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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 2: and today I have a returning special guest co host.

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Speaker 2: We're joined once more by David Streepy of the Talkin'

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Speaker 2: TOFU podcast. Dave, welcome back to the show.

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Speaker 3: Thank you, thanks for having me back, and hello to

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Speaker 3: all the stuffies. I think we agreed that they're called,

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Speaker 3: so hello again to all of you. Glad to be back.

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Speaker 2: That's right, we're gonna be talking about the Gate three.

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Speaker 3: Right, yes, no, I wish, Oh my god, could you

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Speaker 3: imagine old Man Terry now?

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Speaker 2: Instead, we're gonna be We were talking about like a

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Speaker 2: handful of potential movies and we ended up going with

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Speaker 2: the one. I think this one was probably the one

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Speaker 2: that you brought up that was the most holiday friendly

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Speaker 2: and I think might be a stealth holiday film because

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Speaker 2: they did see a Santa Claus at one point.

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Speaker 3: That's all it takes to qualify, really, and this did

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Speaker 3: happen in California, so really, your only cues that it

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Speaker 3: is the holidays and a West Coast movie are from

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Speaker 3: the decorations and not from climate or any anything else.

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Speaker 3: That's going on. Yeah, we did have We had a

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Speaker 3: bunch of really strong contenders for possibilities, but I think

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Speaker 3: this one, in addition to its appropriateness, it's it's the

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Speaker 3: it's a big one, but it kind of made a

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Speaker 3: small splash and a big splash at the same time.

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Speaker 3: It's really really unique.

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Speaker 2: Yeah, I don't feel like Interspace, the movie you're talking

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Speaker 2: about in nineteen eighty seven's Interspace. This is Joe Dante.

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Speaker 2: Film got a great cast, I mean, starring Dennis Quaid,

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Speaker 2: Martin Short, Meg Ryan. I mean, it came out big

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Speaker 2: summer special effects movie, apparently made money. This was not

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Speaker 2: a box office bomb by any stretch, and it it

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Speaker 2: amazed a lot of kids. I was one of those

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Speaker 2: kids who watched this film multiple times. I guess I

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Speaker 2: maybe saw it on TV the first time and then

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Speaker 2: maybe just rented it a bunch of times after that

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Speaker 2: on VHS. But I was super into this picture. I

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Speaker 2: would make little lego models roughly based on the two

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Speaker 2: main submarine bots in the film.

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Speaker 3: Yeah, I think that you're right this one definitely. I

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Speaker 3: don't think it was a flop at the box office,

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Speaker 3: but maybe had higher hopes given the pedigree of everybody involved,

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Speaker 3: but I think it was a big renter. It was

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Speaker 3: a big VHS. I remember having a huge presence at

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Speaker 3: the video store, both in cardboard cutout, but also the

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Speaker 3: number of copies that were on the shelves, the availability

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Speaker 3: of the copies that were on the shelves. This movie

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Speaker 3: seemed to turn up quite a bit in sleepovers on

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Speaker 3: trips where you would get five bucks to go to

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Speaker 3: the video store and pick something out. I just remember

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Speaker 3: seeing this movie a lot, a lot, And I think

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Speaker 3: I mentioned this too. I texted you this while I

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Speaker 3: was rewatching recently. There's like a whole hour of this

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Speaker 3: movie that I completely forgot about in the middle.

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Speaker 2: Yeah. Yeah, I mean it's easy to expect with an

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Speaker 2: effects film like this, you have your big effects sequences,

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Speaker 2: you have your big finale. Those are the ones that

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Speaker 2: certainly stuck in my head the most. Also, some of

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Speaker 2: the like the Martin Short over the top freak out moments,

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Speaker 2: which I mean, if you're going to hire Martin Short,

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Speaker 2: especially you know during the eighties or the nineties or

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Speaker 2: well or subsequent decades, you're going to want at least

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Speaker 2: a little of.

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Speaker 3: That or even now. Yeah, I think that's that's still

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Speaker 3: a stock in trade, and I think that, you know what,

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Speaker 3: I kind of maybe tuned out and we'll get to it,

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Speaker 3: of course, But what didn't really stick on my memory

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Speaker 3: was all the work needed to move Martin Short around

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Speaker 3: the board. Yes, and upon a rewatch, it's pretty compelling

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Speaker 3: stuff that's moving him around the board. But like you said,

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Speaker 3: I'm more fascinated with what's going on inside his body,

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Speaker 3: what the tech looks like, how he got there in

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Speaker 3: the first place, and how he's going to get out

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Speaker 3: of that situation. And there's a huge chunk in the

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Speaker 3: middle of that sandwich that I wasn't really thinking about.

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Speaker 2: Yeah, it's a film that is, it's constantly in motion.

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Speaker 2: It keeps adding new elements, often wild elements on top

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Speaker 2: of the shu. Yeah, new characters. There's a whole whole

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Speaker 2: cast of villains in this picture, as we'll discuss. So

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Speaker 2: it's never boring, it's it's in constant motion. It is

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Speaker 2: like Martin Short as a film.

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Speaker 3: Yeah, that's a good way to put it. Martin Short

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Speaker 3: film film modified.

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Speaker 2: Now this is of course a miniaturization film. If you're

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Speaker 2: I think everyone out there is familiar with this subgenre

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Speaker 2: of science fiction by now, with the classic example being

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Speaker 2: Fantastic Voyage. This is essentially Fantastic Voyage through Martin Short.

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Speaker 2: I don't know that we've had a menturization film recently.

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Speaker 2: It seems like more recently you tend to see it

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Speaker 2: pop up like as a treatment on some sort of

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Speaker 2: a science fiction show. I think Rick and Morty did

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Speaker 2: a miniaturization episode years back, and I don't know that

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Speaker 2: we've had any kind of like big Fantastic to Voyage

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Speaker 2: style adventure recently.

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Speaker 3: I think the one that stands out to me, and

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Speaker 3: it's not a movie, but the Futurama episode where Fry

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Speaker 3: eats an egg salad sandwich from a gas station, that's

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Speaker 3: a great one. The parasites from the sandwich colonize his

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Speaker 3: body and become super intelligent and have a whole civilization

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Speaker 3: in there, and they have to go inside to reconcile that.

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Speaker 2: Yes, that's a great one because it's it's Fantastic Voyage themed,

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Speaker 2: but it is also a Flowers for Algernon themed episode,

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Speaker 2: so it has it has a fair amount of depth

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Speaker 2: to it as well, and then just a lot of

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Speaker 2: great jokes, and there's the whole worm thing why people

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Speaker 2: came over on the sandwich. Great stuff. All right, let's

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Speaker 2: go ahead and listen in to at least some of

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Speaker 2: the trailer audio here. Let's let it roll.

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Speaker 4: Test pilot Tuck Pendleton wants to make history. Supermarket clerk

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Speaker 4: Jack Putter needs a vacation. Late.

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Speaker 2: That's not good, you know.

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Speaker 4: It's Lieutenant Pendleton is about to be miniaturized, placed into

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Speaker 4: this needle, and then injected into this.

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Speaker 3: Rabbit back and roll. But something went wrong.

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Speaker 4: And Tuck's about to get a new destination inside Jack Putter.

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Speaker 4: Give yourself a shot of adventure inner space.

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Speaker 2: All right, David, I see you had a note here

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Speaker 2: about the music in the trailer, possibly the trailer we

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Speaker 2: used here, but possibly another trailer. But still, this is

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Speaker 2: a great point regarding the music.

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Speaker 3: Yeah, this is the music used for the Fertelly chase

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Speaker 3: scene in Goonies, The dun dunt dun dun't. It's always

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Speaker 3: great when a podcast guest just like hums a line

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Speaker 3: nolesly for you. But it's really really it's opening scene

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Speaker 3: of Gooney. It's really iconic bit of music. Cool to

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Speaker 3: see it here, but also a little bit strange to

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Speaker 3: see it here too.

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Speaker 2: Yeah, it's like when you encounter a trailer where they're

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Speaker 2: clearly using the Aliens theme song, you know, it's like,

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Speaker 2: that's great, you're really getting me amped up, but amped

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Speaker 2: up for a different movie.

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Speaker 3: Right, just kind of dug through the drawer for it

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Speaker 3: and got something that you knew I would recognize and

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Speaker 3: knew would pull me in.

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Speaker 2: I guess they still do this today, right, use because

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Speaker 2: the music's not always together when you're putting together a trailer,

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Speaker 2: or you're just like, well, we have rights to better music,

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Speaker 2: let's sell this puppy.

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Speaker 3: Yeah. I think that's you know, the marketing can be

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Speaker 3: that detached from the actual production that unless you've got

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Speaker 3: the Star Wars theme ready to go with your Star

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Speaker 3: Wars trailer, you're gonna take some liberties. And it really,

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Speaker 3: you know, matches the tone of the movie in a

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Speaker 3: way that if you weren't again hyper familiar with goonies

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Speaker 3: the way that I was as a kid. That was

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Speaker 3: the other video that I was renting. The music fits

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Speaker 3: the tone of the trailer, fits the tone of the

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Speaker 3: movie really really well. It's a wacky, wacky movie.

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Speaker 2: Yeah, absolutely, all right, So some of you might be wondering, well,

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Speaker 2: where can I watch innerspace before proceeding with the rest

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Speaker 2: of the episode. Well, luckily for you, this was a

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Speaker 2: major motion picture. It has not been entirely forgotten. It's

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Speaker 2: maybe not as celebrated as it should be, but you

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Speaker 2: can find streams of it, you know, digital rentals and purchases.

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Speaker 2: A Blu Ray edition is out there. And I do

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Speaker 2: notice that it has an older director's commentary on it

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Speaker 2: with director Joe Dante, producer Michael Finnell, co stars Kevin

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Speaker 2: McCarthy and Robert Piccardo, and also visual effects supervisor Dennis Murreen.

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Speaker 2: Obviously an older director's commentary. I haven't listened to it,

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Speaker 2: but I don't think I've ever listened to a Joe

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Speaker 2: Dante commentary track. But he's one of those guys that's

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Speaker 2: so knowledgeable. I bet bet it's pretty great.

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Speaker 3: It's really interesting that Kevin McCarthy and Robert Piccardo would

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Speaker 3: be the sit ins on that commentary and not Quaid

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Speaker 3: or Short or even Meg Ryan.

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Speaker 2: Well know, sometimes you can't get the big fish. They

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Speaker 2: move on to other projects I don't.

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Speaker 3: Know, and their presence in the movie is pretty significant.

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Speaker 3: These guys are not bit players at all. They're huge

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Speaker 3: parts of the movie.

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Speaker 2: Plus with Joe Dante, you know that he loves like old,

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Speaker 2: older actors, you know from classic Hollywood pictures, So you

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Speaker 2: know there's Kevin McCarthy, and then he loves to cast

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Speaker 2: Robert Riccardo and put him in strange romantic situations such

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Speaker 2: as with the made up Grimlin from Grimlins too.

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Speaker 3: He's it's he's so weird in this movie is character.

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Speaker 2: I can't wait to get into that character.

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Speaker 3: Yeah.

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Speaker 2: All right, well, let's let's talk a bit more about

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Speaker 2: the people involved here, starting with Joe Dante born nineteen

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Speaker 2: forty six. Joe and I have previously discussed Joe Dante

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Speaker 2: on Weird House Cinema because we talked about Grimlins too.

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Speaker 2: One of the things that I pointed out, just sort

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Speaker 2: of to try and sum him up, is that he's

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Speaker 2: one of these guys that seems to have a foot

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Speaker 2: in two worlds, Like on one hand, he's like a

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Speaker 2: horror legend, and on the other hand he's this obvious

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Speaker 2: Spielbergian ambulin entertainment guy. And you see more of the second,

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Speaker 2: but also a little the first in this one. On

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Speaker 2: the horror front, you have the likes of the Howling

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Speaker 2: from eighty one Piranha from seventy eight, and then you

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Speaker 2: get into that Grimlin zone, which is kind of crossing

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Speaker 2: the threshold. He directed the segment It's a Good Life

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Speaker 2: in Twilight Zone, the movie from nineteen eighty three. But

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Speaker 2: then he also did things like nineteen eighty five's The Explorers,

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Speaker 2: eighty nine's The Birds, nineteen ninety three, He's Manatee, and

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Speaker 2: this film especially, it is definitely in that ambulance zone.

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Speaker 2: It is an ambulin entertainment picture.

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Speaker 3: Yeah, he's definitely, you know, he's He's This sounds like

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Speaker 3: a dig but I don't mean it that way. He

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Speaker 3: is like a ranch dressing of a director in that

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Speaker 3: he can go in any direction. I think he's got

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Speaker 3: strong horror chops, but he really shines when he's bringing

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Speaker 3: a bunch of differ different elements to a bunch of

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Speaker 3: different genres to the movie and creating something that's completely unique.

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Speaker 3: See it in Grimlins one hundred percent, and you really

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Speaker 3: see it here where the slapstick wouldn't work without the

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Speaker 3: spy espionage angle, without the tech angle, without the sci

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Speaker 3: fi element of it, like it all blends together and

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Speaker 3: creates something that is really his signature, you know.

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Speaker 2: Yeah, and I would argue that it even feels more

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Speaker 2: cohesive than Grimlin's. Grimlin's certainly a better known film, but

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Speaker 2: that's one that I always felt like it didn't completely

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Speaker 2: know what it wanted to be. This film, I feel

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Speaker 2: like it balances everything pretty nicely. You know, nothing feels

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Speaker 2: out a step.

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Speaker 3: I agree. I think that he's having fun here, and

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Speaker 3: not to say that Grimlins is not fun, but Grimlins

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Speaker 3: feels like it's trying to send you a message as well,

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Speaker 3: and I think there's no message here. The message is

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Speaker 3: what if this happened?

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Speaker 2: Let's watch and let's keep upping the anti Yeah, yeah, Oh,

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Speaker 2: I have a post editing insertion to make here. You

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Speaker 2: might have caught my mistake there. I just referenced a

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Speaker 2: nineteen ninety three Joe Dante movie that I said was

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Speaker 2: called Manate. The film is, of course, Mattine, but I

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Speaker 2: left the mistake in because I don't know about you,

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Speaker 2: but I'm suddenly really fascinated with the idea of a

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Speaker 2: nineteen ninety three Joe Dante film about Manates. Who knows

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Speaker 2: what that would have consisted of. All right, now, let's

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Speaker 2: get back into the episode. Let's see getting into the

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Speaker 2: writers on this Jeffrey Boehm, who of nineteen forty six

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Speaker 2: through two thousand has I believe the mainscreenplay credit here.

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Speaker 2: Accomplished American screenwriter whose credits include seventy eight Straight Time,

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Speaker 2: eighty three's The Dead Zone, eighty seven's The Lost Boys,

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Speaker 2: eighty nine's Indiana Jones and The Last Crusade, as well

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Speaker 2: as a couple of lethal weapon movies. He also directed

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Speaker 2: and wrote one episode of Tales from the Crypt titled

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Speaker 2: Creep Course.

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Speaker 3: Wow, I mean this is just home Run after home Run?

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Speaker 2: Yeah? Yeah, he was involved in a lot of big projects.

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Speaker 2: The other name on the screenplay also story and co

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Speaker 2: producer credit, Chip Prosser for nineteen forty six, writer and director,

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Speaker 2: probably best known for this film, though we also worked

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Speaker 2: in the screenplay to some degree. I'm I'm not sure

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Speaker 2: to what degree with nineteen eighty four is Iceman?

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Speaker 3: So is this a top Gun prequel? No?

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Speaker 2: It is an unfrozen cave man movie, all right. Now,

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Speaker 2: getting into the cast for Innerspace, it is pretty extensive

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Speaker 2: with some great bit parts and cameos, which is pretty

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Speaker 2: standard for Joe Dante. So I'm going to try to

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Speaker 2: either go light on a number of them and just

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Speaker 2: skip some as well, and then also maybe come back

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Speaker 2: just in passing to some of the cameos as they

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Speaker 2: turn up. But the star, and I mean, really, this

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Speaker 2: is a picture that has a trio of leads. But

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Speaker 2: Top Bill anyway is Dennis Quay playing Tuck Pendleton.

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Speaker 3: What a name?

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Speaker 2: Yeah, the names are pretty good. You're Tuck Pendleton? Is

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Speaker 2: that you can guess? He is like a test pilot.

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Speaker 2: He's he would he would be at home in Top Gun.

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Speaker 3: Yeah, yeah, he's definitely. Look, kid me couldn't get much

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Speaker 3: cooler than this actor in this role. I mean, yeah,

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Speaker 3: he in all the worst ways too. I think as

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Speaker 3: an adult, I'm a little bit repulsed by his demeanor,

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Speaker 3: his swagger. But as a kid, this was eighties cool.

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Speaker 3: With a little bit of reflection, I can see what

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Speaker 3: a rip on Tom Cruise this this delivery is. And

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Speaker 3: it really seems like it's trying. He's trying for a

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Speaker 3: Maverick type thing. Almost Maverick and Iceman merged together to

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Speaker 3: be a competent pilot who is also just a big

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Speaker 3: jerk as well.

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Speaker 2: Oh my goodness, I didn't even think about the Top

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Speaker 2: Gun connection, about sitting a riff on on Top Gun.

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Speaker 2: That's a film that kind of for me, it kind

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Speaker 2: of stands out of time for me, like I don't

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Speaker 2: necessarily think about it in connection to other projects, But

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Speaker 2: now that you've pointed out, yeah, I can't unsee it.

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Speaker 3: I think that you know, I made the mistake of

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Speaker 3: using these films as cues for how to act in

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Speaker 3: real life, which I think is is a frequent eighties

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Speaker 3: kid misstep. But because of the frequency of viewing of

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Speaker 3: this uh interspace Goonies Top Gun, it created a percent

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Speaker 3: that was very not organic to me and and stuck

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Speaker 3: out like a sort of thumb whenever I would try

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Speaker 3: to use it.

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Speaker 2: Yeah, I mean, he's not the it's not the worst

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Speaker 2: role model you could latch onto as far as a

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Speaker 2: lead character in an eighties picture. But yeah, he's he's

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Speaker 2: obnocked right right from the get go. He's obnoxious, he's drunk,

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Speaker 2: He clearly is a mess, and but he's he's portrayed

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Speaker 2: as a likable man, a lovable mess.

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Speaker 3: Yeah, it's a very very kind and funny take on

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Speaker 3: all because he's drunk for a lot of the movie,

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Speaker 3: and alcohol is his motivation in a lot of cases,

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Speaker 3: he will get to it, but designs a robot to

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Speaker 3: pour a drink for him and does it poorly. One

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Speaker 3: of his big orders of business for Martin Short is

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Speaker 3: to pour some alcohol for him. He's really booze centered.

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Speaker 2: Just drinking giant molecules of whiskey. As we'll get back to.

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Speaker 2: But yeah, I mean Dennis Quaid. This is not an

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Speaker 2: actor that we really need to introduce much. I think

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Speaker 2: everybody knows who Dennis Quaid is, famous leading man brother

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Speaker 2: of Randy. Credits go back to the mid seventies and

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Speaker 2: he's really been in all sorts of stuff, Like it's

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Speaker 2: really weird to look through his filmography, like just looking

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Speaker 2: at twenty twenty four. He managed to star in the

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Speaker 2: GOP Cinematic Universe film Reagan as Reagan, and he played

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Speaker 2: a major role in the body horror film The Substance.

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Speaker 3: Oh, I have not seen The Substance yet. I'm excited too, though.

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Speaker 2: Yeah, I haven't seen anither of him yet. I'm gonna

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Speaker 2: I probably need to do him back to back. But yeah,

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Speaker 2: his career that was full of stuff like this, Like

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Speaker 2: it's a mix of genre films and mainstream dramas and

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Speaker 2: comedies as well as biopicks. I think he played Jerry

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Speaker 2: Lee Lewis in a biopic at one point, so yeah,

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Speaker 2: it's kind of hard to pin him down. I think

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Speaker 2: for my own money, When I think of Dennis quaid films, though,

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Speaker 2: I instantly think of nineteen eighty five's Enemy Mine, where

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Speaker 2: it's it's Dennis Quaid Lewis gossip junior, human and alien

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Speaker 2: on a strange alien world. I was always very captivated

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Speaker 2: by that one.

