WEBVTT - Weirdhouse Cinema: Innerspace

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<v Speaker 1>Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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<v Speaker 2>Hey, welcome to Weird House Cinema. This is Rob Lamb

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<v Speaker 2>and today I have a returning special guest co host.

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<v Speaker 2>We're joined once more by David Streepy of the Talkin'

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<v Speaker 2>TOFU podcast. Dave, welcome back to the show.

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<v Speaker 3>Thank you, thanks for having me back, and hello to

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

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<v Speaker 3>so hello again to all of you. Glad to be back.

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

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<v Speaker 3>Right, yes, no, I wish, Oh my god, could you

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<v Speaker 3>imagine old Man Terry now?

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<v Speaker 2>Instead, we're gonna be We were talking about like a

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<v Speaker 2>handful of potential movies and we ended up going with

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<v Speaker 2>the one. I think this one was probably the one

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<v Speaker 2>that you brought up that was the most holiday friendly

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<v Speaker 2>and I think might be a stealth holiday film because

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<v Speaker 2>they did see a Santa Claus at one point.

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<v Speaker 3>That's all it takes to qualify, really, and this did

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<v Speaker 3>happen in California, so really, your only cues that it

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<v Speaker 3>is the holidays and a West Coast movie are from

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<v Speaker 3>the decorations and not from climate or any anything else.

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

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<v Speaker 3>bunch of really strong contenders for possibilities, but I think

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<v Speaker 3>this one, in addition to its appropriateness, it's it's the

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<v Speaker 3>it's a big one, but it kind of made a

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<v Speaker 3>small splash and a big splash at the same time.

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<v Speaker 3>It's really really unique.

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

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<v Speaker 2>about in nineteen eighty seven's Interspace. This is Joe Dante.

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<v Speaker 2>Film got a great cast, I mean, starring Dennis Quaid,

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<v Speaker 2>Martin Short, Meg Ryan. I mean, it came out big

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<v Speaker 2>summer special effects movie, apparently made money. This was not

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<v Speaker 2>a box office bomb by any stretch, and it it

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<v Speaker 2>amazed a lot of kids. I was one of those

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<v Speaker 2>kids who watched this film multiple times. I guess I

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<v Speaker 2>maybe saw it on TV the first time and then

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<v Speaker 2>maybe just rented it a bunch of times after that

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<v Speaker 2>on VHS. But I was super into this picture. I

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<v Speaker 2>would make little lego models roughly based on the two

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<v Speaker 2>main submarine bots in the film.

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<v Speaker 3>Yeah, I think that you're right this one definitely. I

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<v Speaker 3>don't think it was a flop at the box office,

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<v Speaker 3>but maybe had higher hopes given the pedigree of everybody involved,

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<v Speaker 3>but I think it was a big renter. It was

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<v Speaker 3>a big VHS. I remember having a huge presence at

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<v Speaker 3>the video store, both in cardboard cutout, but also the

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<v Speaker 3>number of copies that were on the shelves, the availability

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<v Speaker 3>of the copies that were on the shelves. This movie

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<v Speaker 3>seemed to turn up quite a bit in sleepovers on

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<v Speaker 3>trips where you would get five bucks to go to

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<v Speaker 3>the video store and pick something out. I just remember

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<v Speaker 3>seeing this movie a lot, a lot, And I think

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<v Speaker 3>I mentioned this too. I texted you this while I

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<v Speaker 3>was rewatching recently. There's like a whole hour of this

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<v Speaker 3>movie that I completely forgot about in the middle.

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<v Speaker 2>Yeah. Yeah, I mean it's easy to expect with an

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<v Speaker 2>effects film like this, you have your big effects sequences,

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<v Speaker 2>you have your big finale. Those are the ones that

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<v Speaker 2>certainly stuck in my head the most. Also, some of

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<v Speaker 2>the like the Martin Short over the top freak out moments,

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<v Speaker 2>which I mean, if you're going to hire Martin Short,

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<v Speaker 2>especially you know during the eighties or the nineties or

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<v Speaker 2>well or subsequent decades, you're going to want at least

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<v Speaker 2>a little of.

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<v Speaker 3>That or even now. Yeah, I think that's that's still

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<v Speaker 3>a stock in trade, and I think that, you know what,

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

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<v Speaker 3>of course, But what didn't really stick on my memory

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<v Speaker 3>was all the work needed to move Martin Short around

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

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

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

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<v Speaker 3>what the tech looks like, how he got there in

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<v Speaker 3>the first place, and how he's going to get out

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<v Speaker 3>of that situation. And there's a huge chunk in the

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<v Speaker 3>middle of that sandwich that I wasn't really thinking about.

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<v Speaker 2>Yeah, it's a film that is, it's constantly in motion.

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<v Speaker 2>It keeps adding new elements, often wild elements on top

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<v Speaker 2>of the shu. Yeah, new characters. There's a whole whole

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

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<v Speaker 2>it's never boring, it's it's in constant motion. It is

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<v Speaker 2>like Martin Short as a film.

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

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<v Speaker 3>film film modified.

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<v Speaker 2>Now this is of course a miniaturization film. If you're

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<v Speaker 2>I think everyone out there is familiar with this subgenre

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<v Speaker 2>of science fiction by now, with the classic example being

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<v Speaker 2>Fantastic Voyage. This is essentially Fantastic Voyage through Martin Short.

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

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<v Speaker 2>It seems like more recently you tend to see it

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<v Speaker 2>pop up like as a treatment on some sort of

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<v Speaker 2>a science fiction show. I think Rick and Morty did

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<v Speaker 2>a miniaturization episode years back, and I don't know that

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<v Speaker 2>we've had any kind of like big Fantastic to Voyage

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<v Speaker 2>style adventure recently.

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<v Speaker 3>I think the one that stands out to me, and

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<v Speaker 3>it's not a movie, but the Futurama episode where Fry

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<v Speaker 3>eats an egg salad sandwich from a gas station, that's

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<v Speaker 3>a great one. The parasites from the sandwich colonize his

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<v Speaker 3>body and become super intelligent and have a whole civilization

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<v Speaker 3>in there, and they have to go inside to reconcile that.

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<v Speaker 2>Yes, that's a great one because it's it's Fantastic Voyage themed,

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<v Speaker 2>but it is also a Flowers for Algernon themed episode,

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<v Speaker 2>so it has it has a fair amount of depth

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<v Speaker 2>to it as well, and then just a lot of

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<v Speaker 2>great jokes, and there's the whole worm thing why people

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

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<v Speaker 2>go ahead and listen in to at least some of

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<v Speaker 2>the trailer audio here. Let's let it roll.

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<v Speaker 4>Test pilot Tuck Pendleton wants to make history. Supermarket clerk

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<v Speaker 4>Jack Putter needs a vacation. Late.

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<v Speaker 2>That's not good, you know.

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<v Speaker 4>It's Lieutenant Pendleton is about to be miniaturized, placed into

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<v Speaker 4>this needle, and then injected into this.

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<v Speaker 3>Rabbit back and roll. But something went wrong.

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

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<v Speaker 4>Give yourself a shot of adventure inner space.

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<v Speaker 2>All right, David, I see you had a note here

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<v Speaker 2>about the music in the trailer, possibly the trailer we

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<v Speaker 2>used here, but possibly another trailer. But still, this is

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<v Speaker 2>a great point regarding the music.

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<v Speaker 3>Yeah, this is the music used for the Fertelly chase

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<v Speaker 3>scene in Goonies, The dun dunt dun dun't. It's always

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<v Speaker 3>great when a podcast guest just like hums a line

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<v Speaker 3>nolesly for you. But it's really really it's opening scene

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<v Speaker 3>of Gooney. It's really iconic bit of music. Cool to

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<v Speaker 3>see it here, but also a little bit strange to

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<v Speaker 3>see it here too.

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

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<v Speaker 2>clearly using the Aliens theme song, you know, it's like,

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<v Speaker 2>that's great, you're really getting me amped up, but amped

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<v Speaker 2>up for a different movie.

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<v Speaker 3>Right, just kind of dug through the drawer for it

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<v Speaker 3>and got something that you knew I would recognize and

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<v Speaker 3>knew would pull me in.

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<v Speaker 2>I guess they still do this today, right, use because

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

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

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<v Speaker 2>let's sell this puppy.

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

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<v Speaker 3>that detached from the actual production that unless you've got

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<v Speaker 3>the Star Wars theme ready to go with your Star

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

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<v Speaker 3>you know, matches the tone of the movie in a

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<v Speaker 3>way that if you weren't again hyper familiar with goonies

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<v Speaker 3>the way that I was as a kid. That was

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<v Speaker 3>the other video that I was renting. The music fits

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<v Speaker 3>the tone of the trailer, fits the tone of the

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<v Speaker 3>movie really really well. It's a wacky, wacky movie.

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<v Speaker 2>Yeah, absolutely, all right, So some of you might be wondering, well,

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<v Speaker 2>where can I watch innerspace before proceeding with the rest

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<v Speaker 2>of the episode. Well, luckily for you, this was a

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<v Speaker 2>major motion picture. It has not been entirely forgotten. It's

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<v Speaker 2>maybe not as celebrated as it should be, but you

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<v Speaker 2>can find streams of it, you know, digital rentals and purchases.

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<v Speaker 2>A Blu Ray edition is out there. And I do

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<v Speaker 2>notice that it has an older director's commentary on it

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<v Speaker 2>with director Joe Dante, producer Michael Finnell, co stars Kevin

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<v Speaker 2>McCarthy and Robert Piccardo, and also visual effects supervisor Dennis Murreen.

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

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<v Speaker 2>but I don't think I've ever listened to a Joe

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<v Speaker 2>Dante commentary track. But he's one of those guys that's

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<v Speaker 2>so knowledgeable. I bet bet it's pretty great.

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<v Speaker 3>It's really interesting that Kevin McCarthy and Robert Piccardo would

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<v Speaker 3>be the sit ins on that commentary and not Quaid

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<v Speaker 3>or Short or even Meg Ryan.

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

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<v Speaker 2>move on to other projects I don't.

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<v Speaker 3>Know, and their presence in the movie is pretty significant.

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<v Speaker 3>These guys are not bit players at all. They're huge

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<v Speaker 3>parts of the movie.

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<v Speaker 2>Plus with Joe Dante, you know that he loves like old,

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<v Speaker 2>older actors, you know from classic Hollywood pictures, So you

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<v Speaker 2>know there's Kevin McCarthy, and then he loves to cast

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<v Speaker 2>Robert Riccardo and put him in strange romantic situations such

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<v Speaker 2>as with the made up Grimlin from Grimlins too.

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<v Speaker 3>He's it's he's so weird in this movie is character.

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<v Speaker 2>I can't wait to get into that character.

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<v Speaker 3>Yeah.

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<v Speaker 2>All right, well, let's let's talk a bit more about

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<v Speaker 2>the people involved here, starting with Joe Dante born nineteen

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<v Speaker 2>forty six. Joe and I have previously discussed Joe Dante

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<v Speaker 2>on Weird House Cinema because we talked about Grimlins too.

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<v Speaker 2>One of the things that I pointed out, just sort

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<v Speaker 2>of to try and sum him up, is that he's

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<v Speaker 2>one of these guys that seems to have a foot

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<v Speaker 2>in two worlds, Like on one hand, he's like a

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<v Speaker 2>horror legend, and on the other hand he's this obvious

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<v Speaker 2>Spielbergian ambulin entertainment guy. And you see more of the second,

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<v Speaker 2>but also a little the first in this one. On

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<v Speaker 2>the horror front, you have the likes of the Howling

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<v Speaker 2>from eighty one Piranha from seventy eight, and then you

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<v Speaker 2>get into that Grimlin zone, which is kind of crossing

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<v Speaker 2>the threshold. He directed the segment It's a Good Life

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<v Speaker 2>in Twilight Zone, the movie from nineteen eighty three. But

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

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<v Speaker 2>eighty nine's The Birds, nineteen ninety three, He's Manatee, and

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<v Speaker 2>this film especially, it is definitely in that ambulance zone.

