 --> 00:01:14,440 Speaker 1: Rachel Dawes, Morgan Freeman as Lucius Fox, and of course 18 00:01:14,880 --> 00:01:19,080 Speaker 1: Heath Ledger as the Joker. But first, take my hand 19 00:01:19,200 --> 00:01:21,479 Speaker 1: and come with me to a long, long time ago 20 00:01:21,600 --> 00:01:25,520 Speaker 1: in Hollywood Land, way back closer to the dawn of cinema, 21 00:01:25,760 --> 00:01:29,520 Speaker 1: in the silent era, where the funny guys were the heroes, 22 00:01:30,240 --> 00:01:33,160 Speaker 1: and in the case of heroic funny guys like Charlie 23 00:01:33,200 --> 00:01:37,520 Speaker 1: Chaplin and Buster Keaton, they were also small. For movies 24 00:01:37,560 --> 00:01:41,280 Speaker 1: without sound, this was important because the small funny guy, 25 00:01:41,400 --> 00:01:45,319 Speaker 1: the diminutive protagonist, was often paired next to a much 26 00:01:45,480 --> 00:01:51,200 Speaker 1: larger antagonist. These large antagonists were physically overbearing. In other words, 27 00:01:51,480 --> 00:01:55,960 Speaker 1: they were heavy. Calling a bad guy. The heavy has 28 00:01:56,000 --> 00:01:59,160 Speaker 1: been around for longer than the movies have. It appears 29 00:01:59,160 --> 00:02:02,160 Speaker 1: to be an old theater and the American playwright Owen 30 00:02:02,240 --> 00:02:05,200 Speaker 1: Davis once wrote about the heavy in a list of 31 00:02:05,640 --> 00:02:09,360 Speaker 1: old theatrical characters and tropes. He wrote that back in 32 00:02:09,360 --> 00:02:12,600 Speaker 1: the day, quote, plays were as sturdily founded upon a 33 00:02:12,680 --> 00:02:16,480 Speaker 1: conventional mold as the most dogmatic creed of the most 34 00:02:16,600 --> 00:02:19,960 Speaker 1: narrow minded religious fanatics of the day, and any stepping 35 00:02:20,000 --> 00:02:24,720 Speaker 1: aside upon a more flowery path was sternly frowned upon unquote, 36 00:02:24,800 --> 00:02:28,919 Speaker 1: And then he listed out those conventional molded characters such 37 00:02:28,960 --> 00:02:32,280 Speaker 1: as the hero, the heroine, and the heavy man, of 38 00:02:32,320 --> 00:02:35,919 Speaker 1: which Owen Davis wrote, quote, always wealthy, the silk hat 39 00:02:35,960 --> 00:02:38,760 Speaker 1: was his badge of office in a good melodrama. He 40 00:02:38,840 --> 00:02:41,800 Speaker 1: never reformed, He bit the dust. He was the most 41 00:02:41,840 --> 00:02:45,160 Speaker 1: absurd thing connected with these old plays. The necessity for 42 00:02:45,200 --> 00:02:47,840 Speaker 1: his evil plotting was so great that even the most 43 00:02:47,840 --> 00:02:51,000 Speaker 1: innocent of audiences must have frequently wondered why he was 44 00:02:51,040 --> 00:02:55,800 Speaker 1: not poisoned at an early age by his own unfortunate disposition. Unquote. 45 00:02:56,919 --> 00:02:59,839 Speaker 1: You see the heavy appear in texts of old which 46 00:02:59,840 --> 00:03:03,440 Speaker 1: have echoed throughout literature, theater, and film throughout the years. 47 00:03:03,840 --> 00:03:06,680 Speaker 1: The heavy is the sheriff of Nottingham and Robin Hood. 48 00:03:07,000 --> 00:03:10,760 Speaker 1: The heavy is Iago and Shakespeare's Othello. And with that, 49 00:03:10,960 --> 00:03:14,200 Speaker 1: over time, heavy took on more of a metaphorical weight 50 00:03:14,240 --> 00:03:16,440 Speaker 1: when it came to bad guys that the heavy was 51 00:03:16,480 --> 00:03:19,720 Speaker 1: no longer the heavy man, no longer the big imposing 52 00:03:19,800 --> 00:03:23,760 Speaker 1: dude who dwarfed Charlie Chaplin. Instead, the heavy in a 53 00:03:23,760 --> 00:03:27,400 Speaker 1: film could refer to an antagonist whose heaviness was in 54 00:03:27,480 --> 00:03:32,320 Speaker 1: their menace, their foreboding, or their water logged morality. In 55 00:03:32,400 --> 00:03:36,440 Speaker 1: Quentin Tarantino's twenty nineteen film Once Upon a Time in Hollywood, 56 00:03:36,840 --> 00:03:41,800 Speaker 1: al Pacino's character Marvin Schwarz, the agent suggests to Leonardo 57 00:03:41,800 --> 00:03:45,680 Speaker 1: DiCaprio's character Rick Dalton, the actor that the heavy in 58 00:03:45,720 --> 00:03:49,760 Speaker 1: a movie or a television show equals inevitable defeat. That yes, 59 00:03:49,800 --> 00:03:53,320 Speaker 1: the heavy is the main obstacle in the hero's journey perhaps, 60 00:03:53,600 --> 00:03:56,120 Speaker 1: but that the heavy's fate is sealed from the start. 61 00:03:56,400 --> 00:03:59,240 Speaker 1: The hero will always win and the Heavy, true to 62 00:03:59,280 --> 00:04:02,400 Speaker 1: the name, is always going to fall down at the end. 63 00:04:03,200 --> 00:04:07,400 Speaker 1: Heath Ledger nearly falls for real in his final scene 64 00:04:07,440 --> 00:04:10,360 Speaker 1: as the Joker in Christopher Nolan's film The Dark Knight. 65 00:04:10,720 --> 00:04:14,120 Speaker 1: The Joker is knocked off some skyscraper construction scaffolding by 66 00:04:14,120 --> 00:04:18,120 Speaker 1: his nemesis Batman. That's Christian Bale, laughing as he falls, 67 00:04:18,200 --> 00:04:22,560 Speaker 1: only to be caught by Batman courtesy of his grapple 68 00:04:22,560 --> 00:04:24,479 Speaker 1: gun or his backclaw, or whatever the hell that is. 69 00:04:24,960 --> 00:04:28,160 Speaker 1: I'm reminded of another line spoken by another Joker, this 70 00:04:28,200 --> 00:04:30,680 Speaker 1: one played by Jack Nicholson in the nineteen eighty nine 71 00:04:30,839 --> 00:04:34,039 Speaker 1: Batman film directed by Tim Burton. Where does he get 72 00:04:34,120 --> 00:04:38,240 Speaker 1: those wonderful toys? The Joker is a perennial heavy in 73 00:04:38,240 --> 00:04:41,480 Speaker 1: the world of pop culture, from comics to film, the TV. 74 00:04:42,120 --> 00:04:43,800 Speaker 1: Heath Ledger wasn't the first to play him, and he 75 00:04:43,800 --> 00:04:46,280 Speaker 1: won't be the last. But I do think that Heath 76 00:04:46,320 --> 00:04:50,040 Speaker 1: Ledger's Joker is the greatest because, just like Jack Nicholson 77 00:04:50,040 --> 00:04:53,919 Speaker 1: before him, Heath nailed that gray area between funny, irreverent 78 00:04:54,120 --> 00:04:59,400 Speaker 1: and just completely psychotic as a cultural phenomenon. However, if 79 00:04:59,400 --> 00:05:02,760 Speaker 1: you were there nineteen eighty nine, there was nothing as 80 00:05:02,839 --> 00:05:06,560 Speaker 1: massive as Jack Nicholson as the Joker, nothing as massive 81 00:05:06,600 --> 00:05:11,480 Speaker 1: as Tim Burton's Batman. What the fuck casting of Michael 82 00:05:11,560 --> 00:05:15,080 Speaker 1: Keaton as Bruce Wayne. The full album written for the 83 00:05:15,120 --> 00:05:18,719 Speaker 1: movie by Prince, some of which helped score the film, 84 00:05:18,800 --> 00:05:23,120 Speaker 1: alongside the orchestral score by Danny Elfman. Once again, Jack 85 00:05:23,240 --> 00:05:27,360 Speaker 1: Nicholson completely iconic as the Joker. Not to mention this 86 00:05:27,400 --> 00:05:31,039 Speaker 1: intoxicating mix of the energy and the pop art of 87 00:05:31,080 --> 00:05:34,880 Speaker 1: the cheesy nineteen sixties television show colliding with the much 88 00:05:35,000 --> 00:05:38,520 Speaker 1: darker Dark Knight Returns comic by Frank Miller, which sort 89 00:05:38,560 --> 00:05:41,720 Speaker 1: of served as the dual inspiration for this movie. You know, 90 00:05:41,800 --> 00:05:44,360 Speaker 1: as an eleven going on twelve year old that summer 91 00:05:44,400 --> 00:05:47,640 Speaker 1: in nineteen eighty nine, this was crack. This was my 92 00:05:47,720 --> 00:05:50,400 Speaker 1: personal entry point into Prince. I'm not going to sit 93 00:05:50,480 --> 00:05:52,240 Speaker 1: here and tell you all about how I was on 94 00:05:52,279 --> 00:05:54,600 Speaker 1: the ground floor with Dirty Mind or even Purple Rain. 95 00:05:54,680 --> 00:05:56,920 Speaker 1: I mean, I was seven when Purple Rain came out. 96 00:05:57,120 --> 00:05:59,120 Speaker 1: My mother was very cool, but she was also very 97 00:05:59,120 --> 00:06:01,960 Speaker 1: strict when it came to the holy trinity of pop 98 00:06:02,000 --> 00:06:06,080 Speaker 1: stars at that time, Michael Jackson, Madonna, and Prince. Prince 99 00:06:06,160 --> 00:06:09,240 Speaker 1: was actually the most transgressive and shocking of the three. 