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Speaker 1: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 2: Hey, welcome to Weird House Cinema. This is Rob Lamb.

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Speaker 3: And I'm Joe McCormick. And today we're going to wander

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Speaker 3: into the swamp and get a little bit muddy. Rob.

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Speaker 3: The movie that we're doing today you picked out because

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Speaker 3: of some recent Florida brain inspiration.

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Speaker 2: That's right. I was in Florida over spring break and

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Speaker 2: it just got me inspired. I just really wanted to

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Speaker 2: do a Florida movie. Maybe it was driving through Tates

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Speaker 2: Hell or Driving out through tates Hell, I'm not sure

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Speaker 2: which of the two. But I started brainstorming. I was thinking, Okay,

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Speaker 2: what are the Florida movies, and we may come back

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Speaker 2: to some of the other ones that were knocking around

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Speaker 2: in my head. But then I started thinking about and

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Speaker 2: reading about a particular nineteen seventy two film titled Frogs.

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Speaker 2: When I looked into it, I realized, this is a

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Speaker 2: movie that is set in Florida, It was filmed in

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Speaker 2: Florida in its entirety. This is the film we have

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Speaker 2: to do. So this is our first Nature strikes back film,

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Speaker 2: but it's also our first Florida film. I think it's

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Speaker 2: our first Nature strikes back film.

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Speaker 3: I guess I can't think of another one. But I

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Speaker 3: find it hard to believe we've made it this far

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Speaker 3: on weird house cinema without doing a Nature strikes back movie.

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Speaker 3: The classic Nature strikes Back movie has one sort of

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Speaker 3: giant animal that represents nature's revenge against humanity for I

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Speaker 3: don't know, for having cities or for polluting nature or

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Speaker 3: something like that, for doing something that is violating the

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Speaker 3: sanctity of the natural world, and then we're punished by monsters.

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Speaker 3: This movie has more of a distributed strike back policy.

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Speaker 2: Yeah, that's right. Yeah, I would say Nature strikes Back

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Speaker 2: films tend to go either a swarm route or a

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Speaker 2: war by champion route. This was a huge deal, especially

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Speaker 2: in the seventies. This was a decade that gave us

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Speaker 2: Kiranha Prophecy. That's a mutant bear film, Alligator, Grizzly, Empire

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Speaker 2: of the Ants, the Swarm, Killer Bees, Willard, that's a

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Speaker 2: rat movie, ben Orca. That's a killer whale movie. Squirm

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Speaker 2: that's an earthworm movie. That's excellent. That's a Georgia movie,

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Speaker 2: though maybe we'll come back to that eventually. And of

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Speaker 2: course we also got Jaws out of this, so out

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Speaker 2: of nature strikes back, the summer blockbuster itself was born.

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Speaker 3: Okay, yeah, well, so I would say with Jaws, I

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Speaker 3: don't particularly see the element of like humanity provoking the thing,

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Speaker 3: like you know you're seeing. The Jaws would be a

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Speaker 3: very different movie if it started by showing like radioactive

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Speaker 3: barrels in the surf and then everything else was the same.

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Speaker 3: So I think in Jaws, Jaws weirdly is like the

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Speaker 3: best movie of the bunch, but it's also like the

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Speaker 3: least defensible from a moral point of view, because it's

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Speaker 3: just like, well, this shark's just it's just an animal,

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Speaker 3: but it's huge and bad.

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Speaker 2: Yeah, yeah, but yeah, there are.

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Speaker 3: So many movies like this, And I was actually just

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Speaker 3: thinking while you were listing those movies there, have you

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Speaker 3: ever seen the William Shatner tarantula attack movie Kingdom of

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Speaker 3: the Spiders.

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Speaker 2: I don't think I've seen it in its entirety, but

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Speaker 2: I'm sure I caught part of it on TNT back

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Speaker 2: in the day or something.

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Speaker 3: I was trying to remember if that one has any

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Speaker 3: element of like nature being if the spiders are provoked

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Speaker 3: by humanity in any way, or if they just start,

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Speaker 3: you know, multiplying out of nowhere.

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Speaker 2: Yeah, I guess in general you might think of Nature

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Speaker 2: Strike's Back films, it's been sort of being the cinematic

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Speaker 2: outpouring of the public awakening to the damage that we

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Speaker 2: are doing to the planet and its natural environments and

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Speaker 2: the creatures and the various species that make it up.

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Speaker 2: Though given that we're dealing with genre films and often

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Speaker 2: be pictures, it's it's sort of a I don't know,

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Speaker 2: you often get the impression it's kind of a sense

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Speaker 2: of like, oh, well, let's explore this in B movies

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Speaker 2: so we don't have to think about it anymore, you know,

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Speaker 2: Or here's the imagine revenge. Okay, now we're good. Now

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Speaker 2: it can go back to the polluting ways.

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Speaker 3: Yeah, I would say that it actually comes in a

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Speaker 3: couple of waves. So you see something that is like

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Speaker 3: a precursor to Nature Strikes Back films in the nineteen fifties.

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Speaker 3: But there it's all atomic panic, like it's the the

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Speaker 3: contaminating human behavior that precipitates the giant animal attack. Is

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Speaker 3: some kind of nuclear testing. It's nuclear research, nuclear waste dumping,

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Speaker 3: nuclear weapons testing, and you know, for quite understandable reasons.

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Speaker 3: That was on people's mind in the nineteen fifties. But

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Speaker 3: I think there was a shift in the nineteen sixties

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Speaker 3: away from the contamination being nuclear and nature to being

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Speaker 3: primarily chemical in nature. And I think this probably had

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Speaker 3: something to do with you know, Silent Spring came out

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Speaker 3: in the sixties and that sort of alerted people to

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Speaker 3: ideas about pesticides and other chemical contamination of nature. So

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Speaker 3: the strain of nature strikes Back movies you start seeing

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Speaker 3: in the sixties and seventies, I think is more like

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Speaker 3: that there's like a pollution of various kinds. There's smog,

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Speaker 3: there's like something gross running out of a pipe, and

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Speaker 3: then you get giant alligators that eat people or something.

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Speaker 2: Yeah, And I would say that ultimately the film we're

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Speaker 2: going to discuss today, Frogs is it's probably one of

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Speaker 2: the more intelligent versions of this in that it is

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Speaker 2: not a single incident causing a single incident of nature

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Speaker 2: strikes back. It is, as we grow to learn throughout

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Speaker 2: the film, seems to be a global reaction to not

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Speaker 2: a specific event or even a specific specific technology, but

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Speaker 2: to our way of life, And in that it ultimately

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Speaker 2: is is perhaps a more nuanced commentary on our relationship

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Speaker 2: with the natural world.

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Speaker 3: Yeah, ye, I like it. It's the way I was

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Speaker 3: thinking of it. Was its bio maximum overdrive.

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Speaker 2: Yeah, oh yeah, I read somewhere it wasn't in reference

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Speaker 2: to maximum overdrive. But I know Stephen King saw frogs,

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Speaker 2: and I believe he was a fan of it. I

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Speaker 2: think now I remember what it was. It was something

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Speaker 2: about when he was riding the Shining, he was trying

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Speaker 2: to decide between doing topiery animals and a hedge maze,

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Speaker 2: and frogs was what convinced him that it needed to

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Speaker 2: be topiery animals chasing people. Something about, like you look

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Speaker 2: around in their animals everywhere.

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Speaker 3: I guess, wait, wait, what was the other option? You said,

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Speaker 3: topiery animals and a hedge maze, But the book has

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Speaker 3: a hedge maze, because doesn't the book have both? I

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Speaker 3: mainly remember the topiery animals from okay, from the book.

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Speaker 3: I don't remember there been It's been a long time.

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Speaker 3: I was basically a kid when I read The Shining,

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Speaker 3: But yeah, me too.

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Speaker 2: I believe it was lacking a maze, or at least

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Speaker 2: the maze was not the sexual threat. And then Kubrick

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Speaker 2: and his adaptation decided to go full maze.

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Speaker 3: That makes sense. Okay, yeah, but the topiery animals, they're

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Speaker 3: like bushes that are shaped like lions and stuff that

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Speaker 3: literally like they come after Danny in the book to

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Speaker 3: attack him.

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Speaker 2: And somehow the frogs helped inspire King to go in

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Speaker 2: the animal bush direction.

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Speaker 3: Very good, very good choice, Stephen. Okay, so I guess

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Speaker 3: we've done enough setup to hit the trailer audio. Florida's

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Speaker 3: Natural Wildlife Rebels against Humanity in its early seventies environmental

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Speaker 3: horror film. Let's hear that audio.

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Speaker 4: Suppose nature gave a war and everybody came, the snakes,

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Speaker 4: the birds, the lizards, and frogs, and suppose that the polluters,

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Speaker 4: the species on earth called man, were the enemy in

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Speaker 4: that war.

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Speaker 5: I still believe man is master.

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Speaker 4: Of the wood.

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Speaker 5: And then suppose that the human race lost.

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Speaker 2: Oh yeah, that's that's so good. I'm gonna grab my

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Speaker 2: thermis here of Florida tapwater that I brought back from

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Speaker 2: the beach. Delicious. All right, Well, let's talk about some

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Speaker 2: of the people involved in this film. Let's start where

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Speaker 2: we tend to start. Let's start talking about the director,

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Speaker 2: and it is a Canadian director. This time, which on

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Speaker 2: one hand you might say, well, why not a Floridian,

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Speaker 2: Why is a Florida Floridian not directing this thing? But

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Speaker 2: then on the other hand, I feel like it makes

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Speaker 2: sense that a Canadian would come to Florida and perhaps

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Speaker 2: that would that would enable this like leaning into the

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Speaker 2: ravenous nature of the Floridian wildlife. You know, not that

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Speaker 2: you don't have some pretty rough and buggy environments in Canada,

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Speaker 2: certainly do, but I don't know. In my back of

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Speaker 2: my mind, I'm thinking, like, here's this uh, this Canadian

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Speaker 2: director George Mcowan showing up and he's just like, oh

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Speaker 2: my god, this this place is hellish. This is the

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Speaker 2: perfect setting. It seems like the Wow, the wilderness is

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Speaker 2: just trying to consume me at all times.

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Speaker 3: Right, Mosquitos, the size of hummingbirds, just like gaiters at

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Speaker 3: every turn. You can imagine the the like sort of

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Speaker 3: the anthropologists level of distance and removed from the from

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Speaker 3: looking at Florida like that, but also with it with

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Speaker 3: an added sense of horror in this lush, wet, humid

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Speaker 3: environment that's full of beasts.

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Speaker 2: Yeah, because I love Florida and Florida has a tremendous wildlife.

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Speaker 2: But I've I've gone on nature walks in the heat

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Speaker 2: of the summer in Florida before, and it is. It is.

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Speaker 2: It is kind of frightening at times. Oppressive might be

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Speaker 2: a better word.

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Speaker 3: You know. Sometimes this movie has a ridiculous amount of

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Speaker 3: large you know, tetrapod animals in various scenes, like you know,

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Speaker 3: a number of frogs that I'm sorry is implausible, but

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Speaker 3: that's okay. But but the other end of it is

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Speaker 3: that it doesn't have enough insects. They are like scenes

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Speaker 3: where people are eating outdoors and it's July and Florida

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Speaker 3: and they're not being swarmed by insects. You don't see anything.

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Speaker 2: Yeah, Yeah, I couldn't find anything about when they exactly

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Speaker 2: filmed this in Florida. It is set on the July fourth,

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Speaker 2: the weekend or something, But there's no way this is

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Speaker 2: this is July in Florida. Like there's again, like you said,

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Speaker 2: these scenes with people outside, there would just be bugs everywhere,

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Speaker 2: Like you wouldn't be able to film it. They must have.

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Speaker 2: They must have filmed this in one of the cooler

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Speaker 2: months for sure.

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Speaker 3: Yeah.

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Speaker 2: Also, there's not a steady It's like sheen of sweat

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Speaker 2: on all the actors at all times.

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Speaker 3: Oh yeah, that's funny too. Yeah, they're all they're all

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Speaker 3: relatively dry, except when they're supposed to be wet from

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Speaker 3: having fallen in the disgusting lake water. Yes, but okay,

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Speaker 3: So who's this guy? George McCowan director all right.

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Speaker 2: He lived nineteen twenty seven through nineteen ninety five. He

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Speaker 2: did a lot of TV work. He also directed the

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Speaker 2: nineteen seventy nine sci fi film The Shape of Things

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Speaker 2: to Come, starring Jack Palance. I think I watched a

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Speaker 2: riff track version of this, or maybe it was something else,

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Speaker 2: but I've seen this when one form or another.

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Speaker 3: It just makes me think of the line in the

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Speaker 3: Mortal Kombat movie The Paul W. S Anderson one from

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Speaker 3: the nineties where Sheng Song says no for a taste

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Speaker 3: of things to come. Do you remember that scene the

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Speaker 3: drums going and the guy with the sock on his

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Speaker 3: head gets shattered.

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Speaker 2: It's a great sample too. So now here's the main

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Speaker 2: thing I knew mcgallan from. He directed a lot of,

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Speaker 2: if not all, the episodes of the Canadian broadcasting series

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Speaker 2: Seeing Things, which ran on CBC from nineteen eighty one

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Speaker 2: through nineteen eighty seven, and as a kid in Canada,

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Speaker 2: I remember watching this show with my family. He was

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Speaker 2: basically a murder mystery of the week show with a

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Speaker 2: psychic reporter doing all of the crime solving.

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Speaker 3: And funny, I clicked through to this on IMDb. I've

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Speaker 3: never seen this, but immediately it just showed me a

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Speaker 3: gigantic picture of the guy from Scanners.

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Speaker 2: Yep, Louis del Grande, a Canadian actor best known as

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Speaker 2: that bald, mustachioed guy whose head gets blown up in

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Speaker 2: that one scene blown up by John not John Saxon,

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Speaker 2: Michael Ironside.

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Speaker 3: Michael Ironside.

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Speaker 2: Yeah, yeah, both very strong names, you know, but yeah,

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Speaker 2: he was also he was also in this show and

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Speaker 2: was one of the creators of this series Seeing Things.

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Speaker 2: It had a really snazzy theme song. That's the main

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Speaker 2: thing I remember from when I was a kid and

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Speaker 2: I was trying to figure this out. Scanners and Seeing

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Speaker 2: Things both debuted in nineteen eighty one, both about psychics,

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Speaker 2: both with this same actor. But I don't know how

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Speaker 2: the connective tissue between the two shows worked. I always

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Speaker 2: kind of assumed that this dude's had blew up in

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Speaker 2: Scanners and He's like, I can turn this into a

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Speaker 2: six season series on CPC, and pitched it as such.

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Speaker 2: I suspect that might be how it went, but I

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Speaker 2: don't know. The timing is very close.

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Speaker 3: Wait, there's no heads blowing up in the show. Is

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Speaker 3: just that he would be playing a psychic of some kind.

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Speaker 2: You mean, yeah, he would like try and solve a mystery,

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Speaker 2: and then he'd get like a premonition, he'd get like

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Speaker 2: a vision, and then he'd keep solving the mystery, and

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Speaker 2: then there'd be another vision that seemed to be how

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Speaker 2: things worked. And I remember digging it for some reason

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Speaker 2: as a child, but I was like in kindergarten.

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Speaker 3: Wait, if he's a psychic reporter, how does that work

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Speaker 3: at the newspaper? Like can he just get a vision

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Speaker 3: and then report that in his column or does he

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Speaker 3: have to source it somehow?

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Speaker 2: You got to get a second source on that. I

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Speaker 2: think that's the standard AP route to take. All Right,

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Speaker 2: writers on this piece, getting back to gooting back to

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Speaker 2: Frogs here, Robert Hutchison and Robert Bleese. Not much really

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Speaker 2: to report here, but Bleeze wrote a bit for TV

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Speaker 2: Project UFO and he wrote Doctor FIBs Rises again so

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Speaker 2: that's worth noting.

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Speaker 3: I think several listeners have asked us to feature doctor

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Speaker 3: Fibes on Weird House at some point.

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Speaker 2: So yeah, maybe we'll have to come back back to that,

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Speaker 2: all right, But let's get to the let's get to

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Speaker 2: the main beefcake in this particular movie.

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Speaker 3: Well, it's our hero. The character's name is Pickett Smith,

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Speaker 3: and he is played by the one, the only, the stranger,

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Speaker 3: Sam Elliott.

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Speaker 2: That is right. Yeah, so Sam Elliott born in nineteen

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Speaker 2: forty one, very much still active and you know, getting

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Speaker 2: Oscar nominations and the like in recent years. But at

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Speaker 2: this picture, he was only thirty one years old. He

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Speaker 2: was just full of handsome and swagger, occasionally shirtless and

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Speaker 2: with no mustache whatsoever. So you're if you're afraid of

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Speaker 2: seeing Sam Elliott without a mustache, I don't know. I

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Speaker 2: guess you might want to steer clear of this picture.

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Speaker 2: But there's nothing to be afraid of. He's still the

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Speaker 2: Sam Elliott you know and love. He's still got that charm,

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Speaker 2: he's got that swagger. He was previously in a string

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Speaker 2: before this. He was in a string of TV movies

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Speaker 2: and TV series. He had a bit role in nineteen

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Speaker 2: sixty nine's Butch Casting and the Sundance Kid as his

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Speaker 2: card player number two. But this was one of his

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Speaker 2: early starring roles.

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Speaker 3: He's so handsome in this movie. It's hilarious.

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Speaker 2: Yeah, I mean, he's just really cool in the film,

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Speaker 2: like he's There are a lot of other performances in

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Speaker 2: the film that are maybe a little bit more mixed.

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Speaker 2: Either they're too hammy or they're too dry, you know,

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Speaker 2: they're a little bit too non actory. But Elliott just

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Speaker 2: strives with confidence through this picture and you buy everything

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Speaker 2: he's saying. Every scene he's in. He helps hold the

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Speaker 2: film together.

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Speaker 3: There really are no characters with any complexity in this movie,

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Speaker 3: but I would say that the characterizations in a very

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Speaker 3: shallow horror movie way, are very fun. They're like good

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Speaker 3: in that two dimensional sense or one dimensional what's the

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Speaker 3: term there a one dimensional sense? Like it doesn't have

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Speaker 3: character complexity, but it has very well drawn shallow horror characters.

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Speaker 2: Yeah. Sam Elliott is not a cowboy in this nor

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Speaker 2: is he a philosophic bouncer like we would see in

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Speaker 2: nineteen eighty nine Roadhouse. But he is a freelance photographer,

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Speaker 2: nature photographer, and that is it's kind of like being

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Speaker 2: a cowboy. So he still has that kind of free

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Speaker 2: range and vibe when it works.

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Speaker 3: Yeah. Yeah, he's a loner. He doesn't need anybody's help.

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Speaker 3: He's the strong, silent type. I mean, most of his

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Speaker 3: lines in this movie barely register on if you were

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Speaker 3: to look at an audiogram of them. You know, the

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Speaker 3: character says something to Sam Elliott and he's.

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Speaker 2: Like, yeah, yeah, yeah, yeah, a bit monotone, I guess,

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Speaker 2: But yet there's still a lot of personality there. I

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Speaker 2: don't know he's able to pull it off of where's

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Speaker 2: I mean, that's probably the key here. That's why he

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Speaker 2: went on to become such a cinematic icon.

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Speaker 3: Oh yeah, I mean he's just got like pyramids of charisma.

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Speaker 2: Yeah. So we should note that he's really busting out

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Speaker 2: all the nineteen seventy two fashions in this one. He

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Speaker 2: spends a lot of the time in the film strolling

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Speaker 2: around in an all denim wardrobe, so denim long sleeved shirt,

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Speaker 2: denim pants, no belt, and the pants are just are

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Speaker 2: so tight that he's essentially naked. Like if he had

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Speaker 2: a set of car keys or a set of house

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Speaker 2: keys in his pocket, you could have taken a still

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Speaker 2: from this picture to your local Low's or home depot

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Speaker 2: and they could have reproduced the key for you.

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Speaker 3: Yes, yeah, you're wondering, like, are those jeans or is

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Speaker 3: that just body paint?

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Speaker 2: Yeah? Exactly. All right. We'll have more to say on

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Speaker 2: Sam Elliott throughout this episode, but let's get on to

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Speaker 2: the villain of the piece. Not the frogs, but Ray Milan.

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Speaker 3: He's perfect. He's just this grumpy, nasty, hateful old creep.

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Speaker 2: Yeah yeah, wealthy patriarch of this Floridian family hates Nate

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Speaker 2: unless it's looks good on a wall in his trophy room,

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Speaker 2: that sort of thing. Very much thinks that nature should

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Speaker 2: be crushed under the heel of human progress and wealthy excess.

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Speaker 2: So it's again a very cardboard role, but he does

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Speaker 2: it well. Milan another screen legend. He's in a ton

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Speaker 2: of pictures and TV shows over the years. His biggest

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Speaker 2: roles were probably nineteen forty five is The Lost Weekend,

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Speaker 2: nineteen fifty four's Dial In for Murder, nineteen forty fours,

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Speaker 2: The Uninvited, but he also did some really choice genre

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Speaker 2: picture work as well. He was in seventy threes Terror

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Speaker 2: in the Wax Museum, and he was in Roger Corman's

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Speaker 2: nineteen sixty three film X The Man with the X

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Speaker 2: Ray Eyes.

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Speaker 3: I've watched this movie on mute before. I've been thinking

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Speaker 3: we should maybe come back to it and watch it

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Speaker 3: with the sound. It's pretty fun, or at least looks fun.

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Speaker 3: I don't know what they say.

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Speaker 2: Yeah, I did read that apparently Raymonlan did not enjoy

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Speaker 2: making this picture. Yeah, he wore a hairpiece for it

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Speaker 2: and was like sweating constantly, and I think actually left

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Speaker 2: the production early. So there's a pivotal scene at the

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Speaker 2: very end, which I think they had to depend on

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Speaker 2: a lot of body doubles for.