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<v Speaker 2>It is an ambulin entertainment picture.

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<v Speaker 3>Yeah, he's definitely, you know, he's He's This sounds like

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<v Speaker 3>a dig but I don't mean it that way. He

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<v Speaker 3>is like a ranch dressing of a director in that

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<v Speaker 3>he can go in any direction. I think he's got

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<v Speaker 3>strong horror chops, but he really shines when he's bringing

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<v Speaker 3>a bunch of differ different elements to a bunch of

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

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<v Speaker 3>See it in Grimlins one hundred percent, and you really

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<v Speaker 3>see it here where the slapstick wouldn't work without the

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<v Speaker 3>spy espionage angle, without the tech angle, without the sci

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<v Speaker 3>fi element of it, like it all blends together and

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<v Speaker 3>creates something that is really his signature, you know.

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<v Speaker 2>Yeah, and I would argue that it even feels more

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<v Speaker 2>cohesive than Grimlin's. Grimlin's certainly a better known film, but

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<v Speaker 2>that's one that I always felt like it didn't completely

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<v Speaker 2>know what it wanted to be. This film, I feel

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<v Speaker 2>like it balances everything pretty nicely. You know, nothing feels

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<v Speaker 2>out a step.

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<v Speaker 3>I agree. I think that he's having fun here, and

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<v Speaker 3>not to say that Grimlins is not fun, but Grimlins

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

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<v Speaker 3>and I think there's no message here. The message is

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<v Speaker 3>what if this happened?

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

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<v Speaker 2>I have a post editing insertion to make here. You

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<v Speaker 2>might have caught my mistake there. I just referenced a

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<v Speaker 2>nineteen ninety three Joe Dante movie that I said was

0:12:16.600 --> 0:12:22.480
<v Speaker 2>called Manate. The film is, of course, Mattine, but I

0:12:22.559 --> 0:12:24.600
<v Speaker 2>left the mistake in because I don't know about you,

0:12:24.679 --> 0:12:29.400
<v Speaker 2>but I'm suddenly really fascinated with the idea of a

0:12:29.520 --> 0:12:34.000
<v Speaker 2>nineteen ninety three Joe Dante film about Manates. Who knows

0:12:34.000 --> 0:12:35.839
<v Speaker 2>what that would have consisted of. All right, now, let's

0:12:35.840 --> 0:12:40.199
<v Speaker 2>get back into the episode. Let's see getting into the

0:12:40.240 --> 0:12:44.000
<v Speaker 2>writers on this Jeffrey Boehm, who of nineteen forty six

0:12:44.080 --> 0:12:47.320
<v Speaker 2>through two thousand has I believe the mainscreenplay credit here.

0:12:47.320 --> 0:12:50.760
<v Speaker 2>Accomplished American screenwriter whose credits include seventy eight Straight Time,

0:12:50.840 --> 0:12:53.760
<v Speaker 2>eighty three's The Dead Zone, eighty seven's The Lost Boys,

0:12:53.760 --> 0:12:56.360
<v Speaker 2>eighty nine's Indiana Jones and The Last Crusade, as well

0:12:56.360 --> 0:12:59.400
<v Speaker 2>as a couple of lethal weapon movies. He also directed

0:12:59.600 --> 0:13:02.800
<v Speaker 2>and wrote one episode of Tales from the Crypt titled

0:13:02.800 --> 0:13:03.480
<v Speaker 2>Creep Course.

0:13:04.120 --> 0:13:07.360
<v Speaker 3>Wow, I mean this is just home Run after home Run?

0:13:07.720 --> 0:13:09.920
<v Speaker 2>Yeah? Yeah, he was involved in a lot of big projects.

0:13:10.520 --> 0:13:13.480
<v Speaker 2>The other name on the screenplay also story and co

0:13:13.520 --> 0:13:17.439
<v Speaker 2>producer credit, Chip Prosser for nineteen forty six, writer and director,

0:13:17.480 --> 0:13:19.760
<v Speaker 2>probably best known for this film, though we also worked

0:13:19.760 --> 0:13:23.360
<v Speaker 2>in the screenplay to some degree. I'm I'm not sure

0:13:23.400 --> 0:13:26.240
<v Speaker 2>to what degree with nineteen eighty four is Iceman?

0:13:26.960 --> 0:13:29.240
<v Speaker 3>So is this a top Gun prequel? No?

0:13:29.320 --> 0:13:33.480
<v Speaker 2>It is an unfrozen cave man movie, all right. Now,

0:13:33.480 --> 0:13:36.280
<v Speaker 2>getting into the cast for Innerspace, it is pretty extensive

0:13:36.679 --> 0:13:39.240
<v Speaker 2>with some great bit parts and cameos, which is pretty

0:13:39.240 --> 0:13:42.920
<v Speaker 2>standard for Joe Dante. So I'm going to try to

0:13:43.320 --> 0:13:46.280
<v Speaker 2>either go light on a number of them and just

0:13:46.480 --> 0:13:49.000
<v Speaker 2>skip some as well, and then also maybe come back

0:13:49.120 --> 0:13:51.280
<v Speaker 2>just in passing to some of the cameos as they

0:13:51.320 --> 0:13:54.439
<v Speaker 2>turn up. But the star, and I mean, really, this

0:13:55.200 --> 0:13:59.160
<v Speaker 2>is a picture that has a trio of leads. But

0:13:59.440 --> 0:14:03.120
<v Speaker 2>Top Bill anyway is Dennis Quay playing Tuck Pendleton.

0:14:05.160 --> 0:14:05.760
<v Speaker 3>What a name?

0:14:06.200 --> 0:14:09.760
<v Speaker 2>Yeah, the names are pretty good. You're Tuck Pendleton? Is

0:14:09.800 --> 0:14:12.560
<v Speaker 2>that you can guess? He is like a test pilot.

0:14:12.679 --> 0:14:15.520
<v Speaker 2>He's he would he would be at home in Top Gun.

0:14:16.160 --> 0:14:20.840
<v Speaker 3>Yeah, yeah, he's definitely. Look, kid me couldn't get much

0:14:20.880 --> 0:14:24.239
<v Speaker 3>cooler than this actor in this role. I mean, yeah,

0:14:24.320 --> 0:14:27.320
<v Speaker 3>he in all the worst ways too. I think as

0:14:27.360 --> 0:14:31.160
<v Speaker 3>an adult, I'm a little bit repulsed by his demeanor,

0:14:31.760 --> 0:14:35.520
<v Speaker 3>his swagger. But as a kid, this was eighties cool.

0:14:37.240 --> 0:14:39.840
<v Speaker 3>With a little bit of reflection, I can see what

0:14:39.920 --> 0:14:43.600
<v Speaker 3>a rip on Tom Cruise this this delivery is. And

0:14:43.640 --> 0:14:46.280
<v Speaker 3>it really seems like it's trying. He's trying for a

0:14:46.360 --> 0:14:53.240
<v Speaker 3>Maverick type thing. Almost Maverick and Iceman merged together to

0:14:53.320 --> 0:14:55.880
<v Speaker 3>be a competent pilot who is also just a big

0:14:55.960 --> 0:14:56.600
<v Speaker 3>jerk as well.

0:14:56.960 --> 0:14:58.760
<v Speaker 2>Oh my goodness, I didn't even think about the Top

0:14:58.800 --> 0:15:01.760
<v Speaker 2>Gun connection, about sitting a riff on on Top Gun.

0:15:03.120 --> 0:15:04.520
<v Speaker 2>That's a film that kind of for me, it kind

0:15:04.520 --> 0:15:06.280
<v Speaker 2>of stands out of time for me, like I don't

0:15:06.280 --> 0:15:08.760
<v Speaker 2>necessarily think about it in connection to other projects, But

0:15:08.880 --> 0:15:10.800
<v Speaker 2>now that you've pointed out, yeah, I can't unsee it.

0:15:11.440 --> 0:15:13.840
<v Speaker 3>I think that you know, I made the mistake of

0:15:13.920 --> 0:15:16.200
<v Speaker 3>using these films as cues for how to act in

0:15:16.240 --> 0:15:20.280
<v Speaker 3>real life, which I think is is a frequent eighties

0:15:20.360 --> 0:15:24.960
<v Speaker 3>kid misstep. But because of the frequency of viewing of

0:15:25.000 --> 0:15:31.000
<v Speaker 3>this uh interspace Goonies Top Gun, it created a percent

0:15:31.320 --> 0:15:34.200
<v Speaker 3>that was very not organic to me and and stuck

0:15:34.200 --> 0:15:36.240
<v Speaker 3>out like a sort of thumb whenever I would try

0:15:36.280 --> 0:15:37.240
<v Speaker 3>to use it.

0:15:37.840 --> 0:15:39.840
<v Speaker 2>Yeah, I mean, he's not the it's not the worst

0:15:39.920 --> 0:15:42.240
<v Speaker 2>role model you could latch onto as far as a

0:15:42.320 --> 0:15:45.600
<v Speaker 2>lead character in an eighties picture. But yeah, he's he's

0:15:45.640 --> 0:15:49.200
<v Speaker 2>obnocked right right from the get go. He's obnoxious, he's drunk,

0:15:50.080 --> 0:15:53.560
<v Speaker 2>He clearly is a mess, and but he's he's portrayed

0:15:53.560 --> 0:15:55.560
<v Speaker 2>as a likable man, a lovable mess.

0:15:56.200 --> 0:15:59.680
<v Speaker 3>Yeah, it's a very very kind and funny take on

0:16:00.400 --> 0:16:04.200
<v Speaker 3>all because he's drunk for a lot of the movie,

0:16:04.360 --> 0:16:07.680
<v Speaker 3>and alcohol is his motivation in a lot of cases,

0:16:08.000 --> 0:16:10.480
<v Speaker 3>he will get to it, but designs a robot to

0:16:10.600 --> 0:16:13.160
<v Speaker 3>pour a drink for him and does it poorly. One

0:16:13.200 --> 0:16:15.760
<v Speaker 3>of his big orders of business for Martin Short is

0:16:15.880 --> 0:16:20.680
<v Speaker 3>to pour some alcohol for him. He's really booze centered.

0:16:20.800 --> 0:16:25.120
<v Speaker 2>Just drinking giant molecules of whiskey. As we'll get back to.

0:16:25.800 --> 0:16:28.600
<v Speaker 2>But yeah, I mean Dennis Quaid. This is not an

0:16:28.640 --> 0:16:30.800
<v Speaker 2>actor that we really need to introduce much. I think

0:16:30.840 --> 0:16:34.280
<v Speaker 2>everybody knows who Dennis Quaid is, famous leading man brother

0:16:34.320 --> 0:16:37.400
<v Speaker 2>of Randy. Credits go back to the mid seventies and

0:16:37.680 --> 0:16:39.520
<v Speaker 2>he's really been in all sorts of stuff, Like it's

0:16:39.520 --> 0:16:42.640
<v Speaker 2>really weird to look through his filmography, like just looking

0:16:42.640 --> 0:16:45.720
<v Speaker 2>at twenty twenty four. He managed to star in the

0:16:45.760 --> 0:16:50.360
<v Speaker 2>GOP Cinematic Universe film Reagan as Reagan, and he played

0:16:50.360 --> 0:16:52.720
<v Speaker 2>a major role in the body horror film The Substance.