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Speaker 3: For me, it's this movie. This is the image that

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Speaker 3: instantly comes to mind is his image from the poster,

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Speaker 3: which is, you know, he looks very handsome. He's got

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Speaker 3: a joker grin, a Jack Nicholson joker grin that's maybe

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Speaker 3: digitally enhanced to be a little bit bigger than it

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Speaker 3: should be, and it just really sells his swagger. You know,

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Speaker 3: that look on a space the way it's on the

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Speaker 3: poster really sells who he is in this movie.

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Speaker 2: Yeah. Yeah, he's having a great time. Yeah all right.

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Speaker 2: Our other main character that Dennis Quade's character is going

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Speaker 2: to be inside of in a miniaturized form is the

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Speaker 2: character Jack Putter, played by Martin Short born nineteen fifty

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Speaker 2: another name that scarcely requires introduction. Martin Short is just

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Speaker 2: a comedy legend.

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Speaker 3: Yeah. I don't know what to say about Martin Short,

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Speaker 3: so sorry that you had me on your podcast, but

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Speaker 3: he's just great. I mean, he's he's been a part

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Speaker 3: of my comedic sensibility since I was very very young.

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Speaker 3: In every role that he's in, from Three Amigos all

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Speaker 3: the way to only Mergers in the Building, he's just

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Speaker 3: fantastic and he is himself. He delivers every time, and

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Speaker 3: he's a chameleon in appearance, but his sensibility, his timing,

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Speaker 3: his slapstick is always very very Martin Short specific. I

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Speaker 3: think my favorite role of his has got to be

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Speaker 3: Jimmy Glick, a huge Click fan, and I was delighted

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Speaker 3: this past year when he reprised the role and did

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Speaker 3: a few more bits of him.

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Speaker 2: Yeah. I mean, he's one of those actors that when

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Speaker 2: I when I think of Martin Short, I instantly think

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Speaker 2: of those really you know, over the top in high

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Speaker 2: energy characters I think of of Glick, I think of

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Speaker 2: Ed Grimley of course his character and Arrested Development Jack Dorso,

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Speaker 2: you know, and he's he's great at that, and he's

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Speaker 2: great at those like freak out performances in a way

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Speaker 2: that they are very I feel like there are very

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Speaker 2: few actors I would even compare him to, like maybe,

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Speaker 2: you know, compare him to the likes of, you know,

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Speaker 2: Robin Williams or or Jim Carrey even you know where

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Speaker 2: they can they can hit that level of intensity, comedic intensity.

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Speaker 2: But then I would also compare him to the other

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Speaker 2: two in that, especially when you look at some recent

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Speaker 2: Martin short performances, like he's he's a really strong actor,

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Speaker 2: you know, he's he's really great in these smaller non

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Speaker 2: comedic roles or stretches as well. And I think you

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Speaker 2: really see that on Only Murders in the Building, a

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Speaker 2: great TV series, obviously comedic series. It doesn't take it

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Speaker 2: itself too seriously, and he's surrounded by great actors and actresses,

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Speaker 2: but I am most frequently impressed by the smaller moments

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Speaker 2: with his character on that show.

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Speaker 3: Yeah, I think, especially in Only Murders in the Building,

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Speaker 3: I think he does a really good job of representing

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Speaker 3: not just the comedic bits, but the building itself and

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Speaker 3: life in the building and what it means to be

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Speaker 3: at that stage of your life in that building and

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Speaker 3: getting on in years and what that means for your

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Speaker 3: relationship with your family, And yeah, that's never not never,

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Speaker 3: It's rarely the focus. But when it is, or when

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Speaker 3: it turned to that, it doesn't seem out of character

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Speaker 3: or a stretch for him to be believable in those

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Speaker 3: somber moments.

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Speaker 2: Yeah. So I don't think we see as much from

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Speaker 2: him along those lines in Interspace, but again, certainly in

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Speaker 2: other projects. He was also really good. Recently in the

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Speaker 2: series of The Morning Show, he had a small part

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Speaker 2: is a disgrace director named Dick Lundy and the name

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Speaker 2: sounds like a Martin Short character, but it was like,

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Speaker 2: it's like a really serious, like creepy kind of character,

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Speaker 2: a charismatic, charming, sexual predator sort of a guy. Wow.

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Speaker 3: Going back to comparing him with Robin Williams and Jim

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Speaker 3: Carrey almost called him James Carrey.

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Speaker 2: Jim Carrey, I think you know it's James now that

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Speaker 2: he's back in Sonica.

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Speaker 3: That's right. I think he the roles the characters that

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Speaker 3: he creates, and I think this movie is a great example.

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Speaker 3: You can't imagine anybody else being these characters, and that's

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Speaker 3: true of Robin Williams and James Carey. You can't imagine

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Speaker 3: somebody else doing the mask or ace Ventura, you know,

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Speaker 3: you know, I was reading somewhere. I don't know if

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Speaker 3: this is true or not, but early versions of this

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Speaker 3: movie were pitched as Michael J. Fox enters the body

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Speaker 3: of Arnold Schwartzenegger. And I think it's a good one

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Speaker 3: two to show the difference in those characters in the movie.

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Speaker 3: But taking that literally, what a different experience that would

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Speaker 3: have been, you know what I mean? And even assuming

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Speaker 3: in that scenario that Michael J. Fox would be playing

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Speaker 3: the Martin Short role, even if the miniaturization were reversed,

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Speaker 3: it would have been a completely different read, completely different character.

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Speaker 3: No shade on Michael J. Fox, of course he's brilliant,

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Speaker 3: but it would have hit completely differently, been a completely

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Speaker 3: different kind of movie.

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Speaker 2: Yeah, I agreed, absolutely, all right, get into the rest

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Speaker 2: of the cast. Here we have Meg Ryan playing Lydia

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Speaker 2: Maxwell Meg Ryan born nineteen sixty one, another huge name

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Speaker 2: that I think most everyone's familiar with, mostly known for

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Speaker 2: I guess her biggest successes were a handful of just

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Speaker 2: highly successful rom coms of the eighties and nineties. Eighty

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Speaker 2: nine's When Harry Met Sally ninety three, Sleepless in Seattle

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Speaker 2: the Eights, You've Got Mail, So I'm pretty pretty big deal.

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Speaker 2: She's been in other things, for sure. She was in

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Speaker 2: nineteen eighty three's Amityville three D, for example, the one

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Speaker 2: with the claw busting out of the VHS cover.

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Speaker 3: Also in Top Gun, Oh well, yeah, plays Goose's wife.

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Speaker 3: I think I kind of feel like this is a

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Speaker 3: Top Gun episode, Rob I'm gonna dot Top Gun episode.

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Speaker 2: Yeah. But again, Yeah, she's great in this, we'll get

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Speaker 2: into It's an interesting role. There is an interesting love

430
00:23:34,200 --> 00:23:37,320
Speaker 2: triangle in this picture that I was totally lost on

431
00:23:37,440 --> 00:23:40,040
Speaker 2: me as a kid, but watching it as a grown

432
00:23:40,119 --> 00:23:43,360
Speaker 2: up is just it's deeply weird. It's strange that they

433
00:23:43,400 --> 00:23:45,879
Speaker 2: ever even went for all of this, even with all

434
00:23:45,920 --> 00:23:50,480
Speaker 2: the restraint they show that it's a strange love triangle. Yeah,

435
00:23:51,440 --> 00:23:54,560
Speaker 2: but she's great. She has great chemistry with everyone, including

436
00:23:54,600 --> 00:23:57,560
Speaker 2: Dennis Quaid, who she would end up marrying after this picture.

437
00:23:57,840 --> 00:23:58,960
Speaker 3: That's right, that's right.

438
00:23:59,760 --> 00:24:02,399
Speaker 2: And spoiler she marries his character at the end of

439
00:24:02,440 --> 00:24:02,960
Speaker 2: this movie.

440
00:24:03,320 --> 00:24:06,439
Speaker 3: So I got a lot to say about that. Yeah,

441
00:24:06,720 --> 00:24:08,200
Speaker 3: that guest list is wild.

442
00:24:08,720 --> 00:24:12,119
Speaker 2: Yes, yes, it feels like a rap party. I'll go

443
00:24:12,240 --> 00:24:14,600
Speaker 2: back to it. All right, Now, getting into the many,

444
00:24:14,600 --> 00:24:16,880
Speaker 2: many villains of this picture, we'll start with the lead

445
00:24:16,960 --> 00:24:19,600
Speaker 2: villain that we eventually are introduced to, and that is

446
00:24:19,640 --> 00:24:23,359
Speaker 2: a Victor Scrimshaw, played by Kevin McCarthy, who of nineteen

447
00:24:23,400 --> 00:24:26,719
Speaker 2: fourteen through twenty ten American actor, nominated for an Oscar

448
00:24:26,760 --> 00:24:28,879
Speaker 2: for his performance in the nineteen fifty two adaptation of

449
00:24:28,920 --> 00:24:32,119
Speaker 2: Death of a Salesman, but I think known to many

450
00:24:32,160 --> 00:24:37,119
Speaker 2: out there for his just wonderful paranoid performance in nineteen

451
00:24:37,160 --> 00:24:39,880
Speaker 2: fifty six is Invasion of the Body Snatchers, the original

452
00:24:39,880 --> 00:24:42,800
Speaker 2: black and white one. Also perhaps known to many of

453
00:24:42,800 --> 00:24:45,639
Speaker 2: you for his role in eighty nine's UHF. I assume

454
00:24:45,720 --> 00:24:48,160
Speaker 2: I don't remember who he played in UHF. I'm assuming

455
00:24:48,200 --> 00:24:51,960
Speaker 2: it was a villain, like a studio TV studio villain

456
00:24:52,080 --> 00:24:52,680
Speaker 2: of some sort.

457
00:24:53,480 --> 00:24:57,840
Speaker 3: Yeah, I don't recall. That's maybe we'll do UHF next time, Rob.

458
00:24:59,560 --> 00:25:02,160
Speaker 3: That's a a great movie that it's been way too

459
00:25:02,160 --> 00:25:03,000
Speaker 3: long since I've seen.

460
00:25:03,640 --> 00:25:07,440
Speaker 2: Yeah. Clearly though, Kevin McCarthy was a favorite Joe Dante's

461
00:25:07,440 --> 00:25:09,639
Speaker 2: because some of his other credits include The Howling the

462
00:25:09,680 --> 00:25:13,920
Speaker 2: Birds Piranha. He also pops up in nineteen ninety one's

463
00:25:13,960 --> 00:25:16,439
Speaker 2: Eve of destruction. That's one that I never saw, but

464
00:25:16,480 --> 00:25:18,359
Speaker 2: saw the trailers for all the time. It has like

465
00:25:18,400 --> 00:25:20,720
Speaker 2: a killer lady terminator in it.

466
00:25:21,480 --> 00:25:24,639
Speaker 3: I remember him most specifically from The Distinguished Gentleman, The

467
00:25:24,720 --> 00:25:28,600
Speaker 3: Eddie Murphy movie from nineteen ninety two, where great premise,

468
00:25:28,680 --> 00:25:31,840
Speaker 3: Eddie Murphy runs for Congress using he has the same

469
00:25:32,119 --> 00:25:35,560
Speaker 3: name as a deceased congress person and uses the fact

470
00:25:35,560 --> 00:25:37,760
Speaker 3: that nobody knows whether their congressman died or not to

471
00:25:37,760 --> 00:25:38,320
Speaker 3: get elected.

472
00:25:39,880 --> 00:25:42,920
Speaker 2: But that real that I have never heard of this movie.

473
00:25:43,160 --> 00:25:46,840
Speaker 3: Amazing premise. Yeah, great, it's pretty fun movie. Pretty fun movie.

474
00:25:47,040 --> 00:25:52,080
Speaker 3: It's part of that Eddie Murphy era with Boomerang early nineties.

475
00:25:52,800 --> 00:25:59,320
Speaker 3: But another great movie. But Kevin McCarthy plays a seasoned

476
00:25:59,400 --> 00:26:04,160
Speaker 3: congress who knows the grift very well, kind of takes

477
00:26:04,800 --> 00:26:08,119
Speaker 3: Eddie Murphy under his wing and shows him how to

478
00:26:09,440 --> 00:26:13,760
Speaker 3: how to grift in in the right way, which is

479
00:26:13,840 --> 00:26:15,120
Speaker 3: to say, the political way.

480
00:26:15,680 --> 00:26:17,040
Speaker 2: All right, No, that sounds pretty fun.

481
00:26:17,520 --> 00:26:20,080
Speaker 3: Really slimy guy. McCarthy plays him really well.

482
00:26:20,560 --> 00:26:23,320
Speaker 2: Yeah he is. He's really good at playing the slimy villain,

483
00:26:24,200 --> 00:26:29,280
Speaker 2: all right. Other villains include his kind of partner in

484
00:26:29,359 --> 00:26:34,040
Speaker 2: crime here is doctor Margaret Kanker. Canker played by Fiona

485
00:26:34,119 --> 00:26:37,640
Speaker 2: Lewis born nineteen forty six, British actress who we've discussed

486
00:26:37,640 --> 00:26:39,440
Speaker 2: on the show before because she was in nineteen seventy

487
00:26:39,480 --> 00:26:43,320
Speaker 2: two's Doctor Fivees Rises Again starring Vincent Price, and her

488
00:26:43,359 --> 00:26:46,680
Speaker 2: other credits include sixty seven's To Fearless, Vampire Killers, seventy

489
00:26:46,680 --> 00:26:49,560
Speaker 2: three is Blue Blood with Oliver Reed, the nineteen seventy

490
00:26:49,560 --> 00:26:55,440
Speaker 2: four Draculas starring Jack Palance, seventy five Listomania, seventy seven's

491
00:26:55,800 --> 00:26:58,880
Speaker 2: Tintoria Killer Shark, seventy eight's The Fury, and eighty three

492
00:26:59,000 --> 00:27:02,680
Speaker 2: Strange Invaders. This was her last film role before her retirement.

493
00:27:03,320 --> 00:27:06,639
Speaker 3: Yeah, I wasn't familiar with her, but I felt like

494
00:27:06,680 --> 00:27:09,760
Speaker 3: I was. She looked so familiar, her performance was so

495
00:27:10,920 --> 00:27:13,960
Speaker 3: familiar to me, but I could not place it even

496
00:27:14,000 --> 00:27:16,640
Speaker 3: through an IMDb. I couldn't remember what she stood out

497
00:27:16,680 --> 00:27:22,679
Speaker 3: to me from. But fantastic role, fantastic performance, and just

498
00:27:22,720 --> 00:27:25,600
Speaker 3: something it's gonna nag me until the day I die.

499
00:27:25,640 --> 00:27:26,640
Speaker 3: What I remember it from?

500
00:27:28,400 --> 00:27:31,120
Speaker 2: All Right? The next villain. Oh, this is the one

501
00:27:31,119 --> 00:27:33,080
Speaker 2: of the big ones, if not the biggest one, This

502
00:27:33,119 --> 00:27:35,520
Speaker 2: is the one I think everyone remembers. This is mister

503
00:27:35,680 --> 00:27:41,040
Speaker 2: Igo played by Oh they always intimidating. Vernon Wells born

504
00:27:41,119 --> 00:27:44,560
Speaker 2: nineteen forty five Australian actor, best known for playing heavies

505
00:27:44,560 --> 00:27:47,640
Speaker 2: for that like signature mug of his and he's played

506
00:27:47,680 --> 00:27:48,919
Speaker 2: some really iconic ones.

507
00:27:49,560 --> 00:27:55,320
Speaker 3: He's bad news. Yeah, he's just in this movie in particular,

508
00:27:55,440 --> 00:28:00,280
Speaker 3: the most fun kind of bad news, but menacing without

509
00:28:01,000 --> 00:28:04,640
Speaker 3: all right, there are a few tells that he had,

510
00:28:04,760 --> 00:28:07,600
Speaker 3: like really specific tells through the movie, but most of

511
00:28:07,640 --> 00:28:09,520
Speaker 3: it is just the aura that he brings to the screen.

512
00:28:09,600 --> 00:28:11,359
Speaker 3: He's he's a menace. He's one to watch out for.

513
00:28:11,840 --> 00:28:15,320
Speaker 2: Yeah, and we'll discuss like his character is probably one

514
00:28:15,320 --> 00:28:19,000
Speaker 2: of the better sort of terminator esque villains, like spin

515
00:28:19,080 --> 00:28:23,480
Speaker 2: on Terminator without going too hard on the terminatorness, you know, like, yeah,

516
00:28:23,680 --> 00:28:26,120
Speaker 2: he's not really a cyborg, but he's got like this

517
00:28:26,640 --> 00:28:29,840
Speaker 2: cool prosthetic hand. And I was always like all in

518
00:28:30,000 --> 00:28:33,080
Speaker 2: unprosthetic hand villains at this at this age when I

519
00:28:33,080 --> 00:28:34,600
Speaker 2: was a kid, you know, And this guy's got all

520
00:28:34,640 --> 00:28:35,840
Speaker 2: sorts of cool gadgets.

521
00:28:36,359 --> 00:28:39,400
Speaker 3: He does feel like more of a little stinker in

522
00:28:39,520 --> 00:28:42,880
Speaker 3: his actual actions than he is a terminator that will

523
00:28:42,960 --> 00:28:45,960
Speaker 3: end your life, even though that's always the threat whenever

524
00:28:46,000 --> 00:28:46,560
Speaker 3: he's around.

525
00:28:46,760 --> 00:28:48,840
Speaker 2: Yeah, but he'll also just pop a clown's balloon for

526
00:28:49,000 --> 00:28:52,400
Speaker 2: no reason except that he hates fun. So yeah, Wells,

527
00:28:52,480 --> 00:28:55,800
Speaker 2: Vernon Wells, he had some great roles. He played Wez

528
00:28:55,800 --> 00:28:58,280
Speaker 2: that's the mohawk, the mohawk guy in eighty one's The

529
00:28:58,360 --> 00:29:01,600
Speaker 2: Road Warrior. He was the Lord General in eighty five's

530
00:29:01,640 --> 00:29:04,720
Speaker 2: Weird Science. Oh, and then a big one he's been

531
00:29:04,800 --> 00:29:09,000
Speaker 2: at the guy with the mustache and Commando Amazing. He's

532
00:29:09,040 --> 00:29:11,120
Speaker 2: the one that he kills last because he likes him

533
00:29:11,120 --> 00:29:12,920
Speaker 2: the most. I can't I can never remember how that

534
00:29:12,960 --> 00:29:17,000
Speaker 2: that's right. But yeah, his Australian TV credits go back

535
00:29:17,000 --> 00:29:19,040
Speaker 2: to the mid seventies and he's one of these guys

536
00:29:19,040 --> 00:29:21,480
Speaker 2: that remains highly active in genre pictures. He's got like,

537
00:29:21,520 --> 00:29:26,480
Speaker 2: you know, like three dozen upcoming projects. That's sort of cheeze. Yeah,

538
00:29:26,520 --> 00:29:29,440
Speaker 2: so he's great. But then we're not done with the villains.

539
00:29:29,480 --> 00:29:32,200
Speaker 2: We also have one more and it's another very memorable one,

540
00:29:32,480 --> 00:29:35,760
Speaker 2: and it is the Cowboy, played by Robert Picardo born

541
00:29:35,840 --> 00:29:39,160
Speaker 2: fifty three, Frequently cast by Joe Dante in a variety

542
00:29:39,160 --> 00:29:41,280
Speaker 2: of roles. He gets to play a bad guy here,

543
00:29:41,320 --> 00:29:43,960
Speaker 2: though with plenty of comedic elements, and I just have

544
00:29:44,040 --> 00:29:46,840
Speaker 2: to say, an accent of unknown origin. I have no

545
00:29:46,880 --> 00:29:52,000
Speaker 2: idea what they were going for here. I think it's

546
00:29:52,080 --> 00:29:55,760
Speaker 2: inoffensive because I have no idea, like what part of

547
00:29:55,800 --> 00:29:58,200
Speaker 2: the globe it's supposed to be. Like, I always thought

548
00:29:58,240 --> 00:30:01,120
Speaker 2: he was maybe supposed to be Russian, but I don't know.

