1 00:00:01,000 --> 00:00:03,880 Speaker 1: Dear listeners of Hollywood Land, does it feel like you're 2 00:00:03,880 --> 00:00:07,120 Speaker 1: stuck in limbo? Standing under a flickering street light at 3 00:00:07,160 --> 00:00:09,880 Speaker 1: the corner of Hollywood and True Crime, waiting for the 4 00:00:09,920 --> 00:00:13,200 Speaker 1: next episode of hollywood Land to drop. I got you. 5 00:00:13,960 --> 00:00:29,960 Speaker 1: Welcome to Hollywood Land, the Rap Party. What is going 6 00:00:30,000 --> 00:00:33,640 Speaker 1: on in movie geeks? You true crime freaks just like me? 7 00:00:33,760 --> 00:00:36,040 Speaker 1: You guys like your movie history served up with a 8 00:00:36,080 --> 00:00:39,159 Speaker 1: side of grit and grime. This, of course, is the 9 00:00:39,159 --> 00:00:41,640 Speaker 1: place where we dig up the stories often lost to history, 10 00:00:42,000 --> 00:00:44,800 Speaker 1: buried there in the corner of the cutting room floor, 11 00:00:45,400 --> 00:00:47,199 Speaker 1: the same stories that have now made you the most 12 00:00:47,280 --> 00:00:52,320 Speaker 1: dangerous person at the party. I'm your host, Zeth Lundy, writer, showrunner, 13 00:00:52,360 --> 00:00:55,480 Speaker 1: and good doctor. Here at Double Elvis and today in 14 00:00:55,520 --> 00:00:58,200 Speaker 1: the hollywood Land Rap Party, we are talking about suspense. 15 00:00:58,720 --> 00:01:01,520 Speaker 1: We're talking about the Master of Suspense, Alfred Hitchcock. We're 16 00:01:01,560 --> 00:01:04,800 Speaker 1: talking about movie obsessions. And on that topic, I've got 17 00:01:04,840 --> 00:01:08,360 Speaker 1: your texts, emails, and so much more. So come on, everybody, 18 00:01:08,480 --> 00:01:28,800 Speaker 1: let's party. I have been obsessed with movies since I 19 00:01:28,880 --> 00:01:31,480 Speaker 1: was a little kid, just as I'm sure most of 20 00:01:31,520 --> 00:01:34,759 Speaker 1: you have been as well. The movies from my youth, 21 00:01:35,360 --> 00:01:37,080 Speaker 1: from when I was a little kid growing up in 22 00:01:37,080 --> 00:01:41,240 Speaker 1: the nineteen eighties are formative. They are these big bangs 23 00:01:41,319 --> 00:01:45,720 Speaker 1: of inspiration and intoxication, the lighting of the fire in 24 00:01:45,800 --> 00:01:50,120 Speaker 1: my mind for creativity and for wonder movies like et 25 00:01:50,480 --> 00:01:53,960 Speaker 1: Back to the Future, the Goonies, Ferris Bueller's Day Off. 26 00:01:54,480 --> 00:01:56,960 Speaker 1: This was the stuff that locked me in, that grabbed 27 00:01:56,960 --> 00:02:00,280 Speaker 1: me and never let me go. But there's an another 28 00:02:00,320 --> 00:02:03,720 Speaker 1: major creative awakening that happens to those of us who 29 00:02:03,960 --> 00:02:09,240 Speaker 1: find ourselves obsessed with movies. This second awakening is the 30 00:02:09,280 --> 00:02:13,040 Speaker 1: moment where you suddenly become interested in how the movie 31 00:02:13,440 --> 00:02:17,560 Speaker 1: is being made, more specifically, how the director is shaping 32 00:02:17,600 --> 00:02:21,240 Speaker 1: the narrative, shaping the image, deciding what goes inside the 33 00:02:21,280 --> 00:02:24,600 Speaker 1: frame when the camera you know, why does the camera 34 00:02:24,680 --> 00:02:27,919 Speaker 1: track or pan or zoom and so on. I think 35 00:02:27,919 --> 00:02:30,799 Speaker 1: everyone who has this level of interest in movies has 36 00:02:30,880 --> 00:02:33,760 Speaker 1: this moment. It happens early on in your life or 37 00:02:33,760 --> 00:02:35,720 Speaker 1: in your film going life, i should say, And for me, 38 00:02:36,360 --> 00:02:39,079 Speaker 1: that was when I discovered the films of Alfred Hitchcock. 39 00:02:40,800 --> 00:02:43,799 Speaker 1: I was so taken by Hitchcock's work as a kid, 40 00:02:43,880 --> 00:02:46,640 Speaker 1: in fact, that when I was in eighth grade, I 41 00:02:46,680 --> 00:02:49,480 Speaker 1: wrote a long form essay for one of my classes 42 00:02:49,919 --> 00:02:52,799 Speaker 1: all about his life and his filmography. I've read a 43 00:02:52,840 --> 00:02:56,440 Speaker 1: couple of biographies about Hitchcock for research for this, and 44 00:02:56,520 --> 00:02:59,639 Speaker 1: it's funny to look back on that now, because it's 45 00:02:59,639 --> 00:03:03,079 Speaker 1: definitely only the genesis of what I'm currently doing in 46 00:03:03,120 --> 00:03:06,520 Speaker 1: my life, you know, reacting to and interacting with movies 47 00:03:06,520 --> 00:03:11,239 Speaker 1: and music by writing about them. I can't remember which 48 00:03:11,360 --> 00:03:14,440 Speaker 1: Hitchcock film I saw first. I just remember this blur 49 00:03:15,160 --> 00:03:17,280 Speaker 1: of watching as many of them as I could and 50 00:03:17,320 --> 00:03:21,040 Speaker 1: being amazed by sequence after sequence and set piece after 51 00:03:21,080 --> 00:03:25,120 Speaker 1: set piece. There's the crop duster scene in north By Northwest, 52 00:03:25,560 --> 00:03:28,760 Speaker 1: the crows that all gather together ominously in the Birds, 53 00:03:29,320 --> 00:03:32,080 Speaker 1: that one face in the crowd that isn't turning to 54 00:03:32,160 --> 00:03:35,120 Speaker 1: follow the ball during a tennis match, in Strangers on 55 00:03:35,160 --> 00:03:38,640 Speaker 1: a Train, the discovery of Missus Bates' body in Psycho, 56 00:03:39,200 --> 00:03:42,360 Speaker 1: Jimmy Stewart watching through his camera lens as Grace Kelly 57 00:03:42,440 --> 00:03:44,880 Speaker 1: hunts through the apartment of a man they suspect to 58 00:03:44,920 --> 00:03:47,720 Speaker 1: be a murderer. In Rear Window. Speaking of Rear Window, 59 00:03:47,720 --> 00:03:50,480 Speaker 1: on any given day, my favorite Hitchcock movie is either 60 00:03:50,880 --> 00:03:54,080 Speaker 1: Rear Window or Vertigo. More on the Ladder in a moment, 61 00:03:54,160 --> 00:03:57,400 Speaker 1: But there are just so many notorious to Catch a Thief, 62 00:03:57,680 --> 00:04:00,840 Speaker 1: The Man who Knew too Much, Rope Spell Ba Sabatur, 63 00:04:01,240 --> 00:04:04,240 Speaker 1: Shadow of Doubt, Now that i'm thinking of it, actually, 64 00:04:05,240 --> 00:04:07,600 Speaker 1: Shadow of a Doubt perhaps was one of the first 65 00:04:07,600 --> 00:04:10,200 Speaker 1: times watching a Hitchcock film that I knew it was 66 00:04:10,200 --> 00:04:14,520 Speaker 1: a Hitchcock film, because around this time in junior high 67 00:04:14,520 --> 00:04:16,640 Speaker 1: I believe, though I may have been younger, it may 68 00:04:16,680 --> 00:04:19,200 Speaker 1: have even been around sixth grade for all I can remember, 69 00:04:19,279 --> 00:04:22,599 Speaker 1: but I remember around this time seeing Shadow of a Doubt. 70 00:04:22,640 --> 00:04:27,400 Speaker 1: I got the Fisher Price p XL two thousand video camera. 71 00:04:28,320 --> 00:04:29,760 Speaker 1: I don't know if I got it for Christmas or 72 00:04:29,920 --> 00:04:32,000 Speaker 1: how it wound up in my hands, but it was 73 00:04:32,040 --> 00:04:34,800 Speaker 1: this video camera, and I started making home movies with it, 74 00:04:34,839 --> 00:04:37,560 Speaker 1: and one of the first movies I remember making with 75 00:04:37,640 --> 00:04:40,120 Speaker 1: it was heavily inspired by Shadow of a Doubt. It 76 00:04:40,160 --> 00:04:42,400 Speaker 1: wasn't really much of a movie. It was more of 77 00:04:42,440 --> 00:04:45,600 Speaker 1: a collection of scenes and shots that were very much 78 00:04:45,680 --> 00:04:50,760 Speaker 1: ripoffs of shots from that film. Now, just for context, 79 00:04:50,760 --> 00:04:54,640 Speaker 1: here the PXL two thousand. This was a camera that 80 00:04:54,720 --> 00:04:57,240 Speaker 1: was released originally in nineteen eighty seven, and I think 81 00:04:57,279 --> 00:04:59,960 Speaker 1: it was only around for a year or so. Which 82 00:05:00,120 --> 00:05:02,680 Speaker 1: if that's the case, that's why I'm wondering the timeline here. 83 00:05:02,720 --> 00:05:04,760 Speaker 1: I don't know when did I get this in eighty seven, 84 00:05:04,800 --> 00:05:07,599 Speaker 1: I would have been ten, I guess I can't remember. 