0:16:53.480 --> 0:16:56.240
<v Speaker 3>Oh, I have not seen The Substance yet. I'm excited too, though.

0:16:56.760 --> 0:16:58.320
<v Speaker 2>Yeah, I haven't seen anither of him yet. I'm gonna

0:16:58.320 --> 0:17:00.600
<v Speaker 2>I probably need to do him back to back. But yeah,

0:17:01.320 --> 0:17:03.280
<v Speaker 2>his career that was full of stuff like this, Like

0:17:03.320 --> 0:17:06.840
<v Speaker 2>it's a mix of genre films and mainstream dramas and

0:17:06.880 --> 0:17:10.480
<v Speaker 2>comedies as well as biopicks. I think he played Jerry

0:17:10.520 --> 0:17:14.080
<v Speaker 2>Lee Lewis in a biopic at one point, so yeah,

0:17:14.160 --> 0:17:16.359
<v Speaker 2>it's kind of hard to pin him down. I think

0:17:16.400 --> 0:17:19.040
<v Speaker 2>for my own money, When I think of Dennis quaid films, though,

0:17:19.080 --> 0:17:23.600
<v Speaker 2>I instantly think of nineteen eighty five's Enemy Mine, where

0:17:23.600 --> 0:17:28.120
<v Speaker 2>it's it's Dennis Quaid Lewis gossip junior, human and alien

0:17:28.280 --> 0:17:31.320
<v Speaker 2>on a strange alien world. I was always very captivated

0:17:31.320 --> 0:17:31.840
<v Speaker 2>by that one.

0:17:32.400 --> 0:17:35.640
<v Speaker 3>For me, it's this movie. This is the image that

0:17:36.480 --> 0:17:39.119
<v Speaker 3>instantly comes to mind is his image from the poster,

0:17:39.320 --> 0:17:43.080
<v Speaker 3>which is, you know, he looks very handsome. He's got

0:17:43.119 --> 0:17:47.119
<v Speaker 3>a joker grin, a Jack Nicholson joker grin that's maybe

0:17:47.480 --> 0:17:49.600
<v Speaker 3>digitally enhanced to be a little bit bigger than it

0:17:49.640 --> 0:17:53.479
<v Speaker 3>should be, and it just really sells his swagger. You know,

0:17:53.560 --> 0:17:55.399
<v Speaker 3>that look on a space the way it's on the

0:17:55.400 --> 0:17:57.640
<v Speaker 3>poster really sells who he is in this movie.

0:17:58.080 --> 0:18:01.600
<v Speaker 2>Yeah. Yeah, he's having a great time. Yeah all right.

0:18:01.960 --> 0:18:06.280
<v Speaker 2>Our other main character that Dennis Quade's character is going

0:18:06.359 --> 0:18:09.280
<v Speaker 2>to be inside of in a miniaturized form is the

0:18:09.320 --> 0:18:13.119
<v Speaker 2>character Jack Putter, played by Martin Short born nineteen fifty

0:18:13.240 --> 0:18:17.359
<v Speaker 2>another name that scarcely requires introduction. Martin Short is just

0:18:17.680 --> 0:18:18.719
<v Speaker 2>a comedy legend.

0:18:19.640 --> 0:18:21.959
<v Speaker 3>Yeah. I don't know what to say about Martin Short,

0:18:22.320 --> 0:18:24.199
<v Speaker 3>so sorry that you had me on your podcast, but

0:18:25.200 --> 0:18:27.560
<v Speaker 3>he's just great. I mean, he's he's been a part

0:18:27.600 --> 0:18:30.640
<v Speaker 3>of my comedic sensibility since I was very very young.

0:18:30.760 --> 0:18:33.119
<v Speaker 3>In every role that he's in, from Three Amigos all

0:18:33.160 --> 0:18:35.439
<v Speaker 3>the way to only Mergers in the Building, he's just

0:18:35.600 --> 0:18:41.480
<v Speaker 3>fantastic and he is himself. He delivers every time, and

0:18:42.840 --> 0:18:48.440
<v Speaker 3>he's a chameleon in appearance, but his sensibility, his timing,

0:18:48.560 --> 0:18:53.119
<v Speaker 3>his slapstick is always very very Martin Short specific. I

0:18:53.200 --> 0:18:55.760
<v Speaker 3>think my favorite role of his has got to be

0:18:55.800 --> 0:18:59.560
<v Speaker 3>Jimmy Glick, a huge Click fan, and I was delighted

0:18:59.720 --> 0:19:02.400
<v Speaker 3>this past year when he reprised the role and did

0:19:02.400 --> 0:19:03.440
<v Speaker 3>a few more bits of him.

0:19:03.760 --> 0:19:06.000
<v Speaker 2>Yeah. I mean, he's one of those actors that when

0:19:06.000 --> 0:19:08.240
<v Speaker 2>I when I think of Martin Short, I instantly think

0:19:08.240 --> 0:19:11.280
<v Speaker 2>of those really you know, over the top in high

0:19:11.400 --> 0:19:14.119
<v Speaker 2>energy characters I think of of Glick, I think of

0:19:14.920 --> 0:19:18.920
<v Speaker 2>Ed Grimley of course his character and Arrested Development Jack Dorso,

0:19:19.200 --> 0:19:21.480
<v Speaker 2>you know, and he's he's great at that, and he's

0:19:21.480 --> 0:19:24.160
<v Speaker 2>great at those like freak out performances in a way

0:19:24.200 --> 0:19:26.119
<v Speaker 2>that they are very I feel like there are very

0:19:26.160 --> 0:19:28.320
<v Speaker 2>few actors I would even compare him to, like maybe,

0:19:28.359 --> 0:19:30.240
<v Speaker 2>you know, compare him to the likes of, you know,

0:19:30.320 --> 0:19:33.280
<v Speaker 2>Robin Williams or or Jim Carrey even you know where

0:19:33.280 --> 0:19:37.679
<v Speaker 2>they can they can hit that level of intensity, comedic intensity.

0:19:37.960 --> 0:19:39.880
<v Speaker 2>But then I would also compare him to the other

0:19:39.920 --> 0:19:42.280
<v Speaker 2>two in that, especially when you look at some recent

0:19:42.320 --> 0:19:46.119
<v Speaker 2>Martin short performances, like he's he's a really strong actor,

0:19:46.800 --> 0:19:49.480
<v Speaker 2>you know, he's he's really great in these smaller non

0:19:49.520 --> 0:19:53.119
<v Speaker 2>comedic roles or stretches as well. And I think you

0:19:53.200 --> 0:19:57.520
<v Speaker 2>really see that on Only Murders in the Building, a

0:19:57.520 --> 0:20:01.160
<v Speaker 2>great TV series, obviously comedic series. It doesn't take it

0:20:01.160 --> 0:20:05.240
<v Speaker 2>itself too seriously, and he's surrounded by great actors and actresses,

0:20:05.280 --> 0:20:11.080
<v Speaker 2>but I am most frequently impressed by the smaller moments

0:20:11.200 --> 0:20:12.520
<v Speaker 2>with his character on that show.

0:20:12.880 --> 0:20:15.240
<v Speaker 3>Yeah, I think, especially in Only Murders in the Building,

0:20:15.440 --> 0:20:17.879
<v Speaker 3>I think he does a really good job of representing

0:20:17.920 --> 0:20:22.240
<v Speaker 3>not just the comedic bits, but the building itself and

0:20:22.320 --> 0:20:24.720
<v Speaker 3>life in the building and what it means to be

0:20:24.800 --> 0:20:26.800
<v Speaker 3>at that stage of your life in that building and

0:20:26.880 --> 0:20:29.560
<v Speaker 3>getting on in years and what that means for your

0:20:29.560 --> 0:20:33.840
<v Speaker 3>relationship with your family, And yeah, that's never not never,

0:20:33.920 --> 0:20:37.080
<v Speaker 3>It's rarely the focus. But when it is, or when

0:20:37.080 --> 0:20:40.080
<v Speaker 3>it turned to that, it doesn't seem out of character

0:20:40.800 --> 0:20:44.240
<v Speaker 3>or a stretch for him to be believable in those

0:20:44.280 --> 0:20:45.360
<v Speaker 3>somber moments.

0:20:45.680 --> 0:20:49.280
<v Speaker 2>Yeah. So I don't think we see as much from

0:20:49.359 --> 0:20:53.520
<v Speaker 2>him along those lines in Interspace, but again, certainly in

0:20:53.560 --> 0:20:58.240
<v Speaker 2>other projects. He was also really good. Recently in the

0:20:58.280 --> 0:21:00.880
<v Speaker 2>series of The Morning Show, he had a small part

0:21:00.960 --> 0:21:04.800
<v Speaker 2>is a disgrace director named Dick Lundy and the name

0:21:04.920 --> 0:21:07.359
<v Speaker 2>sounds like a Martin Short character, but it was like,

0:21:07.359 --> 0:21:10.440
<v Speaker 2>it's like a really serious, like creepy kind of character,

0:21:11.160 --> 0:21:15.439
<v Speaker 2>a charismatic, charming, sexual predator sort of a guy. Wow.

0:21:16.840 --> 0:21:21.000
<v Speaker 3>Going back to comparing him with Robin Williams and Jim

0:21:21.080 --> 0:21:22.760
<v Speaker 3>Carrey almost called him James Carrey.

0:21:23.520 --> 0:21:27.200
<v Speaker 2>Jim Carrey, I think you know it's James now that

0:21:27.240 --> 0:21:30.160
<v Speaker 2>he's back in Sonica.

0:21:30.160 --> 0:21:35.840
<v Speaker 3>That's right. I think he the roles the characters that

0:21:35.880 --> 0:21:39.440
<v Speaker 3>he creates, and I think this movie is a great example.

0:21:40.040 --> 0:21:43.480
<v Speaker 3>You can't imagine anybody else being these characters, and that's

0:21:43.520 --> 0:21:46.720
<v Speaker 3>true of Robin Williams and James Carey. You can't imagine

0:21:46.760 --> 0:21:49.439
<v Speaker 3>somebody else doing the mask or ace Ventura, you know,

0:21:51.080 --> 0:21:53.080
<v Speaker 3>you know, I was reading somewhere. I don't know if

0:21:53.080 --> 0:21:56.040
<v Speaker 3>this is true or not, but early versions of this

0:21:56.119 --> 0:21:59.280
<v Speaker 3>movie were pitched as Michael J. Fox enters the body

0:21:59.320 --> 0:22:03.920
<v Speaker 3>of Arnold Schwartzenegger. And I think it's a good one

0:22:04.000 --> 0:22:09.200
<v Speaker 3>two to show the difference in those characters in the movie.

0:22:09.680 --> 0:22:13.480
<v Speaker 3>But taking that literally, what a different experience that would

0:22:13.480 --> 0:22:17.840
<v Speaker 3>have been, you know what I mean? And even assuming

0:22:17.880 --> 0:22:20.760
<v Speaker 3>in that scenario that Michael J. Fox would be playing

0:22:20.800 --> 0:22:24.720
<v Speaker 3>the Martin Short role, even if the miniaturization were reversed,

0:22:25.720 --> 0:22:28.159
<v Speaker 3>it would have been a completely different read, completely different character.