549
00:30:01,160 --> 00:30:03,680
Speaker 2: I saw some write ups online where people make arguments

550
00:30:03,680 --> 00:30:05,360
Speaker 2: for other corners of the world.

551
00:30:05,960 --> 00:30:07,440
Speaker 3: You know, you're gonna get mad at me, rob but

552
00:30:07,520 --> 00:30:10,560
Speaker 3: this is exactly like the Bad Guy Meg Fighters and

553
00:30:10,640 --> 00:30:15,920
Speaker 3: Top Gun, where they're they're from somewhere else. They're not

554
00:30:15,920 --> 00:30:17,800
Speaker 3: gonna tell you what country they're from because they don't

555
00:30:17,800 --> 00:30:20,520
Speaker 3: want to get at that country upset. But they're just

556
00:30:20,600 --> 00:30:21,959
Speaker 3: kind of other, you know.

557
00:30:22,240 --> 00:30:22,440
Speaker 2: Yeah.

558
00:30:22,520 --> 00:30:27,440
Speaker 3: I think that in Robert's case, this accent is either

559
00:30:27,520 --> 00:30:32,240
Speaker 3: super offensive or engineered to be as inoffensive as possible,

560
00:30:32,280 --> 00:30:34,640
Speaker 3: because it could not be real and could not harken

561
00:30:34,720 --> 00:30:37,200
Speaker 3: to any specific existing accent.

562
00:30:37,800 --> 00:30:40,360
Speaker 2: Yeah. And then on top of that, he has this

563
00:30:41,160 --> 00:30:45,640
Speaker 2: like old Hollywood cowboy persona that he has completely taken on.

564
00:30:45,680 --> 00:30:48,040
Speaker 2: So he's always wearing the cowboy boots often the other

565
00:30:48,920 --> 00:30:52,720
Speaker 2: bells and whistles as well. It's it's a fun and

566
00:30:52,760 --> 00:30:54,080
Speaker 2: perplexing villain role.

567
00:30:54,680 --> 00:30:57,600
Speaker 3: He's I kept having to remind myself that he was

568
00:30:57,640 --> 00:31:01,720
Speaker 3: a villain. He doesn't seem villain. Most of his scenes

569
00:31:01,720 --> 00:31:05,720
Speaker 3: are pretty silly, and I keep I kept having to

570
00:31:05,720 --> 00:31:08,680
Speaker 3: remind myself of what he was there to do, yes,

571
00:31:08,720 --> 00:31:10,840
Speaker 3: and why they needed to stop him.

572
00:31:11,560 --> 00:31:15,320
Speaker 2: Yeah, he is. The plot gets fairly complex, but basically

573
00:31:15,440 --> 00:31:20,680
Speaker 2: he represents a buyer for stolen technology. We don't know

574
00:31:20,720 --> 00:31:23,560
Speaker 2: exactly who he's representing. But he's the bag man, right,

575
00:31:23,600 --> 00:31:24,920
Speaker 2: He's the guy with the money.

576
00:31:25,000 --> 00:31:26,760
Speaker 3: Who's just going to go out and dance when he's

577
00:31:26,800 --> 00:31:27,200
Speaker 3: in town.

578
00:31:27,480 --> 00:31:30,880
Speaker 2: Yeah, he's he's also going to party. He's he's up

579
00:31:30,920 --> 00:31:33,520
Speaker 2: to like sleep with any of the leads of this picture,

580
00:31:33,640 --> 00:31:36,960
Speaker 2: like it doesn't matter to him. But yeah, he doesn't

581
00:31:36,960 --> 00:31:38,720
Speaker 2: really do anything bad. I don't think he tries to

582
00:31:38,800 --> 00:31:40,240
Speaker 2: kill anybody, right, he's No.

583
00:31:40,360 --> 00:31:44,560
Speaker 3: He's pretty pretty silly guy. Uh, just good at his job.

584
00:31:44,600 --> 00:31:48,240
Speaker 3: I guess we don't really see that, but we're told

585
00:31:48,320 --> 00:31:50,880
Speaker 3: that he's good at his job, and he seems pretty

586
00:31:50,880 --> 00:31:54,920
Speaker 3: confident all things, you know, considered, He's a pretty confident

587
00:31:54,960 --> 00:31:58,760
Speaker 3: guy who knows himself, knows what he likes and pursues it.

588
00:31:59,280 --> 00:32:02,800
Speaker 2: Yeah. Well, Picgardo was a familiar face I think to

589
00:32:03,360 --> 00:32:05,760
Speaker 2: film and TV viewers in general because on the TV

590
00:32:05,880 --> 00:32:07,680
Speaker 2: front he was on the Wonder Years or he had

591
00:32:07,720 --> 00:32:09,200
Speaker 2: some roles on the Wonder yearside, and he wasn't I

592
00:32:09,200 --> 00:32:11,480
Speaker 2: don't think he was main cast. He was in China Beach,

593
00:32:11,560 --> 00:32:15,480
Speaker 2: Star Trek Voyager of course, and Stargate and then films.

594
00:32:15,560 --> 00:32:18,880
Speaker 2: You know, we had the Howling, we held Total Recall.

595
00:32:18,920 --> 00:32:22,280
Speaker 2: He was Johnny Cab in nineteen ninety and he's also

596
00:32:22,560 --> 00:32:25,120
Speaker 2: part of the cast of twenty sixteens Coen Brothers the

597
00:32:25,160 --> 00:32:28,280
Speaker 2: Coen Brothers film Hail Caesar, but that has everybody in it,

598
00:32:28,320 --> 00:32:30,040
Speaker 2: so I don't know that we really need to single

599
00:32:30,080 --> 00:32:32,200
Speaker 2: him out for that. But yeah, he's always a terrific

600
00:32:32,240 --> 00:32:33,080
Speaker 2: presence funn act.

601
00:32:33,160 --> 00:32:35,040
Speaker 3: Yeah, I'm a big, big fan of his from Star

602
00:32:35,080 --> 00:32:38,680
Speaker 3: Trek and Total Recall of course, probably my favorite movie

603
00:32:38,680 --> 00:32:42,160
Speaker 3: of all time. But a role that was created for him,

604
00:32:42,440 --> 00:32:45,880
Speaker 3: the Johnny Cab, I believe, was molded in his image

605
00:32:45,920 --> 00:32:48,959
Speaker 3: before he was even signed on to the project. They

606
00:32:49,000 --> 00:32:51,160
Speaker 3: wanted him to be the Johnny Cab that badly.

607
00:32:51,720 --> 00:32:53,640
Speaker 2: You take Johnny Cab out of that picture, the whole

608
00:32:53,640 --> 00:32:54,640
Speaker 2: thing falls apart too.

609
00:32:55,200 --> 00:32:57,240
Speaker 3: It truly is the glue, all right?

610
00:32:57,240 --> 00:33:01,920
Speaker 2: And then the final main character and supporting character, I

611
00:33:01,920 --> 00:33:04,160
Speaker 2: guess really I'll mention is Wendy Shawl, who plays a

612
00:33:04,240 --> 00:33:08,840
Speaker 2: character named Wendy This is Jack's coworker at the grocery.

613
00:33:09,640 --> 00:33:13,280
Speaker 2: Born nineteen fifty four. I'm mentioning her mainly because she

614
00:33:13,320 --> 00:33:16,320
Speaker 2: was in Creature from eighty five, an alien knockoff that

615
00:33:16,960 --> 00:33:19,400
Speaker 2: Joe and I discussed on Weird House Cinema here. She

616
00:33:19,440 --> 00:33:22,200
Speaker 2: did a lot of TV, but her later film credits

617
00:33:22,200 --> 00:33:25,720
Speaker 2: include Oh, nineteen eighty seven's Munchies, It's a Gremlin's knockoff,

618
00:33:25,720 --> 00:33:28,440
Speaker 2: a Gromlins movie, You Got Batteries not included eighty nine's

619
00:33:28,480 --> 00:33:30,600
Speaker 2: The Burbs, And she did a lot of TV as well,

620
00:33:30,720 --> 00:33:33,320
Speaker 2: X File, six Feet under a Star Trek Voyager, and

621
00:33:33,360 --> 00:33:35,200
Speaker 2: she's also done a lot of voice acting for a

622
00:33:35,280 --> 00:33:36,560
Speaker 2: family guy in American Dad.

623
00:33:37,520 --> 00:33:40,600
Speaker 3: Great job here too, being she does a lot with

624
00:33:40,640 --> 00:33:42,440
Speaker 3: a little doesn't have a ton of screen time, but

625
00:33:42,520 --> 00:33:44,840
Speaker 3: you really get a vibe of exactly who she is

626
00:33:45,000 --> 00:33:48,560
Speaker 3: from very few lines and just kind of her presence

627
00:33:48,560 --> 00:33:49,920
Speaker 3: and reaction to things.

628
00:33:50,360 --> 00:33:53,200
Speaker 2: Yeah, all right, now, on the effects end of things,

629
00:33:53,240 --> 00:33:56,800
Speaker 2: this was a big industrial light and magic special effects movie.

630
00:33:56,840 --> 00:34:00,440
Speaker 2: So it involved just an army of talented professional and

631
00:34:00,480 --> 00:34:02,920
Speaker 2: it won an Oscar in nineteen eighty eight for Best

632
00:34:02,920 --> 00:34:08,120
Speaker 2: Special Effects, beating out Predator. So Predator versus Interspace Interspace

633
00:34:08,160 --> 00:34:14,280
Speaker 2: wins clearly. So, yeah, an army of people involved here.

634
00:34:14,560 --> 00:34:17,279
Speaker 3: It's no surprise this is a really well done movie

635
00:34:17,320 --> 00:34:20,080
Speaker 3: effects wise, in that you don't notice half of the

636
00:34:20,120 --> 00:34:24,160
Speaker 3: effects that are happening. They're so organic. Particularly for me,

637
00:34:25,000 --> 00:34:28,240
Speaker 3: anytime he's inside the body or we're seeing inside the body,

638
00:34:28,920 --> 00:34:30,880
Speaker 3: I'm not even clocking that as an effect. Most of

639
00:34:30,920 --> 00:34:34,400
Speaker 3: the time. There are a few set pieces inside of

640
00:34:34,440 --> 00:34:39,319
Speaker 3: the body that are tremendous, and we've got to talk

641
00:34:39,360 --> 00:34:41,640
Speaker 3: about those, But for the most part, you just kind

642
00:34:41,640 --> 00:34:44,000
Speaker 3: of believe that he's inside of body and that he's

643
00:34:44,080 --> 00:34:46,320
Speaker 3: on the other side of an ear or an eye,

644
00:34:46,560 --> 00:34:50,799
Speaker 3: and you know, you don't clock the amount of work,

645
00:34:50,840 --> 00:34:52,719
Speaker 3: or I don't clock the amount of work that's going

646
00:34:52,760 --> 00:34:54,399
Speaker 3: into creating an effect like that.

647
00:34:55,000 --> 00:34:57,680
Speaker 2: Yeah, and I thought the effects held up really well.

648
00:34:58,960 --> 00:35:00,719
Speaker 2: This is not a film where I felt like I

649
00:35:00,760 --> 00:35:04,959
Speaker 2: saw any wires, any scenes. You know, it all holds

650
00:35:05,040 --> 00:35:08,000
Speaker 2: up extremely well, So, you know, well deserving of that Oscar.

651
00:35:08,920 --> 00:35:13,000
Speaker 2: Dennis mun was the visual effects supervisor for ILM, and

652
00:35:13,040 --> 00:35:17,680
Speaker 2: I also mentioned in passing that Rob Bouteen born nineteen

653
00:35:17,719 --> 00:35:20,840
Speaker 2: fifty nine, a special makeup effects designer and creator. On

654
00:35:20,880 --> 00:35:23,480
Speaker 2: this picture. He was involved in a lot of you know,

655
00:35:23,560 --> 00:35:29,080
Speaker 2: squirmy and drippy special effects pictures, the likes of Squirm,

656
00:35:29,760 --> 00:35:32,840
Speaker 2: the Howling, the Thing, RoboCop and Total Recall.

657
00:35:33,360 --> 00:35:34,560
Speaker 3: So he made the worm face.

658
00:35:35,160 --> 00:35:37,759
Speaker 2: Yeah, yeah, he was involved in the worm face. I

659
00:35:37,800 --> 00:35:40,080
Speaker 2: didn't get a chance to look up exactly what he

660
00:35:40,120 --> 00:35:43,320
Speaker 2: did on this picture, but I have this. I highly

661
00:35:43,880 --> 00:35:47,080
Speaker 2: suspect that it is the morphing the face morphing sin

662
00:35:47,200 --> 00:35:49,759
Speaker 2: that we'll get into, because that's one of those that

663
00:35:49,880 --> 00:35:54,160
Speaker 2: is it's not grotesque unless you stop and really look

664
00:35:54,200 --> 00:35:56,239
Speaker 2: at it, and then you start really, oh this is

665
00:35:56,400 --> 00:35:57,279
Speaker 2: this is grotesque.

666
00:35:57,760 --> 00:36:03,520
Speaker 3: But there's one that There are two big morph scenes

667
00:36:03,520 --> 00:36:05,200
Speaker 3: that I that I have in mind, and one of

668
00:36:05,239 --> 00:36:08,839
Speaker 3: them is a full blown you can see that that

669
00:36:08,960 --> 00:36:10,280
Speaker 3: is an effect set piece.

670
00:36:10,640 --> 00:36:14,280
Speaker 2: You know, Oh that's the remorph. I think, yes, yes.

671
00:36:14,160 --> 00:36:17,160
Speaker 3: The full head goes on for a long time. But

672
00:36:18,600 --> 00:36:21,480
Speaker 3: just there are scenes with Martin Shwort's mouthwork where it's

673
00:36:21,600 --> 00:36:25,120
Speaker 3: just his mouth and it's Martin short. It's not a prosthetic.

674
00:36:25,200 --> 00:36:28,720
Speaker 3: It's not you know, a stand in dummy head where

675
00:36:28,880 --> 00:36:38,000
Speaker 3: it's just remarkable, how believable an effect like that is.

676
00:36:41,360 --> 00:36:43,560
Speaker 2: All right, and then finally the music. It's a Jerry

677
00:36:43,560 --> 00:36:46,080
Speaker 2: Goldsmith score who lived nineteen twenty nine through two thousand

678
00:36:46,080 --> 00:36:49,760
Speaker 2: and four, film music legend. His other scores, of course,

679
00:36:49,800 --> 00:36:53,480
Speaker 2: include the likes of Grimlins and Alien from nineteen seventy nine.

680
00:36:54,080 --> 00:36:59,080
Speaker 3: Amazing and great stuff here. I think even right from

681
00:36:59,080 --> 00:37:01,600
Speaker 3: the jump the synth, the opening credits is incredible.

682
00:37:02,360 --> 00:37:04,360
Speaker 2: Let's get into those opening credits, because this is I

683
00:37:05,160 --> 00:37:08,600
Speaker 2: did remember the opening credits from because this one really

684
00:37:08,600 --> 00:37:11,120
Speaker 2: blew my mind as a kid, because you go into innerspace,

685
00:37:11,400 --> 00:37:15,200
Speaker 2: you're expecting all that, you know, the beautiful inner wonders

686
00:37:15,239 --> 00:37:18,160
Speaker 2: of a micro world, and that is where we are.

687
00:37:18,200 --> 00:37:20,080
Speaker 2: But as we zoom out, we realize we've just been

688
00:37:20,280 --> 00:37:23,520
Speaker 2: inside cocktail ice for the whole you know, opening of

689
00:37:23,560 --> 00:37:24,080
Speaker 2: the credits.

690
00:37:24,560 --> 00:37:27,480
Speaker 3: Yeah, it's a tremendous effect. I think it's really really

691
00:37:27,520 --> 00:37:31,800
Speaker 3: well done and not really a trick either, because it

692
00:37:32,760 --> 00:37:35,360
Speaker 3: shows you the molecular level of what a glass of

693
00:37:35,400 --> 00:37:39,080
Speaker 3: ice would be. You just you're kind of entranced by

694
00:37:39,440 --> 00:37:40,520
Speaker 3: the pre science of it.

695
00:37:40,560 --> 00:37:44,239
Speaker 2: All and we realized that this cocktail ice is that

696
00:37:45,040 --> 00:37:47,680
Speaker 2: some sort of a party, some sort of a formal

697
00:37:48,160 --> 00:37:53,280
Speaker 2: get together of military test pilots. There's cake there, models

698
00:37:53,280 --> 00:37:56,680
Speaker 2: of planes there, a bunch of of of you know,

699
00:37:56,800 --> 00:38:00,400
Speaker 2: a very top gun s test pilot dudes. And then

700
00:38:00,719 --> 00:38:05,400
Speaker 2: in to the fray enters Lieutenant Tuck Pendleston. This is

701
00:38:05,560 --> 00:38:09,160
Speaker 2: our main character, and he is again already completely wasted.

702
00:38:10,239 --> 00:38:13,680
Speaker 2: A big embarrassing scene follows where he falls through a table.

703
00:38:14,080 --> 00:38:16,239
Speaker 2: He gets into a fight with the other fly boys

704
00:38:16,280 --> 00:38:19,319
Speaker 2: in the kitchen and clearly he has a number of

705
00:38:19,320 --> 00:38:20,440
Speaker 2: monkeys on his back here.

706
00:38:21,280 --> 00:38:23,239
Speaker 3: Yeah, the one thing that stood out to me during

707
00:38:23,239 --> 00:38:26,879
Speaker 3: this sequence is the fight choreography inside the kitchen. This

708
00:38:26,920 --> 00:38:29,880
Speaker 3: is another thing like it didn't need to be a

709
00:38:29,880 --> 00:38:34,040
Speaker 3: well choreographed fight, but it actually is well blocked. It's tight.

710
00:38:34,200 --> 00:38:38,200
Speaker 3: There is interesting action happening here. It could just be

711
00:38:38,960 --> 00:38:41,520
Speaker 3: this drunk guy pushes off a couple of guys, get subdued,

712
00:38:42,200 --> 00:38:44,360
Speaker 3: and Lydia takes him home, but it's more than that.

713
00:38:44,440 --> 00:38:48,120
Speaker 3: It's an actual interesting action sequence that doesn't really have

714
00:38:48,160 --> 00:38:50,839
Speaker 3: a lot of business in this movie. And you see

715
00:38:50,880 --> 00:38:54,000
Speaker 3: that happening a few more times throughout the film.

716
00:38:54,440 --> 00:38:57,200
Speaker 2: Yeah, it's like the stunt team knew they weren't going

717
00:38:57,280 --> 00:38:59,320
Speaker 2: to have many fisticuff scenes, so they were going to

718
00:38:59,360 --> 00:39:03,239
Speaker 2: really sell them yeah when they had them. So we

719
00:39:03,280 --> 00:39:07,719
Speaker 2: also see Lydia Maxwell. This is Meg Ryan's character. She

720
00:39:08,000 --> 00:39:11,800
Speaker 2: is his girlfriend, I believe, but she's also a reporter.

721
00:39:11,880 --> 00:39:13,600
Speaker 2: I don't know if she is here as a reporter

722
00:39:13,800 --> 00:39:16,200
Speaker 2: or as his girlfriend, but she kind of serves in

723
00:39:16,239 --> 00:39:17,160
Speaker 2: both capacities.