85 00:05:08,160 --> 00:05:11,200 Speaker 1: But anyways, the PXL two thousand, it was a video camera, 86 00:05:11,360 --> 00:05:12,920 Speaker 1: and it was cheap for video camera. It was only 87 00:05:12,920 --> 00:05:15,520 Speaker 1: one hundred bucks. But the reason it was cheap was 88 00:05:15,560 --> 00:05:18,760 Speaker 1: because it well, it was a Fisher Price product, so 89 00:05:19,320 --> 00:05:22,560 Speaker 1: I guess technically it was a toy. But it used 90 00:05:22,600 --> 00:05:25,200 Speaker 1: cassette tapes, like audio cassette tapes that you would use 91 00:05:25,240 --> 00:05:27,919 Speaker 1: to make mixtapes with. So you'd pop a cassette in 92 00:05:27,960 --> 00:05:31,400 Speaker 1: this thing, and as you record, it would spin really 93 00:05:31,440 --> 00:05:34,159 Speaker 1: really fast. It recorded something like nine times the usual 94 00:05:34,160 --> 00:05:37,240 Speaker 1: speed of a cassette tape. When it was you typically 95 00:05:37,320 --> 00:05:40,320 Speaker 1: recording sound, and you would get a total of eleven 96 00:05:40,360 --> 00:05:44,880 Speaker 1: minutes of video and sound. I think it recorded video 97 00:05:45,000 --> 00:05:47,479 Speaker 1: on one side of the tape and audio on the 98 00:05:47,480 --> 00:05:50,440 Speaker 1: other something like that. It's black and white, very grainy, 99 00:05:50,960 --> 00:05:55,679 Speaker 1: very funky, you know. To my equally creative, funky brain, 100 00:05:55,760 --> 00:05:58,520 Speaker 1: it was the most incredible thing I'd ever owned. You'd 101 00:05:58,520 --> 00:06:00,880 Speaker 1: shoot this footage and and you would hook it up 102 00:06:01,200 --> 00:06:03,440 Speaker 1: with like an RCA cable or something to your TV 103 00:06:04,000 --> 00:06:05,760 Speaker 1: to like play back, and you kind of had to 104 00:06:06,400 --> 00:06:08,120 Speaker 1: you kind of had to edit it in the camera, 105 00:06:08,200 --> 00:06:09,800 Speaker 1: you know, you had to like make all your edits 106 00:06:10,320 --> 00:06:12,240 Speaker 1: as you were shooting, because there wasn't really a way 107 00:06:12,240 --> 00:06:15,160 Speaker 1: to edit the footage afterwards. I guess nowadays, if you 108 00:06:15,279 --> 00:06:17,520 Speaker 1: have one of these, you could just shoot the footage 109 00:06:17,520 --> 00:06:19,320 Speaker 1: and then you could probably digitize it and edit it 110 00:06:19,880 --> 00:06:23,040 Speaker 1: on your laptop or whatever. Speaking of which, this camera 111 00:06:23,600 --> 00:06:27,440 Speaker 1: was discovered later by you know, indie filmmakers as this 112 00:06:27,480 --> 00:06:31,400 Speaker 1: really inventive tool, and I think Richard linklater famously shot 113 00:06:31,440 --> 00:06:34,880 Speaker 1: a scene from his early film Slacker using one of these. 114 00:06:34,920 --> 00:06:38,800 Speaker 1: But anyways, I digress big time here, getting back to Hitchcock. 115 00:06:39,520 --> 00:06:42,560 Speaker 1: His films not only captured my imagination, but their formal 116 00:06:42,640 --> 00:06:46,520 Speaker 1: quality really inspired me. And their obsession with crime, Hitchcock's 117 00:06:46,520 --> 00:06:51,480 Speaker 1: obsession with the dark and twisted and macabre subject matter, 118 00:06:52,400 --> 00:06:55,200 Speaker 1: you know, with investigating the darker recesses of our humanity, 119 00:06:55,240 --> 00:06:59,560 Speaker 1: our voyeuristic need to follow along. This all simultaneously got 120 00:06:59,560 --> 00:07:02,760 Speaker 1: me of with true crime as a kid as well. 121 00:07:03,240 --> 00:07:06,120 Speaker 1: My favorite movies then and now involve in some ways, 122 00:07:06,160 --> 00:07:11,280 Speaker 1: you know, murder blackmail, kidnapping, robberies, car chases, chases on foot. 123 00:07:11,600 --> 00:07:14,200 Speaker 1: It's got to be thrilling, you know. Hitchcock set this 124 00:07:14,280 --> 00:07:16,080 Speaker 1: bar for me when the movie has to thrill me 125 00:07:16,520 --> 00:07:19,440 Speaker 1: in a way to be completely locked in. And you 126 00:07:19,440 --> 00:07:22,560 Speaker 1: can trace Hitchcock's style, you can trace his formalism, the 127 00:07:22,600 --> 00:07:25,760 Speaker 1: way in which he visually tells a story. You can 128 00:07:25,800 --> 00:07:28,160 Speaker 1: trace that to the now, you know, to filmmakers like 129 00:07:28,240 --> 00:07:31,000 Speaker 1: David Fincher, to David Lynch, to the Coen Brothers. The 130 00:07:31,000 --> 00:07:33,920 Speaker 1: Big Lebowski, which is the movie that Jake and I 131 00:07:34,360 --> 00:07:38,160 Speaker 1: are covering in a brand new episode of our video podcast. 132 00:07:38,280 --> 00:07:41,880 Speaker 1: This film should be played loud. What you can find 133 00:07:42,000 --> 00:07:46,960 Speaker 1: as of today over on our Patreon Disgraceland All Access Patreon. 134 00:07:47,520 --> 00:07:50,320 Speaker 1: The episode of that podcast today is all about The 135 00:07:50,320 --> 00:07:54,840 Speaker 1: Big Lebowski, and Lebowski riffs on, among many other things, 136 00:07:54,920 --> 00:07:59,080 Speaker 1: both Hitchcock's North By Northwest and The Man Who Knew 137 00:07:59,080 --> 00:08:02,640 Speaker 1: Too Much. And I can make an argument too a 138 00:08:02,640 --> 00:08:06,920 Speaker 1: little bit Vertigo as well. Hitchcock definitely on the brain 139 00:08:07,240 --> 00:08:10,880 Speaker 1: of these guys. You know. I think what makes hitch 140 00:08:10,960 --> 00:08:15,520 Speaker 1: so good though, is how he began his career in 141 00:08:15,560 --> 00:08:18,080 Speaker 1: the silent era. So he learned how to make a 142 00:08:18,120 --> 00:08:20,440 Speaker 1: movie without sound. He learned how to tell a story 143 00:08:20,880 --> 00:08:24,480 Speaker 1: with only the images that you're seeing. And I believe 144 00:08:24,560 --> 00:08:27,400 Speaker 1: that more than anyone from the silent era, you know, 145 00:08:27,480 --> 00:08:31,400 Speaker 1: even more than Dan Chaplin or anybody else, he was 146 00:08:31,440 --> 00:08:34,840 Speaker 1: able to make this incredible transition into the sound era 147 00:08:35,800 --> 00:08:39,160 Speaker 1: fifty years later, you know, in the nineteen seventies. He's 148 00:08:39,160 --> 00:08:41,720 Speaker 1: been doing this for half a century, and he's still 149 00:08:42,320 --> 00:08:46,280 Speaker 1: framing and cutting pictures as if there's no sound. I 150 00:08:46,280 --> 00:08:48,719 Speaker 1: also believe he said at some point that every filmmaker 151 00:08:48,840 --> 00:08:52,160 Speaker 1: in the modern era, you know, every contemporary filmmaker who 152 00:08:52,200 --> 00:08:54,320 Speaker 1: uses sound, should be able to make their films as 153 00:08:54,360 --> 00:08:56,400 Speaker 1: if they were silent, that if you were to mute 154 00:08:56,400 --> 00:08:58,360 Speaker 1: the movie and just watch it, you could follow along. 155 00:08:58,800 --> 00:09:02,480 Speaker 1: There are so many stretches of silence in Hitchcock films. 156 00:09:02,480 --> 00:09:05,079 Speaker 1: Rear Window is a great example of a movie which 157 00:09:05,240 --> 00:09:09,000 Speaker 1: gives most of its thrills just in visuals of people 158 00:09:09,040 --> 00:09:12,600 Speaker 1: watching other people north by northwest. That crop duster scene 159 00:09:12,640 --> 00:09:15,520 Speaker 1: I already mentioned, which is actually a longer scene of 160 00:09:15,559 --> 00:09:17,760 Speaker 1: Carrie Grant waiting out in the middle of nowhere for someone. 161 00:09:17,800 --> 00:09:20,600 Speaker 1: There's no dialogue in that there's really no one else 162 00:09:20,640 --> 00:09:24,679 Speaker 1: but Carrie Grant. Vertigo has these incredible stretches with no dialogue, 163 00:09:25,280 --> 00:09:27,880 Speaker 1: just one person following another person. And I don't want 164 00:09:27,880 --> 00:09:30,520 Speaker 1: to get too far ahead of myself there, because coming 165 00:09:30,600 --> 00:09:33,480 Speaker 1: up this Friday here in Hollywood Land, in the Screening 166 00:09:33,559 --> 00:09:37,000 Speaker 1: Room episode, I'm going to be talking about Vertigo at length. 167 00:09:37,280 --> 00:09:39,040 Speaker 1: So I'm going to put a pin in that. More 168 00:09:39,040 --> 00:09:42,080 Speaker 1: to come there later this week. But I would argue 169 00:09:42,080 --> 00:09:45,520 Speaker 1: that Hitchcock is the template for contemporary filmmaking. There are 170 00:09:45,559 --> 00:09:49,160 Speaker 1: so many twentieth century directors from so many countries, so 171 00:09:49,200 --> 00:09:52,200 Speaker 1: many film movements, who are influential in their own way 172 00:09:52,240 --> 00:09:54,800 Speaker 1: and have influenced the people that make movies. Now, you know, 173 00:09:55,440 --> 00:09:57,040 Speaker 1: I think, right off the top of my head of 174 00:09:57,360 --> 00:10:01,480 Speaker 1: Kira Kurosawa, Federico Fellini, in Mar berg In, Max Oefuls, 175 00:10:01,559 --> 00:10:06,520 Speaker 1: Carl Dreyer, Jean luc Godar, john Ford, Billy Wilder, so on. 176 00:10:06,600 --> 00:10:10,120 Speaker 1: But besides the term fellini esque, that, if that really 177 00:10:10,200 --> 00:10:14,000 Speaker 1: is a term, none of these directors have an adjective 178 00:10:14,200 --> 00:10:17,439 Speaker 1: named after them. We have Hitchcockian. It's in the dictionary. 179 00:10:17,960 --> 00:10:22,320 Speaker 1: And crime, true crime, the dark recesses of the human mind, 180 00:10:22,400 --> 00:10:25,320 Speaker 1: the morbid and macabre it all has this hold on 181 00:10:25,360 --> 00:10:29,360 Speaker 1: our collective imagination. It's in our podcasts that we listen to, 182 00:10:29,440 --> 00:10:32,400 Speaker 1: our TV shows that we watch, and many of the 183 00:10:32,400 --> 00:10:34,960 Speaker 1: films that we consume as well. And I believe it 184 00:10:35,000 --> 00:10:38,440 Speaker 1: was put there by Alfred Hitchcock and by his immense 185 00:10:38,480 --> 00:10:40,560 Speaker 1: influence not just in the world of film, but also 186 00:10:41,080 --> 00:10:42,960 Speaker 1: in the world of television. He had this TV show, 187 00:10:43,080 --> 00:10:48,040 Speaker 1: Alfred Hitchcock Presents for years, and also he perhaps was, 188 00:10:48,520 --> 00:10:51,480 Speaker 1: more than any other director of the twentieth century, the 189 00:10:51,520 --> 00:10:57,120 Speaker 1: one who really made the role of the director transparent 190 00:10:57,720 --> 00:11:01,360 Speaker 1: to the audience right from you know, he had all 191 00:11:01,400 --> 00:11:04,520 Speaker 1: these cameos in his own films. He would introduce episodes 192 00:11:04,559 --> 00:11:08,239 Speaker 1: of his TV show, he would appear in promotional commercials 193 00:11:08,280 --> 00:11:12,960 Speaker 1: and marketing materials. You were always reminded of who Alfred 194 00:11:13,000 --> 00:11:16,240 Speaker 1: Hitchcock was, of who the director was, of what a 195 00:11:16,360 --> 00:11:19,520 Speaker 1: director was. And here we are forty six years after 196 00:11:19,600 --> 00:11:22,000 Speaker 1: his death in nineteen eighty and we still can't shake him. 197 00:11:22,559 --> 00:11:25,760 Speaker 1: To back up this argument, find if you can this 198 00:11:25,880 --> 00:11:29,880 Speaker 1: documentary film called Hitchcock Trufau. It came out about ten 199 00:11:29,960 --> 00:11:32,000 Speaker 1: years back. It's based on a famous book from the 200 00:11:32,080 --> 00:11:36,120 Speaker 1: nineteen sixties that the French director of Francois Truffau wrote 201 00:11:36,160 --> 00:11:39,760 Speaker 1: based on interviews he conducted with Hitchcock through a translator. 