0:22:28.920 --> 0:22:31.240
<v Speaker 3>No shade on Michael J. Fox, of course he's brilliant,

0:22:31.240 --> 0:22:34.000
<v Speaker 3>but it would have hit completely differently, been a completely

0:22:34.040 --> 0:22:34.879
<v Speaker 3>different kind of movie.

0:22:35.600 --> 0:22:38.800
<v Speaker 2>Yeah, I agreed, absolutely, all right, get into the rest

0:22:38.840 --> 0:22:42.320
<v Speaker 2>of the cast. Here we have Meg Ryan playing Lydia

0:22:42.400 --> 0:22:46.240
<v Speaker 2>Maxwell Meg Ryan born nineteen sixty one, another huge name

0:22:46.720 --> 0:22:49.600
<v Speaker 2>that I think most everyone's familiar with, mostly known for

0:22:50.000 --> 0:22:52.520
<v Speaker 2>I guess her biggest successes were a handful of just

0:22:52.800 --> 0:22:56.280
<v Speaker 2>highly successful rom coms of the eighties and nineties. Eighty

0:22:56.400 --> 0:22:59.760
<v Speaker 2>nine's When Harry Met Sally ninety three, Sleepless in Seattle

0:23:00.080 --> 0:23:04.480
<v Speaker 2>the Eights, You've Got Mail, So I'm pretty pretty big deal.

0:23:05.160 --> 0:23:06.679
<v Speaker 2>She's been in other things, for sure. She was in

0:23:06.720 --> 0:23:09.680
<v Speaker 2>nineteen eighty three's Amityville three D, for example, the one

0:23:09.680 --> 0:23:12.720
<v Speaker 2>with the claw busting out of the VHS cover.

0:23:13.920 --> 0:23:17.320
<v Speaker 3>Also in Top Gun, Oh well, yeah, plays Goose's wife.

0:23:17.400 --> 0:23:19.480
<v Speaker 3>I think I kind of feel like this is a

0:23:19.520 --> 0:23:24.760
<v Speaker 3>Top Gun episode, Rob I'm gonna dot Top Gun episode.

0:23:26.080 --> 0:23:28.800
<v Speaker 2>Yeah. But again, Yeah, she's great in this, we'll get

0:23:28.840 --> 0:23:34.160
<v Speaker 2>into It's an interesting role. There is an interesting love

0:23:34.200 --> 0:23:37.320
<v Speaker 2>triangle in this picture that I was totally lost on

0:23:37.440 --> 0:23:40.040
<v Speaker 2>me as a kid, but watching it as a grown

0:23:40.119 --> 0:23:43.360
<v Speaker 2>up is just it's deeply weird. It's strange that they

0:23:43.400 --> 0:23:45.879
<v Speaker 2>ever even went for all of this, even with all

0:23:45.920 --> 0:23:50.480
<v Speaker 2>the restraint they show that it's a strange love triangle. Yeah,

0:23:51.440 --> 0:23:54.560
<v Speaker 2>but she's great. She has great chemistry with everyone, including

0:23:54.600 --> 0:23:57.560
<v Speaker 2>Dennis Quaid, who she would end up marrying after this picture.

0:23:57.840 --> 0:23:58.960
<v Speaker 3>That's right, that's right.

0:23:59.760 --> 0:24:02.399
<v Speaker 2>And spoiler she marries his character at the end of

0:24:02.440 --> 0:24:02.960
<v Speaker 2>this movie.

0:24:03.320 --> 0:24:06.439
<v Speaker 3>So I got a lot to say about that. Yeah,

0:24:06.720 --> 0:24:08.200
<v Speaker 3>that guest list is wild.

0:24:08.720 --> 0:24:12.119
<v Speaker 2>Yes, yes, it feels like a rap party. I'll go

0:24:12.240 --> 0:24:14.600
<v Speaker 2>back to it. All right, Now, getting into the many,

0:24:14.600 --> 0:24:16.880
<v Speaker 2>many villains of this picture, we'll start with the lead

0:24:16.960 --> 0:24:19.600
<v Speaker 2>villain that we eventually are introduced to, and that is

0:24:19.640 --> 0:24:23.359
<v Speaker 2>a Victor Scrimshaw, played by Kevin McCarthy, who of nineteen

0:24:23.400 --> 0:24:26.719
<v Speaker 2>fourteen through twenty ten American actor, nominated for an Oscar

0:24:26.760 --> 0:24:28.879
<v Speaker 2>for his performance in the nineteen fifty two adaptation of

0:24:28.920 --> 0:24:32.119
<v Speaker 2>Death of a Salesman, but I think known to many

0:24:32.160 --> 0:24:37.119
<v Speaker 2>out there for his just wonderful paranoid performance in nineteen

0:24:37.160 --> 0:24:39.880
<v Speaker 2>fifty six is Invasion of the Body Snatchers, the original

0:24:39.880 --> 0:24:42.800
<v Speaker 2>black and white one. Also perhaps known to many of

0:24:42.800 --> 0:24:45.639
<v Speaker 2>you for his role in eighty nine's UHF. I assume

0:24:45.720 --> 0:24:48.160
<v Speaker 2>I don't remember who he played in UHF. I'm assuming

0:24:48.200 --> 0:24:51.960
<v Speaker 2>it was a villain, like a studio TV studio villain

0:24:52.080 --> 0:24:52.680
<v Speaker 2>of some sort.

0:24:53.480 --> 0:24:57.840
<v Speaker 3>Yeah, I don't recall. That's maybe we'll do UHF next time, Rob.

0:24:59.560 --> 0:25:02.160
<v Speaker 3>That's a a great movie that it's been way too

0:25:02.160 --> 0:25:03.000
<v Speaker 3>long since I've seen.

0:25:03.640 --> 0:25:07.440
<v Speaker 2>Yeah. Clearly though, Kevin McCarthy was a favorite Joe Dante's

0:25:07.440 --> 0:25:09.639
<v Speaker 2>because some of his other credits include The Howling the

0:25:09.680 --> 0:25:13.920
<v Speaker 2>Birds Piranha. He also pops up in nineteen ninety one's

0:25:13.960 --> 0:25:16.439
<v Speaker 2>Eve of destruction. That's one that I never saw, but

0:25:16.480 --> 0:25:18.359
<v Speaker 2>saw the trailers for all the time. It has like

0:25:18.400 --> 0:25:20.720
<v Speaker 2>a killer lady terminator in it.

0:25:21.480 --> 0:25:24.639
<v Speaker 3>I remember him most specifically from The Distinguished Gentleman, The

0:25:24.720 --> 0:25:28.600
<v Speaker 3>Eddie Murphy movie from nineteen ninety two, where great premise,

0:25:28.680 --> 0:25:31.840
<v Speaker 3>Eddie Murphy runs for Congress using he has the same

0:25:32.119 --> 0:25:35.560
<v Speaker 3>name as a deceased congress person and uses the fact

0:25:35.560 --> 0:25:37.760
<v Speaker 3>that nobody knows whether their congressman died or not to

0:25:37.760 --> 0:25:38.320
<v Speaker 3>get elected.

0:25:39.880 --> 0:25:42.920
<v Speaker 2>But that real that I have never heard of this movie.

0:25:43.160 --> 0:25:46.840
<v Speaker 3>Amazing premise. Yeah, great, it's pretty fun movie. Pretty fun movie.

0:25:47.040 --> 0:25:52.080
<v Speaker 3>It's part of that Eddie Murphy era with Boomerang early nineties.

0:25:52.800 --> 0:25:59.320
<v Speaker 3>But another great movie. But Kevin McCarthy plays a seasoned

0:25:59.400 --> 0:26:04.160
<v Speaker 3>congress who knows the grift very well, kind of takes

0:26:04.800 --> 0:26:08.119
<v Speaker 3>Eddie Murphy under his wing and shows him how to

0:26:09.440 --> 0:26:13.760
<v Speaker 3>how to grift in in the right way, which is

0:26:13.840 --> 0:26:15.120
<v Speaker 3>to say, the political way.

0:26:15.680 --> 0:26:17.040
<v Speaker 2>All right, No, that sounds pretty fun.

0:26:17.520 --> 0:26:20.080
<v Speaker 3>Really slimy guy. McCarthy plays him really well.

0:26:20.560 --> 0:26:23.320
<v Speaker 2>Yeah he is. He's really good at playing the slimy villain,

0:26:24.200 --> 0:26:29.280
<v Speaker 2>all right. Other villains include his kind of partner in

0:26:29.359 --> 0:26:34.040
<v Speaker 2>crime here is doctor Margaret Kanker. Canker played by Fiona

0:26:34.119 --> 0:26:37.640
<v Speaker 2>Lewis born nineteen forty six, British actress who we've discussed

0:26:37.640 --> 0:26:39.440
<v Speaker 2>on the show before because she was in nineteen seventy

0:26:39.480 --> 0:26:43.320
<v Speaker 2>two's Doctor Fivees Rises Again starring Vincent Price, and her

0:26:43.359 --> 0:26:46.680
<v Speaker 2>other credits include sixty seven's To Fearless, Vampire Killers, seventy

0:26:46.680 --> 0:26:49.560
<v Speaker 2>three is Blue Blood with Oliver Reed, the nineteen seventy

0:26:49.560 --> 0:26:55.440
<v Speaker 2>four Draculas starring Jack Palance, seventy five Listomania, seventy seven's

0:26:55.800 --> 0:26:58.880
<v Speaker 2>Tintoria Killer Shark, seventy eight's The Fury, and eighty three

0:26:59.000 --> 0:27:02.680
<v Speaker 2>Strange Invaders. This was her last film role before her retirement.

0:27:03.320 --> 0:27:06.639
<v Speaker 3>Yeah, I wasn't familiar with her, but I felt like

0:27:06.680 --> 0:27:09.760
<v Speaker 3>I was. She looked so familiar, her performance was so

0:27:10.920 --> 0:27:13.960
<v Speaker 3>familiar to me, but I could not place it even

0:27:14.000 --> 0:27:16.640
<v Speaker 3>through an IMDb. I couldn't remember what she stood out

0:27:16.680 --> 0:27:22.679
<v Speaker 3>to me from. But fantastic role, fantastic performance, and just

0:27:22.720 --> 0:27:25.600
<v Speaker 3>something it's gonna nag me until the day I die.

0:27:25.640 --> 0:27:26.640
<v Speaker 3>What I remember it from?

0:27:28.400 --> 0:27:31.120
<v Speaker 2>All Right? The next villain. Oh, this is the one

0:27:31.119 --> 0:27:33.080
<v Speaker 2>of the big ones, if not the biggest one, This

0:27:33.119 --> 0:27:35.520
<v Speaker 2>is the one I think everyone remembers. This is mister

0:27:35.680 --> 0:27:41.040
<v Speaker 2>Igo played by Oh they always intimidating. Vernon Wells born

0:27:41.119 --> 0:27:44.560
<v Speaker 2>nineteen forty five Australian actor, best known for playing heavies

0:27:44.560 --> 0:27:47.640
<v Speaker 2>for that like signature mug of his and he's played

0:27:47.680 --> 0:27:48.919
<v Speaker 2>some really iconic ones.

0:27:49.560 --> 0:27:55.320
<v Speaker 3>He's bad news. Yeah, he's just in this movie in particular,

0:27:55.440 --> 0:28:00.280
<v Speaker 3>the most fun kind of bad news, but menacing without

0:28:01.000 --> 0:28:04.640
<v Speaker 3>all right, there are a few tells that he had,

0:28:04.760 --> 0:28:07.600
<v Speaker 3>like really specific tells through the movie, but most of

0:28:07.640 --> 0:28:09.520
<v Speaker 3>it is just the aura that he brings to the screen.