100 00:06:09,320 --> 00:06:12,600 Speaker 1: Imagine that Prince was more shocking than Madonna. At least 101 00:06:12,640 --> 00:06:15,720 Speaker 1: he was in my house. This was before Madonna did 102 00:06:15,800 --> 00:06:19,159 Speaker 1: Like a Prayer, and definitely much longer before Justify My Love. 103 00:06:19,240 --> 00:06:21,960 Speaker 1: So maybe the tables turned a little bit later on. 104 00:06:22,080 --> 00:06:24,920 Speaker 1: But at the time, Prince was forbidden fruit, and I 105 00:06:24,960 --> 00:06:27,320 Speaker 1: wasn't the kind of kid to go picking forbidden fruit, 106 00:06:27,360 --> 00:06:29,080 Speaker 1: so I left it alone. But I could not be 107 00:06:29,160 --> 00:06:33,120 Speaker 1: denied any longer when Prince's Batman soundtrack came out. My God, 108 00:06:33,200 --> 00:06:36,240 Speaker 1: if a man should be considered guilty for what goes 109 00:06:36,240 --> 00:06:38,760 Speaker 1: on in his mind, then give me the electric chair 110 00:06:39,040 --> 00:06:42,839 Speaker 1: for all my future crimes. Goddamn electric chair. What a banger? 111 00:06:42,880 --> 00:06:46,520 Speaker 1: I think. I deconstructed bat Dance probably eighty five times 112 00:06:46,520 --> 00:06:49,400 Speaker 1: over the course of that summer and fall. I was obsessed, 113 00:06:49,760 --> 00:06:51,159 Speaker 1: but back to this movie. I went to the theater 114 00:06:51,200 --> 00:06:53,800 Speaker 1: that summer with a friend to see Tim Burton's Batman. 115 00:06:53,880 --> 00:06:56,080 Speaker 1: I believe that friend was Matt from here at Double Elvis, 116 00:06:56,080 --> 00:06:58,320 Speaker 1: but Matt does not remember the story, so maybe it wasn't. 117 00:06:58,960 --> 00:07:01,280 Speaker 1: But as we sat down in our seats, we sat 118 00:07:01,360 --> 00:07:04,560 Speaker 1: down in front of this older kid who was in 119 00:07:04,600 --> 00:07:06,839 Speaker 1: the road directly behind us, probably in his late teens, 120 00:07:06,920 --> 00:07:09,640 Speaker 1: maybe even early twenties. He was there with his girlfriend 121 00:07:09,720 --> 00:07:12,200 Speaker 1: or his significant other or whatever. And this is before 122 00:07:12,400 --> 00:07:15,119 Speaker 1: you know, stadium seating, or at least that stadium seating 123 00:07:15,120 --> 00:07:17,920 Speaker 1: improvement was brought to the Great State of Maine. So 124 00:07:17,960 --> 00:07:19,400 Speaker 1: we sit down in front of this guy, and this 125 00:07:19,440 --> 00:07:22,840 Speaker 1: guy gets all exasperated under his breath, but audibly for 126 00:07:22,920 --> 00:07:25,560 Speaker 1: us to hear. He's like, Jesus Christ, the fucking kids 127 00:07:25,600 --> 00:07:28,080 Speaker 1: just sat down in front of me. And the girlfriend 128 00:07:28,160 --> 00:07:30,160 Speaker 1: is trying to shush him, like she doesn't want us 129 00:07:30,160 --> 00:07:33,200 Speaker 1: to feel bad, she doesn't want to be embarrassed. And meanwhile, 130 00:07:33,240 --> 00:07:35,280 Speaker 1: I'm just sinking in my seat like, oh damn, this 131 00:07:35,320 --> 00:07:37,800 Speaker 1: guy is gonna like pummel us or I don't know what, 132 00:07:38,520 --> 00:07:42,280 Speaker 1: and then he just goes, that's okay, because I'm fat 133 00:07:42,320 --> 00:07:44,520 Speaker 1: like you said it with this thick main accent. I fat, 134 00:07:44,960 --> 00:07:48,320 Speaker 1: And he said, when I fat, it friggin' reeks, right. 135 00:07:49,640 --> 00:07:51,800 Speaker 1: I think I started to laugh a bit then, but 136 00:07:51,880 --> 00:07:54,480 Speaker 1: it was like this nervous laughter because I still wasn't 137 00:07:54,520 --> 00:07:57,160 Speaker 1: sure this older kid was capable of Like he was 138 00:07:57,200 --> 00:07:59,280 Speaker 1: definitely capable of scaring the shit out of me, that's 139 00:07:59,280 --> 00:08:02,160 Speaker 1: for sure. And then the movie started, and looking back 140 00:08:02,200 --> 00:08:04,520 Speaker 1: on it now, it's like, damn, that dude was up 141 00:08:04,560 --> 00:08:07,480 Speaker 1: to some serious joker shit and I didn't even I 142 00:08:07,480 --> 00:08:09,360 Speaker 1: don't even know if he knew that he was doing it. 143 00:08:09,600 --> 00:08:13,400 Speaker 1: He was somewhere in that Heath Ledger area between funny 144 00:08:13,440 --> 00:08:17,600 Speaker 1: and irreverent and just completely psychotic. Probably heightened my appreciation 145 00:08:17,760 --> 00:08:21,680 Speaker 1: of Jack Nicholson's performance that day, But when it comes 146 00:08:21,720 --> 00:08:24,480 Speaker 1: to Heath Ledger's performance of the Joker, I don't think 147 00:08:24,640 --> 00:08:28,000 Speaker 1: he personally, Heath Ledger as an actor ever gave a 148 00:08:28,000 --> 00:08:31,920 Speaker 1: better performance. He is so magnetic, so compelling, so locked 149 00:08:31,960 --> 00:08:34,720 Speaker 1: in here. I know he's got the benefit of makeup 150 00:08:34,760 --> 00:08:37,440 Speaker 1: on his side, but he disappears into this role even 151 00:08:37,480 --> 00:08:40,199 Speaker 1: the way he kind of stands hunched over, the way 152 00:08:40,240 --> 00:08:43,640 Speaker 1: he walks, certainly the way he talks but making this 153 00:08:43,720 --> 00:08:48,120 Speaker 1: statement saying it's his greatest performance, it does beg two questions. 154 00:08:48,200 --> 00:08:51,320 Speaker 1: The first is would this performance be rated so high 155 00:08:51,360 --> 00:08:54,360 Speaker 1: and be remembered as it is had Heath Ledger lived? 156 00:08:54,920 --> 00:08:57,320 Speaker 1: You know, he famously died when the film was being 157 00:08:57,440 --> 00:09:00,520 Speaker 1: edited before it was released. And the other question is 158 00:09:00,559 --> 00:09:04,679 Speaker 1: do we celebrate performers more when they look or feel 159 00:09:04,760 --> 00:09:09,720 Speaker 1: dangerous when they physically transform themselves. I'm thinking of Robert 160 00:09:09,760 --> 00:09:12,240 Speaker 1: de Niro putting on the pounds and raging bull, or 161 00:09:12,600 --> 00:09:15,520 Speaker 1: Ledger's co star here, Christian Bale, in films like The 162 00:09:15,520 --> 00:09:17,480 Speaker 1: Machinists where he lost a ton of weight, or in 163 00:09:17,520 --> 00:09:20,120 Speaker 1: Dick where he gained a ton of weight. Even before 164 00:09:20,120 --> 00:09:22,640 Speaker 1: you see this movie, you know, you're asked that question 165 00:09:22,679 --> 00:09:24,760 Speaker 1: by others like, oh man, did you see the physical 166 00:09:24,760 --> 00:09:27,760 Speaker 1: transformation that he made to be in this film? So 167 00:09:27,800 --> 00:09:30,280 Speaker 1: I think these are both valid questions. The first one, 168 00:09:31,040 --> 00:09:33,920 Speaker 1: you know, would this performance be rated so high had 169 00:09:33,960 --> 00:09:35,680 Speaker 1: he lived? I'm not sure that we can ever really 170 00:09:35,720 --> 00:09:39,360 Speaker 1: know the answer to that because we can't experience the alternative, 171 00:09:39,400 --> 00:09:42,840 Speaker 1: the scenario in which Heath Ledger lives. But take River 172 00:09:42,880 --> 00:09:46,000 Speaker 1: Phoenix for example, who we covered recently here in Hollywood Land. 173 00:09:46,000 --> 00:09:49,480 Speaker 1: He passed away before his final two films were released. 