202 00:11:40,640 --> 00:11:44,120 Speaker 1: Trufau came from French cinema, the French New Wave. He 203 00:11:44,200 --> 00:11:47,080 Speaker 1: made movies like The Four Hundred Blows and Jewels and Jim. 204 00:11:47,600 --> 00:11:50,680 Speaker 1: The French New Wave was everything that Hollywood was not, okay. 205 00:11:50,760 --> 00:11:56,199 Speaker 1: It rejected Hollywood's formalism and its traditions. It deliberately experimented 206 00:11:56,240 --> 00:11:59,160 Speaker 1: with style and with editing and with narrative. But the 207 00:11:59,200 --> 00:12:03,400 Speaker 1: New Wave is also the movement that coined the oteur theory, 208 00:12:03,720 --> 00:12:07,280 Speaker 1: right that this theory that that a director, a true outeur, 209 00:12:08,040 --> 00:12:11,560 Speaker 1: creates a style that you can trace from film to film. 210 00:12:11,559 --> 00:12:14,640 Speaker 1: Their films are stamped with their style. And the New Wave, 211 00:12:14,760 --> 00:12:17,800 Speaker 1: despite its ethos being the polar opposite of Hollywood, really 212 00:12:17,840 --> 00:12:21,800 Speaker 1: revered these o tours like Hitchcock, and so Trufau and 213 00:12:21,880 --> 00:12:26,480 Speaker 1: Hitchcock had these really enlightening conversations about how hitch did 214 00:12:26,480 --> 00:12:31,560 Speaker 1: what he did. And this documentary basically takes this this idea, 215 00:12:31,679 --> 00:12:34,560 Speaker 1: this book that these interviews will come from, and it 216 00:12:34,600 --> 00:12:37,880 Speaker 1: has a bunch of contemporary filmmakers speak to Hitchcock's influence 217 00:12:38,000 --> 00:12:41,880 Speaker 1: like throughout the Docks. So there's Martin Scorsese and David Fincher, 218 00:12:41,880 --> 00:12:45,000 Speaker 1: Wes Anderson, Paul Schrader, James Gray. There's others in it 219 00:12:45,040 --> 00:12:47,439 Speaker 1: as well. It's a great watch, like you see or 220 00:12:47,480 --> 00:12:49,720 Speaker 1: hear something new every time. But just to listen to 221 00:12:49,720 --> 00:12:52,880 Speaker 1: these directors unpack what Hitchcock was doing, just the layers 222 00:12:52,880 --> 00:12:55,280 Speaker 1: of his brilliance, and then how it reflects in what 223 00:12:55,360 --> 00:12:58,360 Speaker 1: they do is it's like crack from movie buffs. All right, 224 00:12:58,800 --> 00:13:01,000 Speaker 1: Hitchcock truefo is the name of that. I'm not sure 225 00:13:01,000 --> 00:13:04,400 Speaker 1: where it's streaming, but it's out there somewhere, Okay, So 226 00:13:04,559 --> 00:13:07,760 Speaker 1: check out our fully scripted and sound design episode on 227 00:13:07,960 --> 00:13:10,439 Speaker 1: Alfred Hitchcock here in the feed if you haven't. It's 228 00:13:10,480 --> 00:13:13,840 Speaker 1: an og crime junkie story. You know, it's the origins 229 00:13:13,840 --> 00:13:18,720 Speaker 1: of true crime storytelling in modern and contemporary media. It's 230 00:13:18,760 --> 00:13:22,400 Speaker 1: a story about obsession. It's a story about the actress 231 00:13:22,400 --> 00:13:25,280 Speaker 1: Tippy Hedron and some of the awful things she endured 232 00:13:25,400 --> 00:13:29,320 Speaker 1: as one of Hitchcock's many blonde actresses. And then, like 233 00:13:29,360 --> 00:13:32,360 Speaker 1: I said, come back here on Friday for the screening room, 234 00:13:32,640 --> 00:13:35,559 Speaker 1: we're going to talk all about Vertigo nineteen fifty eight, 235 00:13:36,200 --> 00:13:41,000 Speaker 1: the Technicolor, the Bernard Hermann score, the pure poetry of 236 00:13:41,040 --> 00:13:46,400 Speaker 1: the filmmaking, Hitchcock's most poetic film that he ever made, 237 00:13:46,880 --> 00:13:49,400 Speaker 1: in my eyes. Next week, we've got an episode on 238 00:13:49,800 --> 00:13:52,960 Speaker 1: Brandon Lee coming to you on Monday. We're coming up 239 00:13:53,000 --> 00:13:55,439 Speaker 1: on the anniversary of the shooting on the set of 240 00:13:55,480 --> 00:13:58,600 Speaker 1: the movie The Crow, which tragically claimed the life of 241 00:13:58,640 --> 00:14:01,200 Speaker 1: Brandon Lee, the son of Bruce Lee, at the age 242 00:14:01,200 --> 00:14:04,560 Speaker 1: of twenty eight. That happened back on May thirty first, 243 00:14:04,800 --> 00:14:08,199 Speaker 1: nineteen ninety three. So we've got our fully scripted and 244 00:14:08,240 --> 00:14:10,920 Speaker 1: sound design episode on Brandon Lee queued up for you 245 00:14:10,960 --> 00:14:14,520 Speaker 1: on for Monday. Brandon Lee, of course, died shockingly when 246 00:14:14,520 --> 00:14:18,240 Speaker 1: a supposed prop gun fired a live round and killed 247 00:14:18,280 --> 00:14:21,280 Speaker 1: him in the middle of this shoot. For a number 248 00:14:21,320 --> 00:14:24,360 Speaker 1: of reasons, The Crow has this legacy, and part of 249 00:14:24,360 --> 00:14:27,560 Speaker 1: the legacy is its soundtrack, which actually peaked at the 250 00:14:27,600 --> 00:14:30,120 Speaker 1: top of the Billboard two hundred when it came out. 251 00:14:30,160 --> 00:14:31,960 Speaker 1: A lot of soundtracks don't do that, don't don't go 252 00:14:32,000 --> 00:14:34,800 Speaker 1: to the top of the charts. That got me thinking, though, 253 00:14:35,120 --> 00:14:39,120 Speaker 1: what is your favorite movie soundtrack of all time? This 254 00:14:39,200 --> 00:14:42,520 Speaker 1: is relevant to our interests since that's the whole point 255 00:14:42,600 --> 00:14:46,520 Speaker 1: of our Patreon video podcast. This film should be played loud, 256 00:14:46,920 --> 00:14:48,800 Speaker 1: so hit me up and let me know your favorite 257 00:14:48,800 --> 00:14:52,280 Speaker 1: movie soundtrack of all time. You can call or text 258 00:14:52,320 --> 00:14:55,560 Speaker 1: me at six one seven nine oh six six six 259 00:14:55,720 --> 00:14:58,840 Speaker 1: three eight, send me an email to Disgrace lampod at 260 00:14:58,880 --> 00:15:01,960 Speaker 1: gmail dot com, hit me up on the socials at 261 00:15:02,040 --> 00:15:05,040 Speaker 1: disgraced lamb pod, or once again, if you are hanging 262 00:15:05,080 --> 00:15:07,320 Speaker 1: out with us over in Patreon, just jump in the 263 00:15:07,400 --> 00:15:10,400 Speaker 1: chat somewhere and let me know. Okay, and while you're 264 00:15:10,400 --> 00:15:13,040 Speaker 1: doing that, I'm gonna take a quick break. I will 265 00:15:13,080 --> 00:15:33,760 Speaker 1: be right back after this. Oh right, all right, all right, 266 00:15:33,960 --> 00:15:36,720 Speaker 1: we are back in the saddle. Time to dive into 267 00:15:36,960 --> 00:15:41,080 Speaker 1: all of your calls, your text your dms here to 268 00:15:41,160 --> 00:15:44,600 Speaker 1: us in Hollywood Land. Last week I asked you guys 269 00:15:44,600 --> 00:15:48,360 Speaker 1: about movies that you are obsessed with, and I got 270 00:15:48,400 --> 00:15:51,240 Speaker 1: some good responses here. The first one is a text 271 00:15:51,760 --> 00:15:56,160 Speaker 1: here that reads, hey, Zeth Franklin from the two four eight? 272 00:15:56,480 --> 00:15:58,720 Speaker 1: What movie am I obsessed with? And I never get 273 00:15:58,800 --> 00:16:01,440 Speaker 1: sick of seeing? May be insulting to you because I 274 00:16:01,520 --> 00:16:04,000 Speaker 1: know you are not a Michael Mann fan, but to me, 275 00:16:04,120 --> 00:16:06,840 Speaker 1: it would have to be mind Hunter for multiple reasons. 