0:28:09.600 --> 0:28:11.359
<v Speaker 3>He's he's a menace. He's one to watch out for.

0:28:11.840 --> 0:28:15.320
<v Speaker 2>Yeah, and we'll discuss like his character is probably one

0:28:15.320 --> 0:28:19.000
<v Speaker 2>of the better sort of terminator esque villains, like spin

0:28:19.080 --> 0:28:23.480
<v Speaker 2>on Terminator without going too hard on the terminatorness, you know, like, yeah,

0:28:23.680 --> 0:28:26.120
<v Speaker 2>he's not really a cyborg, but he's got like this

0:28:26.640 --> 0:28:29.840
<v Speaker 2>cool prosthetic hand. And I was always like all in

0:28:30.000 --> 0:28:33.080
<v Speaker 2>unprosthetic hand villains at this at this age when I

0:28:33.080 --> 0:28:34.600
<v Speaker 2>was a kid, you know, And this guy's got all

0:28:34.640 --> 0:28:35.840
<v Speaker 2>sorts of cool gadgets.

0:28:36.359 --> 0:28:39.400
<v Speaker 3>He does feel like more of a little stinker in

0:28:39.520 --> 0:28:42.880
<v Speaker 3>his actual actions than he is a terminator that will

0:28:42.960 --> 0:28:45.960
<v Speaker 3>end your life, even though that's always the threat whenever

0:28:46.000 --> 0:28:46.560
<v Speaker 3>he's around.

0:28:46.760 --> 0:28:48.840
<v Speaker 2>Yeah, but he'll also just pop a clown's balloon for

0:28:49.000 --> 0:28:52.400
<v Speaker 2>no reason except that he hates fun. So yeah, Wells,

0:28:52.480 --> 0:28:55.800
<v Speaker 2>Vernon Wells, he had some great roles. He played Wez

0:28:55.800 --> 0:28:58.280
<v Speaker 2>that's the mohawk, the mohawk guy in eighty one's The

0:28:58.360 --> 0:29:01.600
<v Speaker 2>Road Warrior. He was the Lord General in eighty five's

0:29:01.640 --> 0:29:04.720
<v Speaker 2>Weird Science. Oh, and then a big one he's been

0:29:04.800 --> 0:29:09.000
<v Speaker 2>at the guy with the mustache and Commando Amazing. He's

0:29:09.040 --> 0:29:11.120
<v Speaker 2>the one that he kills last because he likes him

0:29:11.120 --> 0:29:12.920
<v Speaker 2>the most. I can't I can never remember how that

0:29:12.960 --> 0:29:17.000
<v Speaker 2>that's right. But yeah, his Australian TV credits go back

0:29:17.000 --> 0:29:19.040
<v Speaker 2>to the mid seventies and he's one of these guys

0:29:19.040 --> 0:29:21.480
<v Speaker 2>that remains highly active in genre pictures. He's got like,

0:29:21.520 --> 0:29:26.480
<v Speaker 2>you know, like three dozen upcoming projects. That's sort of cheeze. Yeah,

0:29:26.520 --> 0:29:29.440
<v Speaker 2>so he's great. But then we're not done with the villains.

0:29:29.480 --> 0:29:32.200
<v Speaker 2>We also have one more and it's another very memorable one,

0:29:32.480 --> 0:29:35.760
<v Speaker 2>and it is the Cowboy, played by Robert Picardo born

0:29:35.840 --> 0:29:39.160
<v Speaker 2>fifty three, Frequently cast by Joe Dante in a variety

0:29:39.160 --> 0:29:41.280
<v Speaker 2>of roles. He gets to play a bad guy here,

0:29:41.320 --> 0:29:43.960
<v Speaker 2>though with plenty of comedic elements, and I just have

0:29:44.040 --> 0:29:46.840
<v Speaker 2>to say, an accent of unknown origin. I have no

0:29:46.880 --> 0:29:52.000
<v Speaker 2>idea what they were going for here. I think it's

0:29:52.080 --> 0:29:55.760
<v Speaker 2>inoffensive because I have no idea, like what part of

0:29:55.800 --> 0:29:58.200
<v Speaker 2>the globe it's supposed to be. Like, I always thought

0:29:58.240 --> 0:30:01.120
<v Speaker 2>he was maybe supposed to be Russian, but I don't know.

0:30:01.160 --> 0:30:03.680
<v Speaker 2>I saw some write ups online where people make arguments

0:30:03.680 --> 0:30:05.360
<v Speaker 2>for other corners of the world.

0:30:05.960 --> 0:30:07.440
<v Speaker 3>You know, you're gonna get mad at me, rob but

0:30:07.520 --> 0:30:10.560
<v Speaker 3>this is exactly like the Bad Guy Meg Fighters and

0:30:10.640 --> 0:30:15.920
<v Speaker 3>Top Gun, where they're they're from somewhere else. They're not

0:30:15.920 --> 0:30:17.800
<v Speaker 3>gonna tell you what country they're from because they don't

0:30:17.800 --> 0:30:20.520
<v Speaker 3>want to get at that country upset. But they're just

0:30:20.600 --> 0:30:21.959
<v Speaker 3>kind of other, you know.

0:30:22.240 --> 0:30:22.440
<v Speaker 2>Yeah.

0:30:22.520 --> 0:30:27.440
<v Speaker 3>I think that in Robert's case, this accent is either

0:30:27.520 --> 0:30:32.240
<v Speaker 3>super offensive or engineered to be as inoffensive as possible,

0:30:32.280 --> 0:30:34.640
<v Speaker 3>because it could not be real and could not harken

0:30:34.720 --> 0:30:37.200
<v Speaker 3>to any specific existing accent.

0:30:37.800 --> 0:30:40.360
<v Speaker 2>Yeah. And then on top of that, he has this

0:30:41.160 --> 0:30:45.640
<v Speaker 2>like old Hollywood cowboy persona that he has completely taken on.

0:30:45.680 --> 0:30:48.040
<v Speaker 2>So he's always wearing the cowboy boots often the other

0:30:48.920 --> 0:30:52.720
<v Speaker 2>bells and whistles as well. It's it's a fun and

0:30:52.760 --> 0:30:54.080
<v Speaker 2>perplexing villain role.

0:30:54.680 --> 0:30:57.600
<v Speaker 3>He's I kept having to remind myself that he was

0:30:57.640 --> 0:31:01.720
<v Speaker 3>a villain. He doesn't seem villain. Most of his scenes

0:31:01.720 --> 0:31:05.720
<v Speaker 3>are pretty silly, and I keep I kept having to

0:31:05.720 --> 0:31:08.680
<v Speaker 3>remind myself of what he was there to do, yes,

0:31:08.720 --> 0:31:10.840
<v Speaker 3>and why they needed to stop him.

0:31:11.560 --> 0:31:15.320
<v Speaker 2>Yeah, he is. The plot gets fairly complex, but basically

0:31:15.440 --> 0:31:20.680
<v Speaker 2>he represents a buyer for stolen technology. We don't know

0:31:20.720 --> 0:31:23.560
<v Speaker 2>exactly who he's representing. But he's the bag man, right,

0:31:23.600 --> 0:31:24.920
<v Speaker 2>He's the guy with the money.

0:31:25.000 --> 0:31:26.760
<v Speaker 3>Who's just going to go out and dance when he's

0:31:26.800 --> 0:31:27.200
<v Speaker 3>in town.

0:31:27.480 --> 0:31:30.880
<v Speaker 2>Yeah, he's he's also going to party. He's he's up

0:31:30.920 --> 0:31:33.520
<v Speaker 2>to like sleep with any of the leads of this picture,

0:31:33.640 --> 0:31:36.960
<v Speaker 2>like it doesn't matter to him. But yeah, he doesn't

0:31:36.960 --> 0:31:38.720
<v Speaker 2>really do anything bad. I don't think he tries to

0:31:38.800 --> 0:31:40.240
<v Speaker 2>kill anybody, right, he's No.

0:31:40.360 --> 0:31:44.560
<v Speaker 3>He's pretty pretty silly guy. Uh, just good at his job.

0:31:44.600 --> 0:31:48.240
<v Speaker 3>I guess we don't really see that, but we're told

0:31:48.320 --> 0:31:50.880
<v Speaker 3>that he's good at his job, and he seems pretty

0:31:50.880 --> 0:31:54.920
<v Speaker 3>confident all things, you know, considered, He's a pretty confident

0:31:54.960 --> 0:31:58.760
<v Speaker 3>guy who knows himself, knows what he likes and pursues it.

0:31:59.280 --> 0:32:02.800
<v Speaker 2>Yeah. Well, Picgardo was a familiar face I think to

0:32:03.360 --> 0:32:05.760
<v Speaker 2>film and TV viewers in general because on the TV

0:32:05.880 --> 0:32:07.680
<v Speaker 2>front he was on the Wonder Years or he had

0:32:07.720 --> 0:32:09.200
<v Speaker 2>some roles on the Wonder yearside, and he wasn't I

0:32:09.200 --> 0:32:11.480
<v Speaker 2>don't think he was main cast. He was in China Beach,

0:32:11.560 --> 0:32:15.480
<v Speaker 2>Star Trek Voyager of course, and Stargate and then films.

0:32:15.560 --> 0:32:18.880
<v Speaker 2>You know, we had the Howling, we held Total Recall.

0:32:18.920 --> 0:32:22.280
<v Speaker 2>He was Johnny Cab in nineteen ninety and he's also

0:32:22.560 --> 0:32:25.120
<v Speaker 2>part of the cast of twenty sixteens Coen Brothers the

0:32:25.160 --> 0:32:28.280
<v Speaker 2>Coen Brothers film Hail Caesar, but that has everybody in it,

0:32:28.320 --> 0:32:30.040
<v Speaker 2>so I don't know that we really need to single

0:32:30.080 --> 0:32:32.200
<v Speaker 2>him out for that. But yeah, he's always a terrific

0:32:32.240 --> 0:32:33.080
<v Speaker 2>presence funn act.

0:32:33.160 --> 0:32:35.040
<v Speaker 3>Yeah, I'm a big, big fan of his from Star

0:32:35.080 --> 0:32:38.680
<v Speaker 3>Trek and Total Recall of course, probably my favorite movie

0:32:38.680 --> 0:32:42.160
<v Speaker 3>of all time. But a role that was created for him,

0:32:42.440 --> 0:32:45.880
<v Speaker 3>the Johnny Cab, I believe, was molded in his image

0:32:45.920 --> 0:32:48.959
<v Speaker 3>before he was even signed on to the project. They

0:32:49.000 --> 0:32:51.160
<v Speaker 3>wanted him to be the Johnny Cab that badly.

0:32:51.720 --> 0:32:53.640
<v Speaker 2>You take Johnny Cab out of that picture, the whole

0:32:53.640 --> 0:32:54.640
<v Speaker 2>thing falls apart too.

0:32:55.200 --> 0:32:57.240
<v Speaker 3>It truly is the glue, all right?

0:32:57.240 --> 0:33:01.920
<v Speaker 2>And then the final main character and supporting character, I

0:33:01.920 --> 0:33:04.160
<v Speaker 2>guess really I'll mention is Wendy Shawl, who plays a

0:33:04.240 --> 0:33:08.840
<v Speaker 2>character named Wendy This is Jack's coworker at the grocery.