174 00:09:49,720 --> 00:09:52,840 Speaker 1: Those were A Silent Ton and Dark Blood, and neither 175 00:09:52,880 --> 00:09:54,880 Speaker 1: of those two performances You're talked about the way that 176 00:09:54,920 --> 00:09:59,040 Speaker 1: this one is. And I think it's inarguable actually that 177 00:10:00,160 --> 00:10:03,160 Speaker 1: River Phoenix's finest performances are in other films, not in 178 00:10:03,200 --> 00:10:05,520 Speaker 1: those final two. So I'm going to contradict myself here 179 00:10:05,640 --> 00:10:08,679 Speaker 1: and say I think we can answer that first question 180 00:10:08,960 --> 00:10:11,640 Speaker 1: because the proof is in the performance. As for the 181 00:10:11,679 --> 00:10:15,679 Speaker 1: second question, the transformative nature of the performance, I think 182 00:10:15,720 --> 00:10:18,560 Speaker 1: of Miles Davis, who once talked about dressing for the 183 00:10:18,640 --> 00:10:21,680 Speaker 1: kind of music you play. Like what Miles wore into 184 00:10:21,720 --> 00:10:24,240 Speaker 1: the studio to make Kind of Blue was totally different 185 00:10:24,280 --> 00:10:27,400 Speaker 1: from what he wore to make Bitches Brew, and both 186 00:10:27,400 --> 00:10:29,320 Speaker 1: of those outfits were completely different from what he wore 187 00:10:29,400 --> 00:10:33,079 Speaker 1: when he recorded the Jack Johnson album or You're Under Arrest. 188 00:10:33,720 --> 00:10:37,120 Speaker 1: The preparation, the transformation, it's all part of it. And 189 00:10:37,160 --> 00:10:40,480 Speaker 1: it doesn't necessarily mean that just because an actor has 190 00:10:40,480 --> 00:10:46,640 Speaker 1: physically changed how they look that automatically equals a great performance. Okay. 191 00:10:47,160 --> 00:10:49,840 Speaker 1: I think our greatest comp for the Miles Davis of actors. 192 00:10:49,840 --> 00:10:51,600 Speaker 1: By the way, when it comes to dressing the part 193 00:10:51,800 --> 00:10:54,200 Speaker 1: is Gary Oldman, who happens to be in this movie, 194 00:10:54,240 --> 00:10:58,160 Speaker 1: but I digress. Heath Ledger is the greatest joker all 195 00:10:58,200 --> 00:11:01,200 Speaker 1: apologies to Joaquin Phoenix and the voice of Mark Hamill, 196 00:11:01,920 --> 00:11:04,800 Speaker 1: and just like Christopher Nolan, he helps to elevate this material, 197 00:11:04,840 --> 00:11:08,240 Speaker 1: a comic book movie, into something much more primal and 198 00:11:08,400 --> 00:11:12,040 Speaker 1: darkly human, something that will remain much longer, long after 199 00:11:12,360 --> 00:11:16,160 Speaker 1: George Clooney's Batman nipplesuit has broken down and degraded in 200 00:11:16,240 --> 00:11:19,360 Speaker 1: some cultural landfill. The Dark Knight is a movie about 201 00:11:19,480 --> 00:11:24,000 Speaker 1: agents of chaos, about masks and heists, about heavies and 202 00:11:24,080 --> 00:11:27,520 Speaker 1: laughs that echo off into the darkness, about sixty eight 203 00:11:27,559 --> 00:11:30,240 Speaker 1: million dollars in missing dirty money, and we're going to 204 00:11:30,280 --> 00:11:56,200 Speaker 1: get into it right after this. I'm a sucker for 205 00:11:56,240 --> 00:11:58,240 Speaker 1: a great opening scene in a film. I think we 206 00:11:58,360 --> 00:12:01,280 Speaker 1: all are, and The Dark Night has got one of 207 00:12:01,360 --> 00:12:03,720 Speaker 1: the best in my estimation. Jake and I were just 208 00:12:03,720 --> 00:12:08,080 Speaker 1: talking about great opening scenes. We recently recorded the next 209 00:12:08,120 --> 00:12:12,280 Speaker 1: episode of our video podcast. This film should be played loud, 210 00:12:12,559 --> 00:12:15,880 Speaker 1: which if you aren't already over on Patreon as a 211 00:12:15,880 --> 00:12:18,520 Speaker 1: member of Disgraced Land All Access, that's where you can 212 00:12:18,520 --> 00:12:21,679 Speaker 1: find it. It's a Patreon exclusive and totally worth it 213 00:12:21,880 --> 00:12:25,280 Speaker 1: in my humble, yet and minutly biased opinion. But we 214 00:12:25,320 --> 00:12:27,800 Speaker 1: recorded a new episode on the film Train Spotting, which 215 00:12:27,840 --> 00:12:33,040 Speaker 1: has arguably probably the most momentum driven scene opening scene 216 00:12:33,080 --> 00:12:35,640 Speaker 1: in film history. But I love how Here in the 217 00:12:35,720 --> 00:12:39,560 Speaker 1: Dark Night. Christopher Nolan starts this by slowly panning in 218 00:12:39,679 --> 00:12:43,000 Speaker 1: on a tall building in the downtown area of a city, 219 00:12:43,040 --> 00:12:46,080 Speaker 1: many stories up and already the score is tense and 220 00:12:46,160 --> 00:12:49,760 Speaker 1: nervous and can't relax. There's a time bomb ticking quality 221 00:12:49,760 --> 00:12:51,800 Speaker 1: to it, or a clock ticking, And as we get 222 00:12:51,840 --> 00:12:53,719 Speaker 1: close to the windows of this building, suddenly one of 223 00:12:53,720 --> 00:12:56,559 Speaker 1: the windows blows out and we see this guy inside 224 00:12:56,600 --> 00:12:58,680 Speaker 1: with a clown mask that kind of resembles the mask 225 00:12:59,200 --> 00:13:01,640 Speaker 1: used by one of the crook in Stanley Kubrick's The Killing. 226 00:13:02,120 --> 00:13:04,800 Speaker 1: One of the first of many homages that Christopher Nolan 227 00:13:04,840 --> 00:13:08,160 Speaker 1: makes to seminal crime films of the past. The next 228 00:13:08,160 --> 00:13:10,840 Speaker 1: coming up quickly after this, I think, is an homage 229 00:13:10,920 --> 00:13:14,120 Speaker 1: to Peter Yates the friends of Eddie Coyle. And then 230 00:13:14,160 --> 00:13:17,040 Speaker 1: we're down on the street, panning in towards who we 231 00:13:17,120 --> 00:13:19,800 Speaker 1: don't know yet is Heath Ledger, the joker. He's standing 232 00:13:19,880 --> 00:13:22,200 Speaker 1: on a street corner. His back is to us. There's 233 00:13:22,200 --> 00:13:24,960 Speaker 1: a big bag slung around his shoulder, and he's holding 234 00:13:24,960 --> 00:13:27,240 Speaker 1: one of those clown masks in his hand at his side, 235 00:13:27,480 --> 00:13:29,960 Speaker 1: with the face of the mask looking directly at us 236 00:13:29,960 --> 00:13:33,319 Speaker 1: at the camera. This is an incredible introduction to the Joker, 237 00:13:33,320 --> 00:13:36,320 Speaker 1: who is already fully formed here. He's already in the 238 00:13:36,360 --> 00:13:39,120 Speaker 1: middle of carrying out this unhinged plot to rob this 239 00:13:39,200 --> 00:13:41,960 Speaker 1: bank that will later learn is a mobbed up bank. 240 00:13:42,440 --> 00:13:45,400 Speaker 1: He'll rob it of sixty eight million dollars while systematically 241 00:13:45,760 --> 00:13:48,720 Speaker 1: having his own crew knock off each other because he's 242 00:13:48,760 --> 00:13:50,920 Speaker 1: basically made them all paranoid and turn them all on 243 00:13:50,960 --> 00:13:53,760 Speaker 1: each other before the work has even begun. And you 244 00:13:53,840 --> 00:13:56,120 Speaker 1: hear these guys in the crew say things like I 245 00:13:56,200 --> 00:13:57,760 Speaker 1: know why they call him the Joker, you know, And 246 00:13:57,840 --> 00:14:01,240 Speaker 1: right away you're like, Okay, the mythology year already exists. 247 00:14:01,360 --> 00:14:04,120 Speaker 1: We're just going to be dropped in on this Joker character. 248 00:14:04,360 --> 00:14:07,280 Speaker 1: The backstory has been jettisoned, and thank god for that. 249 00:14:07,320 --> 00:14:10,960 Speaker 1: You know. The first film in Nolan's Batman trilogy, Batman Begins, 250 00:14:11,080 --> 00:14:14,280 Speaker 1: played that whole backstory game, just like Tim Burton's had 251 00:14:14,360 --> 00:14:17,400 Speaker 1: years before, and this seems to be a rut that 252 00:14:17,480 --> 00:14:20,600 Speaker 1: a lot of superhero movies get into. Is they reboot 253 00:14:21,040 --> 00:14:23,440 Speaker 1: a franchise and we have to see the backstory. The 254 00:14:23,480 --> 00:14:26,240 Speaker 1: origin story played out over and over and over again. 