276 00:16:06,960 --> 00:16:09,280 Speaker 1: First off, This was the first movie in which I 277 00:16:09,280 --> 00:16:11,000 Speaker 1: got to see the inner workings of the mind of 278 00:16:11,040 --> 00:16:13,840 Speaker 1: a serial killer, but at the same time you were 279 00:16:13,880 --> 00:16:17,360 Speaker 1: made somehow to actually pity him. I absolutely believe that 280 00:16:17,400 --> 00:16:20,360 Speaker 1: Michael Mann created a masterpiece of interaction between film and 281 00:16:20,440 --> 00:16:23,520 Speaker 1: musical score. And again, I may insult the movie sensibility 282 00:16:23,560 --> 00:16:26,360 Speaker 1: of everyone, but I absolutely believe that Brian Cox was 283 00:16:26,400 --> 00:16:30,120 Speaker 1: the definitive Hannibal lecter. To me, he was much more 284 00:16:30,160 --> 00:16:33,080 Speaker 1: of what a clinical psychologist who was also a serial 285 00:16:33,160 --> 00:16:36,560 Speaker 1: killer would appear to be, and not an overt ghoul 286 00:16:36,800 --> 00:16:39,520 Speaker 1: residing in a prison that looks like a medieval dungeon 287 00:16:39,840 --> 00:16:43,080 Speaker 1: that later iterations of Hannibal lecture were portrayed as love 288 00:16:43,120 --> 00:16:46,840 Speaker 1: it and never get sick of watching it. Franklin, thank 289 00:16:46,880 --> 00:16:49,040 Speaker 1: you so much for the text. I love this take. 290 00:16:49,560 --> 00:16:52,320 Speaker 1: It's not insulting at all. Never worry about that. It's 291 00:16:52,320 --> 00:16:54,880 Speaker 1: all good if I don't like something that y'all like, 292 00:16:54,920 --> 00:16:58,480 Speaker 1: and vice versa. However, I love Michael Mann. I love 293 00:16:59,080 --> 00:17:02,080 Speaker 1: Thief in particular, is my favorite Michael Man film with 294 00:17:02,160 --> 00:17:06,360 Speaker 1: James Kahn, but also the Insider collateral Miami Vice. I'm 295 00:17:06,359 --> 00:17:08,919 Speaker 1: a big Michael Man fan. I just don't like, I 296 00:17:08,960 --> 00:17:12,200 Speaker 1: just don't like Heat. When Heat came out in the nineties, 297 00:17:12,960 --> 00:17:16,439 Speaker 1: it was so built up as this moment that de 298 00:17:16,520 --> 00:17:20,760 Speaker 1: Niro and Paccino were gonna finally be in a movie together. 299 00:17:20,840 --> 00:17:22,440 Speaker 1: And they had been in a movie before, they were 300 00:17:22,480 --> 00:17:25,560 Speaker 1: in The Godfather Part two, but they didn't act together. 301 00:17:25,640 --> 00:17:28,720 Speaker 1: They were playing roles that took place at different times 302 00:17:28,720 --> 00:17:31,359 Speaker 1: in history, right, So it was this huge deal because 303 00:17:31,359 --> 00:17:34,680 Speaker 1: they were two of our biggest contemporary actors at the time. 304 00:17:35,119 --> 00:17:38,399 Speaker 1: They had both had these incredible careers, and it was 305 00:17:38,400 --> 00:17:40,119 Speaker 1: a it was a huge moment, and so a lot 306 00:17:40,160 --> 00:17:42,919 Speaker 1: of us who were super into those actors and the 307 00:17:42,960 --> 00:17:46,320 Speaker 1: films they made, were like super jacked for this film 308 00:17:46,320 --> 00:17:48,960 Speaker 1: to come out. And when it came out, I just 309 00:17:49,280 --> 00:17:51,679 Speaker 1: I think it was just the hype of it. It 310 00:17:51,840 --> 00:17:54,399 Speaker 1: just disappointed me. I just I was not It was 311 00:17:54,480 --> 00:17:58,000 Speaker 1: not a compelling watch for me because it just felt 312 00:17:58,040 --> 00:18:01,800 Speaker 1: a little cartoonish to me at the time. And my 313 00:18:02,160 --> 00:18:05,840 Speaker 1: biggest gripe with it is that shootout scene, which perhaps 314 00:18:05,680 --> 00:18:08,919 Speaker 1: it's shot to intentionally confuse you, but it's just confuses me. 315 00:18:09,320 --> 00:18:12,360 Speaker 1: I don't know, Franklin, It's just all these things, it's 316 00:18:12,359 --> 00:18:15,119 Speaker 1: all my personal shit. It's wrapped up and how I 317 00:18:15,119 --> 00:18:18,360 Speaker 1: feel about that movie. But it's all good. I love 318 00:18:18,400 --> 00:18:21,480 Speaker 1: people that love heat as well. We can all live together. 319 00:18:21,720 --> 00:18:23,960 Speaker 1: It's all good. And I'm a huge Michael Man fan, 320 00:18:24,040 --> 00:18:25,840 Speaker 1: so I appreciate you shouting this out. This is a 321 00:18:25,880 --> 00:18:29,680 Speaker 1: great take here on Hannibal Lecter how he's portrayed in 322 00:18:29,800 --> 00:18:32,560 Speaker 1: Manhunter versus Silence of the Lambs. I can totally see 323 00:18:32,720 --> 00:18:35,199 Speaker 1: where you're coming from. I have not seen Manhunter in 324 00:18:35,240 --> 00:18:37,800 Speaker 1: a very very long time, and it sounds like I 325 00:18:37,840 --> 00:18:40,800 Speaker 1: need to rectify that and get another watch in here soon. 326 00:18:40,880 --> 00:18:44,600 Speaker 1: So thanks Franklin for shouting that out. On the same subject, 327 00:18:44,680 --> 00:18:48,920 Speaker 1: about what movies are you guys obsessed with? Over in Patreon. 328 00:18:49,119 --> 00:18:53,520 Speaker 1: In the chat over there, Jackie has three movies that 329 00:18:53,560 --> 00:18:56,320 Speaker 1: she shouted out. One when she needs a laugh, she 330 00:18:56,400 --> 00:18:59,520 Speaker 1: puts on this a spinal Tap. Two when she needs 331 00:18:59,520 --> 00:19:03,040 Speaker 1: to sob uncontrollably, she puts on The Champ And then 332 00:19:03,080 --> 00:19:05,200 Speaker 1: the third one. She said, this year, I have become 333 00:19:05,240 --> 00:19:08,199 Speaker 1: a little obsessed with the Ballad of Wallace Island. It 334 00:19:08,240 --> 00:19:12,280 Speaker 1: may have rewatched it more times than deemed necessary. Still 335 00:19:12,320 --> 00:19:14,280 Speaker 1: I have not seen the Ballast of Wallace Island yet. 336 00:19:14,320 --> 00:19:17,159 Speaker 1: I have seen the trailer for that. I don't know 337 00:19:17,160 --> 00:19:20,360 Speaker 1: what the champ is, Jackie, so hit me to that. 338 00:19:20,880 --> 00:19:23,520 Speaker 1: And this is violence app is just I mean, it's 339 00:19:23,560 --> 00:19:26,080 Speaker 1: an all timer, you guys know that. Also Overen Patreon, 340 00:19:26,200 --> 00:19:30,280 Speaker 1: Chris s called out Bull Durham for the movie. They're 341 00:19:30,280 --> 00:19:33,320 Speaker 1: obsessed with so many great lines that I use all 342 00:19:33,359 --> 00:19:36,359 Speaker 1: the time, Chris says, Bull Durham is one of my 343 00:19:36,400 --> 00:19:41,679 Speaker 1: favorite sports movies to Chris, probably because it's about more 344 00:19:41,720 --> 00:19:44,399 Speaker 1: than sports. I think I mentioned that in the Patreon 345 00:19:44,440 --> 00:19:45,600 Speaker 1: chat as well, but I just wanted to say that 346 00:19:45,640 --> 00:19:48,680 Speaker 1: here too. Okay, sort of kind of on this subject 347 00:19:48,880 --> 00:19:51,080 Speaker 1: a little bit but a little bit different. I've got 348 00:19:51,080 --> 00:19:55,520 Speaker 1: this text from the five four one that says, Hey, Zeth, 349 00:19:56,040 --> 00:19:58,120 Speaker 1: it has occurred to me that I have not experienced 350 00:19:58,240 --> 00:20:01,440 Speaker 1: enough cinema in my life. As much as I love movies, 351 00:20:01,480 --> 00:20:04,480 Speaker 1: I've never seen a lot of movies that people consider staples. 352 00:20:05,119 --> 00:20:08,480 Speaker 1: Can you give me a bucket list of movies to watch? Ps. 353 00:20:08,560 --> 00:20:10,760 Speaker 1: The movie I'm obsessed with and will never get tired 354 00:20:10,760 --> 00:20:13,960 Speaker 1: of watching is Congo. Add to that, I have never 355 00:20:14,000 --> 00:20:16,240 Speaker 1: read the book, but I think the reason I'm so 356 00:20:16,359 --> 00:20:19,359 Speaker 1: right or die for this movie is the idea and 357 00:20:19,400 --> 00:20:22,919 Speaker 1: the ability to communicate with animals. My childhood dream was 358 00:20:22,960 --> 00:20:24,960 Speaker 1: to be a veterinarian, but I ended up in healthcare. 359 00:20:25,440 --> 00:20:28,280 Speaker 1: My dogs have been, or will always be, my life, 360 00:20:28,320 --> 00:20:30,160 Speaker 1: and the idea that I might be able to communicate 361 00:20:30,200 --> 00:20:33,919 Speaker 1: with them directly blows my mind. Any who love you 362 00:20:33,960 --> 00:20:39,040 Speaker 1: all Shalisa in the five four one, Salisa, thanks for 363 00:20:39,080 --> 00:20:41,320 Speaker 1: texting in. That would be wild if you could talk 364 00:20:41,320 --> 00:20:44,639 Speaker 1: to your dogs. We have cats here, well, actually we 365 00:20:44,760 --> 00:20:48,360 Speaker 1: have a cat now, and I don't know that i'd 366 00:20:48,400 --> 00:20:49,960 Speaker 1: want to know what they would have to say to me. 367 00:20:50,359 --> 00:20:53,119 Speaker 1: The cats, I don't know. They seem like they've always 368 00:20:53,160 --> 00:20:56,919 Speaker 1: got some sort of like mischievous evil on their minds. 369 00:20:57,080 --> 00:20:59,680 Speaker 1: Your question about a bucket list of movies to watch 370 00:21:00,080 --> 00:21:02,960 Speaker 1: is tough because I used to be of the mind 371 00:21:03,000 --> 00:21:06,439 Speaker 1: where it was like, well, okay, objectively, these are the 372 00:21:06,440 --> 00:21:08,680 Speaker 1: movies that are the best, and everyone agrees they're the best. 373 00:21:08,720 --> 00:21:10,919 Speaker 1: You know, there's Citizen Kane, and there's The Searchers and 374 00:21:11,000 --> 00:21:14,040 Speaker 1: YadA YadA, yadda. But as I've gotten older, I really 375 00:21:14,080 --> 00:21:18,240 Speaker 1: think the power in recommendations is in the diversity of 376 00:21:18,280 --> 00:21:22,000 Speaker 1: opinions and the diversity of povs. So you know, I 377 00:21:22,040 --> 00:21:25,480 Speaker 1: love it when someone makes the argument that Citizen Kane 378 00:21:25,480 --> 00:21:27,119 Speaker 1: is not the greatest movie of all time. The greatest 379 00:21:27,119 --> 00:21:31,040 Speaker 1: movie is actually Able Ferrara's unhinged crime drama King of 380 00:21:31,040 --> 00:21:34,040 Speaker 1: New York. And when the argument is made well or 381 00:21:34,400 --> 00:21:37,640 Speaker 1: it's made emphatically, you know, you consider it. You watch 382 00:21:37,680 --> 00:21:40,280 Speaker 1: the movie and you see it in a new light. 