724
00:39:17,880 --> 00:39:20,680
Speaker 3: Yeah, it seems like there's an estrangement here, so I

725
00:39:20,680 --> 00:39:24,360
Speaker 3: think it's a former girlfriend. I'm not sure how recent

726
00:39:24,480 --> 00:39:28,319
Speaker 3: the formerness is, whether it's a fresh breakup or an

727
00:39:28,320 --> 00:39:34,200
Speaker 3: on again, off again relationship. But this embarrassment, her responsibility

728
00:39:34,239 --> 00:39:38,320
Speaker 3: for him from this embarrassment. Maybe that's just a gesture

729
00:39:38,320 --> 00:39:40,359
Speaker 3: of kindness to everybody else in the room of being

730
00:39:40,400 --> 00:39:42,560
Speaker 3: I'm the one who can get him out of this situation,

731
00:39:43,080 --> 00:39:45,880
Speaker 3: or more of a responsibility of this is my date

732
00:39:46,120 --> 00:39:50,279
Speaker 3: and I need to get him out of here. There's

733
00:39:50,320 --> 00:39:55,759
Speaker 3: definitely a strong connection between the two and Tuck we

734
00:39:55,880 --> 00:39:57,759
Speaker 3: see in the next scene kind of wishes that it

735
00:39:57,960 --> 00:39:58,480
Speaker 3: were more.

736
00:39:58,960 --> 00:40:01,200
Speaker 2: Yeah, so she drags tied back to his pad, and

737
00:40:01,239 --> 00:40:03,520
Speaker 2: this is you know, is you're figuring out who these

738
00:40:03,600 --> 00:40:06,320
Speaker 2: characters are. It becomes really apparent that this is his place,

739
00:40:06,360 --> 00:40:09,879
Speaker 2: this is not their place, because there are photos of SR.

740
00:40:09,960 --> 00:40:13,799
Speaker 2: Seventy one blackbirds on the walls. There's also all this

741
00:40:13,880 --> 00:40:16,279
Speaker 2: bunny memorabilia that's going to make a lot more sense

742
00:40:16,320 --> 00:40:18,920
Speaker 2: here in a little bit. There's a Santa Claus on

743
00:40:18,960 --> 00:40:22,080
Speaker 2: the desk, so you know, Holiday movie confirmed? Or is

744
00:40:22,120 --> 00:40:24,680
Speaker 2: this guy's pad just so sloppy that there's a Santa

745
00:40:24,760 --> 00:40:27,120
Speaker 2: up year round. Yeah? Yeah.

746
00:40:27,160 --> 00:40:29,960
Speaker 3: And right in the middle of the apartment on the table,

747
00:40:30,280 --> 00:40:36,000
Speaker 3: huge nineteen eighties robotic arm. And anybody who was alive

748
00:40:36,080 --> 00:40:38,839
Speaker 3: during the eighties knows exactly what this robot arm is.

749
00:40:38,920 --> 00:40:43,040
Speaker 3: It's got one hinge and it's got a pincher as

750
00:40:43,120 --> 00:40:45,759
Speaker 3: it's hand. It's meant to pinch things, pick them up,

751
00:40:45,880 --> 00:40:49,160
Speaker 3: move them somewhere else, and release the pinch. Here. He's

752
00:40:49,160 --> 00:40:53,000
Speaker 3: got it built to pick up a bottle of booze,

753
00:40:53,480 --> 00:40:56,520
Speaker 3: turn it over to pour it into a glass. He

754
00:40:56,520 --> 00:41:00,800
Speaker 3: does it poorly, or whoever's controlling this robot does it poorly,

755
00:41:01,160 --> 00:41:03,799
Speaker 3: obviously meant to convey that Tuck's doing a bad job

756
00:41:03,840 --> 00:41:07,399
Speaker 3: of it, probably because he's wasted. But somebody on this

757
00:41:07,480 --> 00:41:11,120
Speaker 3: team is really good at articulating a robot an eighties

758
00:41:11,239 --> 00:41:13,759
Speaker 3: robot arm because you see it happen a few more

759
00:41:13,800 --> 00:41:17,439
Speaker 3: times throughout the movie, and it's done very elegantly every

760
00:41:17,440 --> 00:41:17,959
Speaker 3: other time.

761
00:41:18,640 --> 00:41:22,040
Speaker 2: Now would this would this have been before the or

762
00:41:22,080 --> 00:41:25,399
Speaker 2: after the nes RM that played the Little Spin Top game?

763
00:41:26,000 --> 00:41:30,040
Speaker 3: Oh so this would have been after the Robotic Operating

764
00:41:30,040 --> 00:41:35,799
Speaker 3: Buddy rob for the Nintendo Entertainment System, where it's a

765
00:41:35,840 --> 00:41:39,560
Speaker 3: similar thing. You had to use the controller to make

766
00:41:39,600 --> 00:41:42,799
Speaker 3: the robot pick up a spinning gyro and drop it

767
00:41:42,840 --> 00:41:44,919
Speaker 3: onto either a red button or a blue button, which

768
00:41:44,920 --> 00:41:47,799
Speaker 3: would affect the level on the screen that you were

769
00:41:47,800 --> 00:41:50,200
Speaker 3: trying to play and allow your guy to pass through.

770
00:41:50,640 --> 00:41:57,080
Speaker 3: A terrible game, terrible concept, but I think similar idea of, hey,

771
00:41:57,080 --> 00:42:00,760
Speaker 3: we're supposed to be a robotic society at this point,

772
00:42:00,960 --> 00:42:03,759
Speaker 3: we'd better start acting like it and developing all of

773
00:42:03,800 --> 00:42:06,319
Speaker 3: these things that were just clunky executions of what a

774
00:42:06,400 --> 00:42:07,719
Speaker 3: robotic society would do.

775
00:42:08,400 --> 00:42:10,560
Speaker 2: Yeah, so that energy is very strong in this picture

776
00:42:10,600 --> 00:42:15,160
Speaker 2: for sure. So they get settled in for the evening

777
00:42:15,320 --> 00:42:17,840
Speaker 2: and and more or less we're picking up the next

778
00:42:17,840 --> 00:42:25,480
Speaker 2: morning because that's when Cabby Dick Miller, a frequently mentioned

779
00:42:25,520 --> 00:42:27,960
Speaker 2: actor on Weird House, cinema because he pops up in everything.

780
00:42:28,000 --> 00:42:30,640
Speaker 2: I think he has popped up in more films than

781
00:42:30,360 --> 00:42:33,560
Speaker 2: than than any other actor that we've covered here on

782
00:42:33,600 --> 00:42:36,439
Speaker 2: the show. But he's there as a cabby to pick

783
00:42:36,520 --> 00:42:39,520
Speaker 2: Lydia up in the morning. She is trying to sneak out,

784
00:42:39,719 --> 00:42:43,799
Speaker 2: leave a note and leave Tuck behind forever. And we

785
00:42:43,880 --> 00:42:48,440
Speaker 2: get this, we get this, you know, comedic but very

786
00:42:49,000 --> 00:42:52,000
Speaker 2: very hunky scene where Tuck comes out wearing only a

787
00:42:52,040 --> 00:42:53,879
Speaker 2: towel and he's going to try and talk her out

788
00:42:53,880 --> 00:42:57,720
Speaker 2: of leaving. The towel gets stuck in the door, cab

789
00:42:58,239 --> 00:43:03,960
Speaker 2: rides off, towel goes with the cab full backside exposed. Yeah,

790
00:43:04,000 --> 00:43:06,200
Speaker 2: so there's a lot more beefcake in the picture than

791
00:43:06,200 --> 00:43:06,760
Speaker 2: I remember.

792
00:43:07,280 --> 00:43:10,719
Speaker 3: Yeah, it's a really really hunky scene. A lot of

793
00:43:10,800 --> 00:43:14,200
Speaker 3: hunks in this movie, a lot of honky activity, and

794
00:43:14,239 --> 00:43:17,040
Speaker 3: even Martin Short gets to participate in being a hunk

795
00:43:17,080 --> 00:43:20,120
Speaker 3: a little bit later. One thing I think it's important

796
00:43:20,120 --> 00:43:22,520
Speaker 3: to point out here is that Lydia did try to

797
00:43:22,600 --> 00:43:26,600
Speaker 3: leave the night before and a drunk Tuck blocked her exit.

798
00:43:27,200 --> 00:43:33,480
Speaker 3: So big red flag there does it casually, which shows

799
00:43:33,520 --> 00:43:37,680
Speaker 3: again what a lithario this guy is. And maybe gives

800
00:43:37,680 --> 00:43:40,799
Speaker 3: a little bit of insight into his character. But he,

801
00:43:42,120 --> 00:43:45,719
Speaker 3: either for concern for his well being or because he

802
00:43:45,920 --> 00:43:50,480
Speaker 3: is such a wooer, plays the old timey song Cupid

803
00:43:51,200 --> 00:43:55,719
Speaker 3: for Lydia, which I guess is their song, and that

804
00:43:56,320 --> 00:43:59,200
Speaker 3: convinces her maybe to stay the night. I don't know

805
00:43:59,239 --> 00:44:00,840
Speaker 3: that that's what does it, But to your point, we

806
00:44:00,880 --> 00:44:03,440
Speaker 3: see her leaving the next morning and trying to get

807
00:44:03,480 --> 00:44:07,560
Speaker 3: away for good. So it at least satisfied what Tuck

808
00:44:07,680 --> 00:44:10,399
Speaker 3: was trying to get at that night. But the song

809
00:44:10,480 --> 00:44:12,359
Speaker 3: Cupid comes back into play a little bit later.

810
00:44:12,600 --> 00:44:15,359
Speaker 2: Yes, that one will be important. Now at this point

811
00:44:15,360 --> 00:44:19,640
Speaker 2: we switch over to our other main character, because here

812
00:44:19,680 --> 00:44:23,319
Speaker 2: we have Jack Putter played by Martin Short, in to

813
00:44:23,360 --> 00:44:26,160
Speaker 2: see his doctor, and this is some pretty fun character

814
00:44:26,200 --> 00:44:31,239
Speaker 2: work with the guy playing the doctor is William Shallart

815
00:44:31,360 --> 00:44:33,799
Speaker 2: who lived nineteen twenty two through twenty sixteen, who did

816
00:44:33,840 --> 00:44:38,080
Speaker 2: a lot of TV shows. But basically we catch on

817
00:44:38,160 --> 00:44:42,600
Speaker 2: pretty quickly that Putter is a hypochondriac that's coming in

818
00:44:42,640 --> 00:44:46,160
Speaker 2: all the time. It's clearly dealing with a lot of

819
00:44:46,440 --> 00:44:50,200
Speaker 2: very serious anxiety issues regarding his work, and he starts

820
00:44:50,200 --> 00:44:54,240
Speaker 2: telling this story about what this nightmare he keeps having

821
00:44:55,000 --> 00:44:58,400
Speaker 2: that he's very concerned about, in which he is hideously

822
00:44:58,480 --> 00:45:02,880
Speaker 2: overcharging this woman at the checkout register at the grocery.

823
00:45:03,800 --> 00:45:10,600
Speaker 3: Yeah, and the doctor's prognosis or prescription to this grocery

824
00:45:10,640 --> 00:45:14,719
Speaker 3: store clerk is you should simply go on a vacation. Yeah,

825
00:45:14,800 --> 00:45:19,279
Speaker 3: you should simply go on a lavish vacation. Which how

826
00:45:19,360 --> 00:45:22,799
Speaker 3: times have changed? Really that that's just that's the that's

827
00:45:22,840 --> 00:45:23,320
Speaker 3: the direction.

828
00:45:24,000 --> 00:45:27,160
Speaker 2: Yeah, this guy's having a mental health crisis, like at

829
00:45:27,160 --> 00:45:29,680
Speaker 2: this point, like he's he he is having a very

830
00:45:29,680 --> 00:45:31,920
Speaker 2: hard time, and it's just like, here's a prescription for

831
00:45:31,960 --> 00:45:33,240
Speaker 2: a trip to Mexico.

832
00:45:33,239 --> 00:45:34,560
Speaker 3: Right, you can probably afford it.

833
00:45:35,000 --> 00:45:37,600
Speaker 2: Yeah, all right, So you know at this point, okay,

834
00:45:37,640 --> 00:45:40,520
Speaker 2: the pieces, the main pieces are on the table concerning

835
00:45:40,520 --> 00:45:43,320
Speaker 2: our protagonists. But then we got to get into the

836
00:45:43,640 --> 00:45:46,319
Speaker 2: real plot. How are we going to get miniaturization involved here?

837
00:45:46,360 --> 00:45:48,880
Speaker 2: So we pick up with Silicon Valley dudes stuck in

838
00:45:48,920 --> 00:45:52,680
Speaker 2: traffic discussing a project. We have one of the guys

839
00:45:52,719 --> 00:45:57,360
Speaker 2: from the top Gun academy graduation thing earlier and it's

840
00:45:57,400 --> 00:46:00,440
Speaker 2: there he's like, well, who have you hired to pilot

841
00:46:00,480 --> 00:46:02,960
Speaker 2: this prototype or whatever? And now like, oh, we got

842
00:46:03,000 --> 00:46:06,560
Speaker 2: Tuck Pendleton. We hear he's great, and this dude's like,

843
00:46:06,760 --> 00:46:10,799
Speaker 2: that doesn't sound too great for me to me, Tuck

844
00:46:10,880 --> 00:46:13,560
Speaker 2: Pimdleton not a great get for whatever you do we're

845
00:46:13,560 --> 00:46:18,360
Speaker 2: doing here. And then we kind of like fast forward

846
00:46:18,360 --> 00:46:21,240
Speaker 2: a bit and then here's here's Tuck Pendleton getting ready

847
00:46:21,520 --> 00:46:24,759
Speaker 2: to jump into the We don't know yet it's going

848
00:46:24,840 --> 00:46:26,640
Speaker 2: to be a pod of some kind, but he's getting

849
00:46:26,719 --> 00:46:29,200
Speaker 2: himself amped up with slaps to the face as well

850
00:46:29,239 --> 00:46:32,080
Speaker 2: as as well as with a fair amount of inappropriate

851
00:46:32,120 --> 00:46:33,040
Speaker 2: coworker flirting.

852
00:46:33,520 --> 00:46:36,600
Speaker 3: Yeah, it's really strange the way that he walks in.

853
00:46:37,719 --> 00:46:42,400
Speaker 3: I believe one of the scientists or tech workers kisses

854
00:46:42,480 --> 00:46:44,920
Speaker 3: him on the cheek. He doubles back and does a

855
00:46:44,920 --> 00:46:48,719
Speaker 3: full blown mouth kiss with her. Just a real again

856
00:46:48,880 --> 00:46:54,880
Speaker 3: Lefario level of swagger coming into this test pilot job.

857
00:46:56,840 --> 00:46:59,000
Speaker 3: You know, while the Silicon Valley dudes were arguing in

858
00:46:59,040 --> 00:47:02,120
Speaker 3: the car, he was defended Tuck as being somebody who

859
00:47:02,120 --> 00:47:05,160
Speaker 3: did his homework and can do the job. And you

860
00:47:05,200 --> 00:47:08,640
Speaker 3: see that, Like, that's the duality that we get with him,

861
00:47:08,800 --> 00:47:11,680
Speaker 3: is that he is a mess in every other realm

862
00:47:11,680 --> 00:47:14,080
Speaker 3: of his life, but he's a good test pilot. He

863
00:47:14,160 --> 00:47:16,320
Speaker 3: might be a drunk test pilot. But he's a good

864
00:47:16,360 --> 00:47:19,360
Speaker 3: test pilot, and he reinforces that kind of on his

865
00:47:19,440 --> 00:47:22,080
Speaker 3: walk in, and once he gets into the mind, he

866
00:47:22,239 --> 00:47:24,720
Speaker 3: is down to business. He knows exactly the right questions

867
00:47:24,719 --> 00:47:27,680
Speaker 3: to ask, the right things to check. He's the voice

868
00:47:27,680 --> 00:47:28,280
Speaker 3: of authority.

869
00:47:29,160 --> 00:47:32,000
Speaker 2: And it becomes clear pretty quickly that what they're about

870
00:47:32,040 --> 00:47:33,560
Speaker 2: to do is he's going to get in this pod

871
00:47:33,719 --> 00:47:36,200
Speaker 2: that is pretty really cool looking, looks like a cross

872
00:47:36,239 --> 00:47:40,040
Speaker 2: between a submarine and some spaceship, and they're going to

873
00:47:40,080 --> 00:47:43,759
Speaker 2: miniaturize him and inject him into a rabbit. Now, one

874
00:47:43,800 --> 00:47:47,760
Speaker 2: would assume that this is there have been multiple phases

875
00:47:47,800 --> 00:47:51,279
Speaker 2: before this, that they have tests, you know, unmanned miniaturization,

876
00:47:52,040 --> 00:47:57,480
Speaker 2: that they have tested manned miniaturization, and they've also injected

877
00:47:57,560 --> 00:48:02,080
Speaker 2: miniaturized objects into to test animals, and that now we're

878
00:48:02,080 --> 00:48:04,520
Speaker 2: only finally getting to the point where they're going to

879
00:48:04,600 --> 00:48:08,440
Speaker 2: send in a human being into a rabbit. But who knows,

880
00:48:08,960 --> 00:48:12,560
Speaker 2: maybe they're just really having to push this project along

881
00:48:12,640 --> 00:48:14,640
Speaker 2: and this is just test number one. I don't know.

882
00:48:15,280 --> 00:48:17,359
Speaker 3: Yeah, and this is where we learned the reason that

883
00:48:17,600 --> 00:48:20,840
Speaker 3: rabbits were so prominent in his apartment, And yeah, I

884
00:48:20,960 --> 00:48:24,280
Speaker 3: get it, But all the rabbit stuff at his apartment

885
00:48:24,520 --> 00:48:28,160
Speaker 3: was like a fan of rabbits, not somebody who's studying

886
00:48:28,239 --> 00:48:31,400
Speaker 3: rabbits intensely. It's somebody who like bugs. Bunny is in

887
00:48:31,440 --> 00:48:34,920
Speaker 3: there and things like that, And so this guy likes

888
00:48:35,040 --> 00:48:37,360
Speaker 3: rabbits a lot more than he really needs to to

889
00:48:37,400 --> 00:48:40,920
Speaker 3: perform his scientific role of being inside of a rabbit.

890
00:48:41,400 --> 00:48:46,279
Speaker 2: Yeah, he's researching at the wrong scale. I think. Now,

891
00:48:46,840 --> 00:48:49,360
Speaker 2: I do really love these scenes where he's getting into

892
00:48:49,440 --> 00:48:52,080
Speaker 2: the cockpit of the pod. I think it feel like

893
00:48:52,080 --> 00:48:54,040
Speaker 2: this is all really well done. It has a great

894
00:48:54,120 --> 00:48:56,640
Speaker 2: textured and believable NASA feel to it. You know.

895
00:48:57,040 --> 00:49:01,399
Speaker 3: Yeah, it's a very busy, very eighty in the sense

896
00:49:01,480 --> 00:49:05,000
Speaker 3: that it feels cramped. There's so much machinery on top

897
00:49:05,040 --> 00:49:10,480
Speaker 3: of itself, and the space is not, you know, a

898
00:49:10,560 --> 00:49:15,280
Speaker 3: designer friendly lab, which I think you'll see a contrast

899
00:49:15,320 --> 00:49:17,480
Speaker 3: to that later on in the movie, But here it

900
00:49:17,560 --> 00:49:22,239
Speaker 3: just seems like these guys are scientists. They're bleeding edge

901
00:49:22,360 --> 00:49:25,840
Speaker 3: R and D. And then once you see the space

902
00:49:25,880 --> 00:49:27,840
Speaker 3: that the pot is in, it's mylar city in the

903
00:49:27,840 --> 00:49:31,960
Speaker 3: best way. There's that gold NASA milar wrapping the entire room.

904
00:49:32,320 --> 00:49:34,880
Speaker 3: All of the reflections off of that milar are heightening

905
00:49:34,880 --> 00:49:36,880
Speaker 3: the effect. It's really really perfect.