255 00:14:28,120 --> 00:14:31,560 Speaker 1: And although Nolan deviated a bit from the well worn 256 00:14:31,640 --> 00:14:35,760 Speaker 1: plot by bringing in characters like Rose el Gooul and 257 00:14:36,000 --> 00:14:39,120 Speaker 1: Bruce Wayne's training with the League of Shadows nerd Alert, 258 00:14:39,920 --> 00:14:42,840 Speaker 1: it's still backstory, okay, And we don't need this backstory, 259 00:14:43,160 --> 00:14:45,520 Speaker 1: not in twenty twenty six, and not even in two 260 00:14:45,520 --> 00:14:47,640 Speaker 1: thousand and eight when this came out. Why is the 261 00:14:47,720 --> 00:14:49,640 Speaker 1: Joker like this? We get a little glimpse here and 262 00:14:49,680 --> 00:14:52,040 Speaker 1: there given to us by the Joker himself, but he's 263 00:14:52,080 --> 00:14:55,320 Speaker 1: such an unreliable narrator type that we don't really know 264 00:14:55,360 --> 00:14:57,840 Speaker 1: if what we're being fed is true. And it doesn't matter. 265 00:14:58,080 --> 00:15:00,680 Speaker 1: It's like I talked about last week with Cold Blood. 266 00:15:00,960 --> 00:15:03,720 Speaker 1: The Joker is what he is. He's an agent of chaos. 267 00:15:03,760 --> 00:15:07,680 Speaker 1: He's anti order. He's the polar opposite of Batman, who, 268 00:15:07,800 --> 00:15:10,880 Speaker 1: by the way, routinely goes beyond what is acceptable for 269 00:15:10,960 --> 00:15:13,400 Speaker 1: a hero in this film in order to gain control 270 00:15:13,800 --> 00:15:17,080 Speaker 1: control of the chaos. The Joker, as the quote goes 271 00:15:17,080 --> 00:15:19,720 Speaker 1: from this film just wants to watch the world burn. 272 00:15:20,360 --> 00:15:23,360 Speaker 1: By not giving us this backstory, we don't see the pain, 273 00:15:23,600 --> 00:15:26,880 Speaker 1: or the wounded humanity, or the Joker's desires or the 274 00:15:26,960 --> 00:15:29,600 Speaker 1: rules he plays by, so we don't get to empathize either, 275 00:15:29,640 --> 00:15:33,360 Speaker 1: which makes this particular heavy so much more frustrating to navigate, 276 00:15:33,720 --> 00:15:36,920 Speaker 1: and I think really rich and complex territory that Heath 277 00:15:37,000 --> 00:15:40,480 Speaker 1: Ledger explores. Now, if you've heard our fully scripted and 278 00:15:40,560 --> 00:15:43,000 Speaker 1: sound design episode on Heath Ledger that we put in 279 00:15:43,040 --> 00:15:45,880 Speaker 1: your feed earlier this week, you know that we get 280 00:15:45,920 --> 00:15:49,000 Speaker 1: into his preparation for the Joker role. About this journal 281 00:15:49,040 --> 00:15:51,960 Speaker 1: he carried around that had clippings of pictures of Tim 282 00:15:52,040 --> 00:15:55,680 Speaker 1: Curry as Pennywise, the demonic clown from it, you know, 283 00:15:55,840 --> 00:15:59,920 Speaker 1: the real life serial killer John Wayne Gacy, the Killer Clown, Pain, 284 00:16:00,360 --> 00:16:04,240 Speaker 1: Francis Bacon, Malcolm McDowell as Alex, and a clockwork Orange, 285 00:16:04,640 --> 00:16:07,520 Speaker 1: all which got me thinking of that line from Almost 286 00:16:07,560 --> 00:16:10,760 Speaker 1: Famous when William Miller is interviewing Russell Hammond and he 287 00:16:10,800 --> 00:16:13,360 Speaker 1: asked him do you have to be sad to write 288 00:16:13,360 --> 00:16:16,240 Speaker 1: a sad song? So like, do you have to be 289 00:16:16,920 --> 00:16:20,240 Speaker 1: crazy to play a crazy person? We get into all 290 00:16:20,240 --> 00:16:22,560 Speaker 1: that in the Heath Ledger episode. But something we didn't 291 00:16:22,560 --> 00:16:26,040 Speaker 1: get into when it comes to his preparation and his 292 00:16:26,160 --> 00:16:29,680 Speaker 1: inspiration is this little nugget. There's a theory out there 293 00:16:30,040 --> 00:16:33,720 Speaker 1: that Heath Ledger based his Joker performance on Tom Waits, 294 00:16:33,760 --> 00:16:37,720 Speaker 1: specifically this Australian TV interview that Tom Waits gave back 295 00:16:37,720 --> 00:16:41,160 Speaker 1: in nineteen seventy nine. Tom Waits one of the greatest 296 00:16:41,280 --> 00:16:45,120 Speaker 1: artists period of the last fifty years. He certainly knows 297 00:16:45,160 --> 00:16:48,240 Speaker 1: something about transformation. Perhaps no musician other than Miles Davis 298 00:16:48,320 --> 00:16:51,800 Speaker 1: or Bob Dylan has transformed as much and as successfully 299 00:16:51,840 --> 00:16:55,360 Speaker 1: as Tom Waits, who began as this gutter poet piano 300 00:16:55,480 --> 00:16:59,520 Speaker 1: barfly type and whose melancholy was matched only by or 301 00:16:59,600 --> 00:17:02,080 Speaker 1: even match you could say, by his sense of humor, 302 00:17:02,400 --> 00:17:05,080 Speaker 1: which is on full display in this interview by the way. 303 00:17:05,560 --> 00:17:08,200 Speaker 1: But then later, as you probably know, Tom Waits began 304 00:17:08,240 --> 00:17:12,880 Speaker 1: incorporating different kinds of instruments into his music banjos, accordion, marimba, 305 00:17:13,200 --> 00:17:17,320 Speaker 1: odd percussion, abstract and experimental stuff, and he began to 306 00:17:17,359 --> 00:17:21,080 Speaker 1: fuse theatricality with the blues, and at some point in 307 00:17:21,119 --> 00:17:23,960 Speaker 1: the mid to late eighties and maybe peaking in the 308 00:17:24,080 --> 00:17:27,080 Speaker 1: unique department with the nineteen ninety two album Bone Machine, 309 00:17:27,440 --> 00:17:30,280 Speaker 1: tom Waits became something that no other musician had ever 310 00:17:30,320 --> 00:17:33,159 Speaker 1: been before. He was no longer a collection of his 311 00:17:33,200 --> 00:17:36,480 Speaker 1: influences and instead was this entirely new thing that we'd 312 00:17:36,480 --> 00:17:38,919 Speaker 1: never heard before. But if you go back and you 313 00:17:38,960 --> 00:17:42,800 Speaker 1: watch this nineteen seventy nine interview on Australian TV, Tom 314 00:17:42,880 --> 00:17:46,120 Speaker 1: is still doing that gutter poet piano barfly routine. He's 315 00:17:46,160 --> 00:17:49,119 Speaker 1: still acting half drunk or half crazy or whatever it 316 00:17:49,200 --> 00:17:51,439 Speaker 1: was he was doing. And the way he holds his body, 317 00:17:51,480 --> 00:17:54,520 Speaker 1: the way he speaks, how he laughs. Play that back 318 00:17:54,520 --> 00:17:57,879 Speaker 1: to back with the scene where Heath Ledger first confronts 319 00:17:57,880 --> 00:18:01,919 Speaker 1: that motley crew of mobsters. It's uncanny. I don't think 320 00:18:01,960 --> 00:18:05,119 Speaker 1: there's anything out there about Heath Ledger using this interview 321 00:18:05,200 --> 00:18:08,880 Speaker 1: as character fuel, so to speak, but he must have. Again, 322 00:18:08,920 --> 00:18:12,080 Speaker 1: it's just two uncanny. Incidentally, the movie that Heath Ledger 323 00:18:12,160 --> 00:18:14,919 Speaker 1: was filming when he died, the Terry Gilliam film The 324 00:18:14,960 --> 00:18:19,640 Speaker 1: Imaginarium of Doctor Parnassas, co starred none other than Tom Waits, 325 00:18:19,920 --> 00:18:23,359 Speaker 1: which is probably a cosmic cowinky dink, but it's fun 326 00:18:23,359 --> 00:18:27,320 Speaker 1: to think about. Nonetheless, I think transformation had to have 327 00:18:27,359 --> 00:18:30,400 Speaker 1: been on Heath Ledger's brain, because right before this film 328 00:18:30,680 --> 00:18:33,560 Speaker 1: he makes I'm Not There with Todd Haynes, in which 329 00:18:33,560 --> 00:18:36,960 Speaker 1: he plays one of many actors playing a different version 330 00:18:37,160 --> 00:18:40,600 Speaker 1: of Bob Dylan. We do know where the creators of 331 00:18:40,600 --> 00:18:44,359 Speaker 1: the original Joker got their inspiration. I'm talking about Bob Caine, 332 00:18:44,440 --> 00:18:47,080 Speaker 1: Bill Finger, and Jerry Robinson, who get the credit for 333 00:18:47,200 --> 00:18:51,080 Speaker 1: creating the character for Detective comics back in nineteen thirty nine, 334 00:18:51,400 --> 00:18:53,600 Speaker 1: and