383 00:21:40,359 --> 00:21:44,040 Speaker 1: Perhaps everyone's got their taste and the kinds of films 384 00:21:44,080 --> 00:21:46,359 Speaker 1: that they like, and so perhaps the better question is, 385 00:21:46,400 --> 00:21:49,439 Speaker 1: you know, you're really into congo Like, maybe it's like, 386 00:21:49,480 --> 00:21:53,400 Speaker 1: you know, what are some staples of adventure films or 387 00:21:53,600 --> 00:21:56,080 Speaker 1: you know, crime films or westerns or whatever you're into. 388 00:21:56,160 --> 00:21:59,639 Speaker 1: You know, all that said, I think a kind of 389 00:21:59,640 --> 00:22:02,520 Speaker 1: a cool place to start is Spike Lee has a 390 00:22:02,560 --> 00:22:06,439 Speaker 1: list out there. Spike Lee teaches filmmaking at MYU. He 391 00:22:06,560 --> 00:22:09,359 Speaker 1: has for years and years and years. Actually, when I 392 00:22:09,359 --> 00:22:11,640 Speaker 1: went to film school, one of my teachers was a 393 00:22:11,720 --> 00:22:16,160 Speaker 1: former teaching assistant for Spike Lee at MYU. He's taught 394 00:22:16,160 --> 00:22:17,800 Speaker 1: there for a long time and he has this list 395 00:22:17,920 --> 00:22:20,120 Speaker 1: up that he gives out to his students every year. 396 00:22:20,119 --> 00:22:21,800 Speaker 1: I think his first year students, he gives him a 397 00:22:21,800 --> 00:22:26,360 Speaker 1: list that's called Spike Lee's Essential Film List. He's updated 398 00:22:26,359 --> 00:22:28,360 Speaker 1: it a little bit over the years, I think, and 399 00:22:28,600 --> 00:22:30,720 Speaker 1: this has since been put online. You can find it 400 00:22:30,760 --> 00:22:33,160 Speaker 1: pretty easily if you Google. But it covers a lot 401 00:22:33,160 --> 00:22:36,000 Speaker 1: of ground, covers a lot of genres, countries, errors. It's 402 00:22:36,040 --> 00:22:38,520 Speaker 1: got a bunch of my favorite movies on there. Movies 403 00:22:38,520 --> 00:22:41,720 Speaker 1: like Raising Arizona, Days of Heaven, Close Encounters of the 404 00:22:41,720 --> 00:22:46,480 Speaker 1: Third Kind, Casablanca, The Red Shoes, Raging Bull, Vertigo we 405 00:22:46,440 --> 00:22:48,680 Speaker 1: were talking about a real window are both on there. 406 00:22:49,160 --> 00:22:51,840 Speaker 1: So maybe check that list out and start going through there. 407 00:22:52,320 --> 00:22:54,840 Speaker 1: Just don't start at the top because it's arranged alphabetically. 408 00:22:54,840 --> 00:22:57,000 Speaker 1: And the very first movie on the list is a 409 00:22:57,040 --> 00:23:01,320 Speaker 1: movie called Bad Lieutenant, which is and it's very intense 410 00:23:01,720 --> 00:23:04,440 Speaker 1: just about every way. So I would hate for someone 411 00:23:04,480 --> 00:23:06,800 Speaker 1: to have that be their introduction to this list of 412 00:23:06,840 --> 00:23:10,640 Speaker 1: movies because perhaps, depending on your taste and your sensibilities, 413 00:23:10,680 --> 00:23:13,120 Speaker 1: perhaps you would say, I'm never gonna watch another movie 414 00:23:13,160 --> 00:23:16,880 Speaker 1: from this list ever. Again. So that's just a piece 415 00:23:16,920 --> 00:23:18,439 Speaker 1: of advice there, But some of the ones I just 416 00:23:18,480 --> 00:23:21,720 Speaker 1: mentioned are great. Or look through the list and see 417 00:23:21,760 --> 00:23:25,359 Speaker 1: maybe what strikes your fancy there. Okay, cool, thank you 418 00:23:25,480 --> 00:23:28,800 Speaker 1: for that. Still on the subject of Hitchcock, here I 419 00:23:28,840 --> 00:23:32,879 Speaker 1: got an email here with the title Obsessed with Hitchcock, 420 00:23:33,000 --> 00:23:36,040 Speaker 1: and this is the email. It reads, Dear Zeth, I 421 00:23:36,080 --> 00:23:39,080 Speaker 1: am thrilled more than you can imagine to hear a 422 00:23:39,119 --> 00:23:42,600 Speaker 1: Hollywood Land episode about my favorite director, Sir Alfred Hitchcock. 423 00:23:43,200 --> 00:23:45,080 Speaker 1: Hitch is why I love movies, and why I love 424 00:23:45,119 --> 00:23:49,400 Speaker 1: the kind of movies I love. Sinister, creeping, obsessive, and 425 00:23:49,440 --> 00:23:52,480 Speaker 1: full of dread. He was a mess on so many levels, 426 00:23:52,480 --> 00:23:55,360 Speaker 1: but he did make great movies. I'm new to Letterbox 427 00:23:55,520 --> 00:23:58,920 Speaker 1: and I'm still adding my watched movies thirteen hundred down, 428 00:23:59,000 --> 00:24:02,520 Speaker 1: two thousand plus go yikes. But my first task when 429 00:24:02,520 --> 00:24:04,840 Speaker 1: I joined was to get all of Hitch's surviving movies 430 00:24:04,840 --> 00:24:07,200 Speaker 1: added to my profile and to list them in rank 431 00:24:07,440 --> 00:24:10,920 Speaker 1: order based on my personal opinions, having seen them multiple 432 00:24:10,920 --> 00:24:13,960 Speaker 1: times over my life. When you cover Vertigo on Friday, 433 00:24:14,320 --> 00:24:18,080 Speaker 1: consider mentioning a related oddity a weird but sweet companion 434 00:24:18,119 --> 00:24:21,560 Speaker 1: movie to Vertigo called Bell Book and Candle. It came 435 00:24:21,600 --> 00:24:24,280 Speaker 1: out the same year in nineteen fifty eight as Vertigo 436 00:24:24,400 --> 00:24:27,399 Speaker 1: and again stars Kim Novak and Jimmy Stewart as the 437 00:24:27,480 --> 00:24:31,000 Speaker 1: romantic leads. For Novak to appear in Vertigo, there was 438 00:24:31,040 --> 00:24:35,640 Speaker 1: a reciprocal agreement between Paramount and Columbia, having Stuart Star 439 00:24:35,800 --> 00:24:40,400 Speaker 1: and Bell, Book and Candle satisfied the reciprocity agreement for Columbia. 440 00:24:40,960 --> 00:24:42,720 Speaker 1: It's not nearly as good as Vertigo, but it is 441 00:24:42,720 --> 00:24:45,320 Speaker 1: a fun through the looking glass view of what the 442 00:24:45,359 --> 00:24:48,239 Speaker 1: relationship between Scotty and Judy could have been if they 443 00:24:48,240 --> 00:24:49,960 Speaker 1: had both been a little bit happier and a whole 444 00:24:49,960 --> 00:24:53,440 Speaker 1: lot mentally healthier. Plus you get a wacky young Jack 445 00:24:53,520 --> 00:24:56,679 Speaker 1: Lemon and a motherly middle aged Elsa Lancaster in the 446 00:24:56,720 --> 00:25:00,199 Speaker 1: main cast. A good Pala cleanser for sure. Keep up 447 00:25:00,200 --> 00:25:03,360 Speaker 1: the great work. I'm continuing to love the podcast Rock 448 00:25:03,359 --> 00:25:07,720 Speaker 1: and rolla Heather from the two six Heather lots to 449 00:25:07,800 --> 00:25:10,800 Speaker 1: unpack and here Bell, Book and Candle. I'm gonna I'm 450 00:25:10,840 --> 00:25:13,320 Speaker 1: definitely gonna go check this out. Heather. Thanks. I have 451 00:25:13,400 --> 00:25:16,199 Speaker 1: not recorded the Vertigo episode yet, so I'm gonna check 452 00:25:16,280 --> 00:25:18,520 Speaker 1: this out and work this in there somehow, because, uh, 453 00:25:19,320 --> 00:25:23,320 Speaker 1: for nothing else, it's a fascinating footnote here to how 454 00:25:23,359 --> 00:25:26,520 Speaker 1: this all went down. When Vertigo is made. Good on 455 00:25:26,600 --> 00:25:28,679 Speaker 1: you for adding all those movies to Letterbox. You know, 456 00:25:29,320 --> 00:25:31,520 Speaker 1: when I joined Letterbox, I was like, do I sit 457 00:25:31,600 --> 00:25:35,800 Speaker 1: down and go through and add every single movie I've seen. 458 00:25:36,240 --> 00:25:37,760 Speaker 1: And I did that for a little bit and then 459 00:25:37,800 --> 00:25:42,480 Speaker 1: I stopped because I just it can get dangerous, Heather, 460 00:25:42,520 --> 00:25:44,320 Speaker 1: I can, I can really go down this rabbit hole 461 00:25:44,840 --> 00:25:47,280 Speaker 1: and get sucked into this thing. I have a thing 462 00:25:47,280 --> 00:25:52,000 Speaker 1: about organization. My record collection is alphabetized. I used to. 463 00:25:52,119 --> 00:25:55,320 Speaker 1: I used to organize my record collection of my CD 464 00:25:55,359 --> 00:25:59,600 Speaker 1: collection not only by alphabet, but also chronologically within the alphabet. 465 00:25:59,680 --> 00:26:02,400 Speaker 1: So when you hit like Elvis Costello, it would start 466 00:26:02,440 --> 00:26:05,359 Speaker 1: with MI aam is true and go chronologically. I'm not 467 00:26:05,400 --> 00:26:07,879 Speaker 1: that anal about anymore, but it's just I try to 468 00:26:07,880 --> 00:26:10,679 Speaker 1: curb some of those habits sometimes. So I did not 469 00:26:10,880 --> 00:26:13,280 Speaker 1: fill in every single movie in my letterbox. Sometimes I 470 00:26:13,320 --> 00:26:15,280 Speaker 1: feel like I should, because you know, and you're like, 471 00:26:15,280 --> 00:26:17,919 Speaker 1: I don't want someone to come along and be like, oh, 472 00:26:18,040 --> 00:26:20,320 Speaker 1: this guy has known anything. He's only seen like fifty movies, 473 00:26:20,359 --> 00:26:21,760 Speaker 1: you know what I mean, when of course I've seen 474 00:26:21,840 --> 00:26:26,800 Speaker 1: like thousands. Anyways, NERD problems, am I right? Thanks so 475 00:26:26,920 --> 00:26:30,879 Speaker 1: much for the email, Heather, really appreciate appreciate you. I 476 00:26:30,920 --> 00:26:35,000 Speaker 1: hope you dug the Alfred Hitchcock episode on Monday, and 477 00:26:35,080 --> 00:26:37,520 Speaker 1: I hope you dig the episode on Vertigo this Friday. 