0:33:09.640 --> 0:33:13.280
<v Speaker 2>Born nineteen fifty four. I'm mentioning her mainly because she

0:33:13.320 --> 0:33:16.320
<v Speaker 2>was in Creature from eighty five, an alien knockoff that

0:33:16.960 --> 0:33:19.400
<v Speaker 2>Joe and I discussed on Weird House Cinema here. She

0:33:19.440 --> 0:33:22.200
<v Speaker 2>did a lot of TV, but her later film credits

0:33:22.200 --> 0:33:25.720
<v Speaker 2>include Oh, nineteen eighty seven's Munchies, It's a Gremlin's knockoff,

0:33:25.720 --> 0:33:28.440
<v Speaker 2>a Gromlins movie, You Got Batteries not included eighty nine's

0:33:28.480 --> 0:33:30.600
<v Speaker 2>The Burbs, And she did a lot of TV as well,

0:33:30.720 --> 0:33:33.320
<v Speaker 2>X File, six Feet under a Star Trek Voyager, and

0:33:33.360 --> 0:33:35.200
<v Speaker 2>she's also done a lot of voice acting for a

0:33:35.280 --> 0:33:36.560
<v Speaker 2>family guy in American Dad.

0:33:37.520 --> 0:33:40.600
<v Speaker 3>Great job here too, being she does a lot with

0:33:40.640 --> 0:33:42.440
<v Speaker 3>a little doesn't have a ton of screen time, but

0:33:42.520 --> 0:33:44.840
<v Speaker 3>you really get a vibe of exactly who she is

0:33:45.000 --> 0:33:48.560
<v Speaker 3>from very few lines and just kind of her presence

0:33:48.560 --> 0:33:49.920
<v Speaker 3>and reaction to things.

0:33:50.360 --> 0:33:53.200
<v Speaker 2>Yeah, all right, now, on the effects end of things,

0:33:53.240 --> 0:33:56.800
<v Speaker 2>this was a big industrial light and magic special effects movie.

0:33:56.840 --> 0:34:00.440
<v Speaker 2>So it involved just an army of talented professional and

0:34:00.480 --> 0:34:02.920
<v Speaker 2>it won an Oscar in nineteen eighty eight for Best

0:34:02.920 --> 0:34:08.120
<v Speaker 2>Special Effects, beating out Predator. So Predator versus Interspace Interspace

0:34:08.160 --> 0:34:14.280
<v Speaker 2>wins clearly. So, yeah, an army of people involved here.

0:34:14.560 --> 0:34:17.279
<v Speaker 3>It's no surprise this is a really well done movie

0:34:17.320 --> 0:34:20.080
<v Speaker 3>effects wise, in that you don't notice half of the

0:34:20.120 --> 0:34:24.160
<v Speaker 3>effects that are happening. They're so organic. Particularly for me,

0:34:25.000 --> 0:34:28.240
<v Speaker 3>anytime he's inside the body or we're seeing inside the body,

0:34:28.920 --> 0:34:30.880
<v Speaker 3>I'm not even clocking that as an effect. Most of

0:34:30.920 --> 0:34:34.400
<v Speaker 3>the time. There are a few set pieces inside of

0:34:34.440 --> 0:34:39.319
<v Speaker 3>the body that are tremendous, and we've got to talk

0:34:39.360 --> 0:34:41.640
<v Speaker 3>about those, But for the most part, you just kind

0:34:41.640 --> 0:34:44.000
<v Speaker 3>of believe that he's inside of body and that he's

0:34:44.080 --> 0:34:46.320
<v Speaker 3>on the other side of an ear or an eye,

0:34:46.560 --> 0:34:50.799
<v Speaker 3>and you know, you don't clock the amount of work,

0:34:50.840 --> 0:34:52.719
<v Speaker 3>or I don't clock the amount of work that's going

0:34:52.760 --> 0:34:54.399
<v Speaker 3>into creating an effect like that.

0:34:55.000 --> 0:34:57.680
<v Speaker 2>Yeah, and I thought the effects held up really well.

0:34:58.960 --> 0:35:00.719
<v Speaker 2>This is not a film where I felt like I

0:35:00.760 --> 0:35:04.959
<v Speaker 2>saw any wires, any scenes. You know, it all holds

0:35:05.040 --> 0:35:08.000
<v Speaker 2>up extremely well, So, you know, well deserving of that Oscar.

0:35:08.920 --> 0:35:13.000
<v Speaker 2>Dennis mun was the visual effects supervisor for ILM, and

0:35:13.040 --> 0:35:17.680
<v Speaker 2>I also mentioned in passing that Rob Bouteen born nineteen

0:35:17.719 --> 0:35:20.840
<v Speaker 2>fifty nine, a special makeup effects designer and creator. On

0:35:20.880 --> 0:35:23.480
<v Speaker 2>this picture. He was involved in a lot of you know,

0:35:23.560 --> 0:35:29.080
<v Speaker 2>squirmy and drippy special effects pictures, the likes of Squirm,

0:35:29.760 --> 0:35:32.840
<v Speaker 2>the Howling, the Thing, RoboCop and Total Recall.

0:35:33.360 --> 0:35:34.560
<v Speaker 3>So he made the worm face.

0:35:35.160 --> 0:35:37.759
<v Speaker 2>Yeah, yeah, he was involved in the worm face. I

0:35:37.800 --> 0:35:40.080
<v Speaker 2>didn't get a chance to look up exactly what he

0:35:40.120 --> 0:35:43.320
<v Speaker 2>did on this picture, but I have this. I highly

0:35:43.880 --> 0:35:47.080
<v Speaker 2>suspect that it is the morphing the face morphing sin

0:35:47.200 --> 0:35:49.759
<v Speaker 2>that we'll get into, because that's one of those that

0:35:49.880 --> 0:35:54.160
<v Speaker 2>is it's not grotesque unless you stop and really look

0:35:54.200 --> 0:35:56.239
<v Speaker 2>at it, and then you start really, oh this is

0:35:56.400 --> 0:35:57.279
<v Speaker 2>this is grotesque.

0:35:57.760 --> 0:36:03.520
<v Speaker 3>But there's one that There are two big morph scenes

0:36:03.520 --> 0:36:05.200
<v Speaker 3>that I that I have in mind, and one of

0:36:05.239 --> 0:36:08.839
<v Speaker 3>them is a full blown you can see that that

0:36:08.960 --> 0:36:10.280
<v Speaker 3>is an effect set piece.

0:36:10.640 --> 0:36:14.280
<v Speaker 2>You know, Oh that's the remorph. I think, yes, yes.

0:36:14.160 --> 0:36:17.160
<v Speaker 3>The full head goes on for a long time. But

0:36:18.600 --> 0:36:21.480
<v Speaker 3>just there are scenes with Martin Shwort's mouthwork where it's

0:36:21.600 --> 0:36:25.120
<v Speaker 3>just his mouth and it's Martin short. It's not a prosthetic.

0:36:25.200 --> 0:36:28.720
<v Speaker 3>It's not you know, a stand in dummy head where

0:36:28.880 --> 0:36:38.000
<v Speaker 3>it's just remarkable, how believable an effect like that is.

0:36:41.360 --> 0:36:43.560
<v Speaker 2>All right, and then finally the music. It's a Jerry

0:36:43.560 --> 0:36:46.080
<v Speaker 2>Goldsmith score who lived nineteen twenty nine through two thousand

0:36:46.080 --> 0:36:49.760
<v Speaker 2>and four, film music legend. His other scores, of course,

0:36:49.800 --> 0:36:53.480
<v Speaker 2>include the likes of Grimlins and Alien from nineteen seventy nine.

0:36:54.080 --> 0:36:59.080
<v Speaker 3>Amazing and great stuff here. I think even right from

0:36:59.080 --> 0:37:01.600
<v Speaker 3>the jump the synth, the opening credits is incredible.

0:37:02.360 --> 0:37:04.360
<v Speaker 2>Let's get into those opening credits, because this is I

0:37:05.160 --> 0:37:08.600
<v Speaker 2>did remember the opening credits from because this one really

0:37:08.600 --> 0:37:11.120
<v Speaker 2>blew my mind as a kid, because you go into innerspace,

0:37:11.400 --> 0:37:15.200
<v Speaker 2>you're expecting all that, you know, the beautiful inner wonders

0:37:15.239 --> 0:37:18.160
<v Speaker 2>of a micro world, and that is where we are.

0:37:18.200 --> 0:37:20.080
<v Speaker 2>But as we zoom out, we realize we've just been

0:37:20.280 --> 0:37:23.520
<v Speaker 2>inside cocktail ice for the whole you know, opening of

0:37:23.560 --> 0:37:24.080
<v Speaker 2>the credits.

0:37:24.560 --> 0:37:27.480
<v Speaker 3>Yeah, it's a tremendous effect. I think it's really really

0:37:27.520 --> 0:37:31.800
<v Speaker 3>well done and not really a trick either, because it

0:37:32.760 --> 0:37:35.360
<v Speaker 3>shows you the molecular level of what a glass of

0:37:35.400 --> 0:37:39.080
<v Speaker 3>ice would be. You just you're kind of entranced by

0:37:39.440 --> 0:37:40.520
<v Speaker 3>the pre science of it.

0:37:40.560 --> 0:37:44.239
<v Speaker 2>All and we realized that this cocktail ice is that

0:37:45.040 --> 0:37:47.680
<v Speaker 2>some sort of a party, some sort of a formal

0:37:48.160 --> 0:37:53.280
<v Speaker 2>get together of military test pilots. There's cake there, models

0:37:53.280 --> 0:37:56.680
<v Speaker 2>of planes there, a bunch of of of you know,

0:37:56.800 --> 0:38:00.400
<v Speaker 2>a very top gun s test pilot dudes. And then

0:38:00.719 --> 0:38:05.400
<v Speaker 2>in to the fray enters Lieutenant Tuck Pendleston. This is

0:38:05.560 --> 0:38:09.160
<v Speaker 2>our main character, and he is again already completely wasted.

0:38:10.239 --> 0:38:13.680
<v Speaker 2>A big embarrassing scene follows where he falls through a table.

0:38:14.080 --> 0:38:16.239
<v Speaker 2>He gets into a fight with the other fly boys

0:38:16.280 --> 0:38:19.319
<v Speaker 2>in the kitchen and clearly he has a number of

0:38:19.320 --> 0:38:20.440
<v Speaker 2>monkeys on his back here.

0:38:21.280 --> 0:38:23.239
<v Speaker 3>Yeah, the one thing that stood out to me during

0:38:23.239 --> 0:38:26.879
<v Speaker 3>this sequence is the fight choreography inside the kitchen. This

0:38:26.920 --> 0:38:29.880
<v Speaker 3>is another thing like it didn't need to be a

0:38:29.880 --> 0:38:34.040
<v Speaker 3>well choreographed fight, but it actually is well blocked. It's tight.

0:38:34.200 --> 0:38:38.200
<v Speaker 3>There is interesting action happening here. It could just be

0:38:38.960 --> 0:38:41.520
<v Speaker 3>this drunk guy pushes off a couple of guys, get subdued,

0:38:42.200 --> 0:38:44.360
<v Speaker 3>and Lydia takes him home, but it's more than that.

0:38:44.440 --> 0:38:48.120
<v Speaker 3>It's an actual interesting action sequence that doesn't really have

0:38:48.160 --> 0:38:50.839
<v Speaker 3>a lot of business in this movie. And you see

0:38:50.880 --> 0:38:54.000
<v Speaker 3>that happening a few more times throughout the film.