who appeared in a Batman comic for the first 335 00:18:53,600 --> 00:18:56,480 Speaker 1: time in nineteen forty. They were inspired by the German 336 00:18:56,560 --> 00:19:00,840 Speaker 1: actor Conrad Vait, who starred in another nineteen twenty eight 337 00:19:00,920 --> 00:19:04,960 Speaker 1: film called The Man Who Laughs, This expressionist German film 338 00:19:05,400 --> 00:19:08,720 Speaker 1: in which Conrad Vates's character has been disfigured by having 339 00:19:08,760 --> 00:19:12,480 Speaker 1: this grin permanently carved into his face. Look it up, 340 00:19:12,520 --> 00:19:15,840 Speaker 1: it's actually the image is actually pretty frightening. For nineteen 341 00:19:15,880 --> 00:19:18,879 Speaker 1: twenty eight, I think more than any other Hollywood version 342 00:19:18,920 --> 00:19:21,960 Speaker 1: of the Joker, Keith Ledgers gets closest to this guy's 343 00:19:21,960 --> 00:19:25,760 Speaker 1: appearance wise, not that you need to, obviously, but again, 344 00:19:25,800 --> 00:19:27,520 Speaker 1: I think it's part of why I love this so 345 00:19:27,680 --> 00:19:30,520 Speaker 1: much is because it feels so real and so lived 346 00:19:30,560 --> 00:19:34,159 Speaker 1: in and as we've already gone over, preparation transformation is 347 00:19:34,200 --> 00:19:37,080 Speaker 1: a big part of us as an audience buying into 348 00:19:37,119 --> 00:19:40,000 Speaker 1: that real feeling. I think a big reason we as 349 00:19:40,040 --> 00:19:42,439 Speaker 1: the audience bought into this movie as a whole is 350 00:19:42,480 --> 00:19:45,960 Speaker 1: the realism for all its superheroess. It's the most real 351 00:19:46,000 --> 00:19:49,040 Speaker 1: a Batman movie has ever been on screen, the realist 352 00:19:49,119 --> 00:19:51,920 Speaker 1: of the three Batman movies that Nolan made. You know, 353 00:19:51,960 --> 00:19:53,639 Speaker 1: let's talk about the Nolan of it all for a minute. 354 00:19:53,880 --> 00:19:56,280 Speaker 1: This is really fascinating to me. I don't know what 355 00:19:56,440 --> 00:19:58,639 Speaker 1: his feeling is now about spending so much of his 356 00:19:58,720 --> 00:20:03,439 Speaker 1: time making three Batman movies, three superhero movies, three IP movies. 357 00:20:04,080 --> 00:20:07,640 Speaker 1: Since it seems that Nolan represents the autor filmmaker who 358 00:20:07,680 --> 00:20:10,400 Speaker 1: does what they want to do and isn't bound by 359 00:20:10,480 --> 00:20:14,240 Speaker 1: some like ip job for hire, I tend to complain 360 00:20:14,280 --> 00:20:17,560 Speaker 1: about great filmmakers getting bogged down in a trilogy or 361 00:20:17,560 --> 00:20:21,680 Speaker 1: a series like this, the most recent example being Denis Villeneuve, 362 00:20:21,760 --> 00:20:24,719 Speaker 1: who is currently wrapping up the third Dune film. For 363 00:20:24,720 --> 00:20:27,439 Speaker 1: the last five years since twenty twenty one when the 364 00:20:27,480 --> 00:20:29,879 Speaker 1: first Dune came out, well, I guess longer than that, 365 00:20:29,920 --> 00:20:32,840 Speaker 1: because he was making the first Dune before twenty twenty 366 00:20:32,880 --> 00:20:34,920 Speaker 1: one s but so for at least five years now, 367 00:20:36,560 --> 00:20:39,320 Speaker 1: Villaneuve has been working only on Dune movies. And the 368 00:20:39,359 --> 00:20:41,760 Speaker 1: Doune movies are great, don't get me wrong. I'm digging them, 369 00:20:41,760 --> 00:20:44,960 Speaker 1: and I'm looking forward to number three. But this is 370 00:20:45,000 --> 00:20:48,359 Speaker 1: a filmmaker who has given us great original films, films 371 00:20:48,400 --> 00:20:53,440 Speaker 1: like Sakario Arrival, Prisoner's Enemy. The film he made right 372 00:20:53,480 --> 00:20:56,680 Speaker 1: before Dune, right before this Dune run was Blade Runner 373 00:20:56,720 --> 00:20:59,880 Speaker 1: twenty forty nine, so another sequel, another piece of IP. 374 00:21:00,080 --> 00:21:02,560 Speaker 1: And the movie he's making right after this third Dune 375 00:21:02,640 --> 00:21:05,439 Speaker 1: movie is the new James Bond movie, which, dude, I 376 00:21:05,480 --> 00:21:07,199 Speaker 1: am stoked about because if you know me, you know 377 00:21:07,240 --> 00:21:10,600 Speaker 1: that James Bond is my jam. Bond is like my 378 00:21:10,680 --> 00:21:12,760 Speaker 1: comfort food for what to put on and watch on 379 00:21:12,800 --> 00:21:15,600 Speaker 1: any given night, especially the Daniel Craig years. So I'm 380 00:21:15,600 --> 00:21:19,360 Speaker 1: psyched to see what a director of Villanov's caliber can 381 00:21:19,400 --> 00:21:23,320 Speaker 1: do with Bond. But again, that's more years spent on 382 00:21:23,400 --> 00:21:27,560 Speaker 1: making movies that aren't original ideas, original films that are 383 00:21:27,880 --> 00:21:30,920 Speaker 1: so sorely lacking these days, and which seems like they 384 00:21:30,960 --> 00:21:33,040 Speaker 1: cause these huge ripples in the industry and the culture 385 00:21:33,080 --> 00:21:35,240 Speaker 1: is that we can see this past year with at 386 00:21:35,359 --> 00:21:38,080 Speaker 1: least three major films that came out and did really, 387 00:21:38,080 --> 00:21:41,240 Speaker 1: really well at the box office. But Christopher Nolan, when 388 00:21:41,280 --> 00:21:43,600 Speaker 1: he made these Batman films, he did it a bit differently, 389 00:21:43,680 --> 00:21:45,199 Speaker 1: and I wonder if he did it in order to 390 00:21:45,240 --> 00:21:48,600 Speaker 1: make sure he wasn't going to go full superhero, like 391 00:21:48,960 --> 00:21:52,640 Speaker 1: you never go full superhero, right, he made one original 392 00:21:52,680 --> 00:21:56,280 Speaker 1: film in between each Batman film. So this is unlike 393 00:21:56,280 --> 00:21:58,840 Speaker 1: the way that Villanove is doing Dune. Right, So between 394 00:21:58,880 --> 00:22:02,640 Speaker 1: Batman begins in the Dark Knight, he makes The Prestige, 395 00:22:02,800 --> 00:22:04,640 Speaker 1: and then in between the Dark Knight and The Dark 396 00:22:04,720 --> 00:22:08,280 Speaker 1: Knight Rises, he makes Inception, and then just two years 397 00:22:08,320 --> 00:22:11,160 Speaker 1: after The Dark Knight Rises, he's back again with another 398 00:22:11,160 --> 00:22:15,360 Speaker 1: original movie, this time Interstellar. Not that there's not precedent 399 00:22:15,400 --> 00:22:18,000 Speaker 1: for this. You know. Sam Raimi a great filmmaker and 400 00:22:18,080 --> 00:22:20,480 Speaker 1: oteur in his own right who has made great original 401 00:22:20,520 --> 00:22:23,920 Speaker 1: stuff from The Evil Dead to Dark Man. He helmed 402 00:22:23,920 --> 00:22:26,320 Speaker 1: the Spider Man movies with Toby Maguire. The ones that 403 00:22:26,359 --> 00:22:30,439 Speaker 1: really kicked off are modern fascination and obsession with superhero movies, 404 00:22:30,840 --> 00:22:32,960 Speaker 1: and he did those back to back, and then Ryan 405 00:22:33,040 --> 00:22:35,840 Speaker 1: Coogler one of the best directors working in my mind. 406 00:22:35,880 --> 00:22:38,440 Speaker 1: He made the two Black Panther films back to back 407 00:22:38,520 --> 00:22:43,840 Speaker 1: as well. But Christopher Nolan seems to exist in this 408 00:22:44,000 --> 00:22:47,600 Speaker 1: rarefied air that is sort of separate from some of 409 00:22:47,600 --> 00:22:50,880 Speaker 1: his peers. He's been called a modern day Stanley Kubrick. 410 00:22:51,080 --> 00:22:53,439 Speaker 1: And why is that? Is it because he's such a 411 00:22:53,960 --> 00:22:57,840 Speaker 1: quote unquote technical filmmaker? I mean, what makes a technical filmmaker? 