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Speaker 3: Oh, it's like the Marlborough Man, Not of this Earth, right,

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Speaker 3: he got mad at his prosthetics and the shooting conditions

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Speaker 3: and just left. But they're like, yeah, we'll work around it.

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Speaker 2: But maybe that's I mean, he's so good in this

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Speaker 2: Perhaps part of it is he was using his actual

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Speaker 2: irritation and rage at being stuck in Florida doing this picture.

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Speaker 2: I don't know.

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Speaker 3: Yeah, So he plays this guy named Jason Crockett, who

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Speaker 3: is the grandpa of this giant family who provide most

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Speaker 3: of the characters in the film, who live in a

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Speaker 3: mansion at the side of a I don't know if

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Speaker 3: it's a lake or a river. It's in the swamp

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Speaker 3: in Florida. And I don't know why exactly you would

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Speaker 3: decide to live at a lakeside mansion in a swamp

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Speaker 3: in Florida if your main character traits well, I mean,

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Speaker 3: I guess his main character trait is just that he's

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Speaker 3: rumpy and he hates everything and everyone. But on top

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Speaker 3: of that, his next major character trait is that he

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Speaker 3: hates nature. Yeah, well, what are you doing out there?

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Speaker 2: Yeah? I mean, I think you'll find examples of this

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Speaker 2: everywhere though, Right, you know, somebody builds a mansion in

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Speaker 2: a swamp or and then expects that nature is just

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Speaker 2: going to cooperate with your presence and the degree to

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Speaker 2: which you've unbalanced the immediate surroundings. Yeah, all right. Next

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Speaker 2: actor of note, Joan van Ark is in this playing

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Speaker 2: Karen Crockett, one of the Crockett children in this family.

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Speaker 2: She was a Knatz Landing actor who is also in

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Speaker 2: nineteen seventy seven's The Last Dinosaur.

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Speaker 3: Yeah, I guess here we're getting into the segment of

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Speaker 3: the cast where there are a lot of cousins. I mean,

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Speaker 3: as the tarantulas and gaiters and frogs swarm in this movie,

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Speaker 3: so does the movie swarm with cousins. There are too

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Speaker 3: many cousins and you lose track of the cousins. But

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Speaker 3: Karen is one of them.

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Speaker 2: Yeah, yeah, you get him confused. I couldn't keep all

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Speaker 2: everybody straight.

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Speaker 3: But she's part of the Crockett brood here. She's one

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Speaker 3: of the many cousins. And this actress, Joan van Ark

390
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Speaker 3: I was looking her up. She did a lot of

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Speaker 3: TV work. She did like soap operas and some mainstream

392
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Speaker 3: TV stuff like that. The same year she was in Frogs, though,

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Speaker 3: I found that she was also in an episode of

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Speaker 3: The Night Gallery. It was an episode called The Ring

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Speaker 3: with the Red Velvet Ropes.

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Speaker 2: You know this one, Rob, I don't know this one.

397
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Speaker 2: You mentioned. This one's a boxing one.

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Speaker 3: Yeah, so the premise is there. Oh, I've forgotten the

399
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Speaker 3: main actor's name. There's a guy who plays a boxer

400
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Speaker 3: in it, who is either right before or right after

401
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Speaker 3: a match, I don't remember. He's like in his locker room,

402
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Speaker 3: and then somehow he gets magically transported to this eerie

403
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Speaker 3: other dimension with a hotel in it where he is

404
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Speaker 3: approached by Chuck Connors and his wife played by Joan

405
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Speaker 3: van ark and they are trying to convince him to

406
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Speaker 3: box Chuck Connors in this other dimension. And I don't

407
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Speaker 3: know why. I think there's a twist ending. It's probably like, oh, oh,

408
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Speaker 3: he was in purgatory or something, you know, one of.

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Speaker 2: Those Ah, well, you know you know who it is.

410
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Speaker 2: I just looked it up. It's Gary Lockwood, playing a

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Speaker 2: central character in that Night Gallery episode.

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Speaker 3: So I don't know. Wait, who's Gary Lockwood?

413
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Speaker 2: He was in two thousand and one of Space Out

414
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Speaker 2: to See he played doctor Frank Pool.

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Speaker 3: Oh oh, okay, all right now yeah, well so he's

416
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Speaker 3: punching in this one.

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Speaker 2: All right?

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Speaker 3: Oh but one last thing. Joan van ark I also

419
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Speaker 3: found a credit where she was apparently doing some voice

420
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Speaker 3: acting in Fallout four. Like she plays several characters, including

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Speaker 3: some character named doctor Roslin Chambers. You remember her, I don't.

422
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Speaker 2: I don't remember her, but I played for but yeah,

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Speaker 2: good for her voice acting money.

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Speaker 3: So it's funny she was in Frogs. But then we

425
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Speaker 3: also have, you know, plenty of audio of her talking

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Speaker 3: about synths and stuff.

427
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Speaker 2: All right, let's hit another member of the Crockett family.

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Speaker 3: He does in number two.

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Speaker 2: Yeah, this is Clint played by Adam Rourke. This guy

430
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Speaker 2: basically a Brooklyn tough guy actor who did a lot

431
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Speaker 2: of work in the sixties, especially in this plays a

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00:23:00,400 --> 00:23:04,440
Speaker 2: speed boat driving beer chugging meathead son of the Crocket patriarch.

433
00:23:04,760 --> 00:23:08,720
Speaker 3: He's like the uncle character in Napoleon Dynamite, right, Like

434
00:23:08,760 --> 00:23:11,520
Speaker 3: he's obsessed with his former football career and he goes

435
00:23:11,520 --> 00:23:15,520
Speaker 3: around trying to bully people and just like he seems

436
00:23:15,560 --> 00:23:19,080
Speaker 3: to want to be the alpha who dominates all of

437
00:23:19,080 --> 00:23:19,960
Speaker 3: his other cousins.

438
00:23:20,680 --> 00:23:24,040
Speaker 2: Yeah, and is just just waiting for the day when

439
00:23:24,080 --> 00:23:25,800
Speaker 2: he can inherit something from Grandpa.

440
00:23:26,160 --> 00:23:28,000
Speaker 3: That's right too. Yeah, he's like, we got to play

441
00:23:28,000 --> 00:23:31,280
Speaker 3: our cards right to get stuff. But like I remember

442
00:23:31,320 --> 00:23:33,720
Speaker 3: there's a scene where he starts saying, you know, I

443
00:23:33,720 --> 00:23:35,360
Speaker 3: got to play my cards right so I can get

444
00:23:35,359 --> 00:23:38,440
Speaker 3: that money when Grandpa dies. But the thing he's explaining

445
00:23:39,040 --> 00:23:42,480
Speaker 3: by saying that is why he's got to be out

446
00:23:42,480 --> 00:23:45,720
Speaker 3: in the boat drunk on beer all day. So I

447
00:23:45,720 --> 00:23:48,359
Speaker 3: don't know why, Like that's what he thinks Grandpa expects

448
00:23:48,400 --> 00:23:51,200
Speaker 3: of him in order to get his inheritance. I will

449
00:23:51,240 --> 00:23:53,960
Speaker 3: also say in this movie. Sometimes Adam Rourke sort of

450
00:23:54,000 --> 00:23:54,840
Speaker 3: looks like a Baldwin.

451
00:23:55,200 --> 00:23:57,520
Speaker 2: Yeah. Yeah, at times he does have that bald one look.

452
00:23:57,840 --> 00:23:59,520
Speaker 2: All right, who else we got? Lay out some more

453
00:23:59,560 --> 00:24:00,280
Speaker 2: Crockets for us.

454
00:24:00,320 --> 00:24:04,040
Speaker 3: He'll go, okay, cousin number three, we got Jenny crowt Oh, wait, no,

455
00:24:04,080 --> 00:24:05,560
Speaker 3: I think this is not a cousin, but for all

456
00:24:05,600 --> 00:24:08,400
Speaker 3: intentsive purposes, she's a cousin. She is. I believe the

457
00:24:09,080 --> 00:24:12,800
Speaker 3: Jenny Crockett is married to Clint in the movie. If

458
00:24:12,840 --> 00:24:14,520
Speaker 3: this matters, you're not going to keep track of this,

459
00:24:14,600 --> 00:24:17,719
Speaker 3: But it's played by Lynn Borden. Lynn Borden did some

460
00:24:17,800 --> 00:24:20,440
Speaker 3: TV and B movie work. She was in Walking Tall

461
00:24:20,520 --> 00:24:22,920
Speaker 3: with Joe Don Baker, the original one in the seventies,

462
00:24:23,280 --> 00:24:26,720
Speaker 3: and I found she was in a begrimed drag racing

463
00:24:26,800 --> 00:24:30,440
Speaker 3: movie starring Peter Fonda called Dirty Mary, Crazy Larry. I've

464
00:24:30,480 --> 00:24:33,080
Speaker 3: never seen this one, but it's a seventies racer film.

465
00:24:33,960 --> 00:24:35,879
Speaker 3: She was also part of the main cast of a

466
00:24:35,920 --> 00:24:40,280
Speaker 3: sixties TV show called Hazel, which looks like a horrid

467
00:24:41,280 --> 00:24:44,600
Speaker 3: in color sixties leave it to Beaver type show. It

468
00:24:44,640 --> 00:24:48,359
Speaker 3: appears to be about a high housekeeper named Hazel played

469
00:24:48,359 --> 00:24:52,400
Speaker 3: by Shirley Booth. Who is apparently just like borderline omnipotent,

470
00:24:52,560 --> 00:24:55,720
Speaker 3: like she can solve every problem. I think this used

471
00:24:55,720 --> 00:24:58,520
Speaker 3: to be a type of TV show where there's just

472
00:24:58,600 --> 00:25:01,439
Speaker 3: like a magic person who is very wise and can.

473
00:25:01,320 --> 00:25:04,360
Speaker 2: Do every sort of a bewitched kind of a thing.

474
00:25:04,440 --> 00:25:07,280
Speaker 3: Then well, except I don't think she's actually magic. I

475
00:25:07,280 --> 00:25:09,560
Speaker 3: think it's you know, the other version of this, where

476
00:25:09,560 --> 00:25:12,080
Speaker 3: there's just like a character who's just very wise and

477
00:25:12,440 --> 00:25:15,760
Speaker 3: knows what to do about everything. Okay, gotcha, Now, I

478
00:25:15,800 --> 00:25:17,440
Speaker 3: guess we're gonna skip over a bunch of the other

479
00:25:17,760 --> 00:25:19,359
Speaker 3: cousin actors. I looked up a lot of them and

480
00:25:19,359 --> 00:25:22,360
Speaker 3: didn't really recognize anything they had done. There was one

481
00:25:22,400 --> 00:25:24,680
Speaker 3: actor in this movie, though, when I started digging into

482
00:25:24,680 --> 00:25:27,160
Speaker 3: her work, I think she's really worth a mention. It's

483
00:25:27,160 --> 00:25:30,520
Speaker 3: a fairly small part in the film, but the actress's

484
00:25:30,640 --> 00:25:33,639
Speaker 3: name is May Mercer, and she plays a character named

485
00:25:33,760 --> 00:25:37,200
Speaker 3: may Bell who works in the household staff in the movie.

486
00:25:37,840 --> 00:25:40,560
Speaker 3: And May Mercer wasn't just an actress. She was actually

487
00:25:40,560 --> 00:25:43,480
Speaker 3: a blues singer. And I looked up her music and

488
00:25:43,520 --> 00:25:47,080
Speaker 3: she was an excellent blues singer. So she lived from

489
00:25:47,160 --> 00:25:50,119
Speaker 3: nineteen thirty two until two thousand and eight, and I

490
00:25:50,119 --> 00:25:52,320
Speaker 3: found a couple of recordings of her music from the

491
00:25:52,400 --> 00:25:56,679
Speaker 3: sixties on YouTube. One is a song that she performs

492
00:25:56,720 --> 00:26:00,600
Speaker 3: with a blues harmonica player named Sonny Boy Williams called

493
00:26:00,760 --> 00:26:03,600
Speaker 3: Careless Love, and I think this is from nineteen sixty five,

494
00:26:04,160 --> 00:26:07,119
Speaker 3: which is fantastic. Another recording I found of hers was

495
00:26:07,240 --> 00:26:10,560
Speaker 3: a song called Sweet Little Angel, also really good. And

496
00:26:10,600 --> 00:26:13,560
Speaker 3: so I was trying to get some bioraphical information about her.

497
00:26:13,600 --> 00:26:16,440
Speaker 3: I found her La Times obituary from when she passed

498
00:26:16,440 --> 00:26:18,919
Speaker 3: away in two thousand and eight. So apparently she was

499
00:26:18,960 --> 00:26:22,840
Speaker 3: born in nineteen thirty two in Battleborough, North Carolina, to

500
00:26:22,960 --> 00:26:26,800
Speaker 3: a family who worked as tobacco sharecroppers, and she started

501
00:26:26,800 --> 00:26:29,120
Speaker 3: singing in church when she was a teenager, and then

502
00:26:29,280 --> 00:26:31,560
Speaker 3: ran away to New York in nineteen forty seven to

503
00:26:31,560 --> 00:26:35,840
Speaker 3: become a professional singer, and she became successful, not just

504
00:26:35,920 --> 00:26:39,280
Speaker 3: in New York, but eventually internationally. She got well known

505
00:26:39,320 --> 00:26:42,560
Speaker 3: as a blues performer in Paris. Like I was looking

506
00:26:42,640 --> 00:26:45,199
Speaker 3: through Google books and I found her name turning up

507
00:26:45,240 --> 00:26:49,000
Speaker 3: a lot in issues of Jet magazine from the nineteen

508
00:26:49,080 --> 00:26:52,159
Speaker 3: sixties on the Paris scratch pad, where she seems to

509
00:26:52,200 --> 00:26:55,680
Speaker 3: have been like a very recognizable figure in the Paris scene,

510
00:26:56,000 --> 00:26:58,520
Speaker 3: so she was based out of Paris. She sang at

511
00:26:58,560 --> 00:27:00,600
Speaker 3: a club called the Blues Bar, and then later she

512
00:27:00,640 --> 00:27:03,639
Speaker 3: actually ran the club. But she also would tour Europe

513
00:27:03,640 --> 00:27:07,440
Speaker 3: sometimes with a group called the Keith Smith Climax Jazz Band.

514
00:27:08,000 --> 00:27:10,480
Speaker 3: She also has a couple of acting credits from the sixties,

515
00:27:10,480 --> 00:27:12,440
Speaker 3: but it looks like she started acting a lot more

516
00:27:12,480 --> 00:27:15,640
Speaker 3: in the nineteen seventies, and it's not just stuff like frogs.

517
00:27:15,640 --> 00:27:18,560
Speaker 3: She was in some hit movies. She was in Dirty

518
00:27:18,560 --> 00:27:21,879
Speaker 3: Harry with Clint Eastwood, and in nineteen seventy one she

519
00:27:22,000 --> 00:27:25,480
Speaker 3: was a producer on a documentary film about Angela Davis.

520
00:27:26,640 --> 00:27:28,760
Speaker 3: So she passed away in two thousand and eight, but

521
00:27:28,880 --> 00:27:31,280
Speaker 3: I will say her music's really good, really worth looking up.

522
00:27:31,440 --> 00:27:33,240
Speaker 3: May Mercer may spelled m Ae.

523
00:27:33,960 --> 00:27:36,560
Speaker 2: All right. Well, you know another actor who brings some

524
00:27:37,880 --> 00:27:43,240
Speaker 2: much needed diversity to this otherwise undiverse film is Judy Pace,

525
00:27:43,520 --> 00:27:48,360
Speaker 2: who plays Bella Garrington in this born nineteen forty two,

526
00:27:48,680 --> 00:27:52,200
Speaker 2: still around mainstream TV actor and film actor of the day.

527
00:27:52,280 --> 00:27:56,359
Speaker 2: She appeared in this film on the heels of Brian Song,

528
00:27:56,760 --> 00:27:59,880
Speaker 2: which is a famous football film. If you've ever been

529
00:28:00,200 --> 00:28:03,720
Speaker 2: in or around football culture, This one is often held

530
00:28:03,800 --> 00:28:06,800
Speaker 2: up and I think maybe I've seen it and I've

531
00:28:06,840 --> 00:28:09,800
Speaker 2: just forgotten all of it. But it has James Kahn

532
00:28:09,960 --> 00:28:11,680
Speaker 2: and Billy D Williams in it, so it's got a

533
00:28:11,920 --> 00:28:12,600
Speaker 2: solid cast.

534
00:28:12,720 --> 00:28:12,959
Speaker 1: Uh huh.

535
00:28:13,359 --> 00:28:14,960
Speaker 3: I've never seen it, but I know it's one of

536
00:28:15,000 --> 00:28:17,600
Speaker 3: those movies that people talk about, you know, makes the

537
00:28:17,600 --> 00:28:18,720
Speaker 3: football boys cry.

538
00:28:19,000 --> 00:28:20,760
Speaker 2: Yeah. Yeah, this is one of those films that you

539
00:28:21,280 --> 00:28:25,760
Speaker 2: are legally allowed to cry while viewing. This is one

540
00:28:25,760 --> 00:28:29,359
Speaker 2: of the few times in some circles where where men

541
00:28:29,400 --> 00:28:30,240
Speaker 2: are allowed to cry.

542
00:28:30,480 --> 00:28:32,879
Speaker 3: So I will say Judy Pace and Sam Elliott, I

543
00:28:32,880 --> 00:28:35,200
Speaker 3: think are the two most likable actors in this movie.

544
00:28:35,200 --> 00:28:37,840
Speaker 3: I mean, Raymland is good too, but he's playing this nasty,

545
00:28:37,880 --> 00:28:38,480
Speaker 3: hatable guy.

546
00:28:38,720 --> 00:28:41,000
Speaker 2: Yeah, you're not supposed to like Raymonan, right, right right.

547
00:28:41,760 --> 00:28:45,120
Speaker 3: She and Sam Elliott, though, are just just lovely and wonderful.

548
00:28:45,400 --> 00:28:48,760
Speaker 3: They've got great charisma and the scenes they're in. She

549
00:28:48,920 --> 00:28:51,720
Speaker 3: plays I think the girlfriend of one of the cousins,

550
00:28:51,760 --> 00:28:53,920
Speaker 3: I think one of the cousins that we haven't talked about.

551
00:28:54,480 --> 00:28:56,880
Speaker 3: But she's there at the mansion with the family and

552
00:28:56,880 --> 00:28:59,720
Speaker 3: it's otherwise obviously this is like and you know, all

553
00:28:59,720 --> 00:29:02,640
Speaker 3: white southern family and I think the implication is that

554
00:29:02,760 --> 00:29:05,520
Speaker 3: Grandpa is racist and is giving her the side eye,

555
00:29:05,800 --> 00:29:09,000
Speaker 3: but she has a very like eye roll posture against

556
00:29:09,000 --> 00:29:10,400
Speaker 3: Grandpa and the others.

557
00:29:10,720 --> 00:29:16,480
Speaker 2: Yeah, they never really overtly explore this area, and to

558
00:29:16,480 --> 00:29:18,600
Speaker 2: a certain extent, that's probably for the best, given the

559
00:29:19,840 --> 00:29:22,280
Speaker 2: you know, the way a picture of this period might

560
00:29:22,320 --> 00:29:25,480
Speaker 2: have handled it. But it does show that there was

561
00:29:25,720 --> 00:29:28,200
Speaker 2: there's a lot of potential in this picture as well,

562
00:29:28,240 --> 00:29:31,680
Speaker 2: Like what if they had really gone in like a

563
00:29:31,680 --> 00:29:33,760
Speaker 2: almost you could almost gone into like a Jordan Peele

564
00:29:33,800 --> 00:29:36,680
Speaker 2: direction with this, with this sort of picture, you know,

565
00:29:37,400 --> 00:29:40,360
Speaker 2: there are a lot of interesting cultural elements on the table,

566
00:29:40,640 --> 00:29:42,560
Speaker 2: but in this picture you got to save room on

567
00:29:42,600 --> 00:29:43,640
Speaker 2: the table for the frogs.

568
00:29:43,760 --> 00:29:46,760
Speaker 3: So yeah, I mean, yeah, the frogs are the real star.

569
00:29:46,880 --> 00:29:49,560
Speaker 3: And I think it's literally true that I think the

570
00:29:49,640 --> 00:29:52,520
Speaker 3: frogs get more screen time than any actor in this film.

571
00:29:53,040 --> 00:29:56,000
Speaker 3: I think so like, there's more time where we're just

572
00:29:56,120 --> 00:29:59,000
Speaker 3: looking at cutaways of frogs hopping around or close ups

573
00:29:59,000 --> 00:30:01,160
Speaker 3: of bullfrogs than and you know, I don't know, than

574
00:30:01,240 --> 00:30:02,760
Speaker 3: seeing Sam Elliott on screen.

575
00:30:02,920 --> 00:30:07,320
Speaker 2: You can imagine the director watching different cuts of the

576
00:30:07,320 --> 00:30:08,800
Speaker 2: film and being like, I don't know, I think we

577
00:30:08,840 --> 00:30:11,680
Speaker 2: need more frogs in there. More do we have more

578
00:30:11,680 --> 00:30:14,480
Speaker 2: of that great frog footage that we got, We got

579
00:30:14,520 --> 00:30:17,320
Speaker 2: some more alligator snapping turtle, got some more lizards, Let's

580
00:30:17,320 --> 00:30:17,880
Speaker 2: get it in there.

581
00:30:18,360 --> 00:30:20,200
Speaker 3: This is maybe one of those movies where the second

582
00:30:20,280 --> 00:30:22,040
Speaker 3: unit director is the real director.