478 00:26:37,600 --> 00:26:39,800 Speaker 1: Let me know what you thought about those. Okay, now 479 00:26:40,080 --> 00:26:42,960 Speaker 1: this next subject here, I got both a text and 480 00:26:43,040 --> 00:26:46,920 Speaker 1: an email from listeners about this. I mentioned last week 481 00:26:46,960 --> 00:26:51,399 Speaker 1: that I saw Zootopia two with my daughter, so I 482 00:26:51,440 --> 00:26:53,399 Speaker 1: got a text from the three oh four that just 483 00:26:53,440 --> 00:26:57,000 Speaker 1: says for Zeth, now that you've watched Zootopia two, go 484 00:26:57,119 --> 00:27:01,000 Speaker 1: to Malcolm Gladwell's Revisionist History podcast and listened to his 485 00:27:01,119 --> 00:27:06,200 Speaker 1: latest on Zutopia. Then I also got an email from Mark, 486 00:27:06,280 --> 00:27:09,680 Speaker 1: my guy Mark, who wrote in this, Hi's thatth Mark 487 00:27:09,720 --> 00:27:12,359 Speaker 1: from the four one five. You mentioned you just watched 488 00:27:12,480 --> 00:27:15,080 Speaker 1: Utopia two with your family, and I felt compelled to 489 00:27:15,160 --> 00:27:18,159 Speaker 1: draw your attention to the amazing story around the screenwriter 490 00:27:18,400 --> 00:27:21,680 Speaker 1: Gary Goldman and his claim that he wrote the original 491 00:27:21,720 --> 00:27:24,720 Speaker 1: Zutopia script that was submitted to Disney in two thousand 492 00:27:24,760 --> 00:27:27,800 Speaker 1: and nine. He claims Disney stole his idea and the 493 00:27:27,800 --> 00:27:31,200 Speaker 1: movie title, but his claim was eventually rejected by the courts. 494 00:27:31,680 --> 00:27:36,719 Speaker 1: Now the twist Zoutopia two apparently contains several references to 495 00:27:36,800 --> 00:27:40,440 Speaker 1: the case and how badly Disney treated Gary Goldman. These 496 00:27:40,480 --> 00:27:43,639 Speaker 1: include the snake being named Gary in looking surprisingly like 497 00:27:43,680 --> 00:27:47,240 Speaker 1: Gary Goldman, the heroes arriving at the evil Lynx's manor 498 00:27:47,480 --> 00:27:51,760 Speaker 1: while fireworks are exploding overhead, mimicking the Disney Castle fireworks. 499 00:27:52,280 --> 00:27:55,000 Speaker 1: There is a two part Revisionist History podcast covering the 500 00:27:55,040 --> 00:27:58,119 Speaker 1: whole story, and then Mark included links. Keep up the 501 00:27:58,160 --> 00:28:00,760 Speaker 1: great work. Mark. Thanks for the con text here, and 502 00:28:01,040 --> 00:28:03,840 Speaker 1: thanks again to the listener in the three four who 503 00:28:03,880 --> 00:28:08,119 Speaker 1: texted in on this sounds wild. I cannot wait to listen. 504 00:28:08,160 --> 00:28:09,639 Speaker 1: I haven't had time to listen to these yet, but 505 00:28:09,640 --> 00:28:12,000 Speaker 1: I'm gonna get to it. I can't wait. I'll report back. 506 00:28:12,119 --> 00:28:14,240 Speaker 1: Thanks guys, and again for anybody out there who wants 507 00:28:14,280 --> 00:28:18,280 Speaker 1: to get in on this Zutopia drama. That's the Revisionist 508 00:28:18,280 --> 00:28:21,800 Speaker 1: History podcast. Go check out that story. There one more 509 00:28:21,840 --> 00:28:24,080 Speaker 1: thing I want to mention here before I move on. 510 00:28:24,840 --> 00:28:28,520 Speaker 1: We've been ranking Nicholas Cage films because listen, guys, this 511 00:28:28,600 --> 00:28:31,320 Speaker 1: is important. Nicholas Cage has a lot of movies. You 512 00:28:31,400 --> 00:28:33,520 Speaker 1: gotta rank them. You gotta have a top five. And 513 00:28:33,600 --> 00:28:37,879 Speaker 1: I'm really interested if anyone's vision of Nick Cage, how 514 00:28:37,960 --> 00:28:40,000 Speaker 1: much it differs from other people's vision of Nick Cage. 515 00:28:40,000 --> 00:28:42,720 Speaker 1: I just saw the trailer for one of his latest 516 00:28:42,720 --> 00:28:45,840 Speaker 1: movies called The Surfer, which is streaming on like Netflix 517 00:28:45,840 --> 00:28:50,240 Speaker 1: now or something. It's one of those fucking unhinged trailers 518 00:28:50,440 --> 00:28:54,200 Speaker 1: that like it ended, and I was like, oh my god, 519 00:28:54,280 --> 00:28:56,280 Speaker 1: I need to see this movie. And meanwhile, my wife 520 00:28:56,360 --> 00:28:57,960 Speaker 1: was sitting next to me and she was like, what 521 00:28:58,040 --> 00:29:01,760 Speaker 1: the hell is that she has no interest it all? 522 00:29:01,800 --> 00:29:04,920 Speaker 1: Because it looks so batshit crazy. It looks like it 523 00:29:05,200 --> 00:29:07,840 Speaker 1: becomes this fever dream nightmare, and man, I can't wait 524 00:29:07,920 --> 00:29:10,320 Speaker 1: to watch it. Anyways, I got a text here from 525 00:29:10,440 --> 00:29:13,880 Speaker 1: the three to one seven says yo, doctor Z. It's 526 00:29:13,920 --> 00:29:17,280 Speaker 1: flow from the three one seven. With careful time and consideration, 527 00:29:17,400 --> 00:29:20,160 Speaker 1: I have decided in this particular order that these are 528 00:29:20,200 --> 00:29:24,400 Speaker 1: my top five Allah Rob Gordon, Nick Cage flicks five, 529 00:29:24,600 --> 00:29:28,320 Speaker 1: con Air four The Rock? Is this a closing Connery 530 00:29:28,360 --> 00:29:32,360 Speaker 1: Bond film? Question Mark three leaving Las Vegas two eight 531 00:29:32,360 --> 00:29:36,400 Speaker 1: millimeter one raising Arizona as always, cheers guys, Rock a 532 00:29:36,480 --> 00:29:40,360 Speaker 1: rolla flow. This is great, incredible list here an incredible 533 00:29:40,360 --> 00:29:43,920 Speaker 1: shout out at Sean Connery and The Rock being like 534 00:29:43,960 --> 00:29:46,800 Speaker 1: a secret James Bond movie. It's that you could very 535 00:29:46,880 --> 00:29:50,160 Speaker 1: much make that argument. Man, I love The Rock. It's 536 00:29:50,200 --> 00:29:52,720 Speaker 1: just good time. It's got Ed Harrison there love love me, 537 00:29:52,720 --> 00:29:54,640 Speaker 1: Simid Harris. This is the first time I think someone's 538 00:29:54,640 --> 00:29:58,120 Speaker 1: mentioned eight millimeter. So eight millimeter getting some love here 539 00:29:58,240 --> 00:30:00,800 Speaker 1: on the Nick Cage list. Keeping c guys and let 540 00:30:00,880 --> 00:30:02,880 Speaker 1: me know if you've seen the Surfer and if I 541 00:30:02,880 --> 00:30:05,280 Speaker 1: should buckle up for that one or not. I'm imagining 542 00:30:05,320 --> 00:30:07,880 Speaker 1: I should buckle up. So gonna do that. Gonna check 543 00:30:07,920 --> 00:30:10,040 Speaker 1: it out. Everybody else, get at me, you know how 544 00:30:10,040 --> 00:30:12,160 Speaker 1: to do it? Six one seven nine oh six six 545 00:30:12,320 --> 00:30:15,080 Speaker 1: six three eight. Gonna take another quick break and want 546 00:30:15,080 --> 00:30:31,040 Speaker 1: to come back. I'm going to talk some recommendations. All right, 547 00:30:31,080 --> 00:30:33,640 Speaker 1: Hollywood land gain, It is time for the recommendation section 548 00:30:33,800 --> 00:30:37,280 Speaker 1: of the Rap Party. Here's what I've been watching, listening to, reading, 549 00:30:37,840 --> 00:30:40,680 Speaker 1: all that good stuff. Lots of stuff to talk about, 550 00:30:40,680 --> 00:30:42,640 Speaker 1: but I'm gonna narrow it down to a couple of things. Here. 551 00:30:43,160 --> 00:30:46,000 Speaker 1: I picked up a used copy at one of the 552 00:30:46,000 --> 00:30:50,080 Speaker 1: local bookstores here of this book called Kubrick and Odyssey. 553 00:30:50,520 --> 00:30:53,440 Speaker 1: It's a huge biography on stan the man Stanley Kubrick 554 00:30:53,680 --> 00:30:56,520 Speaker 1: that was released back in twenty twenty four. It's co 555 00:30:56,560 --> 00:31:00,360 Speaker 1: written by Robert P. Colcher and Nathan Adams. Used to 556 00:31:00,400 --> 00:31:04,040 Speaker 1: teach at University of Maryland, he taught cinema for almost 557 00:31:04,120 --> 00:31:08,880 Speaker 1: fifty years. Abrams is a professor in film at Bangor University, 558 00:31:08,920 --> 00:31:12,120 Speaker 1: but not a Bangor I know here in Maine, but 559 00:31:12,280 --> 00:31:16,400 Speaker 1: one over in Wales. They've written books before. Kolcher in particular, 560 00:31:16,480 --> 00:31:20,440 Speaker 1: has a few books on Kubrick. This is a big tome. 561 00:31:20,520 --> 00:31:23,600 Speaker 1: This is like six hundred pages. It's as big as 562 00:31:23,720 --> 00:31:27,680 Speaker 1: an imposing as the Monolith in two thousand and one. 563 00:31:28,160 --> 00:31:30,720 Speaker 1: I picked it up because I had Kubrick on the 564 00:31:30,720 --> 00:31:33,560 Speaker 1: brain least recently. You know. Last week a listener mentioned 565 00:31:33,560 --> 00:31:36,000 Speaker 1: two thousand and one made me realize I hadn't seen 566 00:31:36,000 --> 00:31:37,760 Speaker 1: that for a long time. And as I'm talking about 567 00:31:37,800 --> 00:31:40,880 Speaker 1: it and saying that's kind of slipped in my ranking 568 00:31:40,920 --> 00:31:43,000 Speaker 1: of Kubrick in my estimation, I was like, why is that. 569 00:31:43,760 --> 00:31:46,200 Speaker 1: I had also recently watched Barry Linden for the first time. 570 00:31:46,320 --> 00:31:49,880 Speaker 1: I was watching some supplemental material on behind the scenes 571 00:31:49,880 --> 00:31:54,080 Speaker 1: from that movie over the weekend, and I just have 572 00:31:54,240 --> 00:31:55,880 Speaker 1: Kubrick on the brain, Like I said, I've just been 573 00:31:55,920 --> 00:31:59,040 Speaker 1: fascinated with his career, with his life, with how he worked. 