906
00:49:37,280 --> 00:49:39,920
Speaker 2: Yeah, you can get and then inside and outside you

907
00:49:39,960 --> 00:49:44,120
Speaker 2: have like all these pixelated computer screens, video feeds. I

908
00:49:44,120 --> 00:49:46,200
Speaker 2: feel like there are more robot arms yeah, and whatever

909
00:49:46,280 --> 00:49:49,680
Speaker 2: robot arms are up to. So yeah, it all feels

910
00:49:49,920 --> 00:49:51,800
Speaker 2: very real. I love the look of all of this,

911
00:49:51,880 --> 00:49:53,759
Speaker 2: and I feel like it's aged really well and in

912
00:49:53,800 --> 00:49:57,520
Speaker 2: a way that's something that non analog wouldn't have, you know,

913
00:49:57,560 --> 00:49:59,600
Speaker 2: if it was all touch screens and you know, next

914
00:49:59,640 --> 00:50:00,560
Speaker 2: generation and stuff.

915
00:50:00,800 --> 00:50:03,280
Speaker 3: Yeah, there's a little bit of what you could arguably

916
00:50:03,320 --> 00:50:06,799
Speaker 3: say as a Hokier design tactic or effects tactic that

917
00:50:07,600 --> 00:50:13,760
Speaker 3: has lights superimposed on the pod while it's being miniaturized.

918
00:50:14,640 --> 00:50:18,360
Speaker 3: It looks a little bit inauthentic compared to all of

919
00:50:18,400 --> 00:50:21,560
Speaker 3: the other effects work that's going on, but again, it works.

920
00:50:21,600 --> 00:50:24,040
Speaker 3: It's in that milar space. It's supposed to be crackling

921
00:50:24,560 --> 00:50:28,080
Speaker 3: and electrifying, similar to how the DeLorean does right before

922
00:50:28,120 --> 00:50:30,680
Speaker 3: it's about to jump through time, and so it works.

923
00:50:30,719 --> 00:50:33,080
Speaker 3: It's just a little bit lower five than some of

924
00:50:33,120 --> 00:50:34,880
Speaker 3: the other stuff we see, and.

925
00:50:34,880 --> 00:50:37,960
Speaker 2: They seem to pull it off. They spin the thing

926
00:50:38,000 --> 00:50:41,640
Speaker 2: around in a centrifuge, they shrink it down to size. Now,

927
00:50:41,719 --> 00:50:44,520
Speaker 2: the pod is this tiny speck inside of a syringe.

928
00:50:44,760 --> 00:50:47,160
Speaker 2: They use a magnification effect to take a look at it,

929
00:50:47,200 --> 00:50:50,680
Speaker 2: the lead doctor does. But you know that something is

930
00:50:50,719 --> 00:50:53,880
Speaker 2: going to shake things up, and that takes the form

931
00:50:54,040 --> 00:50:58,160
Speaker 2: of an attack by gas mask wearing goons. They come

932
00:50:58,160 --> 00:51:01,319
Speaker 2: in with an acid key card to short out the lock,

933
00:51:01,880 --> 00:51:03,960
Speaker 2: and they're clearly trying to take over the operation.

934
00:51:04,760 --> 00:51:08,399
Speaker 3: Yeah. The thing I love about this takeover is that

935
00:51:08,480 --> 00:51:11,600
Speaker 3: they got these gas masks, but they're not flooding the

936
00:51:11,640 --> 00:51:15,440
Speaker 3: space with gas. They're using a fire extinguisher type device

937
00:51:15,760 --> 00:51:19,080
Speaker 3: to point the gas at somebody, shoot a blast of

938
00:51:19,120 --> 00:51:22,000
Speaker 3: gas directly at them so that only that person is

939
00:51:22,080 --> 00:51:25,919
Speaker 3: knocked out by it, which is genius. Like, yeah, that's

940
00:51:25,920 --> 00:51:29,480
Speaker 3: how gas warfare would be should be. I am not

941
00:51:29,560 --> 00:51:33,960
Speaker 3: advocating for gas warfare, but I were, that's how you

942
00:51:34,000 --> 00:51:34,719
Speaker 3: would do with it.

943
00:51:35,200 --> 00:51:38,120
Speaker 2: They have a pretty non violent approach, like they're clearly

944
00:51:38,160 --> 00:51:41,440
Speaker 2: trying to cut down on casualties, though they do punch

945
00:51:41,480 --> 00:51:43,840
Speaker 2: a few people, which seems uncalled for if you have

946
00:51:43,880 --> 00:51:46,760
Speaker 2: those great gas cannons on hand. But still they quickly

947
00:51:46,800 --> 00:51:48,600
Speaker 2: take over things, and this is where we first see

948
00:51:48,960 --> 00:51:53,799
Speaker 2: Fiona Lewis's doctor Kinker taking control of the computers there.

949
00:51:54,600 --> 00:51:58,680
Speaker 3: That's right. Clearly the bad guys have invaded this space.

950
00:51:59,520 --> 00:52:04,480
Speaker 3: But it did occur to me at this moment were

951
00:52:04,760 --> 00:52:07,600
Speaker 3: the other guys the good guys. I don't know what

952
00:52:07,640 --> 00:52:11,240
Speaker 3: the purpose of this project was. They don't really state

953
00:52:11,320 --> 00:52:14,200
Speaker 3: what they're going to do after they've successfully completed the

954
00:52:14,320 --> 00:52:18,200
Speaker 3: Rabbit project, but we're just supposed to assume that their

955
00:52:18,239 --> 00:52:21,640
Speaker 3: intentions were good. These guys' intentions were bad. And I

956
00:52:21,680 --> 00:52:23,840
Speaker 3: think you know, I mentioned that Grimlins was trying to

957
00:52:23,840 --> 00:52:25,920
Speaker 3: tell you a message in this movie is not Maybe

958
00:52:25,920 --> 00:52:27,840
Speaker 3: this movie is trying to tell you a message about

959
00:52:27,960 --> 00:52:33,960
Speaker 3: early Silicon Valley tech espionage and that it's really just

960
00:52:34,000 --> 00:52:36,960
Speaker 3: bad guys versus bad guys, and it's a question of

961
00:52:37,400 --> 00:52:38,520
Speaker 3: which one are you rooting for.

962
00:52:39,160 --> 00:52:42,240
Speaker 2: I did have a fun time trying to piece together

963
00:52:42,600 --> 00:52:45,600
Speaker 2: like the intended endpoint for this research, and we can

964
00:52:45,960 --> 00:52:48,000
Speaker 2: kind of feel it out a little bit by seeing

965
00:52:48,080 --> 00:52:52,200
Speaker 2: the capabilities of the pod. So the pod allows the

966
00:52:52,400 --> 00:52:57,880
Speaker 2: pilot to ultimately see and hear through the host and

967
00:52:58,080 --> 00:52:59,759
Speaker 2: or communicate with them, though I guess that did this

968
00:53:00,200 --> 00:53:05,319
Speaker 2: necessary and then also deliver a powerful electromagnetic pulse that

969
00:53:05,400 --> 00:53:09,360
Speaker 2: can destroy electronics within a short term radius, and so

970
00:53:09,880 --> 00:53:11,279
Speaker 2: it seemed to me I was like, Okay, I can

971
00:53:11,320 --> 00:53:13,960
Speaker 2: imagine that this is building up maybe to having a

972
00:53:14,000 --> 00:53:17,000
Speaker 2: human pilot a rat into a sensitive environment and then

973
00:53:17,000 --> 00:53:21,000
Speaker 2: set off that pulse, or of course, ultimately to some extent,

974
00:53:21,080 --> 00:53:25,640
Speaker 2: like is planting a spy inside of a human being

975
00:53:26,320 --> 00:53:30,000
Speaker 2: and potentially doing that electromagnetic pulse elsewhere. But oh, then

976
00:53:30,040 --> 00:53:32,879
Speaker 2: we see other capabilities that shake things up even more,

977
00:53:32,920 --> 00:53:34,000
Speaker 2: which we'll get do later.

978
00:53:34,600 --> 00:53:37,200
Speaker 3: Yeah, I think it's probably says more about me than

979
00:53:37,239 --> 00:53:39,680
Speaker 3: it does about the movie. But every application of this

980
00:53:39,760 --> 00:53:41,880
Speaker 3: technology I could think of was a really dark and

981
00:53:41,920 --> 00:53:48,320
Speaker 3: depressing one that used another living being as a vessel

982
00:53:48,440 --> 00:53:53,640
Speaker 3: to achieve something via a smaller human being inside of

983
00:53:53,680 --> 00:53:57,600
Speaker 3: that vessel that might be small enough to escape whatever

984
00:53:57,640 --> 00:53:59,920
Speaker 3: situation it's putting the larger vessel in.

985
00:54:00,760 --> 00:54:03,560
Speaker 2: Yeah, I mean, they kind of they definitely allude to

986
00:54:03,600 --> 00:54:07,040
Speaker 2: these espionage applications, but they never even once hint at

987
00:54:07,040 --> 00:54:09,880
Speaker 2: a medical application, not directly. I mean, there are a

988
00:54:09,880 --> 00:54:12,000
Speaker 2: couple of jokes, but for the most part, Yeah, the

989
00:54:12,040 --> 00:54:13,920
Speaker 2: idea that you would have a little submarine inside of

990
00:54:13,960 --> 00:54:16,960
Speaker 2: person is not even explored. Is a medical breakthrough here.

991
00:54:17,080 --> 00:54:21,399
Speaker 3: Well, Tuck casually turns Putter into if you're getting ahead

992
00:54:21,400 --> 00:54:23,279
Speaker 3: of ourselves, but he casually turns it into like a

993
00:54:23,320 --> 00:54:27,200
Speaker 3: superhuman just yeah, because it's convenient for that scene. So

994
00:54:27,280 --> 00:54:30,560
Speaker 3: the technology is very easy to do once you're in there, apparently.

995
00:54:31,080 --> 00:54:33,120
Speaker 2: Yeah, once you're inside at that scale, you can do

996
00:54:33,160 --> 00:54:36,680
Speaker 2: anything you want, change faces up, cure diseases, I guess,

997
00:54:37,320 --> 00:54:39,799
Speaker 2: but also make computers explode. And that seems to be

998
00:54:39,840 --> 00:54:52,280
Speaker 2: the prime focus here. All right, So what happens? Okay,

999
00:54:52,360 --> 00:54:54,600
Speaker 2: so we have the miniature I sub it's in a syringe.

1000
00:54:54,600 --> 00:54:56,839
Speaker 2: They were going to inject it into the rabbit, but

1001
00:54:56,880 --> 00:54:59,640
Speaker 2: then all hell breaks loose. The doc, the main doctor

1002
00:54:59,640 --> 00:55:04,840
Speaker 2: here is, escapes with the syringe and then our villain,

1003
00:55:04,920 --> 00:55:09,640
Speaker 2: doctor Canker, calls for mister I go to chase after him.

1004
00:55:09,640 --> 00:55:12,000
Speaker 2: So we get this big car bike chase, a number

1005
00:55:12,000 --> 00:55:14,400
Speaker 2: of big chase scenes that take place in the picture.

1006
00:55:14,840 --> 00:55:17,040
Speaker 2: On all heads to the mall and hey, that is

1007
00:55:17,040 --> 00:55:20,160
Speaker 2: where Jack is trying to book relaxing vacation. And I

1008
00:55:20,200 --> 00:55:22,040
Speaker 2: think you know where all this is going to come together.

1009
00:55:22,640 --> 00:55:24,600
Speaker 3: Yeah, And I just got to say this car chase

1010
00:55:25,000 --> 00:55:29,720
Speaker 3: on the freeway again, way more elaborate, way more action packed,

1011
00:55:29,800 --> 00:55:32,680
Speaker 3: way more elegant than it needs to be. It could

1012
00:55:32,680 --> 00:55:34,919
Speaker 3: have been a quick shot that gets you to the mall.

1013
00:55:35,600 --> 00:55:40,160
Speaker 3: But it's really fun and there are convertibles, there are

1014
00:55:40,320 --> 00:55:43,800
Speaker 3: This is actually happening on a busy freeway. It's really

1015
00:55:43,840 --> 00:55:44,600
Speaker 3: really exciting.

1016
00:55:45,680 --> 00:55:47,520
Speaker 2: Yeah, and then yeah, we get to the mall. Mister

1017
00:55:47,640 --> 00:55:50,480
Speaker 2: I goes using he's the finger gun, which I remember

1018
00:55:50,640 --> 00:55:52,239
Speaker 2: just thinking was super cool when I was a kid,

1019
00:55:52,560 --> 00:55:55,319
Speaker 2: This crazy robot hand of his that he can make

1020
00:55:55,360 --> 00:55:57,279
Speaker 2: the make the finger guns and then actually fire the

1021
00:55:57,280 --> 00:55:57,839
Speaker 2: finger gun.

1022
00:55:58,560 --> 00:56:01,759
Speaker 3: Yeah, it's very into spectro gadgety in the way that

1023
00:56:02,560 --> 00:56:04,480
Speaker 3: the tip of the finger kind of comes off to

1024
00:56:04,920 --> 00:56:08,800
Speaker 3: reveal the gun. But I mean, aside from that, like malls,

1025
00:56:09,239 --> 00:56:13,200
Speaker 3: this mall in particular, this is the height of mals

1026
00:56:14,080 --> 00:56:17,279
Speaker 3: at nineteen eighty nine. You know, you get not just

1027
00:56:17,320 --> 00:56:20,160
Speaker 3: a really busy, active, vibrant mall. You get one that's

1028
00:56:20,200 --> 00:56:24,759
Speaker 3: got mascots walking around giving away or selling balloons, a

1029
00:56:24,800 --> 00:56:29,879
Speaker 3: lot of strange things happening for the scientist and mister

1030
00:56:29,960 --> 00:56:33,160
Speaker 3: Igo to disrupt from this chase, you know, they're really

1031
00:56:33,239 --> 00:56:35,280
Speaker 3: knocking a lot of people out of the way, ruining

1032
00:56:35,320 --> 00:56:37,960
Speaker 3: a lot of these mascots days. One of the mascots

1033
00:56:38,000 --> 00:56:40,319
Speaker 3: is a penguin who's giving away balloons to a pair

1034
00:56:40,360 --> 00:56:44,240
Speaker 3: of nuns, which is a very very funny visual throwaway.

1035
00:56:46,239 --> 00:56:48,839
Speaker 2: Yeah, this whole sequence is feels very Joe Dante, like

1036
00:56:48,880 --> 00:56:51,600
Speaker 2: the bit where the doctor with the syringe. He ends

1037
00:56:51,680 --> 00:56:56,760
Speaker 2: up injecting Martin Short in the buttock and then falls

1038
00:56:56,880 --> 00:57:00,200
Speaker 2: into the arms of three or four different mascots and

1039
00:57:00,280 --> 00:57:04,120
Speaker 2: dies and we get that that hazy pov of him

1040
00:57:04,120 --> 00:57:06,520
Speaker 2: looking up at the mascots looming over him.

1041
00:57:06,920 --> 00:57:08,440
Speaker 3: Yeah, fantastic.

1042
00:57:09,719 --> 00:57:17,040
Speaker 2: So at this point we have miniaturized Pendleton tuck inside

1043
00:57:17,400 --> 00:57:23,120
Speaker 2: of full sized Jack Martin Short and that, and we're

1044
00:57:23,160 --> 00:57:24,640
Speaker 2: off to the race. It's like, this is the this

1045
00:57:24,680 --> 00:57:26,520
Speaker 2: is the plot. It's we're going to get into this

1046
00:57:26,560 --> 00:57:31,240
Speaker 2: whole situation of how does Pendleton make Jack aware of

1047
00:57:31,240 --> 00:57:34,240
Speaker 2: his presence inside him? What kind of gadgets are going

1048
00:57:34,280 --> 00:57:37,040
Speaker 2: to allow that to happen, and then how are they

1049
00:57:37,080 --> 00:57:39,160
Speaker 2: going to figure out, you know, what sort of plot

1050
00:57:39,200 --> 00:57:41,520
Speaker 2: is going on, and how they're going to maneuver their

1051
00:57:41,520 --> 00:57:42,240
Speaker 2: way out of it.

1052
00:57:43,200 --> 00:57:47,480
Speaker 3: Yeah, I you know, throughout this whole basically from this

1053
00:57:47,600 --> 00:57:51,120
Speaker 3: point on, I have a tough time reconciling how big

1054
00:57:51,240 --> 00:57:53,560
Speaker 3: Tuck and the pod are supposed to be inside of

1055
00:57:53,600 --> 00:57:57,440
Speaker 3: the syringe and inside of Martin George's or Putter's body,

1056
00:57:58,240 --> 00:58:02,720
Speaker 3: that they're points at which the action is high and

1057
00:58:02,760 --> 00:58:05,920
Speaker 3: the pod is shaken around. So it's like, oh, so

1058
00:58:06,040 --> 00:58:08,240
Speaker 3: you must be big enough to be like moving, to

1059
00:58:08,320 --> 00:58:11,600
Speaker 3: be moved along by by the motions of the body.

1060
00:58:12,080 --> 00:58:15,200
Speaker 3: But then there are points where Tuck is so so

1061
00:58:15,200 --> 00:58:17,800
Speaker 3: so small that he can get through. He's at the

1062
00:58:17,920 --> 00:58:21,920
Speaker 3: atomic level to where he wouldn't be impacted by these

1063
00:58:21,960 --> 00:58:23,880
Speaker 3: other things. And this is me trying to apply my

1064
00:58:24,040 --> 00:58:27,680
Speaker 3: people outside and like trying to unsuspend my disbelief and

1065
00:58:27,720 --> 00:58:32,600
Speaker 3: pick it apart. But they do lean on just he's

1066
00:58:32,640 --> 00:58:35,640
Speaker 3: just small enough, Okay. They lean on you to just

1067
00:58:35,720 --> 00:58:37,760
Speaker 3: accept that fact and just go along for the ride,

1068
00:58:37,800 --> 00:58:38,680
Speaker 3: which I'm happy to do.

1069
00:58:39,440 --> 00:58:41,360
Speaker 2: The pod is as small or as large as the

1070
00:58:41,400 --> 00:58:44,040
Speaker 2: plot requires it to be. Can it be grabbed with

1071
00:58:44,080 --> 00:58:46,840
Speaker 2: a pair of tweezers? Yes? Can't. Can it cut its

1072
00:58:46,840 --> 00:58:50,280
Speaker 2: way through the wall of an artery without causing any

1073
00:58:50,360 --> 00:58:55,240
Speaker 2: kind of trouble inside the body? Absolutely? All right, So

1074
00:58:55,280 --> 00:58:58,000
Speaker 2: at this point we're gonna we're gonna proceed with like

1075
00:58:58,080 --> 00:59:00,720
Speaker 2: a little less attention to every little detail here, but

1076
00:59:00,760 --> 00:59:03,520
Speaker 2: we want to talk, certainly in broad strokes about like

1077
00:59:03,560 --> 00:59:07,480
Speaker 2: the central piece of technology here, the pod. I definitely

1078
00:59:07,520 --> 00:59:10,520
Speaker 2: want to talk about the love triangle and the big

1079
00:59:10,560 --> 00:59:13,520
Speaker 2: finale and any other moments that stand out to us.

1080
00:59:13,560 --> 00:59:17,240
Speaker 2: But yeah, the big, the big thing about the pod,

1081
00:59:17,320 --> 00:59:18,840
Speaker 2: and this was something that you know I loved as

1082
00:59:18,840 --> 00:59:21,280
Speaker 2: a kid, is that we get like this this first

1083
00:59:21,280 --> 00:59:26,440
Speaker 2: contact between Tuck Pendleton and Jack, where you know you

1084
00:59:26,440 --> 00:59:29,000
Speaker 2: can use well, for first of all, he uses a

1085
00:59:29,040 --> 00:59:32,240
Speaker 2: device like fires a harpoon into the inside of his

1086
00:59:32,320 --> 00:59:34,360
Speaker 2: eyes so that he can see out of his his

1087
00:59:34,440 --> 00:59:38,000
Speaker 2: eyes see what Jack sees. And then later he also

1088
00:59:38,200 --> 00:59:42,240
Speaker 2: uses some sort of a harpoon type device inside of

1089
00:59:42,280 --> 00:59:44,440
Speaker 2: his ear so that he can hear him as well.