412 00:22:57,960 --> 00:23:03,280 Speaker 1: Aren't they all technical filmmakers? Is it because Kubrick and 413 00:23:03,359 --> 00:23:07,080 Speaker 1: Nolan both strive for perfection? And if it's the If 414 00:23:07,119 --> 00:23:09,560 Speaker 1: that's what it is, then why aren't we comparing Kubrick 415 00:23:09,600 --> 00:23:12,800 Speaker 1: to David Fincher? Right? I think, really what a big 416 00:23:12,840 --> 00:23:15,200 Speaker 1: part of the comparison here. And I don't know if 417 00:23:15,200 --> 00:23:19,119 Speaker 1: this has been said so much, but I think Nolan 418 00:23:19,200 --> 00:23:22,240 Speaker 1: and Kubrick both have a frigidity to them. They're both cold. 419 00:23:22,840 --> 00:23:25,880 Speaker 1: I don't even know what Nolan's warmest movie would be Interstellar, 420 00:23:26,800 --> 00:23:30,119 Speaker 1: I don't know. Nolan films have been also eventized in 421 00:23:30,160 --> 00:23:32,879 Speaker 1: the way that Kubrick's movies feel eventized, though you know, 422 00:23:32,920 --> 00:23:34,919 Speaker 1: I need to read a Kubrick biography or something. I 423 00:23:34,960 --> 00:23:38,880 Speaker 1: have no idea how eventized Kubrick films were in their time, 424 00:23:39,080 --> 00:23:41,120 Speaker 1: like how much of a big deal was it that 425 00:23:41,200 --> 00:23:43,679 Speaker 1: Barry Linden was opening or The Shining was opening. You know, 426 00:23:43,720 --> 00:23:46,280 Speaker 1: I can't speak to whether or not they were treated 427 00:23:46,320 --> 00:23:48,600 Speaker 1: the way that Nolan's are now. I mean, look at 428 00:23:48,600 --> 00:23:52,800 Speaker 1: his upcoming adaptation of The Odyssey. Imax screenings for those 429 00:23:52,880 --> 00:23:54,840 Speaker 1: have already sold out, and the films aren't even out 430 00:23:54,880 --> 00:23:57,119 Speaker 1: un till this summer. I was going to rank my 431 00:23:57,240 --> 00:23:59,960 Speaker 1: favorite Nolan movies here, but there are a number of 432 00:24:00,080 --> 00:24:01,800 Speaker 1: them which I haven't seen in a while and I 433 00:24:01,840 --> 00:24:05,919 Speaker 1: need to rewatch like Insomnia, Memento, The Prestige again, these 434 00:24:05,960 --> 00:24:09,600 Speaker 1: original films, So I'll save that list for another time. Instead. 435 00:24:09,920 --> 00:24:11,280 Speaker 1: What I want to do is I want to make 436 00:24:11,280 --> 00:24:14,520 Speaker 1: a mixtape inspired by the character we've been talking about, 437 00:24:14,520 --> 00:24:17,280 Speaker 1: the Joker, Heath Ledgers Joker. So I'm going to do that, 438 00:24:17,600 --> 00:24:41,080 Speaker 1: and I'm going to do it right after this quick break. 439 00:24:43,760 --> 00:24:45,879 Speaker 1: All right, do you want to make a mixtape inspired 440 00:24:45,920 --> 00:24:49,919 Speaker 1: by Heath Ledgers Joker? Of course you do. Let's do this, okay. 441 00:24:50,320 --> 00:24:53,840 Speaker 1: Track number one obviously has got to be The Joker 442 00:24:54,040 --> 00:24:57,960 Speaker 1: by Steve Miller, The Steve Miller Band, The Joker, The Smoker, 443 00:24:58,200 --> 00:25:02,960 Speaker 1: the Midnight Tooker, the Space Cowboy, Maurice Woo Woo, whatever 444 00:25:03,000 --> 00:25:05,200 Speaker 1: you call him, just don't call him late for dinner. 445 00:25:05,240 --> 00:25:08,560 Speaker 1: Am I right? This is the song that you first 446 00:25:08,600 --> 00:25:10,680 Speaker 1: hear when you're a kid, and it feels like you're 447 00:25:10,720 --> 00:25:13,040 Speaker 1: being left behind the curtain with all the cool kids, 448 00:25:13,119 --> 00:25:16,720 Speaker 1: all the adults smoking and token and Space Cowboy in 449 00:25:17,000 --> 00:25:19,600 Speaker 1: and it feels a little dangerous but a little playful too, 450 00:25:19,720 --> 00:25:22,359 Speaker 1: and you know it's a world where you don't belong yet, 451 00:25:22,680 --> 00:25:25,760 Speaker 1: but you still enjoy being there while your parents aren't looking. 452 00:25:25,840 --> 00:25:28,400 Speaker 1: And then one day you grow up and you realize 453 00:25:28,560 --> 00:25:31,120 Speaker 1: these aren't the cool kids after all. These dudes are 454 00:25:31,240 --> 00:25:34,240 Speaker 1: actually pretty lame. They just think they're cool, And so 455 00:25:34,560 --> 00:25:38,200 Speaker 1: you slowly back away, trying to be inconspicuous so as 456 00:25:38,200 --> 00:25:41,480 Speaker 1: not to hurt any of the uncools feelings here back 457 00:25:41,560 --> 00:25:43,439 Speaker 1: under that curtain. And then you're on the hunt for 458 00:25:43,480 --> 00:25:46,119 Speaker 1: a song that will challenge you a little bit more. 459 00:25:47,119 --> 00:25:49,199 Speaker 1: I don't think Heath Ledger's Joker is looking to be 460 00:25:49,280 --> 00:25:51,639 Speaker 1: challenged by music, but I can see him queuing this 461 00:25:51,760 --> 00:25:56,000 Speaker 1: song up as the Gotham Hospital explodes behind him. This 462 00:25:56,119 --> 00:25:59,520 Speaker 1: kind of ironic needle drop that Martin Scorsese would approve 463 00:25:59,600 --> 00:26:02,920 Speaker 1: of which leads me to song number two on this mixtape, 464 00:26:02,920 --> 00:26:06,040 Speaker 1: and that song is that joke Isn't funny anymore by 465 00:26:06,240 --> 00:26:10,040 Speaker 1: The Smiths. Okay, say what you want about Morrissey these days, 466 00:26:10,040 --> 00:26:13,520 Speaker 1: he's definitely become a caricature of himself and gaming out 467 00:26:13,640 --> 00:26:16,040 Speaker 1: when and where he's going to cancel shows or cancel 468 00:26:16,080 --> 00:26:19,560 Speaker 1: albums has become something of a sport. But his creative 469 00:26:19,560 --> 00:26:22,000 Speaker 1: partner from back in the days of the Smiths, Johnny Marr, 470 00:26:22,320 --> 00:26:24,240 Speaker 1: is holding his head high these days, and over the 471 00:26:24,320 --> 00:26:26,760 Speaker 1: last ten or fifteen years or so, he's released a 472 00:26:26,800 --> 00:26:30,359 Speaker 1: slew of really solid solo albums. Johnny Mar, it means 473 00:26:30,440 --> 00:26:33,120 Speaker 1: one of my favorite guitar players. He's in my top ten. 474 00:26:33,440 --> 00:26:35,560 Speaker 1: He'd be in my starting nine on the field, or 475 00:26:35,560 --> 00:26:37,960 Speaker 1: even my starting five in the court. Okay, I want 476 00:26:37,960 --> 00:26:39,919 Speaker 1: to get that out of the way, to say, the 477 00:26:40,000 --> 00:26:42,320 Speaker 1: Smiths for me whenever something I was one hundred percent 478 00:26:42,359 --> 00:26:44,280 Speaker 1: into when they were around. I mean I was like 479 00:26:44,720 --> 00:26:47,440 Speaker 1: ten or so when they broke up. And the Smiths 480 00:26:47,480 --> 00:26:51,360 Speaker 1: are definitely tailor made for high school and college when 481 00:26:51,400 --> 00:26:53,320 Speaker 1: the world hasn't fully opened up for you yet and 482 00:26:53,359 --> 00:26:56,479 Speaker 1: it feels more constructive perhaps than it really is. So 483 00:26:56,560 --> 00:26:58,000 Speaker 1: I came to them later. I came to them in 484 00:26:58,040 --> 00:27:01,080 Speaker 1: college and beyond. And that said two. I still love 485 00:27:01,119 --> 00:27:04,800 Speaker 1: the Smiths now And this song that Joke Isn't Funny Anymore, 486 00:27:05,119 --> 00:27:07,920 Speaker 1: comes from their second album, Meet is Murder. It's a ballad, 487 00:27:08,240 --> 00:27:10,600 Speaker 1: has one of the best second halves of the song. 488 00:27:10,640 --> 00:27:15,200 Speaker 1: This extended outro. Johnny is playing this gorgeous delayed electric 489 00:27:15,200 --> 00:27:18,800 Speaker 1: guitar over the strummed acoustic guitar, and then the electric 490 00:27:18,800 --> 00:27:21,040 Speaker 1: guitar is doing this like backwards thing or something. It's 491 00:27:21,040 --> 00:27:22,880 Speaker 1: fading in and out. You know what I'm talking about, right, 492 00:27:23,440 --> 00:27:26,359 Speaker 1: all while Morrissey is singing I've seen this happen in 493 00:27:26,400 --> 00:27:29,320 Speaker 1: other people's lives, now it's happening in mind. Dude. Is 494 00:27:29,359 --> 00:27:32,080 Speaker 1: the best like literal chills during that second half of 495 00:27:32,119 --> 00:27:35,080 Speaker 1: that song. This is the song that plays when Heath 496 00:27:35,160 --> 00:27:38,400 Speaker 1: Ledger's joker goes from a crooked smile to pure chaos 497 00:27:38,720 --> 00:27:42,000 Speaker 1: in a snap. It's all funny games until someone gets 498 00:27:42,119 --> 00:27:44,480 Speaker 1: the pencil through the eye, and then that joke isn't 499 00:27:44,480 --> 00:27:48,200 Speaker 1: funny anymore. That joke is all business, baby, which brings 500 00:27:48,280 --> 00:27:51,800 Speaker 1: us to track number three. This is laughing by the 501 00:27:51,880 --> 00:27:54,679 Speaker 1: Guests who I slept on the guest Who. For the 502 00:27:54,720 --> 00:27:57,960 Speaker 1: longest time, you'd hear their songs on classic rock radio, 503 00:27:57,960 --> 00:27:59,719 Speaker 1: and I would always lump them in with other classic 504 00:27:59,800 --> 00:28:02,880 Speaker 1: rock I knew nothing about, like the Moody Blues, which 505 00:28:02,920 --> 00:28:06,399 Speaker 1: is so stupid to say, because those bands sound nothing alike. 