583
00:30:22,640 --> 00:30:27,960
Speaker 2: Yeah, all right. Another big name to mention here is

584
00:30:28,000 --> 00:30:32,760
Speaker 2: the composer on this film, Less Baxter. So despite all

585
00:30:32,760 --> 00:30:34,360
Speaker 2: the other elements of the film, I have to say

586
00:30:34,360 --> 00:30:37,080
Speaker 2: that when I was Less Baxter's presence, that kind of

587
00:30:37,120 --> 00:30:39,880
Speaker 2: sealed the deal for me. So let's start by reminding

588
00:30:39,880 --> 00:30:43,440
Speaker 2: everyone just who Less Baxter was. He lived nineteen twenty

589
00:30:43,480 --> 00:30:45,840
Speaker 2: two through nineteen ninety six, and it's pretty much the

590
00:30:45,880 --> 00:30:49,400
Speaker 2: godfather of exotica music. So if you've ever tuned into

591
00:30:49,720 --> 00:30:54,040
Speaker 2: in for some like retro nostalgic, lounge or tiki music,

592
00:30:54,360 --> 00:30:57,360
Speaker 2: you've probably listened to the music of Less Baxter. You

593
00:30:57,400 --> 00:30:59,920
Speaker 2: have not look him up on your streaming source of choice,

594
00:31:00,440 --> 00:31:03,240
Speaker 2: most of his materials out there, and it's really good stuff.

595
00:31:03,240 --> 00:31:06,440
Speaker 2: It's just really great, easy listening music. If you want

596
00:31:06,480 --> 00:31:10,560
Speaker 2: some sort of like nostalgic you know, kind of you

597
00:31:10,600 --> 00:31:16,479
Speaker 2: know again, kind of a lounge tiki vibe. However, that

598
00:31:16,520 --> 00:31:19,480
Speaker 2: whole genre has nothing to do with frogs. Don't watch

599
00:31:19,520 --> 00:31:21,880
Speaker 2: frogs thinking you're gonna get that kind of music. It's

600
00:31:21,960 --> 00:31:25,640
Speaker 2: not an exotica score in the slightest. So, first of all,

601
00:31:25,720 --> 00:31:31,000
Speaker 2: Baxter was no stranger to doing film scores. He'd done

602
00:31:31,080 --> 00:31:33,440
Speaker 2: quite a bit of work in the film score business

603
00:31:33,440 --> 00:31:37,080
Speaker 2: over the years, mostly b movies. For instance, he scored

604
00:31:37,160 --> 00:31:39,320
Speaker 2: such films as X the Man with the X Ray

605
00:31:39,440 --> 00:31:42,240
Speaker 2: I S that we mentioned earlier. He worked with names

606
00:31:42,240 --> 00:31:46,360
Speaker 2: like Roger Korman and William Castle. He scored Doctor Goldfoot

607
00:31:46,360 --> 00:31:49,840
Speaker 2: in The Bikini Machine in nineteen sixty five, the Dunwich

608
00:31:49,920 --> 00:31:53,600
Speaker 2: Horror in nineteen seventy. He did nineteen sixty three's Black Sabbath.

609
00:31:54,000 --> 00:31:57,840
Speaker 3: Yeah, he scored a bunch of AIP movies American International Pictures.

610
00:31:57,960 --> 00:31:59,840
Speaker 3: I think we haven't talked about that yet, but this

611
00:31:59,920 --> 00:32:02,800
Speaker 3: is an AIP movie. So like a lot of the fifties,

612
00:32:02,840 --> 00:32:06,160
Speaker 3: sixties and seventies Roger Korman movies were AIP movies. You know,

613
00:32:06,200 --> 00:32:09,680
Speaker 3: all the Edgar Allan Poe movies that Corman did and

614
00:32:09,720 --> 00:32:12,600
Speaker 3: stuff like that, but it wasn't just horror. So you know,

615
00:32:12,680 --> 00:32:16,360
Speaker 3: AIP released and Les Baxter did the did the music

616
00:32:16,400 --> 00:32:18,320
Speaker 3: for you already mentioned one of them, of course, the

617
00:32:18,640 --> 00:32:22,000
Speaker 3: peak subgenre of film innovation the bikini movies of the

618
00:32:22,120 --> 00:32:25,200
Speaker 3: nineteen sixties. Like, it really doesn't get more creative and

619
00:32:25,320 --> 00:32:29,120
Speaker 3: subversive than you know, the Ghost in the Invisible Bikini

620
00:32:29,440 --> 00:32:30,240
Speaker 3: and films like that.

621
00:32:31,680 --> 00:32:35,920
Speaker 2: So Froggs is notable because it was Baxter's first entirely

622
00:32:36,040 --> 00:32:39,480
Speaker 2: electronic score, So that was the thing that really got

623
00:32:39,480 --> 00:32:42,640
Speaker 2: me excited about it. So Baxter was already into the

624
00:32:42,720 --> 00:32:46,880
Speaker 2: electronic sound. He'd worked with an early electronic organ called

625
00:32:46,880 --> 00:32:50,080
Speaker 2: the novachord in the very early sixties, and he put

626
00:32:50,120 --> 00:32:53,520
Speaker 2: out an album called moog Rock in nineteen sixty nine,

627
00:32:53,600 --> 00:32:57,080
Speaker 2: which is a synth powered, easy, easy listening album that's

628
00:32:57,280 --> 00:32:58,680
Speaker 2: this is quite good. I was just listening to it

629
00:32:58,760 --> 00:33:03,040
Speaker 2: yesterday while putting are some notes. Frogs, however, takes things

630
00:33:03,320 --> 00:33:07,320
Speaker 2: into equally synthy, but certainly more terror driven territory. So

631
00:33:07,400 --> 00:33:10,760
Speaker 2: it has a lot of like eerie synth chords going on.

632
00:33:11,240 --> 00:33:14,480
Speaker 3: It doesn't actually a lot of it is not very musical.

633
00:33:14,640 --> 00:33:17,360
Speaker 3: There's not much melody to the music in the film.

634
00:33:17,440 --> 00:33:22,320
Speaker 3: It is more like synthesizers producing almost a sound that

635
00:33:22,440 --> 00:33:26,160
Speaker 3: is somewhere between, you know, sort of crickets or cicadas

636
00:33:26,400 --> 00:33:29,640
Speaker 3: and like servos worrying inside a robot.

637
00:33:30,440 --> 00:33:33,000
Speaker 2: Yeah, yeah, so it's a it's an interesting score, and

638
00:33:33,000 --> 00:33:35,040
Speaker 2: that's probably one of the reasons that I don't think

639
00:33:35,040 --> 00:33:38,160
Speaker 2: this was ever released in full as an album or anything,

640
00:33:38,520 --> 00:33:41,120
Speaker 2: though I know there have been at least there's been

641
00:33:41,160 --> 00:33:46,600
Speaker 2: at least one compilation of certain pieces from Baxter's soundtrack work,

642
00:33:46,680 --> 00:33:48,160
Speaker 2: so it might show up there, but as far as

643
00:33:48,240 --> 00:33:50,840
Speaker 2: I know, there is never a like a or there.

644
00:33:50,880 --> 00:33:53,680
Speaker 2: At least there has yet to be like a Lime

645
00:33:53,760 --> 00:33:57,800
Speaker 2: Green Frog's vinyl release where you get the full less

646
00:33:57,800 --> 00:33:58,800
Speaker 2: Baxter soundtrack.

647
00:33:59,040 --> 00:34:01,320
Speaker 3: Yeah, all right. I just wanted to mention a couple

648
00:34:01,320 --> 00:34:04,320
Speaker 3: more names that I happen to find something interesting about

649
00:34:04,520 --> 00:34:06,640
Speaker 3: as they came up in the credits there. It is

650
00:34:06,680 --> 00:34:09,480
Speaker 3: impossible to get into all the cousins in this movie,

651
00:34:09,520 --> 00:34:11,919
Speaker 3: but one of the cousins I also wanted to mention

652
00:34:12,080 --> 00:34:16,480
Speaker 3: is this actor named George scaff who plays Stuart Martindale.

653
00:34:16,920 --> 00:34:19,880
Speaker 3: He's an uncle or a cousin or something, but according

654
00:34:19,920 --> 00:34:22,960
Speaker 3: to IMDb, he had a small part in The Exorcist

655
00:34:23,040 --> 00:34:27,400
Speaker 3: to the Heretic, which is a wonderful connection in Frogs.

656
00:34:27,440 --> 00:34:30,600
Speaker 3: He's kind of a sketchy le Van Cleef style cousin.

657
00:34:30,920 --> 00:34:34,440
Speaker 2: Yeah, not nearly as intimidating as all angel eyes, but

658
00:34:35,280 --> 00:34:37,000
Speaker 2: but yeah, has that kind of look to him.

659
00:34:37,160 --> 00:34:38,960
Speaker 3: I mean, he always kind of looks like he's hatching

660
00:34:39,000 --> 00:34:39,880
Speaker 3: a sneaky plan.

661
00:34:40,360 --> 00:34:43,000
Speaker 2: Yeah, because he is. He's like he's like a long time.

662
00:34:45,200 --> 00:34:47,000
Speaker 2: You get the impression that he like he has he's

663
00:34:47,040 --> 00:34:49,839
Speaker 2: earned his place in the family. You know, it's like

664
00:34:49,840 --> 00:34:54,359
Speaker 2: it's more about loyalty than blood, certainly when it comes

665
00:34:54,400 --> 00:34:56,040
Speaker 2: to the Crockett patriarch here.

666
00:34:56,200 --> 00:35:00,640
Speaker 3: Yeah. Another actor is Lance Taylor Senior, who played Charles.

667
00:35:00,640 --> 00:35:02,840
Speaker 3: He also he works for the family in the movie,

668
00:35:02,880 --> 00:35:05,640
Speaker 3: and he was in Blackula the same year as Frogs.

669
00:35:06,200 --> 00:35:08,319
Speaker 3: He also did some TV work on shows like The

670
00:35:08,320 --> 00:35:12,399
Speaker 3: Mod Squad, Sandford and Son, and Police Story. But then

671
00:35:12,920 --> 00:35:14,680
Speaker 3: one name that came up in the credits that I

672
00:35:14,680 --> 00:35:17,720
Speaker 3: thought was interesting was Gene Corso, who did sound effects

673
00:35:17,760 --> 00:35:20,279
Speaker 3: for the movie, and he also did sound effects and

674
00:35:20,360 --> 00:35:23,560
Speaker 3: sound editing for some very mainstream films that would come later,

675
00:35:23,920 --> 00:35:28,560
Speaker 3: such as Star Wars and New Hope, Phantasm, Predator, and

676
00:35:28,880 --> 00:35:31,800
Speaker 3: Deep Star six. Because all roads lead back to the

677
00:35:31,880 --> 00:35:33,880
Speaker 3: nineteen eighty nine underwater.

678
00:35:33,480 --> 00:35:36,000
Speaker 2: Movies, well, you know, it was frogs that got him

679
00:35:36,000 --> 00:35:39,239
Speaker 2: work in all those pictures. So he gave him his

680
00:35:39,280 --> 00:35:42,600
Speaker 2: demo reel of all the awesome frog sound effects right

681
00:35:42,680 --> 00:35:44,719
Speaker 2: from this picture, and they were like, let's get him.

682
00:35:44,760 --> 00:35:49,040
Speaker 2: This is how we imagine the sonic universe beyond our world.

683
00:35:49,120 --> 00:35:51,960
Speaker 3: You know, a number of sound effects from this film

684
00:35:52,040 --> 00:35:54,000
Speaker 3: did really stick with me. And it wasn't just the

685
00:35:54,040 --> 00:35:57,640
Speaker 3: frogs croaking or the gator's bellowing move. It was also

686
00:35:57,760 --> 00:36:01,240
Speaker 3: the sound of when the giant frog sort thumping against

687
00:36:01,280 --> 00:36:05,239
Speaker 3: the glass in the scene when Sam Elliott and Raymonland

688
00:36:05,239 --> 00:36:07,880
Speaker 3: are like talking in private about what's going on on

689
00:36:07,920 --> 00:36:10,279
Speaker 3: the island and suddenly you just hear this kind of

690
00:36:10,360 --> 00:36:15,880
Speaker 3: tunk tunk, and what's happening? Well, that's frogs at your window, buddy.

691
00:36:23,640 --> 00:36:26,520
Speaker 2: All right, well, let's let's jump into this picture here.

692
00:36:26,600 --> 00:36:28,239
Speaker 2: Let's talk about the plot, all right.

693
00:36:28,280 --> 00:36:32,239
Speaker 3: Well, the opening credits, it is, as we said, it

694
00:36:32,360 --> 00:36:35,080
Speaker 3: has this score by Less Baxter, but it's very light

695
00:36:35,239 --> 00:36:39,480
Speaker 3: on things that are recognizable as melodies. Instead, it's ominous

696
00:36:39,680 --> 00:36:44,520
Speaker 3: ambient electronic sounds. While Sam Elliott paddles around the swamp

697
00:36:44,560 --> 00:36:47,640
Speaker 3: in a red canoe basically just doing it for the gram.

698
00:36:47,760 --> 00:36:50,520
Speaker 3: He is out there in the in the canoe taking

699
00:36:50,560 --> 00:36:54,319
Speaker 3: pictures of everything, and I mean like it in the

700
00:36:54,400 --> 00:36:57,280
Speaker 3: kind of way that you don't actually see real photographers

701
00:36:57,320 --> 00:36:59,239
Speaker 3: doing it, where he's just like aiming the camera in

702
00:36:59,320 --> 00:37:03,360
Speaker 3: every direction and taking pictures all over the place, like Robi.

703
00:37:03,480 --> 00:37:05,839
Speaker 3: I know, you know, you know a bit of more

704
00:37:05,840 --> 00:37:07,640
Speaker 3: about photography that you kind of have to like set

705
00:37:07,760 --> 00:37:09,719
Speaker 3: up a good shot. You don't just sort of like

706
00:37:09,760 --> 00:37:11,200
Speaker 3: turn the camera in every direction.

707
00:37:11,680 --> 00:37:15,600
Speaker 2: Yeah, like there, No, you don't see Sam Elliott here

708
00:37:15,640 --> 00:37:19,240
Speaker 2: like holding himself in place by grabbing onto a branch

709
00:37:19,640 --> 00:37:22,560
Speaker 2: and then taking several shots at the same thing. It's

710
00:37:22,680 --> 00:37:24,120
Speaker 2: it's a much more casual affair.

711
00:37:24,320 --> 00:37:26,680
Speaker 3: Yeah. One of the funny things is the way the

712
00:37:26,719 --> 00:37:29,880
Speaker 3: title comes in. So Sam Elliott's he's wandering around the

713
00:37:29,880 --> 00:37:32,799
Speaker 3: swamp taking photos. He's in the canoe, and then there's

714
00:37:32,800 --> 00:37:35,920
Speaker 3: a close up on a frog. The frog ribbits twice

715
00:37:36,360 --> 00:37:40,040
Speaker 3: and then you get sound effect and then Frogs. The

716
00:37:40,080 --> 00:37:43,080
Speaker 3: title comes in and all of the credits are in

717
00:37:43,120 --> 00:37:47,000
Speaker 3: a really funny font that's like a blue what would

718
00:37:47,040 --> 00:37:48,840
Speaker 3: you call this font? I feel like it's.

719
00:37:49,080 --> 00:37:51,839
Speaker 2: Say, blue drippy horror font is what it is.

720
00:37:51,920 --> 00:37:54,399
Speaker 3: Yes, that's on the title for Frogs. But I mean

721
00:37:54,440 --> 00:37:56,200
Speaker 3: the rest of the credits that are just like listing

722
00:37:56,239 --> 00:37:58,480
Speaker 3: people's names. I feel like it's a font that I

723
00:37:58,520 --> 00:38:02,960
Speaker 3: saw I've seen in other like sixties and seventies movie credits,

724
00:38:02,960 --> 00:38:04,880
Speaker 3: but it looks kind of like comic sands.

725
00:38:04,920 --> 00:38:09,799
Speaker 2: It's not exactly, Yeah, it's something like Times American International Pictures, so.

726
00:38:11,120 --> 00:38:14,840
Speaker 3: Exactly, But I don't know. For some reason, the credits

727
00:38:14,840 --> 00:38:17,200
Speaker 3: and this were making me laugh a lot, Like I

728
00:38:17,320 --> 00:38:19,880
Speaker 3: liked the quotation marks are like some of the actors

729
00:38:19,920 --> 00:38:22,240
Speaker 3: just get a name credit, you know, with Sam Elliot

730
00:38:22,320 --> 00:38:24,560
Speaker 3: and so forth. But then there's one part where it

731
00:38:24,560 --> 00:38:28,560
Speaker 3: says and Adam Rourke as so called Clint. It's got

732
00:38:28,560 --> 00:38:31,680
Speaker 3: these quotation marks around Clint that I found very funny.

733
00:38:31,719 --> 00:38:34,680
Speaker 2: For some reason, I also liked how they keep they

734
00:38:34,760 --> 00:38:38,239
Speaker 2: keep giving these credits over pictures of various reptiles and

735
00:38:38,280 --> 00:38:41,720
Speaker 2: amphibians nature and it kind of implies that that snake

736
00:38:42,239 --> 00:38:45,480
Speaker 2: is Adam Rourke as Clint, Like, yeah, I don't know, Yes,

737
00:38:45,480 --> 00:38:47,160
Speaker 2: this is kind of a weird juxtaposition.

738
00:38:47,760 --> 00:38:50,239
Speaker 3: This is, yeah, this is our water viper. His name

739
00:38:50,320 --> 00:38:53,719
Speaker 3: is Clint. But anyway, another thing, there are way too

740
00:38:53,719 --> 00:38:56,239
Speaker 3: many animals in the swamp. It's just panning around. There's

741
00:38:56,239 --> 00:39:00,080
Speaker 3: just animals everywhere. And I know Florida is lush and

742
00:39:00,520 --> 00:39:04,239
Speaker 3: its wildlife is bountable, but no swamp has this much wildlife.

743
00:39:05,200 --> 00:39:07,200
Speaker 3: It's just snakes. Everywhere you turn.

744
00:39:07,719 --> 00:39:09,600
Speaker 2: It is a lot of snakes and a lot of

745
00:39:09,640 --> 00:39:14,080
Speaker 2: frogs and toads. This movie is just jam pat with

746
00:39:14,200 --> 00:39:17,120
Speaker 2: reptiles and amphibians, and in fact, it's one of the

747
00:39:17,120 --> 00:39:19,000
Speaker 2: things that's worth watching about it. A lot of times

748
00:39:19,000 --> 00:39:23,640
Speaker 2: I just enjoyed watching really good footage of reptiles and

749
00:39:23,640 --> 00:39:27,320
Speaker 2: amphibians either moving about in a natural way or certainly

750
00:39:27,400 --> 00:39:29,920
Speaker 2: later in the picture, invading human spaces.

751
00:39:30,160 --> 00:39:33,239
Speaker 3: Mm hmm. Yeah, yeah, so there's a lot of that.

752
00:39:33,320 --> 00:39:34,960
Speaker 3: I mean, I guess I don't know why I'm saying

753
00:39:35,000 --> 00:39:36,920
Speaker 3: there's too many. I mean, what I want there to

754
00:39:36,960 --> 00:39:39,279
Speaker 3: be fewer reptiles in this movie. No, I mean, I'm

755
00:39:39,280 --> 00:39:41,800
Speaker 3: just saying, like at the very beginning, when it hasn't

756
00:39:41,880 --> 00:39:45,680
Speaker 3: yet introduced the idea that the island is being swarmed

757
00:39:45,719 --> 00:39:48,799
Speaker 3: with reptiles because nature is striking back, it seems like

758
00:39:48,800 --> 00:39:50,480
Speaker 3: a ridiculous amount of animals.

759
00:39:51,400 --> 00:39:53,520
Speaker 2: But I think the question you need to ask Joe

760
00:39:53,560 --> 00:39:55,200
Speaker 2: is could it possibly have more?

761
00:39:55,840 --> 00:39:59,920
Speaker 3: Right? Yeah? Well, well, speaking of beasts, actually does have

762
00:40:00,120 --> 00:40:02,440
Speaker 3: more because it's not just the reptiles that are the

763
00:40:02,440 --> 00:40:05,879
Speaker 3: beasts in this film. Looking at Sam Elliott in these

764
00:40:05,920 --> 00:40:09,760
Speaker 3: opening credits, he is just an off the charts cool beast.

765
00:40:09,920 --> 00:40:13,240
Speaker 3: Like he's like I said, he has so much animal charisma.

766
00:40:13,320 --> 00:40:15,640
Speaker 3: It's funny. Yeah, look at this dude.

767
00:40:15,800 --> 00:40:20,160
Speaker 2: Yeah. And again I was prepared to be creeped out

768
00:40:20,200 --> 00:40:22,719
Speaker 2: by lack of a mustache, because I often find that's

769
00:40:22,719 --> 00:40:26,480
Speaker 2: the case with iconic mustachioed actors. Is you see him

770
00:40:26,480 --> 00:40:28,279
Speaker 2: without the mustache, it's like, what are you doing man

771
00:40:28,400 --> 00:40:33,080
Speaker 2: with that giant lip or a giant four lip area.

772
00:40:33,600 --> 00:40:36,799
Speaker 2: But no, he's just as just as charming without it.