1090
00:59:45,040 --> 00:59:48,240
Speaker 2: And then at that point, like Tuck Pendleton is just

1091
00:59:48,240 --> 00:59:50,880
Speaker 2: completely jacked into the whole system. He can do all

1092
00:59:50,920 --> 00:59:52,960
Speaker 2: sorts of things as we'll see. You know, he can

1093
00:59:53,320 --> 00:59:59,120
Speaker 2: he can adjust like is adrenaline and then ultimately change

1094
00:59:59,160 --> 01:00:02,520
Speaker 2: his face one them really in addition to the electro

1095
01:00:03,000 --> 01:00:06,640
Speaker 2: magnetic pulse thing, changing his face, shifting his face into

1096
01:00:06,640 --> 01:00:10,400
Speaker 2: the face of another person, well, that one really up

1097
01:00:10,440 --> 01:00:12,480
Speaker 2: the ante here. It's like, Wow, we can do anything

1098
01:00:12,520 --> 01:00:12,840
Speaker 2: in there.

1099
01:00:13,520 --> 01:00:17,840
Speaker 3: That one is more okay. I feel like the effects

1100
01:00:17,840 --> 01:00:22,480
Speaker 3: of hooking into the eye looked painful, and you know

1101
01:00:22,600 --> 01:00:26,240
Speaker 3: that's an effects success as far as I'm concerned. Same

1102
01:00:26,280 --> 01:00:29,000
Speaker 3: with the ear, but those all seem like I can

1103
01:00:29,040 --> 01:00:31,680
Speaker 3: wrap my head around those. And then yeah, he changes

1104
01:00:31,720 --> 01:00:33,880
Speaker 3: his face, which it's like, I feel like you need

1105
01:00:33,920 --> 01:00:37,800
Speaker 3: outside pieces to do that. You're not just read rearranging

1106
01:00:37,920 --> 01:00:40,600
Speaker 3: cells at that point. You know, you're trying to take

1107
01:00:40,640 --> 01:00:44,000
Speaker 3: on an appearance and give a hair color and a

1108
01:00:44,040 --> 01:00:46,520
Speaker 3: hair consistency that he doesn't or I guess he had

1109
01:00:46,560 --> 01:00:51,480
Speaker 3: his original hair or he had Jack's hair still, But

1110
01:00:51,840 --> 01:00:55,320
Speaker 3: it just seemed like a huge leap of technology to

1111
01:00:55,360 --> 01:00:57,400
Speaker 3: be able to do that, and all of a sudden

1112
01:00:57,800 --> 01:01:01,520
Speaker 3: Tuck knows how to do this. Yeah, this is his

1113
01:01:01,560 --> 01:01:04,720
Speaker 3: first voyage too, or maybe not, maybe was it his

1114
01:01:04,800 --> 01:01:05,320
Speaker 3: first voice.

1115
01:01:05,360 --> 01:01:07,800
Speaker 2: Well, he was planning for rabbits, so he should if anything,

1116
01:01:07,880 --> 01:01:11,880
Speaker 2: he should be okay, but not particularly experienced with shifting

1117
01:01:11,960 --> 01:01:14,840
Speaker 2: rabbit faces around it. But a full blown Martin short

1118
01:01:14,840 --> 01:01:16,240
Speaker 2: face that seems like a lot.

1119
01:01:16,760 --> 01:01:18,560
Speaker 3: Yeah, he should have been able to turn the rabbit

1120
01:01:18,600 --> 01:01:22,200
Speaker 3: into the cowboy. Yeah, but not Jack Putter into the cowboy.

1121
01:01:22,240 --> 01:01:25,680
Speaker 2: Yeah, because that's a very expressive face. To change into

1122
01:01:25,760 --> 01:01:28,480
Speaker 2: another very expressive face, you need something a little plainer,

1123
01:01:28,560 --> 01:01:29,920
Speaker 2: I think for your first big.

1124
01:01:29,840 --> 01:01:34,640
Speaker 3: Hurrah, exactly exactly. I think, you know, I blame this

1125
01:01:34,760 --> 01:01:37,960
Speaker 3: movie as a child for my impression that I still

1126
01:01:38,000 --> 01:01:41,640
Speaker 3: have today, where my instinct is that there's a lot

1127
01:01:41,680 --> 01:01:44,680
Speaker 3: of empty space in the human body and you can

1128
01:01:44,760 --> 01:01:48,480
Speaker 3: travel between the organs with you know, the same way

1129
01:01:48,480 --> 01:01:51,200
Speaker 3: that you're traveling between planets and the Solar System, that

1130
01:01:51,240 --> 01:01:53,920
Speaker 3: there's just a lot of dead space there, which is

1131
01:01:54,000 --> 01:01:57,760
Speaker 3: not true. Anybody who's seen a diagram of what's going

1132
01:01:57,800 --> 01:02:00,640
Speaker 3: on inside a human body knows how just packed together

1133
01:02:00,760 --> 01:02:05,600
Speaker 3: absolutely everything is. But my child mind saw the human

1134
01:02:05,640 --> 01:02:11,440
Speaker 3: body as spacious, well lit, lots of areas between your

1135
01:02:11,760 --> 01:02:13,840
Speaker 3: vital organs that you could just kind of hang out

1136
01:02:13,840 --> 01:02:15,160
Speaker 3: in and fly between.

1137
01:02:15,520 --> 01:02:17,320
Speaker 2: Yeah, he's inner space, not inner goop.

1138
01:02:17,920 --> 01:02:20,800
Speaker 3: That's right, exactly exactly, And the title yeah supports that

1139
01:02:20,960 --> 01:02:23,680
Speaker 3: backs that up. I will say that I don't know

1140
01:02:23,680 --> 01:02:25,520
Speaker 3: how big or small this pod is. I'm ready to

1141
01:02:25,880 --> 01:02:28,880
Speaker 3: move away from that gripe. But he's able to get

1142
01:02:28,920 --> 01:02:30,360
Speaker 3: around that body real fast.

1143
01:02:30,760 --> 01:02:33,760
Speaker 2: Oh yeah, Like he starts off in the buttock and

1144
01:02:33,880 --> 01:02:38,360
Speaker 2: is almost immediately at the optic nerves. Maybe they cut something,

1145
01:02:38,640 --> 01:02:41,160
Speaker 2: but maybe he also he is just like firing through

1146
01:02:41,160 --> 01:02:42,040
Speaker 2: those blood vessels.

1147
01:02:42,400 --> 01:02:45,640
Speaker 3: Yeah, he gets into blood vessels and somehow is able

1148
01:02:45,680 --> 01:02:48,120
Speaker 3: to because it seems like a blood vessel is like

1149
01:02:48,160 --> 01:02:51,760
Speaker 3: a highway. Like the vessel goes to one part of

1150
01:02:51,760 --> 01:02:53,800
Speaker 3: your body and maybe has some off ramps on the

1151
01:02:53,800 --> 01:02:58,880
Speaker 3: way there, but you don't have full agency of where

1152
01:02:58,880 --> 01:03:01,280
Speaker 3: else to go in the body unless you kareene out

1153
01:03:01,280 --> 01:03:03,800
Speaker 3: of that blood vessel, which you're going to start causing

1154
01:03:03,880 --> 01:03:05,840
Speaker 3: damage to to your host at that point.

1155
01:03:06,440 --> 01:03:09,240
Speaker 2: Yeah, he does make the host uncomfortable at times. It's

1156
01:03:09,960 --> 01:03:12,000
Speaker 2: there's some some related symptoms.

1157
01:03:12,920 --> 01:03:16,479
Speaker 3: I'm shocked that that Martin short did not display any

1158
01:03:16,520 --> 01:03:19,320
Speaker 3: sort of existential I mean, he had some existential dread

1159
01:03:19,360 --> 01:03:22,000
Speaker 3: at the beginning before he realized that there was a

1160
01:03:22,040 --> 01:03:23,080
Speaker 3: pot inside of him.

1161
01:03:23,560 --> 01:03:23,920
Speaker 2: M hm.

1162
01:03:24,320 --> 01:03:27,080
Speaker 3: To me, that would have just heightened the existential dread

1163
01:03:28,000 --> 01:03:31,320
Speaker 3: that there's now something, an actual thing inside of me

1164
01:03:31,440 --> 01:03:35,120
Speaker 3: that's talking to me and manipulating my body without me

1165
01:03:35,240 --> 01:03:37,480
Speaker 3: being able to stop it if I if I wanted.

1166
01:03:37,240 --> 01:03:40,680
Speaker 2: To Now some important plot stuff that you mentioned too,

1167
01:03:40,720 --> 01:03:43,440
Speaker 2: is that eventually okay? Well, first of all, character wise

1168
01:03:44,720 --> 01:03:48,440
Speaker 2: Jack and Pendleton, Jack and Tuck, Uh, they come together,

1169
01:03:48,520 --> 01:03:51,360
Speaker 2: they end up bonding over things like it becomes a

1170
01:03:51,440 --> 01:03:54,920
Speaker 2: very close relationship, not only because one is literally inside

1171
01:03:54,920 --> 01:03:59,760
Speaker 2: of the other, but but you know, they're they're they're

1172
01:03:59,760 --> 01:04:01,400
Speaker 2: the only people who can talk to each other, you know,

1173
01:04:01,400 --> 01:04:05,080
Speaker 2: they can. They have this this very intimate relationship, which

1174
01:04:05,080 --> 01:04:06,840
Speaker 2: I think the movie does a good good job with,

1175
01:04:07,280 --> 01:04:09,920
Speaker 2: you know, building this relationship between the two. And then

1176
01:04:09,920 --> 01:04:12,600
Speaker 2: of course is ultimately gonna introduce Meg Ryan's character Lydia.

1177
01:04:12,920 --> 01:04:14,520
Speaker 2: And then this is where we're gonna end up with

1178
01:04:14,560 --> 01:04:17,160
Speaker 2: this love triangle, which I have to say is one

1179
01:04:17,200 --> 01:04:21,080
Speaker 2: of the stranger love triangles I've ever seen, because again,

1180
01:04:21,120 --> 01:04:24,600
Speaker 2: we have Jack in large, we have Tuck in small.

1181
01:04:25,120 --> 01:04:29,320
Speaker 2: She is Tuck's X. Tuck ends up essentially being like

1182
01:04:29,360 --> 01:04:36,000
Speaker 2: the romance whisperer for Jack, helping him to pursue his

1183
01:04:36,160 --> 01:04:40,280
Speaker 2: ex at the same time, like he still has feelings

1184
01:04:40,320 --> 01:04:44,439
Speaker 2: for Lydia and they and also Lydia, I'm sorry. Also

1185
01:04:44,600 --> 01:04:46,960
Speaker 2: Jack and Tuck end up kind of bunding butting heads

1186
01:04:46,960 --> 01:04:52,360
Speaker 2: over this as well. It's it's bizarre and and at

1187
01:04:52,360 --> 01:04:55,520
Speaker 2: the same time was completely lost on me as a kid.

1188
01:04:56,160 --> 01:04:58,120
Speaker 2: But it has to be one of the stranger love

1189
01:04:58,120 --> 01:04:59,560
Speaker 2: triangles I've ever seen in a picture.

1190
01:05:00,200 --> 01:05:02,800
Speaker 3: Yeah, it's tricky because you don't really get a clear

1191
01:05:02,840 --> 01:05:08,280
Speaker 3: picture of what Jack's steaks are and emotionally, and I mean,

1192
01:05:08,320 --> 01:05:12,080
Speaker 3: you get the idea of his physical stakes, but you

1193
01:05:12,120 --> 01:05:20,320
Speaker 3: don't know he's obviously attracted to Lydia, but he's characterized

1194
01:05:20,320 --> 01:05:22,880
Speaker 3: as somebody who does not need a lot of convincing

1195
01:05:22,960 --> 01:05:26,120
Speaker 3: to help Tuck out. And sure that's motivated by the

1196
01:05:26,160 --> 01:05:29,120
Speaker 3: fact that Tuck is in his body and Tuck needs him,

1197
01:05:29,440 --> 01:05:32,560
Speaker 3: and maybe that is something that Jack wants as well

1198
01:05:32,600 --> 01:05:35,480
Speaker 3: as somebody to need him or need his help. But

1199
01:05:36,240 --> 01:05:41,920
Speaker 3: he's pretty willing, both motivated by fear of the spies

1200
01:05:42,400 --> 01:05:45,640
Speaker 3: catching up to him, trying to get Tuck out of

1201
01:05:45,720 --> 01:05:48,720
Speaker 3: him their way, which is going to be ugly, trying

1202
01:05:48,760 --> 01:05:51,000
Speaker 3: to find a better way to do that, but also

1203
01:05:51,040 --> 01:05:56,320
Speaker 3: trying to help him, like you say, romantically, convince Lydia

1204
01:05:56,440 --> 01:06:00,280
Speaker 3: to trust him and to trust that Tuck needs her

1205
01:06:00,320 --> 01:06:03,560
Speaker 3: help as well. It's it's really interesting and kind of

1206
01:06:03,600 --> 01:06:08,800
Speaker 3: puts Jack in the middle in a way that supports

1207
01:06:09,040 --> 01:06:12,520
Speaker 3: kind of his warming warm He's not the right word,

1208
01:06:12,640 --> 01:06:15,960
Speaker 3: but the fact that people push him around on a

1209
01:06:16,000 --> 01:06:19,760
Speaker 3: regular basis. He's kind of being moved around as well,

1210
01:06:20,800 --> 01:06:23,760
Speaker 3: emotionally and not just physically the way that Tuck is

1211
01:06:23,760 --> 01:06:26,600
Speaker 3: doing to him with the pod. But I do think

1212
01:06:26,720 --> 01:06:29,680
Speaker 3: we've got a ticking clock here that we didn't speak about,

1213
01:06:29,720 --> 01:06:32,040
Speaker 3: which is Tuck's oxygen is running out.

1214
01:06:32,120 --> 01:06:36,360
Speaker 2: Oh yes, yes, that's the Tucks you guys running out.

1215
01:06:36,480 --> 01:06:38,600
Speaker 2: He's eventually going to die in there if he doesn't

1216
01:06:38,600 --> 01:06:39,880
Speaker 2: get out right.

1217
01:06:39,920 --> 01:06:43,280
Speaker 3: So you've got ticking clock a which is there's these

1218
01:06:43,320 --> 01:06:45,760
Speaker 3: guys on your tail that you don't want them to

1219
01:06:45,800 --> 01:06:48,240
Speaker 3: catch you because they're happy to kill Jack to get

1220
01:06:48,320 --> 01:06:50,880
Speaker 3: Tuck out of him if they need to. B If

1221
01:06:50,960 --> 01:06:54,400
Speaker 3: you want Tuck to succeed at again whatever he's doing,

1222
01:06:55,200 --> 01:06:59,760
Speaker 3: you need to get back to the good lab quote

1223
01:06:59,800 --> 01:07:03,080
Speaker 3: unk quote good lab before tucks oxygen runs out and

1224
01:07:03,080 --> 01:07:06,800
Speaker 3: it gets real close and then you somehow have to

1225
01:07:06,840 --> 01:07:11,200
Speaker 3: save Tuck and Lydia's relationship. That's the sea ticking clock.

1226
01:07:11,680 --> 01:07:14,000
Speaker 2: Yeah. We also learn that there are like two little

1227
01:07:14,080 --> 01:07:16,800
Speaker 2: chips that are involved in the miniaturization process. There are

1228
01:07:16,840 --> 01:07:19,800
Speaker 2: other groups out there who have been working on miniaturization,

1229
01:07:19,880 --> 01:07:25,280
Speaker 2: and they can miniaturize things, but apparently relargifying things is

1230
01:07:25,320 --> 01:07:27,400
Speaker 2: the hard part, and that's where you need both chips,

1231
01:07:27,400 --> 01:07:29,320
Speaker 2: the chip that is out here in the full sized

1232
01:07:29,320 --> 01:07:31,960
Speaker 2: world and the chip that is now on that pod

1233
01:07:32,360 --> 01:07:35,000
Speaker 2: inside of Jack's body. And so that's what the bad

1234
01:07:35,040 --> 01:07:37,800
Speaker 2: guys want. They need to get that chip off of

1235
01:07:37,800 --> 01:07:41,960
Speaker 2: that pod, and as we'll learn, they'll do anything in

1236
01:07:42,000 --> 01:07:43,800
Speaker 2: their power to do so.

1237
01:07:43,800 --> 01:07:48,000
Speaker 3: So that's where Robert Piccardo comes in as the Cowboy,

1238
01:07:48,160 --> 01:07:55,000
Speaker 3: the agent employed to retrieve one of the chips, and

1239
01:07:55,760 --> 01:08:01,320
Speaker 3: their plan is to appropriate the Cowboy's face onto Jack's

1240
01:08:01,360 --> 01:08:06,320
Speaker 3: face and then infiltrate the meeting with Scrimshaw to get

1241
01:08:06,640 --> 01:08:10,000
Speaker 3: that chip to take back to the quote unquote Good Lab,

1242
01:08:10,520 --> 01:08:14,120
Speaker 3: right so that they can re enlarge Tuck and save him.

1243
01:08:14,680 --> 01:08:17,120
Speaker 2: Right. But then at the same time, they've already had

1244
01:08:17,120 --> 01:08:20,040
Speaker 2: some run ins with the Good Lab where they've overheard

1245
01:08:20,240 --> 01:08:23,640
Speaker 2: the good scientists saying, you know, it's actually easier if

1246
01:08:23,640 --> 01:08:26,599
Speaker 2: we just let him die inside of Jack's body, because

1247
01:08:26,640 --> 01:08:29,000
Speaker 2: nobody can get to that thing, it's miniaturized. Just let

1248
01:08:29,040 --> 01:08:31,200
Speaker 2: it go, you know, he'll get I guess, you know,

1249
01:08:31,920 --> 01:08:35,120
Speaker 2: excreted one way or another from Jack's body and it'll

1250
01:08:35,160 --> 01:08:39,280
Speaker 2: just be lost to time. And maybe that's easier, Yeah.

1251
01:08:38,840 --> 01:08:43,080
Speaker 3: I gotta say, all things being equal, taking humanity out

1252
01:08:43,120 --> 01:08:46,080
Speaker 3: of the equation altogether, which is what these scientists are doing,

1253
01:08:47,000 --> 01:08:48,280
Speaker 3: that's not a bad case.

1254
01:08:48,800 --> 01:08:53,200
Speaker 2: Yeah, and especially considering what mister Scrimshaw wants. We have

1255
01:08:53,240 --> 01:08:56,920
Speaker 2: a great later. So Drag gets abducted at least twice.

1256
01:08:56,960 --> 01:09:00,320
Speaker 2: I feel like it's like he's constantly escaping and re

1257
01:09:00,479 --> 01:09:03,560
Speaker 2: escaping and getting caught. There's one scene where mister Scrimshaw

1258
01:09:03,640 --> 01:09:07,839
Speaker 2: gets this great villain monologue about like, you know, nuclear

1259
01:09:07,880 --> 01:09:10,160
Speaker 2: weapons aren't there in the future. Space is in the future.

1260
01:09:10,200 --> 01:09:14,760
Speaker 2: It's miniaturization. So great villain monologue there. But then we

1261
01:09:14,880 --> 01:09:17,200
Speaker 2: get what we also get time and time again, a

1262
01:09:17,240 --> 01:09:22,000
Speaker 2: Pendleton Tuck assisted escape by Jack. So Jack's not necessarily

1263
01:09:22,040 --> 01:09:24,160
Speaker 2: he didn't realize when he's been trapped or see the

1264
01:09:24,280 --> 01:09:28,479
Speaker 2: light of the escape route. But that's where Tuck comes in.

1265
01:09:28,560 --> 01:09:30,639
Speaker 2: Tuck has this great gut instinct where he's like, okay,

1266
01:09:30,640 --> 01:09:34,480
Speaker 2: punch now, kick now, jump out of the moving vehicle now.

1267
01:09:34,560 --> 01:09:38,000
Speaker 2: And so you know, the movie stays in constant motion.