574 00:31:59,400 --> 00:32:01,400 Speaker 1: Like Hitchcock, he was a one of one, and so 575 00:32:02,000 --> 00:32:05,000 Speaker 1: I also a very enigmatic person. So I just had 576 00:32:05,040 --> 00:32:06,560 Speaker 1: this urge to know more because I realized that I 577 00:32:06,560 --> 00:32:08,720 Speaker 1: really didn't know much about him. I didn't know much 578 00:32:08,760 --> 00:32:11,640 Speaker 1: about a lot of the nitty gritty about how he 579 00:32:11,680 --> 00:32:14,080 Speaker 1: made the films that he made, and also just thinking 580 00:32:14,080 --> 00:32:16,600 Speaker 1: about my own relationship with his work. You know, his 581 00:32:16,680 --> 00:32:18,600 Speaker 1: films were so important to me for a long time. 582 00:32:19,240 --> 00:32:21,560 Speaker 1: Then at some point, I don't I feel like maybe 583 00:32:21,560 --> 00:32:23,040 Speaker 1: I made him out to be less important in my 584 00:32:23,080 --> 00:32:25,760 Speaker 1: own mind, because you know, it seemed like everybody wanted 585 00:32:25,760 --> 00:32:28,040 Speaker 1: to claim him as the greatest. And I've always had 586 00:32:28,080 --> 00:32:29,640 Speaker 1: that kind of reaction to that thing that the more 587 00:32:29,640 --> 00:32:32,200 Speaker 1: people talk about somebody, the more I am just sort 588 00:32:32,200 --> 00:32:35,040 Speaker 1: of shrink away and talk about somebody else, which is 589 00:32:35,120 --> 00:32:36,920 Speaker 1: just you know, I get that from my dad, I think. 590 00:32:37,000 --> 00:32:40,680 Speaker 1: But you know, Kubrick is Kubrick. He represents creative control. 591 00:32:40,760 --> 00:32:45,479 Speaker 1: He represents a tourism. He represents detail and fussiness in 592 00:32:45,480 --> 00:32:47,720 Speaker 1: a way that you know, echoes others that came later, 593 00:32:47,880 --> 00:32:51,400 Speaker 1: Fincher and Christopher Nolan and all those people, But Kubrick 594 00:32:51,440 --> 00:32:53,720 Speaker 1: did it first, and he set his own template. I 595 00:32:53,720 --> 00:32:56,760 Speaker 1: guess one could make the argument that I made earlier 596 00:32:56,760 --> 00:32:59,880 Speaker 1: on Hitchcock and apply it to Stanley Kubrick. But I 597 00:33:00,040 --> 00:33:01,960 Speaker 1: don't know. I'm psyched to be learning about stuff that 598 00:33:01,960 --> 00:33:04,280 Speaker 1: I didn't know about Kubrick. About a hundred something pages 599 00:33:04,280 --> 00:33:08,440 Speaker 1: in so far, he's just made the killing with Sterling Hayden, 600 00:33:09,440 --> 00:33:12,360 Speaker 1: and already the character that is Stanley Kubrick is being 601 00:33:12,440 --> 00:33:15,640 Speaker 1: drawn very comprehensively by the writers. I'm looking forward to 602 00:33:15,640 --> 00:33:18,400 Speaker 1: the whole thing. I'm really looking forward to once we 603 00:33:18,440 --> 00:33:20,360 Speaker 1: get to like two thousand and one Barry Linden. The 604 00:33:20,400 --> 00:33:24,960 Speaker 1: Shining Eyes Wide Shut they mentioned early in the first 605 00:33:25,000 --> 00:33:28,960 Speaker 1: chapter sort of a foreshadowing of what's to come that 606 00:33:29,040 --> 00:33:32,240 Speaker 1: I guess. When he was shooting Barry Linden in Ireland, 607 00:33:33,000 --> 00:33:37,400 Speaker 1: he received a threat from the IRA. They threatened that 608 00:33:37,440 --> 00:33:40,400 Speaker 1: they were going to kidnap his family. It caused them 609 00:33:40,440 --> 00:33:43,800 Speaker 1: to move and shoot elsewhere. And so I'm super fascinated 610 00:33:43,880 --> 00:33:47,840 Speaker 1: again in this. You know, the confluence here of movies 611 00:33:47,880 --> 00:33:50,400 Speaker 1: and true crime to find out more about that. Yeah, 612 00:33:50,400 --> 00:33:54,080 Speaker 1: that's that. It's called Kubrick An odyssey, big, big biography 613 00:33:54,160 --> 00:33:57,760 Speaker 1: on stan the Man watching stuff. I watched a bunch 614 00:33:57,760 --> 00:33:59,320 Speaker 1: of stuff this past week. I watched some things I 615 00:33:59,360 --> 00:34:02,120 Speaker 1: was not crazy. I watched The Long Walk, which is 616 00:34:02,120 --> 00:34:06,280 Speaker 1: an adaptation of a Stephen King book from the late seventies. 617 00:34:06,320 --> 00:34:08,200 Speaker 1: I think I think it was written under his pen 618 00:34:08,320 --> 00:34:12,080 Speaker 1: name Richard Broughdigan. No, not Richard Broughdigan. That's trout Fishing 619 00:34:12,080 --> 00:34:18,120 Speaker 1: in America. Richard Broddigan, not trout fishing in America. Zeth Bachman, 620 00:34:18,200 --> 00:34:21,239 Speaker 1: Richard Bachman. Some of the performances were good, but I 621 00:34:21,239 --> 00:34:23,480 Speaker 1: did not like the movie. And also I watched Is 622 00:34:23,520 --> 00:34:27,800 Speaker 1: This Thing On, which is the latest Bradley Cooper directed 623 00:34:28,040 --> 00:34:33,120 Speaker 1: film starring Will Arnette and Laura dern Bradley Cooper has 624 00:34:33,160 --> 00:34:36,560 Speaker 1: a small supporting role, and honestly, he was the best 625 00:34:36,560 --> 00:34:38,440 Speaker 1: thing in the movie. He was every time he was 626 00:34:38,480 --> 00:34:40,720 Speaker 1: on screen. I wanted him to stay on screen for longer. 627 00:34:40,760 --> 00:34:44,640 Speaker 1: He plays best friend to Will Arnett's lead character. Will 628 00:34:44,719 --> 00:34:47,560 Speaker 1: Arnette and Laura Dern are they're a couple who have 629 00:34:47,600 --> 00:34:51,600 Speaker 1: recently separated. It's funny because it's a movie about here. 630 00:34:51,640 --> 00:34:52,799 Speaker 1: I am talking about it, and that's I was going 631 00:34:52,880 --> 00:34:55,320 Speaker 1: to talk about it. I'm just now thinking about this though, 632 00:34:55,760 --> 00:34:58,160 Speaker 1: and I think it's important to say so. It's funny. 633 00:34:58,200 --> 00:35:00,799 Speaker 1: This is a movie about a guy. He's split up 634 00:35:00,840 --> 00:35:04,360 Speaker 1: with his wife. They have kids, and his midlife crisis. 635 00:35:04,400 --> 00:35:08,200 Speaker 1: Reaction to this is to start performing stand up first, 636 00:35:08,200 --> 00:35:10,879 Speaker 1: doing open mic nights at clubs in New York. And 637 00:35:11,040 --> 00:35:14,160 Speaker 1: he's basically processing what he's going through by doing stand up. 638 00:35:14,840 --> 00:35:18,279 Speaker 1: And there are there are real comics who are who 639 00:35:18,400 --> 00:35:20,080 Speaker 1: have small roles in this who kind of fill in 640 00:35:20,120 --> 00:35:23,359 Speaker 1: the life of the comedy club. But it's funny that 641 00:35:23,400 --> 00:35:27,200 Speaker 1: for a film about stand up comedy that the stand 642 00:35:27,320 --> 00:35:31,120 Speaker 1: up comedy stuff isn't that funny. But the funniest parts 643 00:35:31,480 --> 00:35:35,000 Speaker 1: are Bradley Cooper. Like Bradley Cooper comes in and he's 644 00:35:35,040 --> 00:35:37,440 Speaker 1: like on fire for like two three minutes at a time, 645 00:35:37,480 --> 00:35:38,960 Speaker 1: and it's like, why can't we have more of that? 646 00:35:39,080 --> 00:35:41,399 Speaker 1: Like That's that's why I would anyways that I want 647 00:35:41,400 --> 00:35:42,640 Speaker 1: to see. I want to see a cut of that 648 00:35:42,680 --> 00:35:44,799 Speaker 1: movie with more Bradley Cooper, is what I'm saying. But 649 00:35:44,880 --> 00:35:47,160 Speaker 1: I did go to the movies over the weekend and 650 00:35:47,200 --> 00:35:50,280 Speaker 1: I saw a project Hail Mary, along with like millions 651 00:35:50,280 --> 00:35:52,719 Speaker 1: of other people. This is the new film by Phil 652 00:35:52,800 --> 00:35:55,560 Speaker 1: Lord and Christopher Miller, based on the book by Andy Weer, 653 00:35:55,840 --> 00:35:58,880 Speaker 1: the guy who wrote The Martian, stars Ryan Gosling. It guys, 654 00:35:58,920 --> 00:36:02,080 Speaker 1: it was incredible. It was an incredible movie going experience, 655 00:36:02,480 --> 00:36:04,600 Speaker 1: and for a long time fan of movies about space 656 00:36:04,640 --> 00:36:07,000 Speaker 1: sci fi movies, it was just it was a great 657 00:36:07,080 --> 00:36:09,960 Speaker 1: damn time. Speaking of two thousand and one a second ago, 658 00:36:10,080 --> 00:36:12,759 Speaker 1: this movie references two thousand and one, it references et 659 00:36:13,000 --> 00:36:16,600 Speaker 1: Close Encounters Alien Gravity, pretty much any major space movie, 660 00:36:16,600 --> 00:36:19,840 Speaker 1: but it is its own thing, and it works because 661 00:36:19,840 --> 00:36:24,520 Speaker 1: of Ryan Gosling, who's often acting alone or acting to 662 00:36:24,719 --> 00:36:29,120 Speaker 1: a puppet. Essentially, it works because of the puppeteering that 663 00:36:29,440 --> 00:36:32,200 Speaker 1: was done in the you know, in the face of CGI, 664 00:36:32,480 --> 00:36:35,799 Speaker 1: which could the directors could have so easily just done 665 00:36:35,800 --> 00:36:38,319 Speaker 1: this with computers, and the fact that they didn't makes 666 00:36:38,320 --> 00:36:40,200 Speaker 1: it so tactile. And that's the other thing. You know, 667 00:36:40,520 --> 00:36:42,480 Speaker 1: so much has been said or written about this already, 668 00:36:42,480 --> 00:36:46,319 Speaker 1: but it begs repeating. This movie is so tactile. The 669 00:36:46,400 --> 00:36:49,520 Speaker 1: sets are real, they were constructed, so much of what 670 00:36:49,560 --> 00:36:52,120 Speaker 1: you see and what the characters touch and interact with 671 00:36:52,320 --> 00:36:55,400 Speaker 1: is real. I believe