773
00:40:38,160 --> 00:40:40,839
Speaker 3: So he's paddling around the swamp, so first he's taking

774
00:40:40,880 --> 00:40:42,960
Speaker 3: pictures of animals, but then after that it seems like

775
00:40:43,000 --> 00:40:47,160
Speaker 3: he's mainly taking pictures of litter. There are just sort

776
00:40:47,160 --> 00:40:51,440
Speaker 3: of barges of litter that are, you know, clogging up

777
00:40:51,480 --> 00:40:54,640
Speaker 3: the byways of the swamp. So I would say this

778
00:40:54,719 --> 00:40:56,920
Speaker 3: movie has an example of something that's actually a kind

779
00:40:56,920 --> 00:41:00,680
Speaker 3: of common problem with set dressing, especially in lower bud movies,

780
00:41:01,040 --> 00:41:03,960
Speaker 3: which is the lack of a history to the objects

781
00:41:04,000 --> 00:41:05,719
Speaker 3: you're looking at. And what I mean by that is

782
00:41:05,760 --> 00:41:08,400
Speaker 3: the garbage in this movie that is littering the swamp

783
00:41:08,640 --> 00:41:12,200
Speaker 3: looks incredibly fresh. All of the paper garbage is still

784
00:41:12,239 --> 00:41:15,200
Speaker 3: crisp and white, and the cans are clean and they're

785
00:41:15,200 --> 00:41:18,600
Speaker 3: not like oxidized or covered in mold. You know, it's

786
00:41:18,640 --> 00:41:20,680
Speaker 3: been pointed out that one of the great innovations of

787
00:41:20,719 --> 00:41:24,560
Speaker 3: those beloved late seventies sci fi movies like Blade Runner

788
00:41:24,640 --> 00:41:28,920
Speaker 3: and Alien and Star Wars was that they made spaceships

789
00:41:28,960 --> 00:41:33,680
Speaker 3: and the future generally look lived in, meaning dirty, worn in,

790
00:41:33,840 --> 00:41:36,920
Speaker 3: and worn out, as opposed to what had been, you know,

791
00:41:37,200 --> 00:41:40,040
Speaker 3: the previous style for futuristic sci fi, which is like

792
00:41:40,080 --> 00:41:43,279
Speaker 3: everything is clean and fresh and the spaces look like

793
00:41:43,320 --> 00:41:46,279
Speaker 3: nobody's ever been in them before. In Frogs, I must

794
00:41:46,320 --> 00:41:49,040
Speaker 3: accuse them of having failed to make the trash look

795
00:41:49,120 --> 00:41:49,520
Speaker 3: lived in.

796
00:41:50,680 --> 00:41:53,319
Speaker 2: Yeah, I guess part of it is that this film

797
00:41:53,480 --> 00:41:57,320
Speaker 2: was filmed in its entirety at Eden Garden State Park

798
00:41:57,719 --> 00:42:01,640
Speaker 2: in Florida, which is in Santa Rosa Beach, which I

799
00:42:01,840 --> 00:42:03,600
Speaker 2: haven't been there, but now it is definitely on my

800
00:42:03,680 --> 00:42:06,040
Speaker 2: list of places to go. You can you can look

801
00:42:06,080 --> 00:42:08,560
Speaker 2: it up Eden Garden State Park, you can visit it,

802
00:42:08,719 --> 00:42:11,439
Speaker 2: and you can you can. You can be married here.

803
00:42:11,680 --> 00:42:15,080
Speaker 2: Oh you know you can. You can a frog wedding, Yeah,

804
00:42:15,120 --> 00:42:16,759
Speaker 2: you can. You can paddle around in canoes, you can

805
00:42:16,800 --> 00:42:20,000
Speaker 2: do everything that that our hero does in the film.

806
00:42:20,360 --> 00:42:23,920
Speaker 2: But it makes me suspect that perhaps it was not

807
00:42:24,080 --> 00:42:27,840
Speaker 2: the best place to catch actual footage of real litter,

808
00:42:28,000 --> 00:42:30,839
Speaker 2: like you know, even at the time, it was maybe

809
00:42:30,880 --> 00:42:32,960
Speaker 2: just really well cared for. And so yeah, they had

810
00:42:32,960 --> 00:42:35,000
Speaker 2: to bring their own litter for this shoot, for this

811
00:42:35,120 --> 00:42:36,200
Speaker 2: support part of the film.

812
00:42:36,239 --> 00:42:38,560
Speaker 3: I can't stop thinking about a wedding at this place now,

813
00:42:38,600 --> 00:42:41,120
Speaker 3: Like you could walk down the aisle to the cricket servos.

814
00:42:42,680 --> 00:42:45,359
Speaker 2: Yeah, get the big old house that features into this

815
00:42:45,440 --> 00:42:47,440
Speaker 2: and and all the outdoor scenes. It's all at Eden

816
00:42:47,480 --> 00:42:48,360
Speaker 2: Garden State Parks.

817
00:42:48,440 --> 00:42:53,680
Speaker 3: So the ring bearer is an alligator. But so uh,

818
00:42:54,200 --> 00:42:56,560
Speaker 3: several things about the trash here. Also. One of the

819
00:42:56,600 --> 00:42:58,640
Speaker 3: things is do you think Coca Cola paid to have

820
00:42:58,680 --> 00:43:01,200
Speaker 3: their logo shown among all the trash and the swamp

821
00:43:02,440 --> 00:43:03,399
Speaker 3: it's there.

822
00:43:03,239 --> 00:43:05,520
Speaker 2: I don't know. I mean, it's product placement even if

823
00:43:05,520 --> 00:43:06,040
Speaker 2: it is litter.

824
00:43:08,080 --> 00:43:11,799
Speaker 3: Yeah. Also, one thing that's funny, as the swamp here

825
00:43:11,880 --> 00:43:14,920
Speaker 3: has the single piece of movie garbage that best represents

826
00:43:15,040 --> 00:43:18,520
Speaker 3: ultimate squalor the discarded plastic baby doll, you know the

827
00:43:18,560 --> 00:43:21,799
Speaker 3: trope I'm talking about. Yeah, Like that's that's how you

828
00:43:21,840 --> 00:43:24,360
Speaker 3: know that the place is really abject in a film.

829
00:43:24,480 --> 00:43:27,160
Speaker 3: Is it's not just litter, it's not just trash, it's

830
00:43:27,200 --> 00:43:28,560
Speaker 3: it's a discarded baby doll.

831
00:43:29,239 --> 00:43:32,120
Speaker 2: It's interesting too, given that here in Atlanta we have

832
00:43:32,200 --> 00:43:34,839
Speaker 2: dolls had trail yeah, which I know, I know you've

833
00:43:34,880 --> 00:43:40,280
Speaker 2: been to as well, where an individual has has taken

834
00:43:40,360 --> 00:43:44,880
Speaker 2: to using found garbage from the park itself and in

835
00:43:44,920 --> 00:43:49,040
Speaker 2: many cases toys and baby dolls and recreate them, like

836
00:43:49,120 --> 00:43:52,520
Speaker 2: rearrange them to create art in the natural environment. And

837
00:43:52,560 --> 00:43:55,560
Speaker 2: it works. But part of that is it's stuff that

838
00:43:55,640 --> 00:43:58,040
Speaker 2: was already there. He's not bringing in baby dolls, right,

839
00:43:58,200 --> 00:44:01,000
Speaker 2: and and indeed, I will advise everyone please do not

840
00:44:01,080 --> 00:44:06,560
Speaker 2: bring baby dolls into parks to create things. Also, don't yeah,

841
00:44:06,600 --> 00:44:09,280
Speaker 2: don't bring like Christmas ornaments in on your nature trails

842
00:44:09,320 --> 00:44:12,359
Speaker 2: and just start decorating Christmas trees on the nature trail. Yeah.

843
00:44:12,400 --> 00:44:15,360
Speaker 2: I saw that over the break And granted, you know,

844
00:44:16,719 --> 00:44:19,000
Speaker 2: people need things to do during the pandemic, and you

845
00:44:19,000 --> 00:44:21,200
Speaker 2: know they're getting more into nature walking, but but don't

846
00:44:21,200 --> 00:44:25,000
Speaker 2: bring out a bunch of Christmas garbage into the onto

847
00:44:25,040 --> 00:44:27,920
Speaker 2: the nature trail and decorate something like, let's keep the

848
00:44:28,320 --> 00:44:30,400
Speaker 2: let's keep the artistic expression to a limit.

849
00:44:31,200 --> 00:44:32,839
Speaker 3: You can decorate trees at home, trail.

850
00:44:33,000 --> 00:44:35,359
Speaker 2: Yeah, decorate trees at home all you want, but I'm

851
00:44:35,400 --> 00:44:38,359
Speaker 2: here to see the actual trees. M hm, doll said.

852
00:44:38,360 --> 00:44:39,160
Speaker 2: Trail is fine though.

853
00:44:39,280 --> 00:44:42,200
Speaker 3: Okay, anyway, that's just the opening credits. We get Sam

854
00:44:42,239 --> 00:44:45,440
Speaker 3: Elliott taking pictures of all the trash in the swamp.

855
00:44:45,800 --> 00:44:49,879
Speaker 3: Then we immediately cut to Jerks in a speedboat and

856
00:44:49,920 --> 00:44:51,920
Speaker 3: this is a couple of cousins here, a couple of

857
00:44:51,920 --> 00:44:54,919
Speaker 3: the main cousins. We get Clint who is Adam Rourke again,

858
00:44:54,920 --> 00:44:57,839
Speaker 3: and we get Karen who is Joan van Ark, and

859
00:44:57,920 --> 00:45:01,280
Speaker 3: they're cutting around the water in a powerboat and Clint

860
00:45:01,440 --> 00:45:04,880
Speaker 3: is chugging a cold one while driving. Yeah, anyway, I

861
00:45:05,080 --> 00:45:06,680
Speaker 3: don't know if it's supposed to be that Clint is

862
00:45:06,760 --> 00:45:09,200
Speaker 3: just a bad boat driver in general, or if it's

863
00:45:09,200 --> 00:45:11,800
Speaker 3: because he's been drinking the beer. But he does not

864
00:45:12,000 --> 00:45:14,920
Speaker 3: see Sam Elliott in his canoe and he just drives

865
00:45:15,000 --> 00:45:19,000
Speaker 3: right by him, capsizes him, and Sam Elliot's all wet,

866
00:45:19,320 --> 00:45:22,280
Speaker 3: and of course Sam Elliott is not amused. They circle

867
00:45:22,320 --> 00:45:25,120
Speaker 3: back and they give they give him a ride and

868
00:45:25,160 --> 00:45:27,040
Speaker 3: they say, you know, we'll tow you back to the house,

869
00:45:27,600 --> 00:45:30,480
Speaker 3: which is a big old mansion with a waterside backyard,

870
00:45:30,600 --> 00:45:33,640
Speaker 3: and they invite him to stay for the fun and games,

871
00:45:33,680 --> 00:45:36,680
Speaker 3: which sounds kind of sinister. Yeah, and it is not

872
00:45:36,880 --> 00:45:39,759
Speaker 3: subtle with the frogs at all. Like, you know, we

873
00:45:39,840 --> 00:45:43,239
Speaker 3: get to the dock and it's just cutting to frogs constantly.

874
00:45:43,280 --> 00:45:45,319
Speaker 3: You know, the characters say a couple of lines cut

875
00:45:45,360 --> 00:45:48,000
Speaker 3: to frogs and they're just sitting there with their eyes

876
00:45:48,080 --> 00:45:50,960
Speaker 3: big ribboning and the you know, the throat sacks bulging,

877
00:45:51,520 --> 00:45:53,359
Speaker 3: and then they're like, hey, would you like to stay

878
00:45:53,400 --> 00:45:55,400
Speaker 3: at our creepy mansion? And then the frogs.

879
00:45:55,680 --> 00:45:59,759
Speaker 2: But yeah, the frogs are massing, and yeah, there is

880
00:45:59,800 --> 00:46:02,600
Speaker 2: a an overwhelming sense that the frogs are watching.

881
00:46:02,880 --> 00:46:06,560
Speaker 3: Yes, so we learned some things. We learned the characters' names.

882
00:46:06,640 --> 00:46:10,239
Speaker 3: Of course, Sam Elliott introduces himself. His character's name once

883
00:46:10,239 --> 00:46:15,960
Speaker 3: again is Pickett Smith. Okay, and Adam Rourks Clint and

884
00:46:16,080 --> 00:46:20,319
Speaker 3: Karen Joan van Allen is Karen, and so Karen takes

885
00:46:20,320 --> 00:46:24,120
Speaker 3: Pickett Smith to meet Grandpa Crockett. They also meet a

886
00:46:24,160 --> 00:46:27,440
Speaker 3: guy named she introduces as my cousin, Michael Martindale, one

887
00:46:27,480 --> 00:46:29,279
Speaker 3: of the mini cousins. This guy looks kind of like

888
00:46:29,360 --> 00:46:33,040
Speaker 3: a fascist pool attendant, Like he's got this cool sort

889
00:46:33,040 --> 00:46:37,680
Speaker 3: of I don't know, like single color resort wear outfit

890
00:46:37,840 --> 00:46:40,799
Speaker 3: with a big collar. But he's also got the cool

891
00:46:40,800 --> 00:46:42,080
Speaker 3: hand Luke sunglasses.

892
00:46:42,560 --> 00:46:43,120
Speaker 2: Yeah.

893
00:46:43,160 --> 00:46:46,840
Speaker 3: But then, my god, the Pickett Smith chest hair. Like

894
00:46:47,400 --> 00:46:50,480
Speaker 3: everybody in this movie wears their shirt unbuttoned a few

895
00:46:50,480 --> 00:46:54,120
Speaker 3: buttons down, and Sam Elliot's chest hair could be put

896
00:46:54,160 --> 00:46:58,719
Speaker 3: in a ponytail. It's unbelievable. But anyway, so there's an

897
00:46:58,719 --> 00:47:02,439
Speaker 3: introduction scene we meet Grandpa Crockett. He is ornery from

898
00:47:02,560 --> 00:47:06,680
Speaker 3: word one. He saw Sam Elliott paddling around and taking pictures,

899
00:47:06,719 --> 00:47:09,360
Speaker 3: he says, and he does not appreciate the taking of

900
00:47:09,400 --> 00:47:12,320
Speaker 3: the pictures. He's like, there's a sign out there says

901
00:47:12,320 --> 00:47:15,640
Speaker 3: private property, and he says that it's illegal for Sam

902
00:47:15,640 --> 00:47:17,680
Speaker 3: Elliott to have been taking pictures. I don't know why

903
00:47:17,680 --> 00:47:21,400
Speaker 3: that would be illegal, But we learned that Sam Elliott

904
00:47:21,480 --> 00:47:25,640
Speaker 3: in fact is here as a private freelance photographer, actually

905
00:47:25,680 --> 00:47:29,319
Speaker 3: he calls it a photographer, and he's taking pictures of

906
00:47:29,400 --> 00:47:33,440
Speaker 3: pollution for an ecology magazine. And the funny thing is,

907
00:47:33,480 --> 00:47:36,719
Speaker 3: so he says this, and this gets cousin Michael immediately

908
00:47:36,760 --> 00:47:40,080
Speaker 3: going on about frogs. So he's like, I've taken pictures.

909
00:47:40,080 --> 00:47:43,600
Speaker 3: I'm a freelance photographer for an ecology magazine. And Michael's like,

910
00:47:43,680 --> 00:47:46,080
Speaker 3: take any pictures of frogs lately? I saw the biggest

911
00:47:46,120 --> 00:47:48,920
Speaker 3: bullfrog earlier, and it just makes you wonder, like what

912
00:47:49,080 --> 00:47:52,040
Speaker 3: other topics of conversation? Cousin Michael will try to steer

913
00:47:52,080 --> 00:47:55,799
Speaker 3: back to the bullfrog anecdote. You know, somebody's like, would

914
00:47:55,840 --> 00:47:58,640
Speaker 3: you like to put on some music? Hey, speaking of music,

915
00:47:58,680 --> 00:48:00,840
Speaker 3: have you ever heard what a bullfrog sounds like? I

916
00:48:00,880 --> 00:48:05,040
Speaker 3: got the biggest bullfrog. But we also learn from this

917
00:48:05,080 --> 00:48:09,080
Speaker 3: conversation that Grandpa Crockett has been spraying poison all around

918
00:48:09,160 --> 00:48:12,359
Speaker 3: his property to try to keep all this disgusting wildlife

919
00:48:12,360 --> 00:48:15,680
Speaker 3: at bay, because there is nothing worse than animals, and

920
00:48:15,960 --> 00:48:19,319
Speaker 3: so he's been using he's been using I guess poisons

921
00:48:19,320 --> 00:48:24,120
Speaker 3: and insecticides to the absolute max to try to put

922
00:48:24,160 --> 00:48:26,920
Speaker 3: an end to it. And it is not working. But anyway,

923
00:48:27,080 --> 00:48:29,080
Speaker 3: so Sam Elliott and Karen go back to the house

924
00:48:29,120 --> 00:48:31,960
Speaker 3: and then there's a funny moment where Sam Elliott who

925
00:48:31,960 --> 00:48:36,239
Speaker 3: again is a freelance photographer for an ecology magazine. He

926
00:48:36,320 --> 00:48:39,560
Speaker 3: has to call his editor immediately from the Stude's house.

927
00:48:41,600 --> 00:48:44,800
Speaker 2: Well, you know, the freelance in can be a little lonely.

928
00:48:44,880 --> 00:48:47,520
Speaker 2: Sometimes sometimes you just check in with your editor just.

929
00:48:49,080 --> 00:48:51,239
Speaker 3: To say hi, Oh, that's a good I didn't think

930
00:48:51,280 --> 00:48:53,440
Speaker 3: about it like that. Maybe he's just being polite and

931
00:48:53,480 --> 00:48:56,200
Speaker 3: actually he's calling somebody to be like, send help, I'm

932
00:48:56,239 --> 00:48:59,879
Speaker 3: at this creepy house. But of course the phone doesn't

933
00:48:59,880 --> 00:49:03,280
Speaker 3: want because that's a standard feature of Nature Strikes Back movies,

934
00:49:03,400 --> 00:49:07,080
Speaker 3: is that our technological infrastructure fails us when the animals

935
00:49:07,080 --> 00:49:07,960
Speaker 3: begin to rise up.

936
00:49:08,480 --> 00:49:10,920
Speaker 2: Yeah, the frogs are I guess we never see them

937
00:49:10,960 --> 00:49:13,640
Speaker 2: actually cut a phone line, but it's implied that they're

938
00:49:13,680 --> 00:49:14,319
Speaker 2: out there doing it.

939
00:49:14,560 --> 00:49:17,920
Speaker 3: Yes, So anyway, in the meantime, we get a little

940
00:49:17,920 --> 00:49:19,680
Speaker 3: walk through to meet a bunch of the rest of

941
00:49:19,719 --> 00:49:23,480
Speaker 3: the cast. We meet Ginny, who is played by Lynn Borden.

942
00:49:24,120 --> 00:49:26,919
Speaker 3: This is Clint's wife who she's showing off some cute

943
00:49:26,960 --> 00:49:30,600
Speaker 3: drawings by the kids. She seems generally irritated. She is

944
00:49:30,680 --> 00:49:33,719
Speaker 3: short tempered, and she is irritated by the news that

945
00:49:33,800 --> 00:49:35,880
Speaker 3: Clint is wet from the water oh yeah, because we

946
00:49:35,920 --> 00:49:39,200
Speaker 3: didn't mention that Sam Elliott pulls Clint into the water

947
00:49:39,280 --> 00:49:40,640
Speaker 3: when they go to help him out of the water.

948
00:49:40,680 --> 00:49:42,600
Speaker 3: I guess is revenge for capsizing his.

949
00:49:42,600 --> 00:49:45,279
Speaker 2: Canoe kind of smacks him one too, I think, yeah,

950
00:49:45,280 --> 00:49:46,000
Speaker 2: thank you.

951
00:49:45,840 --> 00:49:50,440
Speaker 3: Yeah yeah. Then we also meet aunt Iris, who appears eccentric.

952
00:49:50,560 --> 00:49:53,600
Speaker 3: She enjoys trapping butterflies and a glass bell jar, and

953
00:49:53,600 --> 00:49:57,359
Speaker 3: that lust for butterflies will be her undoing later on.

954
00:49:57,600 --> 00:49:58,280
Speaker 2: Yes, it will.

955
00:49:58,880 --> 00:50:01,919
Speaker 3: We meet cousin kN who is another cousin who has

956
00:50:02,719 --> 00:50:05,640
Speaker 3: no identifying features whatsoever except that he's another one who

957
00:50:05,640 --> 00:50:07,600
Speaker 3: cannot button up his shirt. I guess the only thing

958
00:50:07,640 --> 00:50:11,360
Speaker 3: interesting about cousin Kenneth is that he is the boyfriend

959
00:50:11,520 --> 00:50:14,640
Speaker 3: of Bella Garrington, who is played by Judy Pace. So

960
00:50:14,719 --> 00:50:16,719
Speaker 3: I said, you know, other than Sam Elliott, the most

961
00:50:16,719 --> 00:50:20,160
Speaker 3: likable actor in the movie, and I think she and

962
00:50:20,239 --> 00:50:24,239
Speaker 3: cousin Kenneth they're supposed to be an item. And like

963
00:50:24,320 --> 00:50:28,080
Speaker 3: several other characters, Bella Garrington here seems dressed a little

964
00:50:28,120 --> 00:50:30,960
Speaker 3: warm for July in Florida. She's wearing like this kind

965
00:50:30,960 --> 00:50:35,120
Speaker 3: of long sleeve long pants like rock star outfit when

966
00:50:35,120 --> 00:50:38,000
Speaker 3: we first meet her. Also, did you notice that. When

967
00:50:38,000 --> 00:50:41,640
Speaker 3: we first meet cousin Kenneth and Bella, they are playing

968
00:50:41,640 --> 00:50:42,600
Speaker 3: with a weige aboard.

969
00:50:43,400 --> 00:50:43,960
Speaker 2: I miss that.

970
00:50:44,040 --> 00:50:45,839
Speaker 3: Yeah, it's on the table between them. They've got their

971
00:50:45,840 --> 00:50:47,920
Speaker 3: hands on the what do you call it, the planchette,

972
00:50:47,920 --> 00:50:48,480
Speaker 3: the whole thing.

973
00:50:48,800 --> 00:50:49,759
Speaker 2: Yeah, yeah, I don't know.

974
00:50:49,719 --> 00:50:52,160
Speaker 3: What spirits that. Maybe they're trying to get messages from

975
00:50:52,200 --> 00:50:53,400
Speaker 3: the frogs or something.

976
00:50:54,320 --> 00:50:57,000
Speaker 2: It's just spelling out ribbit on the board.

977
00:50:57,080 --> 00:51:00,000
Speaker 3: Yeah, yeah, I don't know what it means. But so Sam,

978
00:51:00,000 --> 00:51:02,680
Speaker 3: I'm Elliott, and Clint then take showers to wash the

979
00:51:02,760 --> 00:51:04,719
Speaker 3: lake off, and then there's a great scene where they

980
00:51:04,760 --> 00:51:08,640
Speaker 3: just stand around toweling off and talking about Clint's football days.