1268
01:09:38,720 --> 01:09:42,240
Speaker 3: Yeah. Jack gets a lot of heroic stunt opportunities to

1269
01:09:42,280 --> 01:09:46,280
Speaker 3: really look like like the hero, you know, and it's

1270
01:09:46,360 --> 01:09:48,920
Speaker 3: a lot of it's driven by Tuck, but he's the

1271
01:09:48,920 --> 01:09:52,280
Speaker 3: one doing it. It's not that Tuck's making his body move.

1272
01:09:52,360 --> 01:09:55,280
Speaker 3: Tuck's just guiding him through what to do. And that's

1273
01:09:55,360 --> 01:09:58,680
Speaker 3: kind of a Dumbo feather to Jack, where he's he

1274
01:09:58,800 --> 01:10:01,320
Speaker 3: has the confidence to actually execute on a lot of

1275
01:10:01,320 --> 01:10:02,880
Speaker 3: those things, and he's successful at it.

1276
01:10:10,760 --> 01:10:12,880
Speaker 2: So at this point I don't know which thread to follow.

1277
01:10:12,920 --> 01:10:16,120
Speaker 2: We have more of the love triangle plot that is

1278
01:10:16,160 --> 01:10:19,479
Speaker 2: propelling Jack ever closer to a sexual encounter with Lydia

1279
01:10:19,520 --> 01:10:21,799
Speaker 2: it would seem though, Again this is a PG film,

1280
01:10:21,840 --> 01:10:24,600
Speaker 2: so we're dealing in very broad strokes here, and a

1281
01:10:24,640 --> 01:10:27,960
Speaker 2: lot is implied. And then and then we have the

1282
01:10:28,000 --> 01:10:33,160
Speaker 2: whole scheme to figure out what Cowboy is up to, uh,

1283
01:10:33,200 --> 01:10:37,800
Speaker 2: to seduce Cowboy and then and then take advantage of him,

1284
01:10:38,120 --> 01:10:41,000
Speaker 2: and then the morphing of the face, the infiltration of

1285
01:10:41,040 --> 01:10:43,240
Speaker 2: the batties. Uh. And this is of course going to

1286
01:10:43,320 --> 01:10:48,599
Speaker 2: involve another round of chasing and escaping and everyone going

1287
01:10:48,640 --> 01:10:49,439
Speaker 2: after those chips.

1288
01:10:50,120 --> 01:10:52,639
Speaker 3: Yeah, I think it, you know, just to quickly top

1289
01:10:52,680 --> 01:10:57,000
Speaker 3: lined the cowboy thread, I think they realized or they learned,

1290
01:10:57,040 --> 01:11:00,680
Speaker 3: that the Cowboy goes to a club Inferno whenever he's

1291
01:11:00,720 --> 01:11:03,320
Speaker 3: in town because he loves to go dancing and meet women,

1292
01:11:03,720 --> 01:11:06,920
Speaker 3: so they go to Club Inferno as well. That's where

1293
01:11:07,240 --> 01:11:11,200
Speaker 3: Jack runs into Wendy from the grocery store. Wendy sees

1294
01:11:11,240 --> 01:11:14,280
Speaker 3: a new bad boy side of Jack that piques her interest.

1295
01:11:14,840 --> 01:11:18,120
Speaker 3: But the long story short there is that Lydia is

1296
01:11:18,160 --> 01:11:21,080
Speaker 3: able to seduce the cowboy bring him back to the hotel.

1297
01:11:21,520 --> 01:11:23,680
Speaker 3: That's where they're able to knock him out and appropriate

1298
01:11:23,680 --> 01:11:27,280
Speaker 3: his face to go to the meeting with Scrimshaw. That

1299
01:11:27,720 --> 01:11:30,679
Speaker 3: disguise starts to fall apart in the middle of that meeting.

1300
01:11:30,800 --> 01:11:35,080
Speaker 3: I think that the cowboy has a gold toothcap that

1301
01:11:35,720 --> 01:11:39,960
Speaker 3: falls out of fake Cowboy's mouth, which tips Scrimshaw off

1302
01:11:40,400 --> 01:11:44,360
Speaker 3: gets all of the bad guys up in arms to

1303
01:11:45,640 --> 01:11:51,120
Speaker 3: capture Jack. Which there's a great line in lieu of champagne.

1304
01:11:51,320 --> 01:11:56,360
Speaker 3: How about some real pain pro pain. I had to

1305
01:11:56,360 --> 01:11:58,400
Speaker 3: give it a lot of flowers for going past. How

1306
01:11:58,439 --> 01:12:01,080
Speaker 3: about some real pain and add an another pain.

1307
01:12:00,960 --> 01:12:04,360
Speaker 2: To the Yeah this is and we get some more

1308
01:12:04,520 --> 01:12:07,680
Speaker 2: Inspector gadget Shenanigans for mister Igo because he pulls out

1309
01:12:07,720 --> 01:12:10,839
Speaker 2: the blowtorch. Uh, that's right, appendage or maybe the blowtorch

1310
01:12:10,920 --> 01:12:12,760
Speaker 2: is just always in there as a as part of

1311
01:12:12,800 --> 01:12:16,160
Speaker 2: his Swiss army hand. But they're gonna they're like, oh,

1312
01:12:16,280 --> 01:12:19,879
Speaker 2: you know, the cowboy is known for his incredible pain tolerance,

1313
01:12:20,000 --> 01:12:21,920
Speaker 2: so let's just get an example of that here.

1314
01:12:22,520 --> 01:12:26,520
Speaker 3: That's right, and this is where the actual grotesque transformation

1315
01:12:26,680 --> 01:12:31,439
Speaker 3: scene from Cowboy face back to jackface happens. It freaks

1316
01:12:31,439 --> 01:12:34,960
Speaker 3: out everybody in the room. S Grimshaw's terrified, and rightly so,

1317
01:12:35,120 --> 01:12:36,880
Speaker 3: because it's it's a lot.

1318
01:12:37,400 --> 01:12:39,840
Speaker 2: Yeah, it is. It's very well done because if you

1319
01:12:39,880 --> 01:12:42,360
Speaker 2: slow it down or watch it twice, you're like, oh, yeah,

1320
01:12:42,400 --> 01:12:45,080
Speaker 2: this is this seems like boutine material right here, like

1321
01:12:45,120 --> 01:12:49,280
Speaker 2: this is the thing, but it is, but it's it's

1322
01:12:49,320 --> 01:12:52,719
Speaker 2: blurry and sped up in a very comedic Looney Tunes fashion,

1323
01:12:53,160 --> 01:12:57,280
Speaker 2: and that ultimately like overwhelms the horrific aspects of it.

1324
01:12:57,840 --> 01:12:59,960
Speaker 2: But it's very well done. Yeah.

1325
01:13:00,080 --> 01:13:03,559
Speaker 3: Yeah. Another thing to point out, they obviously, you know,

1326
01:13:04,240 --> 01:13:11,520
Speaker 3: escape this this scenario, Lydia helps them escape. Jack transfers

1327
01:13:11,680 --> 01:13:17,559
Speaker 3: Tuck to Lydia through a French kiss. Yes, which again

1328
01:13:17,680 --> 01:13:22,160
Speaker 3: I'm just gonna say, yeah, that works, you can do

1329
01:13:22,200 --> 01:13:25,840
Speaker 3: that first try. You know. While that happens, Tuck is

1330
01:13:25,840 --> 01:13:29,880
Speaker 3: inside Lydia's body, sees that Lydia is pregnant, presumably with

1331
01:13:30,040 --> 01:13:34,320
Speaker 3: his child. But the thing that gets me is that

1332
01:13:35,320 --> 01:13:39,520
Speaker 3: they then transfer Tuck back to Jack through another French kiss,

1333
01:13:41,280 --> 01:13:43,439
Speaker 3: which is like, I'm just this good at it that

1334
01:13:43,880 --> 01:13:46,879
Speaker 3: we can do this again. And it happened so quickly

1335
01:13:47,000 --> 01:13:48,840
Speaker 3: that it's like, I guess Tuck was just there at

1336
01:13:48,840 --> 01:13:49,760
Speaker 3: the mouth ready to go.

1337
01:13:51,479 --> 01:13:54,880
Speaker 2: French kisses work. French kisses are a complete exchange of

1338
01:13:54,920 --> 01:13:58,759
Speaker 2: all saliable content of the mouth and esophagus, right, That's.

1339
01:13:58,600 --> 01:14:00,519
Speaker 3: What we were warned about when we were younger.

1340
01:14:00,600 --> 01:14:06,920
Speaker 2: Yes, yeah, but again, like the whole the baby, the pregnancy,

1341
01:14:07,040 --> 01:14:11,720
Speaker 2: like this love triangle is very complex. One might even

1342
01:14:11,840 --> 01:14:14,439
Speaker 2: argue too complex for a picture that is just trying

1343
01:14:14,479 --> 01:14:17,519
Speaker 2: to be a big summertime explosion of special effects. But

1344
01:14:18,120 --> 01:14:20,000
Speaker 2: it's one of his charms that it's all there.

1345
01:14:20,720 --> 01:14:23,080
Speaker 3: Yeah, and I think it is. It does serve the

1346
01:14:23,680 --> 01:14:27,200
Speaker 3: function of while Tuck is in Lydia's body, Jack's not

1347
01:14:27,360 --> 01:14:35,320
Speaker 3: necessarily aware of that yet, and he is still acting

1348
01:14:35,400 --> 01:14:39,160
Speaker 3: like a heroic, you know fighter. He's knocking people out,

1349
01:14:39,600 --> 01:14:41,760
Speaker 3: he's you know, doing all of the things that Tuck

1350
01:14:41,800 --> 01:14:44,280
Speaker 3: told him to do. Once he realizes that Tuck's not

1351
01:14:44,320 --> 01:14:47,719
Speaker 3: inside him, is inside Lydia. He loses that, he loses

1352
01:14:47,720 --> 01:14:50,240
Speaker 3: that Dumbo feather, and the confidence kind of quickly at

1353
01:14:50,280 --> 01:14:51,559
Speaker 3: that Dumbo feather exactly.

1354
01:14:53,720 --> 01:14:56,000
Speaker 2: Yeah, so all that's really well executed. But I know

1355
01:14:56,080 --> 01:15:00,000
Speaker 2: that those of you who grew up watching Innerspace are

1356
01:15:00,200 --> 01:15:02,880
Speaker 2: you've been waiting for us to get to the big showdown.

1357
01:15:03,200 --> 01:15:06,920
Speaker 2: The big showdown is twofold because so basically they bring

1358
01:15:06,960 --> 01:15:10,040
Speaker 2: captive Jack back to the bad guy lab, which is

1359
01:15:10,160 --> 01:15:16,360
Speaker 2: super sleek and very military. We'll describe their pod here

1360
01:15:16,560 --> 01:15:19,360
Speaker 2: in a minute. But of course Lydia is able to

1361
01:15:19,360 --> 01:15:23,840
Speaker 2: take control. She built out a handgun. But after they

1362
01:15:23,920 --> 01:15:28,559
Speaker 2: have already injected a new villain into Jack's body, they'll wait.

1363
01:15:28,640 --> 01:15:32,960
Speaker 2: At the same time, Tuck is not in Jack anymore

1364
01:15:33,000 --> 01:15:35,439
Speaker 2: at this point, right, Tuck is in Lydia, but they

1365
01:15:35,479 --> 01:15:40,080
Speaker 2: inject mister I go inside of just a frightening like

1366
01:15:40,280 --> 01:15:45,599
Speaker 2: military combat pod with big claws, an amazing design here.

1367
01:15:45,640 --> 01:15:50,040
Speaker 2: They injected that into him to go after the original pod,

1368
01:15:50,200 --> 01:15:52,360
Speaker 2: to get those chips and to kill Tuck.

1369
01:15:53,040 --> 01:15:55,759
Speaker 3: That's right, this enemy lab, it looks like the TV

1370
01:15:55,920 --> 01:15:59,759
Speaker 3: room from Willy Wonka's cog factory. It's just all white

1371
01:15:59,760 --> 01:16:03,000
Speaker 3: and tons of space in contrast to the other lab,

1372
01:16:03,040 --> 01:16:06,240
Speaker 3: which has just stacks of machinery on top of stacks

1373
01:16:06,240 --> 01:16:10,519
Speaker 3: of machinery. But yeah, this this exopod, it's a suit,

1374
01:16:10,720 --> 01:16:15,879
Speaker 3: whereas the you know, tucks in a little chair inside

1375
01:16:15,880 --> 01:16:18,600
Speaker 3: of a small room. It feels like this is a

1376
01:16:18,640 --> 01:16:22,200
Speaker 3: scuba suit that has attachments. It's a lot more menacing.

1377
01:16:22,439 --> 01:16:25,719
Speaker 3: Presumably this guy can whip around more quickly within the body,

1378
01:16:26,000 --> 01:16:28,479
Speaker 3: and he is designed to cause damage. That's what the

1379
01:16:28,479 --> 01:16:31,320
Speaker 3: suit is for, you know, so pretty scaring. Of course

1380
01:16:31,320 --> 01:16:34,840
Speaker 3: it's all black compared to the silver white pod that

1381
01:16:35,160 --> 01:16:35,680
Speaker 3: Tuck is in.

1382
01:16:36,040 --> 01:16:38,680
Speaker 2: Yeah, it's frightening. And you got the one portal so

1383
01:16:38,800 --> 01:16:43,080
Speaker 2: you can have mister IGO's face like the horrifying mug

1384
01:16:43,120 --> 01:16:49,599
Speaker 2: of his, like sneering through it and grinning. Yeah, terrifying pod.

1385
01:16:49,840 --> 01:16:52,840
Speaker 2: Enemy pod here like a fighter pod that they have

1386
01:16:52,920 --> 01:16:55,920
Speaker 2: now injected into Jack, miniaturized and injected. And we get

1387
01:16:55,920 --> 01:16:58,719
Speaker 2: a nice bit from Scrimshaw where he turns to doctor

1388
01:16:58,800 --> 01:17:01,280
Speaker 2: Canker and he's like, you know, it's going to be

1389
01:17:01,320 --> 01:17:04,800
Speaker 2: easier if we just re enlarge him inside Jack's body afterwards,

1390
01:17:06,000 --> 01:17:08,439
Speaker 2: which is which is like, we we never see something

1391
01:17:08,479 --> 01:17:10,160
Speaker 2: like that happen in the show, But just by mentioning

1392
01:17:10,160 --> 01:17:13,080
Speaker 2: the idea, it does bring about a certain amount of menace.

1393
01:17:13,479 --> 01:17:16,280
Speaker 3: Yeah, I love that. Again, take the humanity out of it,

1394
01:17:16,360 --> 01:17:18,800
Speaker 3: and these are all the sound These are as sound

1395
01:17:18,840 --> 01:17:23,960
Speaker 3: ideas as any other suggestion. At this point, Lydia gets

1396
01:17:24,320 --> 01:17:28,720
Speaker 3: Tuck back into Jack with an intentional kiss to get

1397
01:17:28,760 --> 01:17:32,880
Speaker 3: him in. That's where Tuck can help Jack fight off

1398
01:17:32,960 --> 01:17:38,400
Speaker 3: mister Igo. Lydia also forces all of the scientists Scrimshaw

1399
01:17:38,439 --> 01:17:43,480
Speaker 3: and Canker into the miniaturization pod or into the miniaturization

1400
01:17:43,680 --> 01:17:46,479
Speaker 3: chamber and shrinks them all, does not shrink them all

1401
01:17:46,520 --> 01:17:51,840
Speaker 3: to a microscopic size, which they are for the rest

1402
01:17:51,880 --> 01:17:52,360
Speaker 3: of the movie.

1403
01:17:52,760 --> 01:17:57,000
Speaker 2: Yes, So the big showdown then is twofold in the

1404
01:17:57,040 --> 01:18:01,960
Speaker 2: world at large. We have Jack and Lydia driving you know,

1405
01:18:02,000 --> 01:18:05,880
Speaker 2: down the highway in San Francisco, and then Scrimshaw, miniaturized

1406
01:18:05,920 --> 01:18:10,479
Speaker 2: Scrimshaw and doctor Kenker attack from the back seat, so

1407
01:18:10,520 --> 01:18:14,200
Speaker 2: they're wrestling them in the front and back seat. Meanwhile,

1408
01:18:14,760 --> 01:18:19,519
Speaker 2: inside of Jack's body on his esophagus, there is now

1409
01:18:19,560 --> 01:18:22,960
Speaker 2: a battle between the original pod and the new pod,

1410
01:18:23,240 --> 01:18:28,000
Speaker 2: between a Tuck and mister Igo. And this is just

1411
01:18:28,280 --> 01:18:30,439
Speaker 2: a really cool battle. Like I'm not saying it's like

1412
01:18:30,560 --> 01:18:35,280
Speaker 2: RoboCop RoboCop two level, but it's pretty great with lots

1413
01:18:35,320 --> 01:18:41,080
Speaker 2: of gadget arms and cutting of robotic components, some nice

1414
01:18:41,120 --> 01:18:42,080
Speaker 2: back and forth.

1415
01:18:42,160 --> 01:18:44,799
Speaker 3: Well, and it moves to the stomach for the final

1416
01:18:45,000 --> 01:18:47,960
Speaker 3: blows of the scene, and that is probably my favorite

1417
01:18:47,960 --> 01:18:51,439
Speaker 3: set piece of the entire movie. It's this raging sea

1418
01:18:51,600 --> 01:18:55,200
Speaker 3: of stomach acid at the bottom. Again, a ton of

1419
01:18:55,240 --> 01:18:58,400
Speaker 3: distance from the top of the esophagus where they enter

1420
01:18:58,520 --> 01:19:02,479
Speaker 3: the stomach to where the acid is. And Tuck has

1421
01:19:02,560 --> 01:19:07,160
Speaker 3: to get Jack's allergies. A Chekhov's gun that was introduced

1422
01:19:07,200 --> 01:19:11,240
Speaker 3: earlier in the movie needs to get him I forget

1423
01:19:11,240 --> 01:19:14,280
Speaker 3: what he's specifically allergic to, but needs him to activate

1424
01:19:14,280 --> 01:19:16,400
Speaker 3: his allergies to get his stomach acid going.

1425
01:19:16,960 --> 01:19:19,479
Speaker 2: This is a great set piece for the finale here

1426
01:19:19,360 --> 01:19:21,439
Speaker 2: the stomach is like this. Like you said, there's a

1427
01:19:21,479 --> 01:19:24,080
Speaker 2: lot of space there is. It's very well lit. That's

1428
01:19:24,120 --> 01:19:26,840
Speaker 2: another thing about the inside of the body. You just

1429
01:19:26,840 --> 01:19:29,320
Speaker 2: go by innerspace and fantastic voyage. It's like a well

1430
01:19:29,360 --> 01:19:32,639
Speaker 2: lit nebula in there, which works. It is an inner space,

1431
01:19:32,640 --> 01:19:34,160
Speaker 2: and so it should look like some of our most

1432
01:19:34,160 --> 01:19:38,120
Speaker 2: colorful visions of outer space, whereas in reality it's like

1433
01:19:38,120 --> 01:19:40,720
Speaker 2: that old saying, like a man's best friend outside of

1434
01:19:40,720 --> 01:19:42,880
Speaker 2: a book is a dog, and inside of a dog,

1435
01:19:42,920 --> 01:19:43,800
Speaker 2: it's too dark to read.

1436
01:19:44,080 --> 01:19:47,559
Speaker 3: It's very dark and so well and I misspoke. It's

1437
01:19:47,560 --> 01:19:50,080
Speaker 3: not his allergies that he needs to trigger. He stresses

1438
01:19:50,200 --> 01:19:52,519
Speaker 3: Jack out to the point where he gets reflux from

1439
01:19:52,520 --> 01:19:55,800
Speaker 3: the ay. Yes, and that's what causes the churn to

1440
01:19:55,920 --> 01:20:00,200
Speaker 3: which the fight then leads mister Igo down in the

1441
01:20:00,200 --> 01:20:03,240
Speaker 3: stomach acid, where he is eaten up, down to a

1442
01:20:03,320 --> 01:20:07,280
Speaker 3: skeleton an aka kaak bones skeleton, which.