506 00:28:07,200 --> 00:28:10,439 Speaker 1: But the Guests Who. Incidentally, they came up twice in 507 00:28:10,520 --> 00:28:13,920 Speaker 1: movies in the two thousands, first and almost famous, when 508 00:28:14,200 --> 00:28:17,639 Speaker 1: Philip Seymour Hoffmann is Lester Bangs is talking about Jim Morrison. 509 00:28:17,680 --> 00:28:21,040 Speaker 1: He says, Jim Morrison's a drunken buffoon posing as a poet, 510 00:28:21,280 --> 00:28:23,600 Speaker 1: and he says, give me the guess who. They've got 511 00:28:23,640 --> 00:28:27,160 Speaker 1: the courage to be drunken buffoons, which makes them poetic. 512 00:28:27,960 --> 00:28:29,840 Speaker 1: And then in two thousand and seven and the film's 513 00:28:29,880 --> 00:28:33,000 Speaker 1: Super Bad, and that incredible scene where Michael Sarah has 514 00:28:33,040 --> 00:28:36,120 Speaker 1: to sing the guess who's these eyes for that room 515 00:28:36,200 --> 00:28:39,920 Speaker 1: full of older stoner dudes, Who's mistake him for this singer? 516 00:28:40,480 --> 00:28:43,080 Speaker 1: Perhaps that's the funniest moment in a movie full of 517 00:28:43,120 --> 00:28:47,400 Speaker 1: funny moments. But this song, not these eyes, this song laughing. 518 00:28:47,840 --> 00:28:51,040 Speaker 1: It's got that late sixties communal voices in the chorus 519 00:28:51,040 --> 00:28:52,520 Speaker 1: thing that you heard in a lot of the hippie 520 00:28:52,560 --> 00:28:55,000 Speaker 1: dippy stuff from the time the Mamas and the papas 521 00:28:55,040 --> 00:28:58,720 Speaker 1: the birds and that chorus you're laughing at me. You 522 00:28:58,800 --> 00:29:01,160 Speaker 1: took everything away and really put the herd on me. 523 00:29:01,360 --> 00:29:05,240 Speaker 1: Which look, if that's not Heath Ledger's joker in a nutshell, Well, sir, 524 00:29:05,400 --> 00:29:07,920 Speaker 1: I do not know what is the next song on 525 00:29:07,960 --> 00:29:11,560 Speaker 1: our mixtape. Here is Smile, not by Charlie Chaplin and 526 00:29:11,600 --> 00:29:13,760 Speaker 1: not the Nat King Cole version either, but this is 527 00:29:13,800 --> 00:29:16,960 Speaker 1: by the rock and roll duo known as Quasi. Don't 528 00:29:16,960 --> 00:29:20,800 Speaker 1: know Quasi. They are the Portland, Oregon indie band featuring 529 00:29:20,840 --> 00:29:25,120 Speaker 1: Sam Coombs, former bandmate of Elliott Smith's, and Heatmeser on 530 00:29:25,280 --> 00:29:28,480 Speaker 1: lead vocals and the rocks accord which is this distorted 531 00:29:28,520 --> 00:29:31,440 Speaker 1: electric piano which I don't think they make it anymore, along 532 00:29:31,480 --> 00:29:33,880 Speaker 1: with his ex wife Janet Weiss, who you may know 533 00:29:33,920 --> 00:29:36,680 Speaker 1: from her time with Slater Kinney on drums. I saw 534 00:29:36,760 --> 00:29:40,280 Speaker 1: Quasi open for Elliott on his Exo tour at the 535 00:29:40,280 --> 00:29:43,239 Speaker 1: Paradise in Boston. They opened the show and then they 536 00:29:43,280 --> 00:29:46,280 Speaker 1: performed as Elliott's backing band during his set. If you 537 00:29:46,360 --> 00:29:49,200 Speaker 1: find the bootleg of the show online. Somewhere you can 538 00:29:49,200 --> 00:29:53,360 Speaker 1: hear my good friend Dave drunkenly yell out Christian Brothers 539 00:29:53,400 --> 00:29:57,600 Speaker 1: near the end of the show, much much more drunkenly 540 00:29:57,640 --> 00:30:01,280 Speaker 1: than that which Elliott it did play. I don't know 541 00:30:01,320 --> 00:30:03,160 Speaker 1: if it was if he played it because Dave was 542 00:30:04,000 --> 00:30:06,400 Speaker 1: yelling for it, but he played it right before he 543 00:30:06,440 --> 00:30:09,760 Speaker 1: played This devastating cover of George Harrison's Give Me Love, 544 00:30:09,840 --> 00:30:13,880 Speaker 1: Give Me Peace on Earth. Quasi's Smile has their trademark 545 00:30:13,960 --> 00:30:16,360 Speaker 1: dark sense of humor of their life philosophy of well, 546 00:30:16,480 --> 00:30:18,360 Speaker 1: this is it, This is life. What you see is 547 00:30:18,400 --> 00:30:20,680 Speaker 1: what you get, And as the chorus of this one says, 548 00:30:20,960 --> 00:30:23,120 Speaker 1: you know if you lost everything, life isn't fair. You're 549 00:30:23,120 --> 00:30:25,760 Speaker 1: stuck on a one horse town. Well, others have it worse, 550 00:30:25,800 --> 00:30:28,080 Speaker 1: so shut the hell up and smile. It's not so bad. 551 00:30:28,240 --> 00:30:30,960 Speaker 1: It's the most depressing happy song perhaps of all time, 552 00:30:31,040 --> 00:30:33,560 Speaker 1: and a song that I think Heath Ledger's Joker would 553 00:30:33,560 --> 00:30:37,160 Speaker 1: find most hilarious. Okay, The next song on this playlist 554 00:30:37,280 --> 00:30:40,560 Speaker 1: is joker Man by Bob Dylan. This comes from Dylan's 555 00:30:40,600 --> 00:30:44,479 Speaker 1: nineteen eighty three album Infidels, produced by Mark Knopfler and 556 00:30:44,560 --> 00:30:48,600 Speaker 1: featuring Nofler and the Stones former member Mick Taylor on guitars, 557 00:30:49,160 --> 00:30:52,760 Speaker 1: plus the all time rhythm section of Robbie Shakespeare in 558 00:30:52,840 --> 00:30:56,520 Speaker 1: Slide Dumbar on bass and drums. These eighties albums by Dylan, 559 00:30:57,240 --> 00:30:59,200 Speaker 1: you know, they got lost in the shuffle as history 560 00:30:59,240 --> 00:31:02,320 Speaker 1: settled out over the years. You're always told that Dylan's 561 00:31:02,320 --> 00:31:05,320 Speaker 1: golden period is the mid sixties through the mid to 562 00:31:05,400 --> 00:31:08,440 Speaker 1: late seventies, and that you should ignore his Christian period, 563 00:31:08,440 --> 00:31:10,320 Speaker 1: you should ignore the eighties and all that. But that's 564 00:31:10,320 --> 00:31:13,240 Speaker 1: such bullshit, and it caused me and probably a lot 565 00:31:13,280 --> 00:31:17,240 Speaker 1: of you to deny myself, to deny ourselves the enjoyment 566 00:31:17,320 --> 00:31:21,320 Speaker 1: of this excellent record for years. Dylan also released another 567 00:31:21,520 --> 00:31:24,320 Speaker 1: one of his so called bootleg compilations a few years back, 568 00:31:24,440 --> 00:31:27,400 Speaker 1: called Springtime in New York, and that features an alternate 569 00:31:27,400 --> 00:31:29,920 Speaker 1: take of this song with a more stripped down, less 570 00:31:30,040 --> 00:31:32,560 Speaker 1: slick production if you want the flip side of the 571 00:31:32,600 --> 00:31:36,360 Speaker 1: official releases sound. I don't know that I fully understand 572 00:31:36,360 --> 00:31:38,600 Speaker 1: what the song is about, but it doesn't matter, though. 