there were no green screen shots 672 00:36:55,440 --> 00:36:57,200 Speaker 1: at all in this two and a half hour film, 673 00:36:57,200 --> 00:37:00,520 Speaker 1: which in twenty twenty six is really something to celebrate 674 00:37:00,680 --> 00:37:03,920 Speaker 1: because it just it heightens the experience. I guarantee you 675 00:37:04,680 --> 00:37:07,640 Speaker 1: the experience of this film would not have been nearly 676 00:37:07,760 --> 00:37:10,880 Speaker 1: as incredible as it is if it was not shot 677 00:37:11,200 --> 00:37:15,160 Speaker 1: practically like this. It's a great space epic. It's funny, 678 00:37:15,160 --> 00:37:18,440 Speaker 1: it's exciting, it's super emotional. It's got a really compelling, 679 00:37:18,719 --> 00:37:22,120 Speaker 1: an inventive narrative structure that keeps you engaged. Lord and 680 00:37:22,160 --> 00:37:24,360 Speaker 1: Miller are the guys who did the Lego movie and 681 00:37:24,360 --> 00:37:26,600 Speaker 1: then they did the twenty one Jump Street movies. I 682 00:37:26,600 --> 00:37:28,799 Speaker 1: think they're involved in the Spider Verse movies as well, 683 00:37:29,320 --> 00:37:33,440 Speaker 1: so you have their feel good, comic sensibility throughout. It's 684 00:37:33,480 --> 00:37:36,320 Speaker 1: a very, very funny movie. I just had a blast 685 00:37:36,840 --> 00:37:39,080 Speaker 1: at this film. So you know, if you like me 686 00:37:39,760 --> 00:37:41,360 Speaker 1: kind of pick and choose what movies you go to 687 00:37:41,400 --> 00:37:43,399 Speaker 1: see in the theater, put this one of the top 688 00:37:43,400 --> 00:37:45,120 Speaker 1: of your list, especially those of you lucky enough to 689 00:37:45,120 --> 00:37:47,360 Speaker 1: see films in imax. I wonder if if any of 690 00:37:47,400 --> 00:37:49,319 Speaker 1: you have seen this in imax. I want you to 691 00:37:49,360 --> 00:37:51,400 Speaker 1: report back and let me know. I follow this account 692 00:37:51,400 --> 00:37:55,080 Speaker 1: on Instagram of an Imax projectionist and he was showing 693 00:37:55,120 --> 00:37:58,880 Speaker 1: some images and video of Project Hill Mary on Imacid. 694 00:37:58,920 --> 00:38:01,440 Speaker 1: It just looks fucking incredible, So let me know. Have 695 00:38:01,520 --> 00:38:04,560 Speaker 1: you seen Project Hail Mary? Have you read this Kubrick book. 696 00:38:04,800 --> 00:38:06,839 Speaker 1: What are you watching? What are you reading? What are 697 00:38:06,840 --> 00:38:09,520 Speaker 1: you listening to? Hit me up and let me know 698 00:38:09,760 --> 00:38:13,719 Speaker 1: six one seven nine oh six six six three eight. 699 00:38:14,120 --> 00:38:15,880 Speaker 1: I'm going to take one more quick break, guys, but 700 00:38:16,160 --> 00:38:39,439 Speaker 1: hanging there. I'll be a great back after this. Hey, Hey, Hey, 701 00:38:39,480 --> 00:38:41,960 Speaker 1: Hollywood Lamb peeps, thanks again for hanging out here in 702 00:38:42,000 --> 00:38:44,759 Speaker 1: the Wrap party. If you are a patron over in 703 00:38:44,840 --> 00:38:48,239 Speaker 1: Disgrace Land all Access on Patreon, thank you for your 704 00:38:48,239 --> 00:38:51,759 Speaker 1: support there. You guys are what makes it possible for 705 00:38:51,880 --> 00:38:55,520 Speaker 1: us to do things like our video podcast, This Film 706 00:38:55,680 --> 00:38:59,359 Speaker 1: Should be Played Loud, which just dropped a brand new 707 00:38:59,400 --> 00:39:03,520 Speaker 1: episode today, all about the music in The Big Lebowski. 708 00:39:03,560 --> 00:39:06,840 Speaker 1: That's the Coen Brothers film from nineteen ninety eight. The 709 00:39:06,840 --> 00:39:09,319 Speaker 1: great T Bone Burnett was the music supervisor on that. 710 00:39:09,440 --> 00:39:12,920 Speaker 1: I think he's credited as music archivest. Jake has some 711 00:39:13,400 --> 00:39:16,719 Speaker 1: great t Bone Burnett stories, And of course we talk 712 00:39:16,880 --> 00:39:20,200 Speaker 1: lots about the fucking Eagles, the good and the bad, CCR, 713 00:39:20,320 --> 00:39:23,200 Speaker 1: Kenny Rodgers, so much more. It's a lot of fun. 714 00:39:23,640 --> 00:39:26,359 Speaker 1: Come hang with us if you're not already. We've got 715 00:39:26,360 --> 00:39:29,600 Speaker 1: a couple of tiers over there in Patreon. There's a 716 00:39:29,640 --> 00:39:32,239 Speaker 1: five dollars a month audio tier, which gets you add 717 00:39:32,239 --> 00:39:36,560 Speaker 1: free listening of every episode of Disgraceland and Hollywood Land, 718 00:39:36,600 --> 00:39:40,680 Speaker 1: as well as weekly bonus content of the after Party 719 00:39:40,719 --> 00:39:44,279 Speaker 1: over in Disgraceland, I joined Jake every week for the 720 00:39:44,320 --> 00:39:47,120 Speaker 1: exclusive portion of the after Party, so it's just me 721 00:39:47,160 --> 00:39:51,640 Speaker 1: and him riffing about something wild, something unexpected, something revelatory, 722 00:39:51,920 --> 00:39:54,960 Speaker 1: something funny for like fifteen twenty minutes over there. And 723 00:39:55,000 --> 00:39:57,520 Speaker 1: then we also have a ten dollars a month tier 724 00:39:57,840 --> 00:40:00,600 Speaker 1: that includes video, and that's where you can check out 725 00:40:00,680 --> 00:40:03,319 Speaker 1: this film should be played loud. You can get a 726 00:40:03,320 --> 00:40:05,799 Speaker 1: discount for annual memberships if you sign up for a year. 727 00:40:05,840 --> 00:40:08,120 Speaker 1: I believe, and I think you can also do like 728 00:40:08,160 --> 00:40:10,319 Speaker 1: a free trial, like a week long free trial if 729 00:40:10,360 --> 00:40:12,080 Speaker 1: you just want to, like see what it's like before 730 00:40:12,120 --> 00:40:14,960 Speaker 1: you commit to hanging over any of your hard earned 731 00:40:15,000 --> 00:40:17,640 Speaker 1: dough and if you are hanging over that hard enough. Again, 732 00:40:17,920 --> 00:40:20,480 Speaker 1: we all here at double Evis appreciate you guys so much. 733 00:40:20,920 --> 00:40:24,200 Speaker 1: Disgracelambpod dot com is where you can go to sign 734 00:40:24,280 --> 00:40:26,759 Speaker 1: up if you're not already. One more time. Question of 735 00:40:26,800 --> 00:40:30,640 Speaker 1: the week for next week, what is your favorite movie 736 00:40:30,719 --> 00:40:35,239 Speaker 1: soundtrack of all time? Call me, text me six one 737 00:40:35,360 --> 00:40:39,120 Speaker 1: seven nine oh six six six three eight, email me 738 00:40:39,120 --> 00:40:42,160 Speaker 1: at Disgrace lamppod at gmail dot com. You can get 739 00:40:42,160 --> 00:40:45,360 Speaker 1: at me on the socials at Disgrace lampod or in 740 00:40:45,600 --> 00:40:48,959 Speaker 1: the chat over in the Patreon app. And with that said, 741 00:40:49,239 --> 00:40:52,560 Speaker 1: let's recap number one. First of all, right, now in 742 00:40:52,600 --> 00:40:56,919 Speaker 1: your Hollywoodland feed, our episode on Alfred Hitchcock. Number two 743 00:40:57,280 --> 00:40:59,680 Speaker 1: coming at you this Friday. We've got our new episode 744 00:40:59,719 --> 00:41:02,279 Speaker 1: of this screening room in this week. I'm talking all 745 00:41:02,280 --> 00:41:05,800 Speaker 1: about the nineteen fifty eight film Vertigo, directed by Alfred 746 00:41:05,840 --> 00:41:09,479 Speaker 1: Hitchcock and starring James Stewart and Kim Novak. Number three. 747 00:41:09,760 --> 00:41:13,799 Speaker 1: Next week on Monday, we continue our Mavericks and Outliers month. 748 00:41:13,840 --> 00:41:16,239 Speaker 1: We wrap it up with a fully scripted and sound 749 00:41:16,320 --> 00:41:20,399 Speaker 1: design episode on Brandon Lee. Number four. Over in our 750 00:41:20,440 --> 00:41:24,600 Speaker 1: sister show, Disgraceland, Jake just dropped our episode on Pete 751 00:41:24,640 --> 00:41:28,319 Speaker 1: Doherty of the Libertines and Baby Shambles. This was a 752 00:41:28,360 --> 00:41:31,600 Speaker 1: previously exclusive episode for All Access members and now it's 753 00:41:31,640 --> 00:41:33,920 Speaker 1: out in the wild. As they say, go over to 754 00:41:33,920 --> 00:41:36,920 Speaker 1: the Disgraceland feed to get some of that gritty, grimy 755 00:41:37,280 --> 00:41:40,759 Speaker 1: early two thousands, rock and roll storytelling and now, in 756 00:41:40,840 --> 00:41:44,160 Speaker 1: honor of this week's episode, Here's what America was watching 757 00:41:44,200 --> 00:41:47,640 Speaker 1: at the movies in nineteen seventy six, the year that 758 00:41:47,960 --> 00:41:55,000 Speaker 1: Hitchcock's final film, Family Plot was released. Number one Rocky 759 00:41:55,600 --> 00:42:01,279 Speaker 1: directed by John G. Applson. Number two, A Star Is Born, 760 00:42:01,920 --> 00:42:06,160 Speaker 1: directed by Frank Pearson's Silver directed. Number three directed by 761 00:42:06,320 --> 00:42:09,520 Speaker 1: King Kong. Numbers directed by John the Gearman. All the 762 00:42:09,520 --> 00:42:13,920 Speaker 1: Presidents directed by Richard. Number four by Silver Streak directed 763 00:42:13,920 --> 00:42:17,320 Speaker 1: by Arthur Hiller, directed by Michael Richard, Number five by Richard, 764 00:42:17,560 --> 00:42:22,040 Speaker 1: All the President's Men directed by Alan J. Mculos direct 765 00:42:22,200 --> 00:42:27,360 Speaker 1: number six The Omen Is directed by Richard Donns. Number 766 00:42:27,360 --> 00:42:31,839 Speaker 1: seven Quit Talking and start mixing could