1443
01:20:07,120 --> 01:20:10,280
Speaker 2: Is a skeleton and the remains the prosthetic arm trying

1444
01:20:10,320 --> 01:20:14,920
Speaker 2: to drill through the portal of the original POD's Yeah

1445
01:20:15,160 --> 01:20:18,439
Speaker 2: so good, great great villain kill quality, kill here all

1446
01:20:18,479 --> 01:20:18,720
Speaker 2: the way.

1447
01:20:18,800 --> 01:20:21,280
Speaker 3: Yeah yeah. So they get back to the good lab,

1448
01:20:22,760 --> 01:20:26,760
Speaker 3: they can't get Tuck out, or they can't quickly get

1449
01:20:26,800 --> 01:20:30,280
Speaker 3: Tuck out. The oxygen is at zero. At this point,

1450
01:20:31,760 --> 01:20:35,880
Speaker 3: they think they've lost all hope. Jack realizes that he's

1451
01:20:35,920 --> 01:20:40,679
Speaker 3: allergic to hairspray, which is the element that was introduced

1452
01:20:40,720 --> 01:20:44,040
Speaker 3: earlier in the movie, is given some hair spray, sneezes

1453
01:20:44,800 --> 01:20:48,639
Speaker 3: Tuck out onto one of the scientist's glasses, and.

1454
01:20:48,520 --> 01:20:51,200
Speaker 2: Then they tweezer it, they tweeze her it, and they

1455
01:20:51,320 --> 01:20:54,160
Speaker 2: get it back into the chamber. They re size him,

1456
01:20:54,200 --> 01:20:57,800
Speaker 2: they re enlarge him, and we got our big, happy ending,

1457
01:20:58,360 --> 01:21:01,559
Speaker 2: which is of course a wedding in true Shakespearean fashion.

1458
01:21:01,640 --> 01:21:04,680
Speaker 2: We end with a lavish wedding. But who's going to

1459
01:21:04,720 --> 01:21:06,920
Speaker 2: be married, Well, we know who's going to be married, right,

1460
01:21:07,479 --> 01:21:08,719
Speaker 2: It's going to be tucking Lydia.

1461
01:21:09,200 --> 01:21:12,040
Speaker 3: It's tucking Lydia. Jack is the best man, which, again

1462
01:21:12,479 --> 01:21:14,719
Speaker 3: just met these guys, but they've been through a lot together.

1463
01:21:14,760 --> 01:21:17,040
Speaker 3: So I kind of understand that. What I don't understand

1464
01:21:17,080 --> 01:21:19,880
Speaker 3: is why Wendy is at the wedding. Don't understand why

1465
01:21:19,920 --> 01:21:22,680
Speaker 3: mister Wormwood, the boss at the grocery store, is at

1466
01:21:22,680 --> 01:21:25,080
Speaker 3: the wedding. What I don't understand is why the doctor

1467
01:21:25,120 --> 01:21:27,719
Speaker 3: who prescribed the vacation for Jack is at the wedding.

1468
01:21:27,840 --> 01:21:28,920
Speaker 3: This is not Jack's wedding.

1469
01:21:29,479 --> 01:21:33,559
Speaker 2: Yeah, the jerky military guy is there apparently with his son.

1470
01:21:34,040 --> 01:21:37,719
Speaker 2: It's this The events of this film just brought everyone

1471
01:21:37,800 --> 01:21:41,320
Speaker 2: together into this like tight knit community, this tight knit family,

1472
01:21:42,240 --> 01:21:45,200
Speaker 2: in ways that are perhaps a little inexplicable.

1473
01:21:45,840 --> 01:21:48,680
Speaker 3: Yeah, and so it seems like a happy ending, but

1474
01:21:49,880 --> 01:21:52,960
Speaker 3: not quite we see that the cowboy is the limo driver,

1475
01:21:54,560 --> 01:21:58,240
Speaker 3: and that I believe Scrimshaw and Margaret are inside of

1476
01:21:58,280 --> 01:22:02,759
Speaker 3: the suitcase. Yes, placed into the trunk. So they're driving

1477
01:22:02,800 --> 01:22:06,679
Speaker 3: off on their happy wedding honeymoon drive down a twisty

1478
01:22:06,720 --> 01:22:10,519
Speaker 3: mountain road, and Jack realizes that the job's not done

1479
01:22:10,520 --> 01:22:11,760
Speaker 3: and he needs to help them out.

1480
01:22:12,320 --> 01:22:14,360
Speaker 2: That's right. Oh, and we also find out that Tuck

1481
01:22:14,439 --> 01:22:19,040
Speaker 2: has the chips, the very coveted dangerous technology chips are

1482
01:22:19,080 --> 01:22:23,920
Speaker 2: his cufflins. So they set up a sequel here that,

1483
01:22:24,000 --> 01:22:27,160
Speaker 2: of course never happened. But I remember at the time

1484
01:22:27,880 --> 01:22:29,360
Speaker 2: as a kid, I just thought, if you set up

1485
01:22:29,360 --> 01:22:32,120
Speaker 2: a sequel like this, it will happen. It's going to happen.

1486
01:22:33,080 --> 01:22:34,800
Speaker 2: I feel like I spent spent a fair amount of

1487
01:22:34,840 --> 01:22:38,639
Speaker 2: time just assuming Interspace too was coming right down the pipe,

1488
01:22:38,640 --> 01:22:41,240
Speaker 2: and then it was coming up next. Never happened.

1489
01:22:41,760 --> 01:22:44,760
Speaker 3: I kind of love the and then the adventures continued

1490
01:22:45,120 --> 01:22:50,200
Speaker 3: layer of it. I wish that more franchise films took

1491
01:22:50,240 --> 01:22:53,320
Speaker 3: that under advisement. I think it's okay to say Indiana

1492
01:22:53,400 --> 01:22:56,160
Speaker 3: Jones went on more adventures after this one, and that,

1493
01:22:56,280 --> 01:22:57,680
Speaker 3: you know what, I don't really need to show you

1494
01:22:57,720 --> 01:23:00,160
Speaker 3: what the last one is or the second to last

1495
01:23:00,160 --> 01:23:02,760
Speaker 3: one is, or continue that storyline if I don't want to.

1496
01:23:03,200 --> 01:23:05,800
Speaker 3: Sometimes it's fun to just say. And their lives continued

1497
01:23:05,840 --> 01:23:08,760
Speaker 3: to be that exciting, and so I agree with you.

1498
01:23:08,800 --> 01:23:11,639
Speaker 3: I think that there was this left a door opened

1499
01:23:11,680 --> 01:23:13,519
Speaker 3: to a sequel, and there seemed to be a lot

1500
01:23:13,520 --> 01:23:18,719
Speaker 3: of enthusiasm for that. Maybe the mid box office return

1501
01:23:19,160 --> 01:23:22,599
Speaker 3: diminished that hope, but I kind of like it where

1502
01:23:22,640 --> 01:23:26,200
Speaker 3: it is, where if the job's not done, they're still

1503
01:23:26,240 --> 01:23:28,920
Speaker 3: going to have more fun. This guy's life has been

1504
01:23:29,000 --> 01:23:32,920
Speaker 3: inexplicably changed for and put on a different path that

1505
01:23:33,080 --> 01:23:34,880
Speaker 3: he didn't choose, but he's going to roll with it,

1506
01:23:34,920 --> 01:23:36,920
Speaker 3: you know. He's a different person now, and I kind

1507
01:23:36,960 --> 01:23:38,000
Speaker 3: of really like that for him.

1508
01:23:38,640 --> 01:23:40,840
Speaker 2: Yeah. Yeah, It's like, I think it's great you have

1509
01:23:40,920 --> 01:23:42,559
Speaker 2: to set up these sequels that never happened. As long

1510
01:23:42,600 --> 01:23:44,800
Speaker 2: as you told a complete story, you put everything on

1511
01:23:44,840 --> 01:23:49,320
Speaker 2: the table, then I'm fine with just sort of dreaming

1512
01:23:49,320 --> 01:23:51,320
Speaker 2: about what else could have been possible. And this is

1513
01:23:51,320 --> 01:23:53,640
Speaker 2: a film that does leave everything on the table and

1514
01:23:53,880 --> 01:23:56,400
Speaker 2: busts out all of its tricks. So yeah, I don't

1515
01:23:56,400 --> 01:23:59,320
Speaker 2: feel like they held anything back with Inner Space. They

1516
01:23:59,400 --> 01:24:03,240
Speaker 2: just left that indow open to potentially dream up interspace too.

1517
01:24:03,760 --> 01:24:07,320
Speaker 3: Yeah, it's very strict. I mean, it's such a bizarre

1518
01:24:07,360 --> 01:24:11,760
Speaker 3: fever dream of an ending scene where all of the

1519
01:24:11,880 --> 01:24:14,160
Speaker 3: characters from the movie are invited to the wedding of

1520
01:24:14,280 --> 01:24:16,920
Speaker 3: somebody who most of the characters have never met, and

1521
01:24:16,960 --> 01:24:18,880
Speaker 3: then all of the bad guys are also at the

1522
01:24:18,920 --> 01:24:24,799
Speaker 3: wedding in disguise to attack these two characters after the wedding,

1523
01:24:24,880 --> 01:24:26,680
Speaker 3: What are they gonna do to Tug? I guess they're

1524
01:24:26,720 --> 01:24:28,439
Speaker 3: good they I guess they know about the coup leaks.

1525
01:24:28,760 --> 01:24:34,400
Speaker 2: Yep, somebody's gonna getized again. It's they're gonna be Shenanigan's.

1526
01:24:33,840 --> 01:24:37,360
Speaker 3: Yeah, great time. Twist in the night Away takes us

1527
01:24:37,360 --> 01:24:39,800
Speaker 3: into the credits. The credits are actually a pretty tight

1528
01:24:39,880 --> 01:24:42,880
Speaker 3: credit roll where you're not it's not ten minutes long.

1529
01:24:42,920 --> 01:24:44,960
Speaker 3: It's like a good three to five minutes credits twist

1530
01:24:44,960 --> 01:24:46,720
Speaker 3: AND's playing the entire time and then you're out.

1531
01:24:47,200 --> 01:24:48,920
Speaker 2: Yeah, and that's inner space.

1532
01:24:49,400 --> 01:24:51,200
Speaker 3: Yeah, fun, fun time.

1533
01:24:51,680 --> 01:24:54,320
Speaker 2: Yeah. I really enjoyed revisiting this one, and I feel

1534
01:24:54,320 --> 01:24:57,240
Speaker 2: like it largely held up. Yeah, you know, it was

1535
01:24:57,240 --> 01:25:00,200
Speaker 2: still very entertaining today. The effects were tremendous. Perform This

1536
01:25:00,360 --> 01:25:03,400
Speaker 2: were great. You know, you never know exactly what it's

1537
01:25:03,400 --> 01:25:04,720
Speaker 2: going to be like going back to a film from

1538
01:25:04,800 --> 01:25:07,800
Speaker 2: you know, the nineteen eighties, mid nineteen eighties and see

1539
01:25:07,800 --> 01:25:10,000
Speaker 2: how everything lands. But yeah, this was a fun one,

1540
01:25:10,080 --> 01:25:10,519
Speaker 2: good pick.

1541
01:25:10,600 --> 01:25:14,160
Speaker 3: Yeah, yeah, this one for me, it like we were

1542
01:25:14,200 --> 01:25:17,479
Speaker 3: saying at the top, it's stitched into my memory of

1543
01:25:17,520 --> 01:25:19,720
Speaker 3: being a certain age because of how much I saw

1544
01:25:19,760 --> 01:25:22,639
Speaker 3: it at that age. And even though I did drop

1545
01:25:22,680 --> 01:25:26,280
Speaker 3: out a significant chunk of it from my memory, a

1546
01:25:26,320 --> 01:25:29,879
Speaker 3: lot of it took me back into that spare bedroom

1547
01:25:29,920 --> 01:25:32,000
Speaker 3: at my grandmother's house, sitting and watching it on a

1548
01:25:32,040 --> 01:25:36,000
Speaker 3: tiny TV. And to that point, it's not just the

1549
01:25:36,040 --> 01:25:40,160
Speaker 3: nostalgia of that viewing it holds up. It's fun. I'm

1550
01:25:40,200 --> 01:25:42,160
Speaker 3: having the same kind of fun that I was having

1551
01:25:42,240 --> 01:25:43,439
Speaker 3: back then watching it again.

1552
01:25:44,040 --> 01:25:47,160
Speaker 2: All right, Dave boy, as we begin to lead out here,

1553
01:25:47,800 --> 01:25:51,479
Speaker 2: let's talk talk in Tofu for a minute here in

1554
01:25:51,520 --> 01:25:54,320
Speaker 2: case listeners don't remember from last time, tell us a

1555
01:25:54,320 --> 01:25:57,439
Speaker 2: little bit about what Talking Tofu is and tell us

1556
01:25:57,520 --> 01:25:59,639
Speaker 2: what has come out recently in the podcast and what's

1557
01:25:59,640 --> 01:26:00,479
Speaker 2: coming out in the future.

1558
01:26:01,000 --> 01:26:05,800
Speaker 3: Sure, yeah, so Talking Tofu is myself and my co

1559
01:26:05,880 --> 01:26:10,160
Speaker 3: host slash wife Becky Streepy we're both vegans, and we

1560
01:26:11,479 --> 01:26:14,280
Speaker 3: felt like there's not a lot of fun vegan content

1561
01:26:14,320 --> 01:26:17,400
Speaker 3: out there. Some of the stuff that you see about

1562
01:26:17,439 --> 01:26:19,240
Speaker 3: being vegan can be kind of hard handed in the

1563
01:26:19,240 --> 01:26:22,120
Speaker 3: way that it convinces you of the value and the

1564
01:26:22,200 --> 01:26:27,719
Speaker 3: virtue of adopting a different lifestyle, whereas we don't really

1565
01:26:28,120 --> 01:26:30,040
Speaker 3: think about that much on a day to day basis.

1566
01:26:30,040 --> 01:26:31,479
Speaker 3: We just have a lot of fun with it. We

1567
01:26:31,520 --> 01:26:34,679
Speaker 3: love food, we love eating food, we love trying new food,

1568
01:26:34,800 --> 01:26:37,760
Speaker 3: we love crusting out on junk food, and so our

1569
01:26:37,800 --> 01:26:40,559
Speaker 3: podcast is a lot of that. It's us trying new things,

1570
01:26:41,080 --> 01:26:44,519
Speaker 3: trying new foods. Usually each episode we'll talk about some

1571
01:26:44,600 --> 01:26:46,800
Speaker 3: takeout or a restaurant that we went to, whether it's

1572
01:26:46,840 --> 01:26:48,960
Speaker 3: in town or on one of our travels. We travel

1573
01:26:49,040 --> 01:26:51,360
Speaker 3: quite a bit, and we'll usually try a new snack

1574
01:26:51,400 --> 01:26:53,719
Speaker 3: on the pod, and then we'll spend the other seventy

1575
01:26:53,720 --> 01:26:56,280
Speaker 3: percent of the time talking about whatever bs has happened

1576
01:26:56,280 --> 01:26:58,639
Speaker 3: to us that week, whatever show we watched that week,

1577
01:26:58,680 --> 01:27:02,920
Speaker 3: what movies were into. We just talked about Wicked at length,

1578
01:27:02,960 --> 01:27:04,640
Speaker 3: which we both saw in the theater and loved it

1579
01:27:04,720 --> 01:27:08,760
Speaker 3: and has a very strong pro animal message unintentionally, I think,

1580
01:27:10,200 --> 01:27:13,320
Speaker 3: but just a lot of fun, some of the stuff

1581
01:27:13,320 --> 01:27:16,520
Speaker 3: that we've talked about lately. We just went to Disneyland

1582
01:27:16,560 --> 01:27:19,519
Speaker 3: recently and did a round up of all the vegan

1583
01:27:19,720 --> 01:27:22,360
Speaker 3: snacks and food you can eat at Disneyland in and

1584
01:27:22,400 --> 01:27:26,120
Speaker 3: around those parks. We've traveled to Vegas recently, did a

1585
01:27:26,200 --> 01:27:28,640
Speaker 3: couple of trips to Vegas and a few Vegas episodes.

1586
01:27:29,439 --> 01:27:32,439
Speaker 3: We are traveling this weekend to New York City, probably

1587
01:27:32,479 --> 01:27:36,400
Speaker 3: come out with a New York City roundup. Obviously will

1588
01:27:36,400 --> 01:27:39,439
Speaker 3: not be comprehensive, as there are lots of vegan options

1589
01:27:39,479 --> 01:27:41,519
Speaker 3: in New York City, but just kind of a rundown

1590
01:27:41,560 --> 01:27:43,760
Speaker 3: of what we did while we were up there. And again,

1591
01:27:43,800 --> 01:27:45,960
Speaker 3: we're just having fun and keeping it light and showing

1592
01:27:46,040 --> 01:27:53,800
Speaker 3: that it's fun to be vegan. So yeah, that's that's

1593
01:27:53,800 --> 01:27:54,400
Speaker 3: what we're up.

1594
01:27:54,280 --> 01:27:57,400
Speaker 2: To, all right, that's talking to That's t a l

1595
01:27:57,680 --> 01:28:02,519
Speaker 2: k I n Apostrophe TOFU podcast. That's right, So look

1596
01:28:02,560 --> 01:28:04,680
Speaker 2: that up. You can find that wherever you get your episodes.

1597
01:28:05,120 --> 01:28:06,760
Speaker 3: Yeah, yeah, we gotta get you on there.

1598
01:28:07,000 --> 01:28:10,200
Speaker 2: Yeah, anytime. All right, all right, We're gonna go ahead

1599
01:28:10,200 --> 01:28:12,759
Speaker 2: and close out this episode, but I'll just remind everyone

1600
01:28:12,760 --> 01:28:14,719
Speaker 2: out there that stuff to blow your mind is primarily

1601
01:28:14,720 --> 01:28:17,240
Speaker 2: a science and culture podcast, with core episodes on Tuesdays

1602
01:28:17,240 --> 01:28:20,879
Speaker 2: and Thursdays, short form episodes on Wednesdays and on Fridays.

1603
01:28:20,880 --> 01:28:23,240
Speaker 2: We set aside most serious concerns to just talk about

1604
01:28:23,479 --> 01:28:26,360
Speaker 2: weird films on Weird House Cinema. And if you want

1605
01:28:26,360 --> 01:28:28,559
Speaker 2: a full list of the movies we've covered over the years,

1606
01:28:28,560 --> 01:28:32,160
Speaker 2: you can find them on letterboxed our username there is

1607
01:28:32,240 --> 01:28:34,439
Speaker 2: weird House got a nice list there, so you can

1608
01:28:34,520 --> 01:28:36,920
Speaker 2: just dive in there and see what we've chatted about

1609
01:28:36,920 --> 01:28:40,040
Speaker 2: in the past. As always, thanks to the great JJ

1610
01:28:40,120 --> 01:28:43,519
Speaker 2: Possway for producing and editing the show, stitching everything together

1611
01:28:43,560 --> 01:28:45,680
Speaker 2: and making it sound right. And if you want to

1612
01:28:45,720 --> 01:28:49,080
Speaker 2: reach out to me, to Joe to JJ, or if

1613
01:28:49,080 --> 01:28:51,880
Speaker 2: you want to reach out to Dave, I'll shoot that

1614
01:28:52,040 --> 01:28:55,200
Speaker 2: on todave as well that you can email us at

1615
01:28:55,280 --> 01:29:04,120
Speaker 2: contact at stuff to Blow your Mind dot com.

1616
01:29:04,320 --> 01:29:07,280
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1617
01:29:07,360 --> 01:29:11,200
Speaker 1: more podcasts from my iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1618
01:29:11,280 --> 01:29:13,080
Speaker 1: or wherever you listen to your favorite shows.