981
00:51:08,960 --> 00:51:11,920
Speaker 2: Yeah, because that's all Clint has, or the old football days,

982
00:51:12,960 --> 00:51:15,759
Speaker 2: the beer, the speedboats, and the dream of one day

983
00:51:16,239 --> 00:51:18,319
Speaker 2: inheriting some money from the patriarch.

984
00:51:18,600 --> 00:51:21,759
Speaker 3: That's right, So Grandpa Crockett, and then there are other

985
00:51:21,960 --> 00:51:25,040
Speaker 3: uncles and cousins that I didn't even get into yet,

986
00:51:25,080 --> 00:51:29,280
Speaker 3: but too many to talk about. So Grandpa Crockett assembles

987
00:51:29,320 --> 00:51:32,160
Speaker 3: everybody for a buffet lunch on the lawn. And this

988
00:51:32,239 --> 00:51:35,520
Speaker 3: is another scene that in reality would be swarming with insects.

989
00:51:35,560 --> 00:51:38,600
Speaker 3: I've been to Florida in the summer, but of course

990
00:51:38,920 --> 00:51:40,880
Speaker 3: it's not, or at least we don't see any insects.

991
00:51:40,960 --> 00:51:43,000
Speaker 3: We do cut away to frogs a lot. But I

992
00:51:43,080 --> 00:51:45,800
Speaker 3: liked how this buffet lunch is complete with at least

993
00:51:45,840 --> 00:51:49,040
Speaker 3: five different kinds of liquor that we can see on camera,

994
00:51:49,480 --> 00:51:53,640
Speaker 3: and a bunch of logo facing bottles of coke. So

995
00:51:53,680 --> 00:51:56,799
Speaker 3: again I'm wondering what's going on there. But we see

996
00:51:56,800 --> 00:51:59,279
Speaker 3: Gordon's vodka, we see some kind of scotch, and then

997
00:51:59,640 --> 00:52:02,799
Speaker 3: multiple glass decanters with other liquors in them.

998
00:52:03,160 --> 00:52:06,120
Speaker 2: I have to say it's refreshing to see forward facing

999
00:52:06,200 --> 00:52:09,640
Speaker 2: labels on beverage bottles in a motion picture, because at

1000
00:52:09,680 --> 00:52:11,719
Speaker 2: times they can get a little obnoxious where you like,

1001
00:52:11,800 --> 00:52:14,040
Speaker 2: come on, movie, I know you don't want to show

1002
00:52:14,080 --> 00:52:16,759
Speaker 2: me that that's a Coca Cola or show me that

1003
00:52:16,760 --> 00:52:19,480
Speaker 2: that is you know, this other brand of a beverage.

1004
00:52:20,200 --> 00:52:24,759
Speaker 2: It gets a little two precise at times, so I'm

1005
00:52:24,800 --> 00:52:27,640
Speaker 2: happy to see the beverage logos here change.

1006
00:52:27,719 --> 00:52:31,280
Speaker 3: Yeah. Oh, also the scene has some good Ginny chewing

1007
00:52:31,400 --> 00:52:36,400
Speaker 3: Clint out for drinking a fifth of vodka every night. Yeah,

1008
00:52:36,400 --> 00:52:39,960
Speaker 3: But somehow conversation just keeps coming back to frogs everybody's

1009
00:52:40,000 --> 00:52:41,799
Speaker 3: trying to talk to so she's like chewing him out

1010
00:52:41,840 --> 00:52:44,920
Speaker 3: for drinking vodka. But somehow this gets related to frogs.

1011
00:52:45,320 --> 00:52:47,839
Speaker 3: And then Grandpa says to Sam Elliott, you see more

1012
00:52:47,880 --> 00:52:51,600
Speaker 3: frogs than usual this year. And Sam Elliot's like, well, yeah,

1013
00:52:51,600 --> 00:52:54,799
Speaker 3: sometimes animals overpopulate, but they'll die off by next year.

1014
00:52:54,840 --> 00:52:57,000
Speaker 3: And Grandpa, of course is like, what are you some

1015
00:52:57,120 --> 00:53:01,360
Speaker 3: kind of ecologist? And then and there's broader discussion on

1016
00:53:01,520 --> 00:53:03,719
Speaker 3: why frogs are bad and what would be the best

1017
00:53:03,760 --> 00:53:04,640
Speaker 3: ways to kill.

1018
00:53:04,440 --> 00:53:07,759
Speaker 2: Frogs, And this is all great because it's ultimately leading

1019
00:53:07,840 --> 00:53:11,879
Speaker 2: up to something like, why is Grandpa even remotely tolerating

1020
00:53:11,920 --> 00:53:15,560
Speaker 2: this stranger here who has you know, already seems to

1021
00:53:15,560 --> 00:53:20,800
Speaker 2: have unsavory connections to environmentalism. Well, it's because he has

1022
00:53:21,000 --> 00:53:23,480
Speaker 2: a need of him. He has a task for him.

1023
00:53:23,360 --> 00:53:26,960
Speaker 3: That's right. So Grandpa Crockett wants he takes Sam Elliott

1024
00:53:26,960 --> 00:53:29,040
Speaker 3: aside and he's like, I want you to take a

1025
00:53:29,040 --> 00:53:32,839
Speaker 3: look around and investigate the frogs, apparently so he can

1026
00:53:32,880 --> 00:53:35,600
Speaker 3: put the family's minds at ease about frogs. I think

1027
00:53:36,320 --> 00:53:39,920
Speaker 3: there's plenty more cutaways to frogs, Ribert Ribot. But then

1028
00:53:39,960 --> 00:53:42,640
Speaker 3: also we get a little secret meeting on the side

1029
00:53:42,640 --> 00:53:46,200
Speaker 3: where Grandpa also wants Sam Elliott to go looking for

1030
00:53:46,239 --> 00:53:50,759
Speaker 3: his professional frog executioner, Grover, who had been sent out

1031
00:53:50,800 --> 00:53:54,279
Speaker 3: earlier that morning to spray for frogs, but who never returned.

1032
00:53:56,040 --> 00:53:59,120
Speaker 3: And when he sends Sam Elliott out on this mission

1033
00:53:59,160 --> 00:54:01,680
Speaker 3: to find Grover, Grandpa's like, do you want to take

1034
00:54:01,680 --> 00:54:03,640
Speaker 3: along a gun? He's just got a room full of

1035
00:54:03,680 --> 00:54:07,120
Speaker 3: guns and animal heads mounted on the wall, and he's like,

1036
00:54:07,160 --> 00:54:08,840
Speaker 3: you want one of these rifles? And of course not.

1037
00:54:08,960 --> 00:54:11,279
Speaker 3: Sam Elliott is far too cool to shoot at a

1038
00:54:11,320 --> 00:54:12,280
Speaker 3: frog with a rifle.

1039
00:54:13,040 --> 00:54:15,360
Speaker 2: And he also lays out a sick burn on Grandpa's

1040
00:54:15,360 --> 00:54:17,840
Speaker 2: trophy room. He's like, no, I don't believe a I

1041
00:54:17,840 --> 00:54:20,240
Speaker 2: don't believe a frog head would much improve the space

1042
00:54:20,360 --> 00:54:21,320
Speaker 2: or something to that effect.

1043
00:54:21,400 --> 00:54:24,879
Speaker 3: Yeah, except he says it in fewer words somehow, Yeah.

1044
00:54:25,000 --> 00:54:28,360
Speaker 2: Yeah, And and you know it's got that Sam Elliott

1045
00:54:28,440 --> 00:54:31,800
Speaker 2: charm to it, so it doesn't it doesn't feel particularly thorny.

1046
00:54:31,920 --> 00:54:34,719
Speaker 2: You know. Again, he just he just plays it so

1047
00:54:34,800 --> 00:54:35,520
Speaker 2: cool in this film.

1048
00:54:35,520 --> 00:54:37,319
Speaker 3: I wonder Sam Elliott, I wonder if he just like

1049
00:54:37,400 --> 00:54:40,560
Speaker 3: went through the script with a red pin and he

1050
00:54:40,760 --> 00:54:44,200
Speaker 3: like took every time his character spoke and like reduced

1051
00:54:44,320 --> 00:54:47,560
Speaker 3: the number of words in the line by half or

1052
00:54:47,600 --> 00:54:51,480
Speaker 3: even more. You know, he's he's very laconic. Yeah, okay,

1053
00:54:51,480 --> 00:54:53,719
Speaker 3: So anyway, Sam Elliott, you know, he wanders through the

1054
00:54:53,719 --> 00:54:56,560
Speaker 3: woods and he stumbles across a big canister of poison.

1055
00:54:56,640 --> 00:54:59,680
Speaker 3: And then this part's great. There's like a parade of

1056
00:54:59,760 --> 00:55:02,680
Speaker 3: day animals of every kind. So you see dead frog,

1057
00:55:02,960 --> 00:55:06,719
Speaker 3: dead snake, dead eagle, and then like I thought he

1058
00:55:06,760 --> 00:55:08,839
Speaker 3: was going to come across a penguin next, but then

1059
00:55:08,920 --> 00:55:10,800
Speaker 3: it just gets into a lot of frogs and snakes

1060
00:55:10,800 --> 00:55:14,840
Speaker 3: and eventually finds Grover face down in a puddle. Is

1061
00:55:14,880 --> 00:55:17,239
Speaker 3: he alive or dead? I guess he is. Whatever you

1062
00:55:17,320 --> 00:55:19,680
Speaker 3: are when the script says you're dead, but you are

1063
00:55:19,719 --> 00:55:21,080
Speaker 3: obviously still breathing.

1064
00:55:21,640 --> 00:55:23,959
Speaker 2: Yeah, well the movie makeup says he's dead though, because

1065
00:55:23,960 --> 00:55:25,680
Speaker 2: he had like a big old chunk taken out of his.

1066
00:55:25,680 --> 00:55:27,240
Speaker 3: Face, right, and his face is blue.

1067
00:55:27,360 --> 00:55:30,600
Speaker 2: Yeah yeah, so actually again, stress, you know, this film

1068
00:55:30,680 --> 00:55:34,440
Speaker 2: is not particularly grizzly. It is actually righted PG. So

1069
00:55:35,800 --> 00:55:38,719
Speaker 2: any scene like this, it's not as horrific as it

1070
00:55:38,719 --> 00:55:40,279
Speaker 2: would be in other film. It's not as say a

1071
00:55:40,320 --> 00:55:43,320
Speaker 2: horrific as Squirm is. You have a lot of really

1072
00:55:43,560 --> 00:55:48,959
Speaker 2: really gross special effects to drive home Nature's vengeance. It's

1073
00:55:49,040 --> 00:55:50,759
Speaker 2: pretty tame in this film, but it works, you know,

1074
00:55:50,800 --> 00:55:52,919
Speaker 2: It's it's shot and presented well.

1075
00:55:53,040 --> 00:55:56,440
Speaker 3: Yeah. Yeah, the gore is relatively tame. Yeah, though some

1076
00:55:56,440 --> 00:55:59,839
Speaker 3: sometimes the deaths like if you were to imagine them,

1077
00:56:00,000 --> 00:56:01,920
Speaker 3: the implications are really awful.

1078
00:56:02,040 --> 00:56:04,840
Speaker 2: But Yeah does a good job with that, you know,

1079
00:56:04,960 --> 00:56:10,080
Speaker 2: and implying the death at least non frogged related deaths.

1080
00:56:10,120 --> 00:56:13,719
Speaker 3: Anyway, But anyway, so we come back to the house

1081
00:56:13,760 --> 00:56:15,520
Speaker 3: and check in with the other characters that there was

1082
00:56:15,680 --> 00:56:18,720
Speaker 3: a nice little scene with May Mercer who plays Maybell

1083
00:56:19,239 --> 00:56:21,279
Speaker 3: who works at the house, and then Judy Pace, who

1084
00:56:21,320 --> 00:56:24,080
Speaker 3: again plays Bella Herrington. They have a nice little scene

1085
00:56:24,080 --> 00:56:25,719
Speaker 3: where they share a drink together and they sort of

1086
00:56:25,719 --> 00:56:28,800
Speaker 3: commiserate with a great big eye roll about the family,

1087
00:56:29,360 --> 00:56:32,000
Speaker 3: and we find out that Bella Herrington's birth name is

1088
00:56:32,040 --> 00:56:35,920
Speaker 3: also Maybell. But anyway, we get to all of the

1089
00:56:36,000 --> 00:56:39,520
Speaker 3: floristocrats who are sitting around in the mansion gabbing, and

1090
00:56:39,960 --> 00:56:42,960
Speaker 3: Grandpa says he thinks Grover deserves to be dead in

1091
00:56:43,000 --> 00:56:45,920
Speaker 3: a ditch. They have not gotten the news that he

1092
00:56:45,960 --> 00:56:48,120
Speaker 3: is dead in a ditch. They're just imagining I wonder

1093
00:56:48,160 --> 00:56:50,440
Speaker 3: if he's dead in a ditch, which will turn out

1094
00:56:50,440 --> 00:56:53,600
Speaker 3: to be true, And he's like, well, I hope he is,

1095
00:56:53,719 --> 00:56:58,080
Speaker 3: because he's late coming back. And then Karen is like, Grandpa,

1096
00:56:58,120 --> 00:57:00,160
Speaker 3: that's awful. You make us sound like the worst of

1097
00:57:00,200 --> 00:57:01,080
Speaker 3: the ugly rich.

1098
00:57:01,440 --> 00:57:04,239
Speaker 2: Yeah, to which he replies, we are the ugly rich.

1099
00:57:05,640 --> 00:57:08,280
Speaker 3: But then we get a great speech by Aunt Iris

1100
00:57:08,360 --> 00:57:10,920
Speaker 3: where she's like, we're entitled to be ugly, Caaren, we

1101
00:57:10,960 --> 00:57:14,080
Speaker 3: pay so many taxes. And then she starts going on

1102
00:57:14,120 --> 00:57:17,640
Speaker 3: this rant about environmental regulations on her paper mills that

1103
00:57:17,680 --> 00:57:21,439
Speaker 3: are costing her a fortune. And anyway, Sam Elliott comes

1104
00:57:21,480 --> 00:57:24,280
Speaker 3: back and he informs Grandpa Crockett the Grover is dead,

1105
00:57:24,520 --> 00:57:28,720
Speaker 3: and their conversation is interrupted when frogs are thumping against

1106
00:57:28,760 --> 00:57:30,920
Speaker 3: the windowsill. That was the sound effect I was talking

1107
00:57:30,920 --> 00:57:35,040
Speaker 3: about earlier with the thump thump. And then somebody screams

1108
00:57:35,040 --> 00:57:37,360
Speaker 3: from the other room it was maybell, so what could

1109
00:57:37,400 --> 00:57:40,200
Speaker 3: it be? And everybody runs in and there is a

1110
00:57:40,280 --> 00:57:44,560
Speaker 3: snake hanging from the chandelier in the dining room. Everybody

1111
00:57:44,640 --> 00:57:48,320
Speaker 3: just crowds in while ominous music throbs on the soundtrack.

1112
00:57:48,520 --> 00:57:51,600
Speaker 3: Snake's right there over the dinner table. And then I

1113
00:57:51,680 --> 00:57:54,640
Speaker 3: laughed out loud of this. Grandpa Crocket whips out a revolver,

1114
00:57:55,200 --> 00:57:58,840
Speaker 3: shoots the snake, The snake falls dead on the dinner table,

1115
00:57:59,440 --> 00:58:02,480
Speaker 3: and then he asks Charles to remove the snake. And

1116
00:58:02,520 --> 00:58:04,080
Speaker 3: then he's like, all right, everybody, let's eat.

1117
00:58:06,880 --> 00:58:10,440
Speaker 2: Yeah, it's ridiculous because of course there's no reason that

1118
00:58:10,480 --> 00:58:12,800
Speaker 2: a snake would be in your chandelier. Yeah, you know,

1119
00:58:12,800 --> 00:58:14,800
Speaker 2: it's a real turtle on a fence post kind of moment.

1120
00:58:15,080 --> 00:58:17,080
Speaker 3: But then we get into a bunch of just little

1121
00:58:17,120 --> 00:58:21,360
Speaker 3: conversation scenes, like there's this philosophical debate between Sam Elliot

1122
00:58:21,360 --> 00:58:24,520
Speaker 3: and Grandpa Crockett about whether man is the master of

1123
00:58:24,640 --> 00:58:27,960
Speaker 3: nature or not. Sam Elliott seems to believe that humans

1124
00:58:27,960 --> 00:58:30,960
Speaker 3: and frogs can coexist peacefully, how naive he is.

1125
00:58:31,640 --> 00:58:33,160
Speaker 2: Yeah, this is a great scene. I think I ended

1126
00:58:33,200 --> 00:58:35,680
Speaker 2: up watching this one twice, you having to rerun just

1127
00:58:35,800 --> 00:58:37,280
Speaker 2: to get it because I could tell like, this is

1128
00:58:37,320 --> 00:58:39,240
Speaker 2: the heart of the movie. This is where, this is

1129
00:58:39,240 --> 00:58:41,919
Speaker 2: where the central argument is being being played out.

1130
00:58:42,080 --> 00:58:44,800
Speaker 3: Yeah, and then there's a great part where Sam Elliott.

1131
00:58:44,800 --> 00:58:47,400
Speaker 3: Sam Elliott seems to get what's going on. He's like, oh,

1132
00:58:47,440 --> 00:58:50,080
Speaker 3: I see this is a nature strikes back film. So

1133
00:58:50,200 --> 00:58:53,040
Speaker 3: he's like, what if nature we're trying to get back

1134
00:58:53,040 --> 00:58:55,520
Speaker 3: at us for all of the pollution and the littering,

1135
00:58:56,160 --> 00:58:59,640
Speaker 3: and the response is nonsense, And sam Elliot says, well,

1136
00:58:59,680 --> 00:59:01,760
Speaker 3: then how how do you explain it? But note that

1137
00:59:01,800 --> 00:59:04,280
Speaker 3: the it that Sam Elliott seems to be at a

1138
00:59:04,320 --> 00:59:08,640
Speaker 3: loss to explain otherwise is so far Grover was bitten

1139
00:59:08,680 --> 00:59:11,120
Speaker 3: by a snake and died, There are a lot of

1140
00:59:11,160 --> 00:59:14,360
Speaker 3: frogs hopping around, and there was a snake on the chandelier.

1141
00:59:16,480 --> 00:59:18,640
Speaker 2: Well still, it's it's all adding up to something, I

1142
00:59:18,680 --> 00:59:22,040
Speaker 2: guess so, but but but yeah, sam Elliott is his

1143
00:59:22,080 --> 00:59:24,360
Speaker 2: whole presentation in this though, is like another actor in

1144
00:59:24,360 --> 00:59:27,880
Speaker 2: this role might have been more insistent, you know, and

1145
00:59:27,960 --> 00:59:30,640
Speaker 2: more you know, argumentative on this point, but he's just

1146
00:59:30,720 --> 00:59:32,439
Speaker 2: kind of like laying it out there. He's like, well,

1147
00:59:32,920 --> 00:59:34,440
Speaker 2: you know, what do you think is happening? You know,

1148
00:59:34,520 --> 00:59:36,120
Speaker 2: look around us, look at how we're treating the world.

1149
00:59:36,240 --> 00:59:38,080
Speaker 2: You know, this this is what this is what it

1150
00:59:38,160 --> 00:59:38,680
Speaker 2: is man.

1151
00:59:39,120 --> 00:59:42,880
Speaker 3: Gentle wise and charming. He sells it so good. Yeah,

1152
00:59:42,920 --> 00:59:45,360
Speaker 3: and a bunch of other conversations going on. We learned, Oh,

1153
00:59:45,520 --> 00:59:48,400
Speaker 3: there's a scene with Clint and Jenny arguing there you

1154
00:59:48,440 --> 00:59:51,600
Speaker 3: know they're they're talking about how Genny resents that Clint

1155
00:59:51,680 --> 00:59:55,120
Speaker 3: spends all day drunk driving a speedboat. And this is

1156
00:59:55,160 --> 00:59:57,040
Speaker 3: the part where he retorts that he needs to play

1157
00:59:57,040 --> 00:59:59,520
Speaker 3: his cards right so that he can get his inheritance.

1158
01:00:02,480 --> 01:00:03,960
Speaker 2: Life is hard for old clan here.

1159
01:00:04,040 --> 01:00:08,560
Speaker 3: Yeah, there's some very hardcore flirting between Sam Elliott and

1160
01:00:08,640 --> 01:00:13,800
Speaker 3: Joan van Ark. Clearly there's an attraction there. And then

1161
01:00:13,960 --> 01:00:17,600
Speaker 3: meanwhile I was noticing there is such creepy decor in

1162
01:00:17,640 --> 01:00:19,600
Speaker 3: this house. I feel like this about a lot of

1163
01:00:20,120 --> 01:00:24,600
Speaker 3: I think, especially like Southern American houses from this like

1164
01:00:25,120 --> 01:00:27,640
Speaker 3: you know, sixties and seventies where you see this like

1165
01:00:28,320 --> 01:00:34,120
Speaker 3: mixture of sometimes like more modern furniture decorations, but also

1166
01:00:34,720 --> 01:00:39,440
Speaker 3: just like weird, creepy old Antebellum looking stuff. Everything is

1167
01:00:39,520 --> 01:00:43,600
Speaker 3: just like haunted daghero types of nineteenth century Florida vampires

1168
01:00:44,040 --> 01:00:47,919
Speaker 3: up on the wall. There's this guy I captured one

1169
01:00:47,960 --> 01:00:49,400
Speaker 3: of these for us to look at. There's just some

1170
01:00:50,280 --> 01:00:53,440
Speaker 3: creep staring at us from Adagero type from nineteen fifty

1171
01:00:53,480 --> 01:00:56,920
Speaker 3: four whatever, eighteen fifty four, and I don't know, he

1172
01:00:56,960 --> 01:00:59,440
Speaker 3: looks like he wants my blood, he wants my life force.