0:38:54.440 --> 0:38:57.200
<v Speaker 2>Yeah, it's like the stunt team knew they weren't going

0:38:57.280 --> 0:38:59.320
<v Speaker 2>to have many fisticuff scenes, so they were going to

0:38:59.360 --> 0:39:03.239
<v Speaker 2>really sell them yeah when they had them. So we

0:39:03.280 --> 0:39:07.719
<v Speaker 2>also see Lydia Maxwell. This is Meg Ryan's character. She

0:39:08.000 --> 0:39:11.800
<v Speaker 2>is his girlfriend, I believe, but she's also a reporter.

0:39:11.880 --> 0:39:13.600
<v Speaker 2>I don't know if she is here as a reporter

0:39:13.800 --> 0:39:16.200
<v Speaker 2>or as his girlfriend, but she kind of serves in

0:39:16.239 --> 0:39:17.160
<v Speaker 2>both capacities.

0:39:17.880 --> 0:39:20.680
<v Speaker 3>Yeah, it seems like there's an estrangement here, so I

0:39:20.680 --> 0:39:24.360
<v Speaker 3>think it's a former girlfriend. I'm not sure how recent

0:39:24.480 --> 0:39:28.319
<v Speaker 3>the formerness is, whether it's a fresh breakup or an

0:39:28.320 --> 0:39:34.200
<v Speaker 3>on again, off again relationship. But this embarrassment, her responsibility

0:39:34.239 --> 0:39:38.320
<v Speaker 3>for him from this embarrassment. Maybe that's just a gesture

0:39:38.320 --> 0:39:40.359
<v Speaker 3>of kindness to everybody else in the room of being

0:39:40.400 --> 0:39:42.560
<v Speaker 3>I'm the one who can get him out of this situation,

0:39:43.080 --> 0:39:45.880
<v Speaker 3>or more of a responsibility of this is my date

0:39:46.120 --> 0:39:50.279
<v Speaker 3>and I need to get him out of here. There's

0:39:50.320 --> 0:39:55.759
<v Speaker 3>definitely a strong connection between the two and Tuck we

0:39:55.880 --> 0:39:57.759
<v Speaker 3>see in the next scene kind of wishes that it

0:39:57.960 --> 0:39:58.480
<v Speaker 3>were more.

0:39:58.960 --> 0:40:01.200
<v Speaker 2>Yeah, so she drags tied back to his pad, and

0:40:01.239 --> 0:40:03.520
<v Speaker 2>this is you know, is you're figuring out who these

0:40:03.600 --> 0:40:06.320
<v Speaker 2>characters are. It becomes really apparent that this is his place,

0:40:06.360 --> 0:40:09.879
<v Speaker 2>this is not their place, because there are photos of SR.

0:40:09.960 --> 0:40:13.799
<v Speaker 2>Seventy one blackbirds on the walls. There's also all this

0:40:13.880 --> 0:40:16.279
<v Speaker 2>bunny memorabilia that's going to make a lot more sense

0:40:16.320 --> 0:40:18.920
<v Speaker 2>here in a little bit. There's a Santa Claus on

0:40:18.960 --> 0:40:22.080
<v Speaker 2>the desk, so you know, Holiday movie confirmed? Or is

0:40:22.120 --> 0:40:24.680
<v Speaker 2>this guy's pad just so sloppy that there's a Santa

0:40:24.760 --> 0:40:27.120
<v Speaker 2>up year round. Yeah? Yeah.

0:40:27.160 --> 0:40:29.960
<v Speaker 3>And right in the middle of the apartment on the table,

0:40:30.280 --> 0:40:36.000
<v Speaker 3>huge nineteen eighties robotic arm. And anybody who was alive

0:40:36.080 --> 0:40:38.839
<v Speaker 3>during the eighties knows exactly what this robot arm is.

0:40:38.920 --> 0:40:43.040
<v Speaker 3>It's got one hinge and it's got a pincher as

0:40:43.120 --> 0:40:45.759
<v Speaker 3>it's hand. It's meant to pinch things, pick them up,

0:40:45.880 --> 0:40:49.160
<v Speaker 3>move them somewhere else, and release the pinch. Here. He's

0:40:49.160 --> 0:40:53.000
<v Speaker 3>got it built to pick up a bottle of booze,

0:40:53.480 --> 0:40:56.520
<v Speaker 3>turn it over to pour it into a glass. He

0:40:56.520 --> 0:41:00.800
<v Speaker 3>does it poorly, or whoever's controlling this robot does it poorly,

0:41:01.160 --> 0:41:03.799
<v Speaker 3>obviously meant to convey that Tuck's doing a bad job

0:41:03.840 --> 0:41:07.399
<v Speaker 3>of it, probably because he's wasted. But somebody on this

0:41:07.480 --> 0:41:11.120
<v Speaker 3>team is really good at articulating a robot an eighties

0:41:11.239 --> 0:41:13.759
<v Speaker 3>robot arm because you see it happen a few more

0:41:13.800 --> 0:41:17.439
<v Speaker 3>times throughout the movie, and it's done very elegantly every

0:41:17.440 --> 0:41:17.959
<v Speaker 3>other time.

0:41:18.640 --> 0:41:22.040
<v Speaker 2>Now would this would this have been before the or

0:41:22.080 --> 0:41:25.399
<v Speaker 2>after the nes RM that played the Little Spin Top game?

0:41:26.000 --> 0:41:30.040
<v Speaker 3>Oh so this would have been after the Robotic Operating

0:41:30.040 --> 0:41:35.799
<v Speaker 3>Buddy rob for the Nintendo Entertainment System, where it's a

0:41:35.840 --> 0:41:39.560
<v Speaker 3>similar thing. You had to use the controller to make

0:41:39.600 --> 0:41:42.799
<v Speaker 3>the robot pick up a spinning gyro and drop it

0:41:42.840 --> 0:41:44.919
<v Speaker 3>onto either a red button or a blue button, which

0:41:44.920 --> 0:41:47.799
<v Speaker 3>would affect the level on the screen that you were

0:41:47.800 --> 0:41:50.200
<v Speaker 3>trying to play and allow your guy to pass through.

0:41:50.640 --> 0:41:57.080
<v Speaker 3>A terrible game, terrible concept, but I think similar idea of, hey,

0:41:57.080 --> 0:42:00.760
<v Speaker 3>we're supposed to be a robotic society at this point,

0:42:00.960 --> 0:42:03.759
<v Speaker 3>we'd better start acting like it and developing all of

0:42:03.800 --> 0:42:06.319
<v Speaker 3>these things that were just clunky executions of what a

0:42:06.400 --> 0:42:07.719
<v Speaker 3>robotic society would do.

0:42:08.400 --> 0:42:10.560
<v Speaker 2>Yeah, so that energy is very strong in this picture

0:42:10.600 --> 0:42:15.160
<v Speaker 2>for sure. So they get settled in for the evening

0:42:15.320 --> 0:42:17.840
<v Speaker 2>and and more or less we're picking up the next

0:42:17.840 --> 0:42:25.480
<v Speaker 2>morning because that's when Cabby Dick Miller, a frequently mentioned

0:42:25.520 --> 0:42:27.960
<v Speaker 2>actor on Weird House, cinema because he pops up in everything.

0:42:28.000 --> 0:42:30.640
<v Speaker 2>I think he has popped up in more films than

0:42:30.360 --> 0:42:33.560
<v Speaker 2>than than any other actor that we've covered here on

0:42:33.600 --> 0:42:36.439
<v Speaker 2>the show. But he's there as a cabby to pick

0:42:36.520 --> 0:42:39.520
<v Speaker 2>Lydia up in the morning. She is trying to sneak out,

0:42:39.719 --> 0:42:43.799
<v Speaker 2>leave a note and leave Tuck behind forever. And we

0:42:43.880 --> 0:42:48.440
<v Speaker 2>get this, we get this, you know, comedic but very

0:42:49.000 --> 0:42:52.000
<v Speaker 2>very hunky scene where Tuck comes out wearing only a

0:42:52.040 --> 0:42:53.879
<v Speaker 2>towel and he's going to try and talk her out

0:42:53.880 --> 0:42:57.720
<v Speaker 2>of leaving. The towel gets stuck in the door, cab

0:42:58.239 --> 0:43:03.960
<v Speaker 2>rides off, towel goes with the cab full backside exposed. Yeah,

0:43:04.000 --> 0:43:06.200
<v Speaker 2>so there's a lot more beefcake in the picture than

0:43:06.200 --> 0:43:06.760
<v Speaker 2>I remember.

0:43:07.280 --> 0:43:10.719
<v Speaker 3>Yeah, it's a really really hunky scene. A lot of

0:43:10.800 --> 0:43:14.200
<v Speaker 3>hunks in this movie, a lot of honky activity, and

0:43:14.239 --> 0:43:17.040
<v Speaker 3>even Martin Short gets to participate in being a hunk

0:43:17.080 --> 0:43:20.120
<v Speaker 3>a little bit later. One thing I think it's important

0:43:20.120 --> 0:43:22.520
<v Speaker 3>to point out here is that Lydia did try to

0:43:22.600 --> 0:43:26.600
<v Speaker 3>leave the night before and a drunk Tuck blocked her exit.

0:43:27.200 --> 0:43:33.480
<v Speaker 3>So big red flag there does it casually, which shows

0:43:33.520 --> 0:43:37.680
<v Speaker 3>again what a lithario this guy is. And maybe gives

0:43:37.680 --> 0:43:40.799
<v Speaker 3>a little bit of insight into his character. But he,

0:43:42.120 --> 0:43:45.719
<v Speaker 3>either for concern for his well being or because he

0:43:45.920 --> 0:43:50.480
<v Speaker 3>is such a wooer, plays the old timey song Cupid

0:43:51.200 --> 0:43:55.719
<v Speaker 3>for Lydia, which I guess is their song, and that

0:43:56.320 --> 0:43:59.200
<v Speaker 3>convinces her maybe to stay the night. I don't know

0:43:59.239 --> 0:44:00.840
<v Speaker 3>that that's what does it, But to your point, we

0:44:00.880 --> 0:44:03.440
<v Speaker 3>see her leaving the next morning and trying to get

0:44:03.480 --> 0:44:07.560
<v Speaker 3>away for good. So it at least satisfied what Tuck

0:44:07.680 --> 0:44:10.399
<v Speaker 3>was trying to get at that night. But the song

0:44:10.480 --> 0:44:12.359
<v Speaker 3>Cupid comes back into play a little bit later.

0:44:12.600 --> 0:44:15.359
<v Speaker 2>Yes, that one will be important. Now at this point

0:44:15.360 --> 0:44:19.640
<v Speaker 2>we switch over to our other main character, because here

0:44:19.680 --> 0:44:23.319
<v Speaker 2>we have Jack Putter played by Martin Short, in to

0:44:23.360 --> 0:44:26.160
<v Speaker 2>see his doctor, and this is some pretty fun character

0:44:26.200 --> 0:44:31.239
<v Speaker 2>work with the guy playing the doctor is William Shallart

0:44:31.360 --> 0:44:33.799
<v Speaker 2>who lived nineteen twenty two through twenty sixteen, who did

0:44:33.840 --> 0:44:38.080
<v Speaker 2>a lot of TV shows. But basically we catch on

0:44:38.160 --> 0:44:42.600
<v Speaker 2>pretty quickly that Putter is a hypochondriac that's coming in

0:44:42.640 --> 0:44:46.160
<v Speaker 2>all the time. It's clearly dealing with a lot of

0:44:46.440 --> 0:44:50.200
<v Speaker 2>very serious anxiety issues regarding his work, and he starts

0:44:50.200 --> 0:44:54.240
<v Speaker 2>telling this story about what this nightmare he keeps having

0:44:55.000 --> 0:44:58.400
<v Speaker 2>that he's very concerned about, in which he is hideously

0:44:58.480 --> 0:45:02.880
<v Speaker 2>overcharging this woman at the checkout register at the grocery.