573 00:31:38,600 --> 00:31:41,680 Speaker 1: Something tells me that Heath Ledger's Joker would totally get 574 00:31:41,720 --> 00:31:44,640 Speaker 1: it all right. Next song on our mixtape here is 575 00:31:45,040 --> 00:31:49,280 Speaker 1: feel Good Ink by Gorillas. Yes, there is darkness behind 576 00:31:49,320 --> 00:31:52,520 Speaker 1: the funk here, something ominous lurking in the shadows, a 577 00:31:52,520 --> 00:31:56,080 Speaker 1: ghost in the machine, as well as that unhinged laughing 578 00:31:56,120 --> 00:31:58,240 Speaker 1: that kicks off the track. I believe that's one of 579 00:31:58,280 --> 00:32:01,040 Speaker 1: the guys in Dayla Soul who guest on this track, 580 00:32:01,080 --> 00:32:04,160 Speaker 1: along with Damon Albern and his rotating cast of lost boys, 581 00:32:04,560 --> 00:32:07,240 Speaker 1: making pop music for a twenty first century. That is 582 00:32:07,280 --> 00:32:10,920 Speaker 1: reckoning with its own mythology. The spirit of Heath Ledger's 583 00:32:10,960 --> 00:32:13,920 Speaker 1: Joker is here, laughing in the darkness, maybe laughing at 584 00:32:13,960 --> 00:32:17,400 Speaker 1: the darkness, leaving all of us wondering what comes next? 585 00:32:17,840 --> 00:32:20,920 Speaker 1: Is it? I was only joking by Rod Stewart? Is it? 586 00:32:21,360 --> 00:32:24,400 Speaker 1: I started a joke by the Beg's And while we wonder, 587 00:32:24,640 --> 00:32:27,240 Speaker 1: I ask you what other songs should go on our 588 00:32:27,320 --> 00:32:30,720 Speaker 1: Joker mixtape? Call or text me at six one seven 589 00:32:31,040 --> 00:32:33,600 Speaker 1: nine oh six six six three eight, leave me a 590 00:32:33,680 --> 00:32:37,640 Speaker 1: voicemail or a text. Email me at disgracelampod at gmail 591 00:32:37,680 --> 00:32:40,280 Speaker 1: dot com, Get at me on the socials at Disgrace 592 00:32:40,360 --> 00:32:43,640 Speaker 1: lamb pod, or jump in the chat over in Disgraceland 593 00:32:43,640 --> 00:32:47,320 Speaker 1: All Access on Patreon. Now this is no joke. I 594 00:32:47,360 --> 00:32:49,479 Speaker 1: will be right back for more of the screening room 595 00:32:49,680 --> 00:33:06,320 Speaker 1: right after this quick break mixtapes inspired by movies. What 596 00:33:06,320 --> 00:33:08,280 Speaker 1: do you guys think? I kind of did this on 597 00:33:08,280 --> 00:33:11,080 Speaker 1: a lark here this week because there seem to be 598 00:33:11,120 --> 00:33:13,720 Speaker 1: so many songs about jokers and jokes and laughing and 599 00:33:13,760 --> 00:33:16,680 Speaker 1: all that. And anytime I can tie the movie world 600 00:33:16,760 --> 00:33:19,640 Speaker 1: of Hollywood Lands together with the music world of Disgraceland, 601 00:33:19,680 --> 00:33:21,840 Speaker 1: I go for it. But I wonder should we make 602 00:33:21,880 --> 00:33:24,520 Speaker 1: this a regular feature of the screening room. Do you 603 00:33:24,600 --> 00:33:26,240 Speaker 1: like it? Do you not like it? Hit me up, 604 00:33:26,600 --> 00:33:29,080 Speaker 1: let me know what you think. I'm already thinking ahead 605 00:33:29,080 --> 00:33:31,480 Speaker 1: about next week's film here in the screening room dog 606 00:33:31,560 --> 00:33:35,640 Speaker 1: Day afternoon, and what that mixtape would look like. Yes, 607 00:33:35,720 --> 00:33:38,120 Speaker 1: next week we get into Awards season, lots of awards 608 00:33:38,160 --> 00:33:40,880 Speaker 1: ceremonies taking place in February that lead up to the 609 00:33:40,920 --> 00:33:44,600 Speaker 1: Oscars in March. So I'm programming February and Hollywood Land 610 00:33:45,040 --> 00:33:48,000 Speaker 1: with subjects that have famously won Academy Awards. And the 611 00:33:48,040 --> 00:33:51,080 Speaker 1: first one is al Pacino. We've got our fully scripted 612 00:33:51,120 --> 00:33:54,840 Speaker 1: sound design episode on Pacino coming at you on Monday. 613 00:33:55,240 --> 00:33:58,040 Speaker 1: Hear all about how an audition early on when Pacino 614 00:33:58,120 --> 00:34:00,960 Speaker 1: was younger, nearly let him off the tracks and into 615 00:34:00,960 --> 00:34:03,640 Speaker 1: a real life of crime. This is all about that 616 00:34:03,760 --> 00:34:08,440 Speaker 1: pre Michael Corleone, Paccino, pre Sonny and Dog Day Afternoon. 617 00:34:08,480 --> 00:34:11,360 Speaker 1: And again we're going to feature that film Dog Day Afternoon, 618 00:34:11,400 --> 00:34:14,560 Speaker 1: another one directed by the great Sydney Lumett in Friday's 619 00:34:14,719 --> 00:34:18,360 Speaker 1: screening room slot on Wednesday. Next week, I'll be back 620 00:34:18,520 --> 00:34:21,600 Speaker 1: in the Rap Party and keeping with Paccino and Dog 621 00:34:21,719 --> 00:34:24,920 Speaker 1: Day and the fact that it's award season. Paccino was 622 00:34:24,960 --> 00:34:27,759 Speaker 1: nominated for Best Actor that year at the Oscars, but 623 00:34:27,800 --> 00:34:31,279 Speaker 1: he famously lost to Jack Nicholson and one flew over 624 00:34:31,320 --> 00:34:34,080 Speaker 1: the Cougo's nest. I do think they got it right. However, 625 00:34:34,640 --> 00:34:37,480 Speaker 1: what is the biggest oscar snub in your eyes? What 626 00:34:37,600 --> 00:34:41,880 Speaker 1: director or actor got totally robbed? When did the wrong 627 00:34:41,960 --> 00:34:44,640 Speaker 1: guy or gal Win? Give me a hauler and let 628 00:34:44,680 --> 00:34:47,440 Speaker 1: me know six one seven nine oh six six six 629 00:34:47,600 --> 00:34:50,200 Speaker 1: three eight. Maybe I'll play your voicemail or read your 630 00:34:50,239 --> 00:34:53,000 Speaker 1: text next week in the Rap Party. Hey, a little 631 00:34:53,000 --> 00:34:55,360 Speaker 1: bit of housekeeping here real quick. I mentioned this earlier, 632 00:34:56,280 --> 00:34:58,960 Speaker 1: but last week over in Disgrace, then All Access in 633 00:34:59,000 --> 00:35:03,120 Speaker 1: Patreon dropped the second episode of our Patreon exclusive video 634 00:35:03,200 --> 00:35:06,520 Speaker 1: podcast called This Film should be played loud. This new 635 00:35:06,560 --> 00:35:09,200 Speaker 1: episode is all about the movie Train Spawning. It's about 636 00:35:09,200 --> 00:35:11,080 Speaker 1: an hour long. You could only get it there. As 637 00:35:11,120 --> 00:35:13,319 Speaker 1: I said, Jake and I are having a great time 638 00:35:13,400 --> 00:35:16,000 Speaker 1: talking music and movies on the show. Lots of great 639 00:35:16,080 --> 00:35:18,759 Speaker 1: visuals in the episodes as well. If you're not over 640 00:35:18,760 --> 00:35:20,520 Speaker 1: there checking that out and you want to see what 641 00:35:20,560 --> 00:35:23,520 Speaker 1: it's all about, just go to Disgrace lambpod dot com 642 00:35:23,520 --> 00:35:26,520 Speaker 1: for more info and to sign up today. All right, 643 00:35:26,600 --> 00:35:30,040 Speaker 1: next week, who add's paccino time? Right now? However, I'm 644 00:35:30,040 --> 00:35:32,560 Speaker 1: going to leave you with this. Here's what America was 645 00:35:32,600 --> 00:35:35,239 Speaker 1: watching at the movies in July two thousand and eight, 646 00:35:35,640 --> 00:35:38,200 Speaker 1: the month that The Dark Knight was released in theaters. 647 00:35:40,680 --> 00:35:45,000 Speaker 1: Number one The Dark Knight directed by Christopher Nolan. Number 648 00:35:45,040 --> 00:35:51,280 Speaker 1: two Hancock directed by Peter Berg. Number three Wally directed 649 00:35:51,280 --> 00:35:54,600 Speaker 1: by Andrew Stanton. The number three, Number four I'm On 650 00:35:54,680 --> 00:35:58,120 Speaker 1: Media Andrew Gold directed by Doing to Fill It All Lloyds. 651 00:35:58,520 --> 00:36:04,319 Speaker 1: Number five directed Wanted Philadelms directed by Timoremantoft. Number six 652 00:36:04,960 --> 00:36:08,600 Speaker 1: hell Boy to the Golden Army directed by giermal del 653 00:36:08,680 --> 00:36:12,080 Speaker 1: To Gold. Number seven directed Journey to the Central of 654 00:36:12,080 --> 00:36:18,640 Speaker 1: the Life directed by the Quit Talking and start mixing, 655 00:36:18,920 --> 00:36:19,160 Speaker 1: could