1173
01:01:00,000 --> 01:01:01,960
Speaker 2: So some of this I don't know, they might addressed

1174
01:01:01,960 --> 01:01:03,160
Speaker 2: it up a little bit. I couldn't get a lot

1175
01:01:03,160 --> 01:01:07,640
Speaker 2: of interior photos online of the mansion here, but yeah,

1176
01:01:07,680 --> 01:01:11,880
Speaker 2: this is the Wesley Homestead from Edenarden State Park. Oh Okay.

1177
01:01:12,000 --> 01:01:15,040
Speaker 2: It was apparently built in eighteen ninety seven, and then

1178
01:01:15,080 --> 01:01:19,600
Speaker 2: in nineteen sixty three Louis Maxon bought and renovated the

1179
01:01:19,640 --> 01:01:24,400
Speaker 2: house quote creating a showplace for her family heirlooms and antiques.

1180
01:01:24,920 --> 01:01:29,280
Speaker 3: Okay, so maybe this dementor is a family heirloom.

1181
01:01:29,680 --> 01:01:31,720
Speaker 2: Yeah, or maybe they felt like they needed to night

1182
01:01:31,800 --> 01:01:34,400
Speaker 2: gallery up the joints for the picture. I don't know.

1183
01:01:34,440 --> 01:01:35,680
Speaker 2: I could see it going either way.

1184
01:01:37,680 --> 01:01:40,120
Speaker 3: So yeah, there's a bunch of other just sort of

1185
01:01:40,160 --> 01:01:42,200
Speaker 3: like social stuff going on. There's not a lot of

1186
01:01:42,240 --> 01:01:44,520
Speaker 3: depth to any of it. There's a sequence where Clint

1187
01:01:44,600 --> 01:01:47,360
Speaker 3: is just wandering around bullying people and trying to get

1188
01:01:47,360 --> 01:01:50,160
Speaker 3: somebody to play this log jousting game with him, where

1189
01:01:50,280 --> 01:01:52,080
Speaker 3: I don't know if you could explain this. They're like

1190
01:01:52,160 --> 01:01:54,600
Speaker 3: trying to stand on a log and hit each other

1191
01:01:54,600 --> 01:01:56,959
Speaker 3: with pillows, but nobody wants to play with Clint because

1192
01:01:57,000 --> 01:01:58,160
Speaker 3: he is drunk and abusive.

1193
01:01:58,520 --> 01:02:00,560
Speaker 2: Well, yeah, I think part of is just like Clint

1194
01:02:00,640 --> 01:02:02,840
Speaker 2: sucks and you should be okay with it when the

1195
01:02:02,880 --> 01:02:05,800
Speaker 2: animals kill him later. But also this was a scene

1196
01:02:05,800 --> 01:02:07,960
Speaker 2: where I was I had to laugh at it because yeah,

1197
01:02:08,200 --> 01:02:10,560
Speaker 2: he's horsing around on this log, pushing people over and

1198
01:02:10,600 --> 01:02:12,840
Speaker 2: proclaiming himself to be the king of the law. And

1199
01:02:12,880 --> 01:02:16,320
Speaker 2: then this is juxaposed with an image of like a

1200
01:02:16,360 --> 01:02:19,320
Speaker 2: gecko or something walking on a limb, as if the

1201
01:02:19,720 --> 01:02:22,640
Speaker 2: gecko is interjecting and saying, ah, foolish shield man, I

1202
01:02:22,640 --> 01:02:25,760
Speaker 2: am the king of the log. Clearly, look at look

1203
01:02:25,760 --> 01:02:27,840
Speaker 2: at my appendages and how easily I cling.

1204
01:02:28,360 --> 01:02:41,520
Speaker 3: Yeah, yeah, you know nothing about stick dominance. Yes, But

1205
01:02:41,600 --> 01:02:44,200
Speaker 3: so it's right about So we're here at like halfway

1206
01:02:44,320 --> 01:02:46,760
Speaker 3: through the movie, and it's right here that nature really

1207
01:02:46,800 --> 01:02:49,960
Speaker 3: starts striking back. I would say, up until now it's

1208
01:02:49,960 --> 01:02:52,520
Speaker 3: been mostly set up, but now it just sort of

1209
01:02:52,520 --> 01:02:55,400
Speaker 3: turns into a nature killspree at about the forty five

1210
01:02:55,440 --> 01:02:57,880
Speaker 3: minute mark, and that doesn't stop until the movie's over.

1211
01:02:58,320 --> 01:03:02,880
Speaker 2: Right, the frogs have announced the first wave to begin, yes,

1212
01:03:03,120 --> 01:03:04,160
Speaker 2: and so it does.

1213
01:03:04,400 --> 01:03:06,920
Speaker 3: Right, So we get Michael Martindale, who one of the

1214
01:03:06,960 --> 01:03:10,240
Speaker 3: many cousins after being bullied by Clint, so he gets

1215
01:03:10,240 --> 01:03:13,400
Speaker 3: bullied by Clint knocked off the log and then he's like, well,

1216
01:03:13,440 --> 01:03:15,920
Speaker 3: I'll show everybody, and he goes in. He gets a shotgun,

1217
01:03:16,120 --> 01:03:19,840
Speaker 3: drives off in a jeep and I guess this is

1218
01:03:20,000 --> 01:03:22,240
Speaker 3: maybe this is his favorite hobby. He just starts shooting

1219
01:03:22,320 --> 01:03:26,160
Speaker 3: at random birds. I didn't really get what was going

1220
01:03:26,160 --> 01:03:29,120
Speaker 3: on here. Does not seem to be an organized hunting expedition.

1221
01:03:29,320 --> 01:03:31,480
Speaker 3: He looks more like he's just sort of like working

1222
01:03:31,480 --> 01:03:33,360
Speaker 3: out his frustrations on the birds.

1223
01:03:33,800 --> 01:03:38,000
Speaker 2: Yeah, yeah, just generally being a jerk to nature.

1224
01:03:38,120 --> 01:03:41,720
Speaker 3: Yeah. But also while this is going on, we get

1225
01:03:42,280 --> 01:03:44,520
Speaker 3: Sam Elliott. Just he goes walking in the woods. He

1226
01:03:44,560 --> 01:03:48,640
Speaker 3: sees many, many reptiles, and then we see cousin Michael.

1227
01:03:48,720 --> 01:03:50,760
Speaker 3: He starts running for some reason. I don't remember why

1228
01:03:50,800 --> 01:03:52,600
Speaker 3: he starts running. I guess he sees an animal that

1229
01:03:52,680 --> 01:03:55,520
Speaker 3: scares him and he shoots himself in the leg. And

1230
01:03:55,560 --> 01:03:58,840
Speaker 3: then there is I don't know. There are many glorious

1231
01:03:59,000 --> 01:04:01,360
Speaker 3: nature attacks scenes in this film, but one of the

1232
01:04:01,360 --> 01:04:04,800
Speaker 3: best is what happens here. It is a Spanish moss attack.

1233
01:04:04,840 --> 01:04:06,520
Speaker 3: I don't know how else to describe it.

1234
01:04:07,000 --> 01:04:09,160
Speaker 2: Yeah, it is a straight up Spanish moss attack. Like

1235
01:04:09,200 --> 01:04:10,760
Speaker 2: at first, it just seems like, oh, he fell in

1236
01:04:10,840 --> 01:04:13,720
Speaker 2: the Spanish moss and now he's gotten entangled in it.

1237
01:04:13,920 --> 01:04:16,560
Speaker 2: But no, like the Spanish moss seems to be crawling

1238
01:04:16,600 --> 01:04:18,640
Speaker 2: around him. It seems to be animate.

1239
01:04:18,880 --> 01:04:20,280
Speaker 3: Sient Spanish moss.

1240
01:04:20,520 --> 01:04:24,960
Speaker 2: Yeah, so the Spanish moss kill scene here is just wonderful.

1241
01:04:25,280 --> 01:04:27,960
Speaker 2: It seems to indicate that Spanish moss is just teeming

1242
01:04:28,000 --> 01:04:32,000
Speaker 2: with tarantulis, which it is not, though I should know.

1243
01:04:32,120 --> 01:04:34,320
Speaker 2: There is an old wives tale that Spanish moss is

1244
01:04:34,360 --> 01:04:39,040
Speaker 2: filled with trumbiculade red bugs or chickers as they are

1245
01:04:39,120 --> 01:04:42,080
Speaker 2: often called, But apparently there's no truth to this, that

1246
01:04:43,080 --> 01:04:47,400
Speaker 2: these creatures prefer the tall grass. But weirdly, you still

1247
01:04:47,400 --> 01:04:51,160
Speaker 2: see this association repeated all over the place, despite scientific

1248
01:04:51,240 --> 01:04:55,440
Speaker 2: research to the contrary. The only possible connection I can

1249
01:04:55,480 --> 01:04:58,400
Speaker 2: find is that perhaps after the moss has touched the

1250
01:04:58,400 --> 01:05:01,520
Speaker 2: ground or fallen onto the around, then you can have

1251
01:05:01,920 --> 01:05:05,560
Speaker 2: the red bugs the chiggers crawl into the Spanish moss,

1252
01:05:05,560 --> 01:05:07,800
Speaker 2: and that's how people could potentially get them. But for

1253
01:05:07,800 --> 01:05:10,040
Speaker 2: the most part, these parasites are going to be on

1254
01:05:10,080 --> 01:05:14,720
Speaker 2: the grass where they reach out questing for humans or

1255
01:05:14,760 --> 01:05:16,200
Speaker 2: other animals to latch onto.

1256
01:05:16,440 --> 01:05:18,520
Speaker 3: Oh that's the scientific term, isn't it questing?

1257
01:05:18,800 --> 01:05:21,280
Speaker 2: Yes, Yeah, I always because it's such a creepy term,

1258
01:05:21,320 --> 01:05:26,120
Speaker 2: just imagining them moving their little appendages, just questing for flesh.

1259
01:05:26,160 --> 01:05:29,880
Speaker 3: But here's Tarantula's so the Spanish the sentient Spanish moss.

1260
01:05:30,360 --> 01:05:35,280
Speaker 3: It envelops cousin Michael, whichever cousin this is, he gets

1261
01:05:35,440 --> 01:05:38,640
Speaker 3: like drowns in the moss, and then Tarantula's just swarm

1262
01:05:38,720 --> 01:05:40,520
Speaker 3: out of it and I think one of them maybe

1263
01:05:40,600 --> 01:05:43,760
Speaker 3: crawls into his mouth. They just attack him and he dies.

1264
01:05:44,000 --> 01:05:45,720
Speaker 2: Yeah. One of the things about this film, and it's

1265
01:05:45,720 --> 01:05:47,160
Speaker 2: also been one of the things that is really great,

1266
01:05:47,720 --> 01:05:52,160
Speaker 2: is that all the animals are live. I don't think

1267
01:05:52,160 --> 01:05:55,760
Speaker 2: we really see any prop animals or puppet animals used.

1268
01:05:55,920 --> 01:05:57,600
Speaker 3: I think are some of the dead ones.

1269
01:05:57,680 --> 01:05:59,400
Speaker 2: Maybe yeah, for the dead ones, but in terms of

1270
01:05:59,480 --> 01:06:01,600
Speaker 2: like there's there's no cutaway and then like a puppet

1271
01:06:01,640 --> 01:06:04,440
Speaker 2: biting somebody on the neck, which is one of the

1272
01:06:04,480 --> 01:06:07,880
Speaker 2: reasons probably you don't see any Grizzli er death scenes

1273
01:06:07,920 --> 01:06:09,600
Speaker 2: in this You know a lot of the gore and

1274
01:06:09,720 --> 01:06:13,040
Speaker 2: violence is implied, but it also means you don't have

1275
01:06:13,080 --> 01:06:16,280
Speaker 2: any cheesy puppets like those are some straight up tarantulos

1276
01:06:16,320 --> 01:06:18,440
Speaker 2: crawling around on him, and at one point a scorpion.

1277
01:06:18,800 --> 01:06:21,080
Speaker 3: Oh yeah, that's right, a scorpion crawls over his hand.

1278
01:06:21,320 --> 01:06:21,600
Speaker 4: Huh.

1279
01:06:21,720 --> 01:06:24,720
Speaker 2: Super late though, It's like, come on, scorpion, Ye, didn't

1280
01:06:24,720 --> 01:06:28,080
Speaker 2: you read the schedule for The Animal Uprising. You're arriving

1281
01:06:28,120 --> 01:06:28,800
Speaker 2: late to everything.

1282
01:06:28,840 --> 01:06:33,280
Speaker 3: He shows up after the cousin's laying has finished. Yes, yeah,

1283
01:06:33,320 --> 01:06:35,440
Speaker 3: oh and all the while it's great that also, the

1284
01:06:35,480 --> 01:06:37,720
Speaker 3: frogs are not getting in on the action. They are

1285
01:06:37,760 --> 01:06:41,120
Speaker 3: not in the Spanish moss, but they're they're around, you.

1286
01:06:41,080 --> 01:06:44,320
Speaker 2: Know, yeah, yeah, they're not the direct perpetrators of the violence,

1287
01:06:45,480 --> 01:06:48,400
Speaker 2: despite the title of the picture and the poster art,

1288
01:06:48,440 --> 01:06:50,280
Speaker 2: which I don't think we've mentioned. The poster art for

1289
01:06:50,320 --> 01:06:53,120
Speaker 2: this film features a frog with a human hand coming

1290
01:06:53,120 --> 01:06:56,040
Speaker 2: out of its mouth like a giant frog. There are

1291
01:06:56,080 --> 01:06:59,640
Speaker 2: no giant frogs in this movie, but that was the poster. No,

1292
01:07:00,040 --> 01:07:03,840
Speaker 2: but the frogs are normal sized and they're just in

1293
01:07:03,880 --> 01:07:07,200
Speaker 2: the background, watching, perhaps directing. They're kind of like the

1294
01:07:07,320 --> 01:07:09,480
Speaker 2: generals of The Animal Uprising.

1295
01:07:09,560 --> 01:07:11,320
Speaker 3: Yeah, yeah, yeah, you get that. You get the sense

1296
01:07:11,320 --> 01:07:13,200
Speaker 3: that they're the brains behind the operation.

1297
01:07:13,680 --> 01:07:17,680
Speaker 2: Yeah, and it's they're not inherently scary frogs, which I

1298
01:07:17,680 --> 01:07:20,680
Speaker 2: think is maybe one of the main flaws of the picture.

1299
01:07:21,160 --> 01:07:23,400
Speaker 2: But on the other hand, it starts to work after

1300
01:07:23,440 --> 01:07:25,440
Speaker 2: a while where it's like the frogs are watching. The

1301
01:07:25,480 --> 01:07:28,160
Speaker 2: frogs are watching, and they're the kind of watching off

1302
01:07:28,360 --> 01:07:31,240
Speaker 2: on approvingly, as if to say, yes, this is good.

1303
01:07:31,320 --> 01:07:32,600
Speaker 2: Everything is going to plant.

1304
01:07:32,720 --> 01:07:36,880
Speaker 3: Yeah, yeah, that's exactly right. Uh okay. So then more

1305
01:07:36,960 --> 01:07:39,840
Speaker 3: of the cousins slaying continues. There's another cousin. I think

1306
01:07:39,880 --> 01:07:43,760
Speaker 3: maybe this one is cousin Kenneth. This is the one

1307
01:07:43,760 --> 01:07:48,240
Speaker 3: who's uh, who's Gudy Pace's boyfriend. And yes, he goes

1308
01:07:48,360 --> 01:07:51,400
Speaker 3: to the greenhouse. He's just swaggering around in the greenhouse.

1309
01:07:51,440 --> 01:07:53,240
Speaker 3: I don't remember what he's doing there. It's maybe like

1310
01:07:53,280 --> 01:07:55,040
Speaker 3: looking for something in the greenhouse.

1311
01:07:55,080 --> 01:07:58,120
Speaker 2: But then oh, I think, and what's her name send

1312
01:07:58,200 --> 01:08:00,480
Speaker 2: him off to get a particular herb from the greenhouse,

1313
01:08:00,560 --> 01:08:02,240
Speaker 2: Oh okay, or something like I know she's gonna make

1314
01:08:02,240 --> 01:08:04,880
Speaker 2: a cocktail or something. And so he's in there looking

1315
01:08:04,920 --> 01:08:07,760
Speaker 2: around for it. But after at the door didn't close

1316
01:08:07,840 --> 01:08:11,920
Speaker 2: all the way. And income the lizards, especially the tigu lizards, yes,

1317
01:08:12,160 --> 01:08:14,000
Speaker 2: which are some this are some big boys. We'll talk

1318
01:08:14,000 --> 01:08:16,320
Speaker 2: about them in a bit, but they start crawling around

1319
01:08:16,360 --> 01:08:18,920
Speaker 2: everywhere and they start knocking over the chemicals.

1320
01:08:19,200 --> 01:08:21,320
Speaker 3: Yep, yep, that's right. So I can imagine he was

1321
01:08:21,360 --> 01:08:23,160
Speaker 3: in there looking for an herb for a cocktail, because

1322
01:08:23,160 --> 01:08:26,320
Speaker 3: Grandpa needs his cocktails in this movie multiple times if

1323
01:08:26,320 --> 01:08:31,519
Speaker 3: he demands cocktails really inopportune moments. But the Greenhouse death

1324
01:08:31,560 --> 01:08:33,120
Speaker 3: scene is great.

1325
01:08:33,000 --> 01:08:34,880
Speaker 2: Yeah, because basically they just knock over a bunch of

1326
01:08:34,920 --> 01:08:39,679
Speaker 2: chemicals and then the chemicals overwhelmed this particular Crockett kid

1327
01:08:40,040 --> 01:08:42,840
Speaker 2: and he just like dies, He just falls out. And

1328
01:08:42,880 --> 01:08:47,839
Speaker 2: then immediately geckos and other lizards are celebrating by climbing

1329
01:08:47,920 --> 01:08:50,599
Speaker 2: on his face. Like clearly they were like, all right,

1330
01:08:50,640 --> 01:08:53,400
Speaker 2: you lay here, and then we're gonna our lizard wrangler

1331
01:08:53,479 --> 01:08:55,439
Speaker 2: is going to place some lizards on you, and then

1332
01:08:55,479 --> 01:08:59,759
Speaker 2: we're gonna shoot again. But now it's time for the invasion,

1333
01:08:59,800 --> 01:09:02,800
Speaker 2: Like you say, is really heating up. Now, this is

1334
01:09:02,800 --> 01:09:04,920
Speaker 2: where we get one of my favorite scenes where there's

1335
01:09:04,960 --> 01:09:07,760
Speaker 2: an American flag birthday cake out there because it's oh,

1336
01:09:08,080 --> 01:09:11,800
Speaker 2: Grandpa's birthday and it's fourth of July, and as the

1337
01:09:11,840 --> 01:09:16,000
Speaker 2: frogs start invading, the frogs are are treading on the

1338
01:09:16,080 --> 01:09:17,920
Speaker 2: flag on the birthday cake.

1339
01:09:18,040 --> 01:09:19,880
Speaker 3: Yes, And I got to say that that is some

1340
01:09:19,960 --> 01:09:22,559
Speaker 3: stiff icing, Like it really holds up to a big

1341
01:09:22,560 --> 01:09:25,960
Speaker 3: old frog crawling over it. It just makes me think

1342
01:09:26,080 --> 01:09:28,360
Speaker 3: that should be like a I don't know, category of

1343
01:09:28,400 --> 01:09:30,960
Speaker 3: directions and how to you know, whip egg white. So

1344
01:09:31,000 --> 01:09:33,120
Speaker 3: you got your soft peaks, you got your stiff peaks,

1345
01:09:33,160 --> 01:09:35,360
Speaker 3: and then you got your bullfrog supporting peaks.

1346
01:09:35,760 --> 01:09:38,519
Speaker 2: Yeah, this would indeed make a great wedding cake for

1347
01:09:38,560 --> 01:09:41,479
Speaker 2: anybody who gets married at this location is get yourself

1348
01:09:41,880 --> 01:09:45,840
Speaker 2: an American flag sheet cake with a fancy like cake

1349
01:09:45,880 --> 01:09:48,400
Speaker 2: frog on top of it. Maybe cake cupcakes on top

1350
01:09:48,439 --> 01:09:50,880
Speaker 2: of it. I don't know. I'll let the cake people

1351
01:09:50,920 --> 01:09:51,439
Speaker 2: figure it out.

1352
01:09:51,680 --> 01:09:56,759
Speaker 3: Here comes the froghoo. So at this point, it seems

1353
01:09:56,800 --> 01:10:00,240
Speaker 3: like people start to kind of take things seriously. They're like, oh,

1354
01:10:00,240 --> 01:10:03,080
Speaker 3: it looks like people are dying. Sam Elliott starts to

1355
01:10:03,160 --> 01:10:07,040
Speaker 3: lead the charge to investigate what's going on. Meanwhile, Aunt

1356
01:10:07,080 --> 01:10:09,680
Speaker 3: Iris is wandering around in the woods. Of course, you

1357
01:10:09,720 --> 01:10:12,200
Speaker 3: know she's going to her doom with a butterfly net.

1358
01:10:12,600 --> 01:10:15,040
Speaker 3: We saw her with the butterfly in the bell jar earlier,

1359
01:10:15,080 --> 01:10:17,519
Speaker 3: and I guess she's just going up to catch more.

1360
01:10:17,880 --> 01:10:20,839
Speaker 2: Yeah, this is the I think the first real victim

1361
01:10:20,840 --> 01:10:23,679
Speaker 2: in the film where you begin to question whose side

1362
01:10:23,720 --> 01:10:26,400
Speaker 2: you're on, because you know she's she's not She's sure

1363
01:10:26,439 --> 01:10:29,439
Speaker 2: she catches butterflies, but she's not really bad. She has

1364
01:10:29,479 --> 01:10:31,519
Speaker 2: she's been nice to everybody.

1365
01:10:31,720 --> 01:10:35,080
Speaker 3: But she did give that really ignorant rant earlier about

1366
01:10:35,120 --> 01:10:37,120
Speaker 3: like I should be able to pollute however much I want.

1367
01:10:37,360 --> 01:10:39,240
Speaker 2: That's true. Yeah, that's true. Okay, maybe so maybe she

1368
01:10:39,240 --> 01:10:41,559
Speaker 2: had it coming. At any rate, Nature really puts her

1369
01:10:41,560 --> 01:10:43,680
Speaker 2: through the ringer here, because she's just one of these

1370
01:10:43,720 --> 01:10:46,679
Speaker 2: scenes where like nature moves in on her and then

1371
01:10:46,880 --> 01:10:50,200
Speaker 2: she's falling, she's screaming, things are crawling on her.

1372
01:10:50,600 --> 01:10:53,599
Speaker 3: Yes, though the funny thing is the majority of her suffering,

1373
01:10:53,640 --> 01:10:55,600
Speaker 3: at least early on in the sequence, seems to be

1374
01:10:55,640 --> 01:10:58,599
Speaker 3: at the hands of vines, and it makes you wonder, Okay,

1375
01:10:59,080 --> 01:11:02,439
Speaker 3: so are the plan also taking part in this nature

1376
01:11:02,479 --> 01:11:07,120
Speaker 3: striking back? It's mostly animals, but the Spanish Moss descends

1377
01:11:06,880 --> 01:11:11,960
Speaker 3: on one of the earlier cousins and iris. Really she's

1378
01:11:11,960 --> 01:11:14,920
Speaker 3: like getting choked by vines as she runs through the trees.

1379
01:11:15,439 --> 01:11:17,160
Speaker 2: Yeah, I think they're in on it, because it is

1380
01:11:17,200 --> 01:11:18,360
Speaker 2: in all nature uprising.

1381
01:11:18,560 --> 01:11:20,960
Speaker 3: Okay, But then after that. It's one of those movies

1382
01:11:21,080 --> 01:11:22,920
Speaker 3: like the Wet Pit of Death. You know, she falls

1383
01:11:22,920 --> 01:11:25,360
Speaker 3: in a puddle, and you just know that that's a

1384
01:11:25,400 --> 01:11:27,840
Speaker 3: death sentence in a horror movie chase scene in the

1385
01:11:27,880 --> 01:11:30,160
Speaker 3: woods if you fall in a puddle, like it's over.

1386
01:11:31,000 --> 01:11:33,479
Speaker 3: So she's in a puddle, she's all wet, she's got

1387
01:11:33,600 --> 01:11:37,640
Speaker 3: leeches all over her, Snakes, frogs, baby, alligators, they're just

1388
01:11:37,720 --> 01:11:40,479
Speaker 3: all over the place. And then she gets a fatal

1389
01:11:40,479 --> 01:11:44,360
Speaker 3: snake bite and turns blue instantly, just instantly.

1390
01:11:44,160 --> 01:11:46,240
Speaker 2: Yep, as the frogs watch on, and.

1391
01:11:46,160 --> 01:11:49,639
Speaker 3: Then with no weight at all, we get Cousin Stewart.

1392
01:11:49,720 --> 01:11:53,920
Speaker 3: I think this might be the Levan Cleef cousin. You know,

1393
01:11:54,000 --> 01:11:57,040
Speaker 3: he wanders in to see what's going on and he

1394
01:11:57,120 --> 01:11:58,679
Speaker 3: falls prey to a gator attack.

1395
01:11:59,000 --> 01:12:01,160
Speaker 2: Yep, yep, we have a gator attack scene. And yeah,

1396
01:12:01,439 --> 01:12:04,600
Speaker 2: it's pretty intimidated. Those are intimidating animals. You don't have

1397
01:12:04,640 --> 01:12:06,800
Speaker 2: to you don't have to to gussie them up any

1398
01:12:06,920 --> 01:12:09,720
Speaker 2: like the frogs. I mean, the gator is instantly intimidating.

1399
01:12:09,760 --> 01:12:12,040
Speaker 3: So I was wondering about this scene because there is

1400
01:12:12,080 --> 01:12:16,080
Speaker 3: a claim on the IMDb page for frogs. Don't know

1401
01:12:16,080 --> 01:12:18,280
Speaker 3: if it's true, but it at least claims that some

1402
01:12:19,320 --> 01:12:23,760
Speaker 3: footage in this gator attack scene is originally from a

1403
01:12:23,880 --> 01:12:27,559
Speaker 3: Roger Korman movie from nineteen seventy called Bloody Mama. But

1404
01:12:27,640 --> 01:12:31,479
Speaker 3: if that's true, it's integrated pretty well. I couldn't see,

1405
01:12:31,560 --> 01:12:33,840
Speaker 3: you know, anything that didn't look like it fit, though

1406
01:12:34,200 --> 01:12:36,880
Speaker 3: obviously you can't see the actor who's wrestling with the gator.

1407
01:12:37,280 --> 01:12:41,080
Speaker 2: Yeah, there's a website called California herbs dot com that

1408
01:12:41,120 --> 01:12:44,839
Speaker 2: has a great section of their website devoted to reptiles

1409
01:12:44,840 --> 01:12:47,240
Speaker 2: and amphibians and movies, and they have a write up

1410
01:12:47,280 --> 01:12:49,000
Speaker 2: on frogs, and I'll get to some of what they

1411
01:12:49,000 --> 01:12:52,280
Speaker 2: have to share later. They highlighted this scene, pointing out

1412
01:12:52,280 --> 01:12:55,000
Speaker 2: that like it's a real gator, somebody's wrestling with it,

1413
01:12:55,080 --> 01:12:58,000
Speaker 2: stump man, and you can see if you look closely,

1414
01:12:58,080 --> 01:13:00,439
Speaker 2: that there's a band around the gator's mouth to keep

1415
01:13:00,479 --> 01:13:03,519
Speaker 2: it from actually biting. But they don't mention they don't

1416
01:13:03,520 --> 01:13:06,720
Speaker 2: mention any connection here with another film, So I don't know.

1417
01:13:06,960 --> 01:13:09,400
Speaker 3: I don't know, but i'd imagine a lot of herpetologists

1418
01:13:09,360 --> 01:13:11,760
Speaker 3: are not are not in love with the idea of

1419
01:13:11,800 --> 01:13:15,640
Speaker 3: actually wrestling with a gator for a film. Production. Yeah,

1420
01:13:15,720 --> 01:13:18,519
Speaker 3: but I guess retroactive best wishes to that gator. I

1421
01:13:18,840 --> 01:13:22,400
Speaker 3: hope you were unscathed. But anyway, so back at the house,

1422
01:13:22,600 --> 01:13:25,080
Speaker 3: you've got Karen saying, you know, we've got to get

1423
01:13:25,120 --> 01:13:26,880
Speaker 3: out of here. I think it's clear that people are

1424
01:13:26,920 --> 01:13:31,439
Speaker 3: dying at this point, and she's like, we need to

1425
01:13:31,520 --> 01:13:34,479
Speaker 3: leave this island. And then Grandpa is just straight up

1426
01:13:34,520 --> 01:13:37,120
Speaker 3: He's like, I'm not gonna let one dead cousin spoil

1427
01:13:37,200 --> 01:13:40,200
Speaker 3: my party. We should carry on with the fun. Somebody

1428
01:13:40,240 --> 01:13:42,160
Speaker 3: make me a drink. We're gonna we're gonna eat our

1429
01:13:42,200 --> 01:13:43,360
Speaker 3: food and it's going to be great.

1430
01:13:43,640 --> 01:13:45,439
Speaker 2: Yeah, And this is where I think Sam Elliott has

1431
01:13:45,479 --> 01:13:47,960
Speaker 2: to remind him it's two dead people. Remember the other

1432
01:13:48,040 --> 01:13:51,879
Speaker 2: dead guy, your your frog executioner. Yes, it's like multiple

1433
01:13:51,880 --> 01:13:54,720
Speaker 2: dead people. And Grandpa's like, still, I'm not having to

1434
01:13:54,720 --> 01:13:55,679
Speaker 2: stay ruined, right.

1435
01:13:55,880 --> 01:13:59,160
Speaker 3: So Grandpa's he's even more ornery than he was before,

1436
01:13:59,200 --> 01:14:01,400
Speaker 3: and he's like, no, I want to have my birthday.

1437
01:14:02,120 --> 01:14:05,160
Speaker 3: So Sam Elliott and Judy Pace are the main voices

1438
01:14:05,200 --> 01:14:08,200
Speaker 3: of reason here and then and then May Mercer and

1439
01:14:08,240 --> 01:14:12,360
Speaker 3: Lance Taylor Senior join in. I think there is a

1440
01:14:12,400 --> 01:14:15,360
Speaker 3: scene where there's again some sort of implied racism on

1441
01:14:15,400 --> 01:14:18,960
Speaker 3: the part of Nasty Grandpa as he sort of demands

1442
01:14:19,040 --> 01:14:24,439
Speaker 3: that everybody else stay on the island, but he tells Bella, Harrington, Maybelle,

1443
01:14:24,479 --> 01:14:26,559
Speaker 3: and Charles, who are all black, that they can leave

1444
01:14:26,640 --> 01:14:30,479
Speaker 3: whenever they want. So they do leave, and Clint has

1445
01:14:30,520 --> 01:14:33,320
Speaker 3: to powerboat them across the water to the other side.

1446
01:14:33,439 --> 01:14:36,360
Speaker 3: So I was I was thinking, Okay, maybe the three

1447
01:14:36,360 --> 01:14:39,840
Speaker 3: of them successfully escape. I'm not sure. Later we see

1448
01:14:39,840 --> 01:14:42,360
Speaker 3: their like we see them being sort of menaced by

1449
01:14:42,400 --> 01:14:45,240
Speaker 3: birds as they are making their escape, and then later

1450
01:14:45,280 --> 01:14:48,000
Speaker 3: we see their abandoned luggage and stuff. So I think

1451
01:14:48,000 --> 01:14:49,920
Speaker 3: it does not bode well for them, but we don't.

1452
01:14:49,960 --> 01:14:52,600
Speaker 3: We don't ever see anything happen to them. It's I

1453
01:14:52,640 --> 01:14:53,759
Speaker 3: guess it's left unclear.

1454
01:14:54,160 --> 01:14:56,280
Speaker 2: Yeah, and ultimately I like that better than the movie

1455
01:14:56,320 --> 01:15:00,320
Speaker 2: simply like sacrificing them all to the birds. Yeah, so yeah,

1456
01:15:00,680 --> 01:15:02,040
Speaker 2: but it's worth I will say.

1457
01:15:02,040 --> 01:15:04,040
Speaker 3: The abandoned luggage and stuff doesn't look good.

1458
01:15:04,640 --> 01:15:05,600
Speaker 2: No, no, it does not.

1459
01:15:05,960 --> 01:15:08,240
Speaker 3: But then also Clint is out there driving the boat.

1460
01:15:08,520 --> 01:15:11,839
Speaker 3: He I think somebody somehow like his boat becomes untied

1461
01:15:11,840 --> 01:15:14,679
Speaker 3: from the dock where he has tied it up while

1462
01:15:15,160 --> 01:15:17,680
Speaker 3: while taking everybody across the water, so he has to

1463
01:15:17,720 --> 01:15:20,479
Speaker 3: swim back to his boat, but he's not swimming alone.

1464
01:15:21,320 --> 01:15:23,600
Speaker 3: Something swims up on it and I've lost track of

1465
01:15:23,640 --> 01:15:25,280
Speaker 3: all the animals at this point. Is it a snake?

1466
01:15:25,360 --> 01:15:26,559
Speaker 3: Something swims at him?

1467
01:15:27,240 --> 01:15:29,000
Speaker 2: Yeah, this may there are let us there's snakes in

1468
01:15:29,000 --> 01:15:32,080
Speaker 2: the water at this point. They're gators. This is not

1469
01:15:32,120 --> 01:15:34,840
Speaker 2: the alligator snapping turtle scene though, right, that's coming out.

1470
01:15:34,880 --> 01:15:38,120
Speaker 3: That's on Lynn Borden, who is Clint's wife, who again

1471
01:15:38,320 --> 01:15:41,120
Speaker 3: too many characters to keep track of, but she goes

1472
01:15:41,160 --> 01:15:45,160
Speaker 3: out to like watch her Clint being executed in the

1473
01:15:45,160 --> 01:15:48,439
Speaker 3: water by whatever animal it is, and she starts screaming,

1474
01:15:48,520 --> 01:15:51,120
Speaker 3: and then she's crawling in the water, and then you

1475
01:15:51,200 --> 01:15:54,479
Speaker 3: see an alligator snapping turtle going after Yeah.

1476
01:15:54,560 --> 01:15:57,400
Speaker 2: Yeah, and which of course is also ridiculous because as

1477
01:15:57,439 --> 01:16:01,840
Speaker 2: neat as alligator snapping turtles are, these are harmless critters.

1478
01:16:01,840 --> 01:16:03,760
Speaker 2: They're not going to come hunt you for sport in

1479
01:16:03,840 --> 01:16:05,720
Speaker 2: the certainly in the shallice, right.

1480
01:16:06,040 --> 01:16:08,599
Speaker 3: And then also you see crabs crawling on her butt

1481
01:16:08,600 --> 01:16:10,760
Speaker 3: after she's dead, so maybe the crabs are pitching in

1482
01:16:10,840 --> 01:16:11,280
Speaker 3: as well.

1483
01:16:11,439 --> 01:16:13,200
Speaker 2: I don't know. I had a question about that because

1484
01:16:13,200 --> 01:16:15,479
Speaker 2: I'm like, this is just crabs doing what crabs do.

1485
01:16:15,840 --> 01:16:17,960
Speaker 2: Like crabs might not have gotten the memo, Like the

1486
01:16:18,000 --> 01:16:20,320
Speaker 2: frogs could be like, thank you crabs for joining in

1487
01:16:20,320 --> 01:16:22,439
Speaker 2: the uprising, and the crabs are like, what uprising?

1488
01:16:22,760 --> 01:16:22,920
Speaker 5: Right?

1489
01:16:22,960 --> 01:16:24,599
Speaker 2: We just saw a dead person and we were gonna

1490
01:16:24,600 --> 01:16:25,960
Speaker 2: eat him because that's that's our thingy.

1491
01:16:26,439 --> 01:16:28,840
Speaker 3: But as with earlier, even after all of this death

1492
01:16:28,880 --> 01:16:32,040
Speaker 3: and mayhem, Grandpa Crockett just wants everybody else to stay

1493
01:16:32,040 --> 01:16:35,559
Speaker 3: and keep partying. He's very angry. He's very angry. He's

1494
01:16:35,600 --> 01:16:38,880
Speaker 3: angry about frogs. He's inconvenienced by the deaths of his

1495
01:16:38,960 --> 01:16:42,240
Speaker 3: family members, and he demands an old fashioned and Karen

1496
01:16:42,320 --> 01:16:45,200
Speaker 3: makes it for him, which again I laughed out loud at.

1497
01:16:45,360 --> 01:16:47,240
Speaker 2: It's a solid cocktail. So I mean, if you got

1498
01:16:47,280 --> 01:16:48,639
Speaker 2: to ride out the end of the world, why.

1499
01:16:48,560 --> 01:16:51,240
Speaker 3: Not, huh. But then there's a final escape where Sam

1500
01:16:51,280 --> 01:16:53,879
Speaker 3: Elliott and Joan van Ark and then the two kids

1501
01:16:53,920 --> 01:16:56,439
Speaker 3: who are not their kids, they're I think Clint and

1502
01:16:56,600 --> 01:16:59,639
Speaker 3: Jenny's kids. They paddle away on a canoe to escape

1503
01:16:59,680 --> 01:17:03,240
Speaker 3: the island, and Grandpa stays behind ray miland he's like,

1504
01:17:03,479 --> 01:17:06,200
Speaker 3: I am going to party by myself. I'm not leaving,

1505
01:17:06,320 --> 01:17:06,960
Speaker 3: so they.

1506
01:17:06,840 --> 01:17:10,080
Speaker 2: I will just bitterly drink my cocktails. And eventually he's

1507
01:17:10,080 --> 01:17:13,959
Speaker 2: not even drinking cocktails. He's just sloshing bourbon into a glass.

1508
01:17:13,960 --> 01:17:16,639
Speaker 2: But he's like, nothing can make me leave. I'm staying

1509
01:17:16,680 --> 01:17:17,479
Speaker 2: here to the bitter end.

1510
01:17:17,600 --> 01:17:20,080
Speaker 3: Yeah. Throughout the rest of the movie, whenever you see Raymland,

1511
01:17:20,120 --> 01:17:24,519
Speaker 3: he's just frantically getting more drunk. But then Sam Elliott

1512
01:17:24,880 --> 01:17:27,200
Speaker 3: is paddling them away on a canoe, and there's a

1513
01:17:27,240 --> 01:17:29,200
Speaker 3: great part where Sam Elliott, you know, he's might as

1514
01:17:29,240 --> 01:17:31,280
Speaker 3: well take your shirt off while you're battling some snakes

1515
01:17:31,280 --> 01:17:32,320
Speaker 3: in the water, which he does.

1516
01:17:32,520 --> 01:17:34,120
Speaker 2: Well, he's wearing all that denim. You don't want it,

1517
01:17:34,880 --> 01:17:35,160
Speaker 2: you know.

1518
01:17:35,600 --> 01:17:38,120
Speaker 3: I guess n Yeah, that's right.

1519
01:17:38,160 --> 01:17:39,880
Speaker 2: Okay, Yeah, the pants stay on.

1520
01:17:40,040 --> 01:17:42,360
Speaker 3: I guess that's true. I think he needs some equipment

1521
01:17:42,400 --> 01:17:43,519
Speaker 3: to get those jeans off.

1522
01:17:44,000 --> 01:17:47,080
Speaker 2: Yeah, certainly, once they get wet, I'd be concerned it

1523
01:17:47,080 --> 01:17:49,479
Speaker 2: would just cut off all blood blood flow to his brain.

1524
01:17:49,560 --> 01:17:51,759
Speaker 3: Yeah, you need some like a prie bar or something

1525
01:17:51,800 --> 01:17:55,439
Speaker 3: to remove them. But then so there's this final escape

1526
01:17:55,439 --> 01:17:57,280
Speaker 3: sequence where they're trying to get across the water and

1527
01:17:57,320 --> 01:17:59,120
Speaker 3: then get across the land. Once they get to the

1528
01:17:59,160 --> 01:18:00,120
Speaker 3: other side, and.

1529
01:18:00,160 --> 01:18:02,479
Speaker 2: It's a bit's pretty good, especially again for a movie

1530
01:18:02,479 --> 01:18:05,320
Speaker 2: in which you can't really have too much in terms

1531
01:18:05,360 --> 01:18:09,080
Speaker 2: of human on animal interaction, but it's still pretty good.

1532
01:18:09,080 --> 01:18:11,360
Speaker 2: He fight the fights off the water snakes with the paddle.

1533
01:18:12,320 --> 01:18:14,840
Speaker 2: They make it out to the highway and they're just

1534
01:18:14,880 --> 01:18:17,960
Speaker 2: trying to flag somebody, anybody down to get him out

1535
01:18:17,960 --> 01:18:18,240
Speaker 2: of here.

1536
01:18:18,240 --> 01:18:20,400
Speaker 3: It's a Texas chainsaw masker ending, right, you know, it's

1537
01:18:20,479 --> 01:18:23,040
Speaker 3: like escaping, trying to flag down a car that will

1538
01:18:23,040 --> 01:18:25,639
Speaker 3: take them away, and the first car they see stops.

1539
01:18:25,680 --> 01:18:30,200
Speaker 3: This lady stomps for the hitchhiker, which is again a wet,

1540
01:18:30,479 --> 01:18:35,160
Speaker 3: clean shaven Sam Elliott carrying a shotgun, and she's like, yes,

1541
01:18:35,200 --> 01:18:38,599
Speaker 3: I'll pull over. You get in the car, And so

1542
01:18:38,720 --> 01:18:41,240
Speaker 3: Sam Elliott and everybody else gets in the car, and

1543
01:18:41,280 --> 01:18:43,439
Speaker 3: then we get we get a wonderful twist ending here.

1544
01:18:43,800 --> 01:18:46,600
Speaker 2: That's right, there's this that there's a kid in the

1545
01:18:46,600 --> 01:18:49,840
Speaker 2: front seat, because again this is the seventies, and the

1546
01:18:49,920 --> 01:18:52,519
Speaker 2: kids like, I just came back from summer camp. Look

1547
01:18:52,560 --> 01:18:54,840
Speaker 2: at this here frog I got and holds this frog

1548
01:18:54,960 --> 01:18:57,320
Speaker 2: back for them to see in the back seat, and

1549
01:18:57,600 --> 01:19:00,680
Speaker 2: with the camera zooms in on the frog's face and

1550
01:19:00,720 --> 01:19:02,840
Speaker 2: we get this awesome freeze frame, and I think a

1551
01:19:02,840 --> 01:19:05,080
Speaker 2: little bit of that electronic musical zing.

1552
01:19:05,800 --> 01:19:08,280
Speaker 3: So again, like with the other characters earlier, we do

1553
01:19:08,400 --> 01:19:10,640
Speaker 3: not see them die, but I think the implication is

1554
01:19:10,640 --> 01:19:13,200
Speaker 3: that even all these characters are killed as.

1555
01:19:13,080 --> 01:19:15,840
Speaker 2: Well well, because I don't know, well, I don't think

1556
01:19:15,840 --> 01:19:18,439
Speaker 2: it's a situation where then that frog like laughs and

1557
01:19:18,680 --> 01:19:22,759
Speaker 2: the car blows up. But it was briefly implied earlier

1558
01:19:22,800 --> 01:19:25,760
Speaker 2: and is definitely driven home here that this is not

1559
01:19:25,840 --> 01:19:29,560
Speaker 2: a regional uprising of nature. This is a global uprising.

1560
01:19:29,920 --> 01:19:32,439
Speaker 2: Like people are vanishing. The people in the car here

1561
01:19:32,479 --> 01:19:35,639
Speaker 2: haven't seen anybody else around like all morning or whatever

1562
01:19:35,720 --> 01:19:38,559
Speaker 2: on their drive, so they're doomed. This is like the

1563
01:19:38,680 --> 01:19:42,920
Speaker 2: end of Stephen King's The Mist, the original short story,

1564
01:19:42,960 --> 01:19:46,200
Speaker 2: where the people have escaped the immediate danger, but they're

1565
01:19:46,240 --> 01:19:48,800
Speaker 2: setting off into a world in which there are no

1566
01:19:48,880 --> 01:19:50,160
Speaker 2: longer any safe harbors.

1567
01:19:50,280 --> 01:19:53,560
Speaker 3: Yes, that's right. When you use you return from the underworld,

1568
01:19:53,560 --> 01:19:57,120
Speaker 3: but you find that the world you know has changed, right, Yes,

1569
01:19:57,200 --> 01:20:00,640
Speaker 3: So I think the implication probably is that no one survives.

1570
01:20:00,840 --> 01:20:03,840
Speaker 3: It's just nature takes back the earth and humanity is

1571
01:20:03,880 --> 01:20:06,439
Speaker 3: crushed between a below the flipper of the.

1572
01:20:06,360 --> 01:20:09,280
Speaker 2: Frog, right and this I should say, this feels like

1573
01:20:09,320 --> 01:20:11,479
Speaker 2: it should have been the end of the film. But

1574
01:20:12,439 --> 01:20:15,559
Speaker 2: you have to have to realize that the whole time

1575
01:20:15,880 --> 01:20:20,240
Speaker 2: we've been promised a scene in which frogs eat Ray Milan. Yeah,

1576
01:20:20,240 --> 01:20:22,760
Speaker 2: and gosh darn it, this movie's gonna give it to us.

1577
01:20:22,840 --> 01:20:25,240
Speaker 3: Yeah, of course, I mean, he's like, he is there

1578
01:20:25,280 --> 01:20:28,040
Speaker 3: to be this nasty grump who will be punished by

1579
01:20:28,080 --> 01:20:31,000
Speaker 3: nature for all of his nastiness. And yeah, if the

1580
01:20:31,040 --> 01:20:32,800
Speaker 3: movie didn't show it to you, it would be a

1581
01:20:32,880 --> 01:20:35,599
Speaker 3: real bummer. So of course he's back home by himself,

1582
01:20:35,600 --> 01:20:40,160
Speaker 3: frantically getting more drunk, and then eventually the frogs penetrate

1583
01:20:40,200 --> 01:20:42,720
Speaker 3: his fortress. They're like hopping around in the room with him.

1584
01:20:43,640 --> 01:20:45,960
Speaker 3: The frogs don't really do anything to him. It looks

1585
01:20:46,000 --> 01:20:47,960
Speaker 3: like he dies of a heart attack or something. He

1586
01:20:48,080 --> 01:20:50,679
Speaker 3: just sort of freaks out and he's like he falls

1587
01:20:50,720 --> 01:20:53,000
Speaker 3: on the floor and then there are frogs hopping all

1588
01:20:53,040 --> 01:20:53,519
Speaker 3: over him.

1589
01:20:53,840 --> 01:20:56,799
Speaker 2: Yep, and then that's that's the end of the picture.

1590
01:20:56,840 --> 01:20:59,599
Speaker 2: We roll some very brief credits and there's a fun

1591
01:20:59,600 --> 01:21:02,400
Speaker 2: little state or there at the end, so that you

1592
01:21:02,479 --> 01:21:06,200
Speaker 2: got to stay for. Basically, a cartoon frog hops across

1593
01:21:07,000 --> 01:21:09,559
Speaker 2: the screen and he has a human hand sticking out

1594
01:21:09,560 --> 01:21:12,360
Speaker 2: of his mouth, which he then swallows and hops on.

1595
01:21:12,920 --> 01:21:16,080
Speaker 3: Jeremiah was a bullfrog? Is that kind of thing?

1596
01:21:16,160 --> 01:21:18,360
Speaker 2: It's kind of a reverse pink panther. I guess instead

1597
01:21:18,400 --> 01:21:19,920
Speaker 2: of having the cute cartoon at the beginning, you have

1598
01:21:20,040 --> 01:21:23,080
Speaker 2: it at the very end. And also maybe it's there illegally,

1599
01:21:23,160 --> 01:21:26,200
Speaker 2: so if anybody's like, gosh darn it, this movie poster

1600
01:21:26,280 --> 01:21:29,559
Speaker 2: had a frog eating a person's arm. I didn't see

1601
01:21:29,600 --> 01:21:31,639
Speaker 2: it in the picture. They can say, well, technically at

1602
01:21:31,640 --> 01:21:33,920
Speaker 2: the very end, if you stay through the credits, you'll

1603
01:21:33,920 --> 01:21:35,479
Speaker 2: get to see this in cartoon form.

1604
01:21:35,800 --> 01:21:37,679
Speaker 3: Tremendous Nature strikes Back film.

1605
01:21:38,320 --> 01:21:42,120
Speaker 2: Yes, yeah, I really enjoyed it. Now I want to

1606
01:21:42,120 --> 01:21:45,320
Speaker 2: touch on a little bit more about the frogs and

1607
01:21:46,200 --> 01:21:48,840
Speaker 2: the toads and the various reptiles and amphibians we see

1608
01:21:48,840 --> 01:21:51,880
Speaker 2: here again. Californiaherbs dot Com has a great section on

1609
01:21:51,920 --> 01:21:55,000
Speaker 2: their website devoted to herbs and movies, and indeed a

1610
01:21:55,080 --> 01:21:57,800
Speaker 2: write up on frogs with photos, and I just want

1611
01:21:57,840 --> 01:21:59,200
Speaker 2: to touch on some of the things they point out.

1612
01:21:59,800 --> 01:22:02,960
Speaker 2: The ones is that they they say the animal photography

1613
01:22:02,960 --> 01:22:05,599
Speaker 2: in this film is actually quite good on the whole. Yeah,

1614
01:22:05,640 --> 01:22:08,120
Speaker 2: and most of them seem to have been filmed for

1615
01:22:08,160 --> 01:22:10,360
Speaker 2: the movie, so they didn't seem to reply on a

1616
01:22:10,360 --> 01:22:13,439
Speaker 2: lot of stock footage or anything like that. And again

1617
01:22:13,439 --> 01:22:15,880
Speaker 2: they seem to have avoided the use of puppets and fakes.

1618
01:22:16,040 --> 01:22:19,320
Speaker 3: Oh man, that's one of my favorite old things about

1619
01:22:19,439 --> 01:22:22,280
Speaker 3: Edwood movies and stuff is that, like, yeah, you'd have

1620
01:22:22,320 --> 01:22:25,479
Speaker 3: a character go into quote, the jungle in an Edwood

1621
01:22:25,479 --> 01:22:28,760
Speaker 3: movie like Bride of the Monster, which is actually it

1622
01:22:28,800 --> 01:22:31,040
Speaker 3: just looks like, you know, some trees beside a road,

1623
01:22:31,760 --> 01:22:33,880
Speaker 3: but so like they get out of their car and

1624
01:22:33,960 --> 01:22:36,760
Speaker 3: the jungle and then you see the actress look up

1625
01:22:36,800 --> 01:22:39,880
Speaker 3: and gasp and then it cuts to not even a

1626
01:22:40,000 --> 01:22:42,680
Speaker 3: not even slightly a match but stock footage of like

1627
01:22:42,720 --> 01:22:45,960
Speaker 3: an eagle and a snake in from something else, nature

1628
01:22:46,000 --> 01:22:47,040
Speaker 3: documentary or something.

1629
01:22:47,360 --> 01:22:49,920
Speaker 2: Yeah. Yeah, so none of that in here, Like it

1630
01:22:49,960 --> 01:22:52,400
Speaker 2: all matches the film quality really well. And yeah, if

1631
01:22:52,479 --> 01:22:56,040
Speaker 2: you I enjoyed just watching animals in this film, it

1632
01:22:56,080 --> 01:22:58,120
Speaker 2: was weird. It's like going to the reptile house.

1633
01:22:58,280 --> 01:22:58,759
Speaker 3: Yeah.

1634
01:22:58,920 --> 01:23:02,360
Speaker 2: So on californiaherbs dot Com, I want to read this

1635
01:23:02,360 --> 01:23:05,479
Speaker 2: section where they get into the frogs and the toads

1636
01:23:05,840 --> 01:23:08,280
Speaker 2: quote to the credit of the filmmakers, the frogs and

1637
01:23:08,320 --> 01:23:10,479
Speaker 2: toads we see in the movie are all species that

1638
01:23:10,560 --> 01:23:13,479
Speaker 2: could be found in Florida. Most of them are cane toads,

1639
01:23:13,640 --> 01:23:15,800
Speaker 2: but there are a few leopard toads also thrown in

1640
01:23:15,840 --> 01:23:19,120
Speaker 2: at the end. Unfortunately, they all make the sounds of

1641
01:23:19,320 --> 01:23:22,960
Speaker 2: Pacific tree frogs, because that's what frogs always sound like

1642
01:23:23,000 --> 01:23:27,000
Speaker 2: in the movies. Cane toads make a trilling sound and

1643
01:23:27,080 --> 01:23:30,360
Speaker 2: leopard frogs make a chuckling sound. But if the audience

1644
01:23:30,400 --> 01:23:34,040
Speaker 2: heard these sounds, sadly, they wouldn't understand what they are hearing.

1645
01:23:34,200 --> 01:23:36,600
Speaker 3: Ah, it's like how cows don't look like cows and

1646
01:23:36,680 --> 01:23:39,840
Speaker 3: movies you got to use horses. Yeah, so here this

1647
01:23:39,880 --> 01:23:42,120
Speaker 3: is the audio equivalent of taping a bunch of cats

1648
01:23:42,120 --> 01:23:43,920
Speaker 3: together to create a horse.

1649
01:23:44,360 --> 01:23:48,320
Speaker 2: Yeah. Or I think we've talked about this before. What

1650
01:23:48,400 --> 01:23:51,440
Speaker 2: was it we were talking about? You see this occasionally

1651
01:23:51,439 --> 01:23:54,600
Speaker 2: with animal sounds. Oh, I know what it was. It's rattlesnakes.

1652
01:23:55,280 --> 01:23:57,720
Speaker 2: Maybe we didn't talk. Maybe I'm talking about a conversation

1653
01:23:57,800 --> 01:24:01,360
Speaker 2: I had There wasn't on a podcasts, But rattlesnakes all

1654
01:24:01,400 --> 01:24:04,439
Speaker 2: make a particular rattling sound when you encounter them in

1655
01:24:04,560 --> 01:24:07,120
Speaker 2: say an old Western movie. But if you've been around

1656
01:24:07,120 --> 01:24:09,360
Speaker 2: a rattlesnake, you know that. Yeah, there is kind of

1657
01:24:09,439 --> 01:24:11,640
Speaker 2: like that height of the rattle. But there are like

1658
01:24:11,760 --> 01:24:14,840
Speaker 2: some other sounds, other rattling sounds as well, that you

1659
01:24:15,000 --> 01:24:17,519
Speaker 2: just don't hear in the movies. And so then, having

1660
01:24:17,560 --> 01:24:21,559
Speaker 2: only encountered rattlesnakes in film, if you encounter one in

1661
01:24:21,560 --> 01:24:23,679
Speaker 2: real life, you might not recognize the sound immediately.

1662
01:24:23,880 --> 01:24:24,960
Speaker 3: Oh yeah, that's a good point.

1663
01:24:25,040 --> 01:24:27,920
Speaker 2: What is this weird device I'm hearing? Yeah, anyway, they

1664
01:24:27,920 --> 01:24:30,479
Speaker 2: also point out that cane toads are not native to Florida,

1665
01:24:30,600 --> 01:24:33,080
Speaker 2: but they have just they've just been they've been abundant

1666
01:24:33,120 --> 01:24:37,040
Speaker 2: in the state for such a long time, so they're

1667
01:24:37,120 --> 01:24:39,160
Speaker 2: essentially natural residents.

1668
01:24:39,360 --> 01:24:41,960
Speaker 3: Oh well, there's another major player in the film that

1669
01:24:42,200 --> 01:24:44,479
Speaker 3: is found in Florida, but it's not native to Florida.

1670
01:24:44,560 --> 01:24:48,439
Speaker 3: It's the tagu lizards or the Tigu name. They are

1671
01:24:48,479 --> 01:24:51,040
Speaker 3: like a non indigenous species. I think they're originally from

1672
01:24:51,080 --> 01:24:52,200
Speaker 3: South America.

1673
01:24:51,840 --> 01:24:55,639
Speaker 2: Right, Yeah, I want to say Argentina. And yeah, they're

1674
01:24:55,680 --> 01:24:59,120
Speaker 2: quite invasive and they've they've even made it up to Atlanta.

1675
01:24:59,560 --> 01:25:01,879
Speaker 2: This is fun and friend of the show. Mark Mandica

1676
01:25:02,000 --> 01:25:05,280
Speaker 2: of the Amphibian Foundation. He's been on the local news

1677
01:25:05,360 --> 01:25:08,720
Speaker 2: in the past year here in Atlanta talking about like

1678
01:25:08,760 --> 01:25:11,400
Speaker 2: what to do if you see one, and in general,

1679
01:25:11,479 --> 01:25:14,160
Speaker 2: the advice is like, get somebody who knows what they're

1680
01:25:14,160 --> 01:25:17,160
Speaker 2: doing to come get this this big lizard, because they're

1681
01:25:17,320 --> 01:25:20,759
Speaker 2: they're tough critters. In this, Mark says, quote, I would

1682
01:25:20,760 --> 01:25:23,559
Speaker 2: not approach one without the gear that I would need

1683
01:25:23,720 --> 01:25:26,600
Speaker 2: to do so safely. And again, Mark Mandika is an

1684
01:25:26,640 --> 01:25:31,559
Speaker 2: expert at at at at approaching and in some cases

1685
01:25:31,600 --> 01:25:35,040
Speaker 2: handling reptiles and amphibians, so he knows what he's talking about.

1686
01:25:35,640 --> 01:25:37,720
Speaker 2: This is not something that the average person needs to

1687
01:25:37,720 --> 01:25:40,200
Speaker 2: get anywhere near, right, don't go into battle with to

1688
01:25:40,240 --> 01:25:44,000
Speaker 2: take you. Yeah, anyway, go go check out California HRBS

1689
01:25:44,000 --> 01:25:45,759
Speaker 2: dot com if you want more information about the various

1690
01:25:45,760 --> 01:25:49,320
Speaker 2: snakes and other creatures you see in this I've looked

1691
01:25:49,360 --> 01:25:51,600
Speaker 2: at this website in the past as well. It's just

1692
01:25:52,080 --> 01:25:54,360
Speaker 2: a good place to go if you find some snakes

1693
01:25:54,360 --> 01:25:56,840
Speaker 2: and turtles what have you popping up in a film

1694
01:25:56,880 --> 01:25:58,960
Speaker 2: and you're like, I wonder what that is. I wonder

1695
01:25:59,000 --> 01:26:01,920
Speaker 2: if that is even remotely appropriate for the setting or

1696
01:26:01,920 --> 01:26:03,080
Speaker 2: the time period, et cetera.

1697
01:26:03,320 --> 01:26:07,719
Speaker 3: But so overall it seems like this movie is unusually accurate,

1698
01:26:07,840 --> 01:26:11,040
Speaker 3: right in terms of what animals it's portraying is found

1699
01:26:11,040 --> 01:26:11,599
Speaker 3: in Florida.

1700
01:26:11,840 --> 01:26:14,479
Speaker 2: Yeah, that seems to be the case. Yeah again that

1701
01:26:14,479 --> 01:26:19,479
Speaker 2: they're not all native creatures of Florida, but the invasive

1702
01:26:19,479 --> 01:26:21,800
Speaker 2: species are ones that were already invasive there at the

1703
01:26:21,800 --> 01:26:25,920
Speaker 2: time and remain invasive to this day. And yeah, so

1704
01:26:26,240 --> 01:26:29,799
Speaker 2: again there is kind of a natural quality to this film,

1705
01:26:30,080 --> 01:26:33,200
Speaker 2: like it is you know that again, these are these

1706
01:26:33,200 --> 01:26:37,120
Speaker 2: are actual Florida denizens that you're observing as they crawl

1707
01:26:37,160 --> 01:26:40,080
Speaker 2: and hop around, climbing up under the birthday cake and

1708
01:26:40,120 --> 01:26:41,000
Speaker 2: everything amazing.

1709
01:26:41,040 --> 01:26:43,479
Speaker 3: So you will see all of these animals when you

1710
01:26:43,520 --> 01:26:45,200
Speaker 3: get married at this park in Florida.

1711
01:26:45,640 --> 01:26:49,680
Speaker 2: Yes, go to Eden Gardens State Park and demand a

1712
01:26:49,800 --> 01:26:53,960
Speaker 2: swarm of toads and frogs at your wedding ceremony. All right, Well,

1713
01:26:54,000 --> 01:26:56,160
Speaker 2: this is a really fun picture. So some of you

1714
01:26:56,240 --> 01:27:00,120
Speaker 2: might be wondering how can I see it as well? Well,

1715
01:27:00,160 --> 01:27:03,120
Speaker 2: you can find it and the normal digital sources are

1716
01:27:03,120 --> 01:27:05,839
Speaker 2: all in play here places to buy or rent it digitally.

1717
01:27:06,880 --> 01:27:10,880
Speaker 2: I think it's also been illicitly uploaded at some very

1718
01:27:10,920 --> 01:27:14,759
Speaker 2: obvious places and has just for whatever reason, been allowed

1719
01:27:14,800 --> 01:27:18,840
Speaker 2: to remain there for years. But I would say you can.

1720
01:27:18,920 --> 01:27:20,880
Speaker 2: I have to stress you can buy a copy of

1721
01:27:20,880 --> 01:27:22,680
Speaker 2: this for yourself, and if you happen to own a

1722
01:27:22,720 --> 01:27:26,519
Speaker 2: Florida rental property, I demand that you do so buy

1723
01:27:26,560 --> 01:27:28,920
Speaker 2: it on DVD and or Blu ray and stock your

1724
01:27:29,000 --> 01:27:32,519
Speaker 2: vacation rental with this film. Because eighty eight Films has

1725
01:27:32,560 --> 01:27:36,160
Speaker 2: an addition that even includes an interview featurette with a

1726
01:27:36,160 --> 01:27:39,160
Speaker 2: featurette with the director. And if that's not good enough,

1727
01:27:39,320 --> 01:27:42,720
Speaker 2: Shout Factory put it out as a double feature with

1728
01:27:43,240 --> 01:27:47,960
Speaker 2: the nineteen seventy six nineteen seventy six Nature Strikes Back

1729
01:27:48,000 --> 01:27:50,400
Speaker 2: picture The Food of the Gods, which is a bird

1730
01:27:50,439 --> 01:27:52,439
Speaker 2: Eye Gordon film about giant rats.

1731
01:27:52,479 --> 01:27:55,200
Speaker 3: Of course, the classic bigger than normal animal movie.

1732
01:27:55,479 --> 01:27:59,360
Speaker 2: Yes, so check those out. There's good ways to pick

1733
01:27:59,360 --> 01:28:01,320
Speaker 2: it up physically, and again if if you want to

1734
01:28:01,320 --> 01:28:04,559
Speaker 2: get digitally, there several different ways to do so. It's

1735
01:28:04,600 --> 01:28:08,200
Speaker 2: out there, it's ready for you. It's it's worth it's

1736
01:28:08,200 --> 01:28:11,160
Speaker 2: worth saying. It's a fun flick. It's it's definitely a

1737
01:28:11,200 --> 01:28:12,639
Speaker 2: great Florida movie.

1738
01:28:12,840 --> 01:28:13,280
Speaker 3: Agreed.

1739
01:28:13,840 --> 01:28:15,840
Speaker 2: All right, we're gonna go ahead and close it out

1740
01:28:15,920 --> 01:28:18,280
Speaker 2: there then, but we'd love to hear from you have

1741
01:28:18,360 --> 01:28:21,280
Speaker 2: you seen frogs? Did you see it back in the seventies?

1742
01:28:21,320 --> 01:28:24,040
Speaker 2: What was that like? Were you part of the the

1743
01:28:24,120 --> 01:28:28,240
Speaker 2: uprising of Nature strikes Back pictures? And either way, what's

1744
01:28:28,280 --> 01:28:32,040
Speaker 2: your favorite Nature strikes Back movie? You know? Is it?

1745
01:28:32,360 --> 01:28:35,759
Speaker 2: What kind of animals? Does it? You know? Revolve around.

1746
01:28:36,160 --> 01:28:38,439
Speaker 2: We'd love to hear from you, and in the meantime,

1747
01:28:38,479 --> 01:28:40,559
Speaker 2: you can check out other episodes of Weird House Cinema

1748
01:28:40,640 --> 01:28:43,959
Speaker 2: every Friday in the Stuff to Blow Your Mind podcast feed.

1749
01:28:44,160 --> 01:28:47,719
Speaker 3: Huge thanks as always stour excellent audio producer Seth Nicholas Johnson.

1750
01:28:47,840 --> 01:28:49,479
Speaker 3: If you would like to get in touch with us

1751
01:28:49,479 --> 01:28:53,040
Speaker 3: with feedback on this podcast or any other, to suggest

1752
01:28:53,040 --> 01:28:54,960
Speaker 3: a topic for the future, or just to say hi,

1753
01:28:55,040 --> 01:28:57,720
Speaker 3: you can email us at contact stuff to Blow your

1754
01:28:57,760 --> 01:29:05,639
Speaker 3: Mind dot com.

1755
01:29:05,880 --> 01:29:08,840
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1756
01:29:08,920 --> 01:29:12,760
Speaker 1: more podcasts from iHeart Radio, visit the iHeartRadio app, Apple Podcasts,

1757
01:29:12,840 --> 01:29:14,599
Speaker 1: or wherever you listen to your favorite shows.