0:45:03.800 --> 0:45:10.600
<v Speaker 3>Yeah, and the doctor's prognosis or prescription to this grocery

0:45:10.640 --> 0:45:14.719
<v Speaker 3>store clerk is you should simply go on a vacation. Yeah,

0:45:14.800 --> 0:45:19.279
<v Speaker 3>you should simply go on a lavish vacation. Which how

0:45:19.360 --> 0:45:22.799
<v Speaker 3>times have changed? Really that that's just that's the that's

0:45:22.840 --> 0:45:23.320
<v Speaker 3>the direction.

0:45:24.000 --> 0:45:27.160
<v Speaker 2>Yeah, this guy's having a mental health crisis, like at

0:45:27.160 --> 0:45:29.680
<v Speaker 2>this point, like he's he he is having a very

0:45:29.680 --> 0:45:31.920
<v Speaker 2>hard time, and it's just like, here's a prescription for

0:45:31.960 --> 0:45:33.240
<v Speaker 2>a trip to Mexico.

0:45:33.239 --> 0:45:34.560
<v Speaker 3>Right, you can probably afford it.

0:45:35.000 --> 0:45:37.600
<v Speaker 2>Yeah, all right, So you know at this point, okay,

0:45:37.640 --> 0:45:40.520
<v Speaker 2>the pieces, the main pieces are on the table concerning

0:45:40.520 --> 0:45:43.320
<v Speaker 2>our protagonists. But then we got to get into the

0:45:43.640 --> 0:45:46.319
<v Speaker 2>real plot. How are we going to get miniaturization involved here?

0:45:46.360 --> 0:45:48.880
<v Speaker 2>So we pick up with Silicon Valley dudes stuck in

0:45:48.920 --> 0:45:52.680
<v Speaker 2>traffic discussing a project. We have one of the guys

0:45:52.719 --> 0:45:57.360
<v Speaker 2>from the top Gun academy graduation thing earlier and it's

0:45:57.400 --> 0:46:00.440
<v Speaker 2>there he's like, well, who have you hired to pilot

0:46:00.480 --> 0:46:02.960
<v Speaker 2>this prototype or whatever? And now like, oh, we got

0:46:03.000 --> 0:46:06.560
<v Speaker 2>Tuck Pendleton. We hear he's great, and this dude's like,

0:46:06.760 --> 0:46:10.799
<v Speaker 2>that doesn't sound too great for me to me, Tuck

0:46:10.880 --> 0:46:13.560
<v Speaker 2>Pimdleton not a great get for whatever you do we're

0:46:13.560 --> 0:46:18.360
<v Speaker 2>doing here. And then we kind of like fast forward

0:46:18.360 --> 0:46:21.240
<v Speaker 2>a bit and then here's here's Tuck Pendleton getting ready

0:46:21.520 --> 0:46:24.759
<v Speaker 2>to jump into the We don't know yet it's going

0:46:24.840 --> 0:46:26.640
<v Speaker 2>to be a pod of some kind, but he's getting

0:46:26.719 --> 0:46:29.200
<v Speaker 2>himself amped up with slaps to the face as well

0:46:29.239 --> 0:46:32.080
<v Speaker 2>as as well as with a fair amount of inappropriate

0:46:32.120 --> 0:46:33.040
<v Speaker 2>coworker flirting.

0:46:33.520 --> 0:46:36.600
<v Speaker 3>Yeah, it's really strange the way that he walks in.

0:46:37.719 --> 0:46:42.400
<v Speaker 3>I believe one of the scientists or tech workers kisses

0:46:42.480 --> 0:46:44.920
<v Speaker 3>him on the cheek. He doubles back and does a

0:46:44.920 --> 0:46:48.719
<v Speaker 3>full blown mouth kiss with her. Just a real again

0:46:48.880 --> 0:46:54.880
<v Speaker 3>Lefario level of swagger coming into this test pilot job.

0:46:56.840 --> 0:46:59.000
<v Speaker 3>You know, while the Silicon Valley dudes were arguing in

0:46:59.040 --> 0:47:02.120
<v Speaker 3>the car, he was defended Tuck as being somebody who

0:47:02.120 --> 0:47:05.160
<v Speaker 3>did his homework and can do the job. And you

0:47:05.200 --> 0:47:08.640
<v Speaker 3>see that, Like, that's the duality that we get with him,

0:47:08.800 --> 0:47:11.680
<v Speaker 3>is that he is a mess in every other realm

0:47:11.680 --> 0:47:14.080
<v Speaker 3>of his life, but he's a good test pilot. He

0:47:14.160 --> 0:47:16.320
<v Speaker 3>might be a drunk test pilot. But he's a good

0:47:16.360 --> 0:47:19.360
<v Speaker 3>test pilot, and he reinforces that kind of on his

0:47:19.440 --> 0:47:22.080
<v Speaker 3>walk in, and once he gets into the mind, he

0:47:22.239 --> 0:47:24.720
<v Speaker 3>is down to business. He knows exactly the right questions

0:47:24.719 --> 0:47:27.680
<v Speaker 3>to ask, the right things to check. He's the voice

0:47:27.680 --> 0:47:28.280
<v Speaker 3>of authority.

0:47:29.160 --> 0:47:32.000
<v Speaker 2>And it becomes clear pretty quickly that what they're about

0:47:32.040 --> 0:47:33.560
<v Speaker 2>to do is he's going to get in this pod

0:47:33.719 --> 0:47:36.200
<v Speaker 2>that is pretty really cool looking, looks like a cross

0:47:36.239 --> 0:47:40.040
<v Speaker 2>between a submarine and some spaceship, and they're going to

0:47:40.080 --> 0:47:43.759
<v Speaker 2>miniaturize him and inject him into a rabbit. Now, one

0:47:43.800 --> 0:47:47.760
<v Speaker 2>would assume that this is there have been multiple phases

0:47:47.800 --> 0:47:51.279
<v Speaker 2>before this, that they have tests, you know, unmanned miniaturization,

0:47:52.040 --> 0:47:57.480
<v Speaker 2>that they have tested manned miniaturization, and they've also injected

0:47:57.560 --> 0:48:02.080
<v Speaker 2>miniaturized objects into to test animals, and that now we're

0:48:02.080 --> 0:48:04.520
<v Speaker 2>only finally getting to the point where they're going to

0:48:04.600 --> 0:48:08.440
<v Speaker 2>send in a human being into a rabbit. But who knows,

0:48:08.960 --> 0:48:12.560
<v Speaker 2>maybe they're just really having to push this project along

0:48:12.640 --> 0:48:14.640
<v Speaker 2>and this is just test number one. I don't know.

0:48:15.280 --> 0:48:17.359
<v Speaker 3>Yeah, and this is where we learned the reason that

0:48:17.600 --> 0:48:20.840
<v Speaker 3>rabbits were so prominent in his apartment, And yeah, I

0:48:20.960 --> 0:48:24.280
<v Speaker 3>get it, But all the rabbit stuff at his apartment

0:48:24.520 --> 0:48:28.160
<v Speaker 3>was like a fan of rabbits, not somebody who's studying

0:48:28.239 --> 0:48:31.400
<v Speaker 3>rabbits intensely. It's somebody who like bugs. Bunny is in

0:48:31.440 --> 0:48:34.920
<v Speaker 3>there and things like that, And so this guy likes

0:48:35.040 --> 0:48:37.360
<v Speaker 3>rabbits a lot more than he really needs to to

0:48:37.400 --> 0:48:40.920
<v Speaker 3>perform his scientific role of being inside of a rabbit.

0:48:41.400 --> 0:48:46.279
<v Speaker 2>Yeah, he's researching at the wrong scale. I think. Now,

0:48:46.840 --> 0:48:49.360
<v Speaker 2>I do really love these scenes where he's getting into

0:48:49.440 --> 0:48:52.080
<v Speaker 2>the cockpit of the pod. I think it feel like

0:48:52.080 --> 0:48:54.040
<v Speaker 2>this is all really well done. It has a great

0:48:54.120 --> 0:48:56.640
<v Speaker 2>textured and believable NASA feel to it. You know.

0:48:57.040 --> 0:49:01.399
<v Speaker 3>Yeah, it's a very busy, very eighty in the sense

0:49:01.480 --> 0:49:05.000
<v Speaker 3>that it feels cramped. There's so much machinery on top

0:49:05.040 --> 0:49:10.480
<v Speaker 3>of itself, and the space is not, you know, a

0:49:10.560 --> 0:49:15.280
<v Speaker 3>designer friendly lab, which I think you'll see a contrast

0:49:15.320 --> 0:49:17.480
<v Speaker 3>to that later on in the movie, But here it

0:49:17.560 --> 0:49:22.239
<v Speaker 3>just seems like these guys are scientists. They're bleeding edge

0:49:22.360 --> 0:49:25.840
<v Speaker 3>R and D. And then once you see the space

0:49:25.880 --> 0:49:27.840
<v Speaker 3>that the pot is in, it's mylar city in the

0:49:27.840 --> 0:49:31.960
<v Speaker 3>best way. There's that gold NASA milar wrapping the entire room.

0:49:32.320 --> 0:49:34.880
<v Speaker 3>All of the reflections off of that milar are heightening

0:49:34.880 --> 0:49:36.880
<v Speaker 3>the effect. It's really really perfect.

0:49:37.280 --> 0:49:39.920
<v Speaker 2>Yeah, you can get and then inside and outside you

0:49:39.960 --> 0:49:44.120
<v Speaker 2>have like all these pixelated computer screens, video feeds. I

0:49:44.120 --> 0:49:46.200
<v Speaker 2>feel like there are more robot arms yeah, and whatever

0:49:46.280 --> 0:49:49.680
<v Speaker 2>robot arms are up to. So yeah, it all feels

0:49:49.920 --> 0:49:51.800
<v Speaker 2>very real. I love the look of all of this,

0:49:51.880 --> 0:49:53.759
<v Speaker 2>and I feel like it's aged really well and in

0:49:53.800 --> 0:49:57.520
<v Speaker 2>a way that's something that non analog wouldn't have, you know,

0:49:57.560 --> 0:49:59.600
<v Speaker 2>if it was all touch screens and you know, next

0:49:59.640 --> 0:50:00.560
<v Speaker 2>generation and stuff.

0:50:00.800 --> 0:50:03.280
<v Speaker 3>Yeah, there's a little bit of what you could arguably

0:50:03.320 --> 0:50:06.799
<v Speaker 3>say as a Hokier design tactic or effects tactic that

0:50:07.600 --> 0:50:13.760
<v Speaker 3>has lights superimposed on the pod while it's being miniaturized.

0:50:14.640 --> 0:50:18.360
<v Speaker 3>It looks a little bit inauthentic compared to all of

0:50:18.400 --> 0:50:21.560
<v Speaker 3>the other effects work that's going on, but again, it works.

0:50:21.600 --> 0:50:24.040
<v Speaker 3>It's in that milar space. It's supposed to be crackling

0:50:24.560 --> 0:50:28.080
<v Speaker 3>and electrifying, similar to how the DeLorean does right before

0:50:28.120 --> 0:50:30.680
<v Speaker 3>it's about to jump through time, and so it works.

0:50:30.719 --> 0:50:33.080
<v Speaker 3>It's just a little bit lower five than some of

0:50:33.120 --> 0:50:34.880
<v Speaker 3>the other stuff we see, and.

0:50:34.880 --> 0:50:37.960
<v Speaker 2>They seem to pull it off. They spin the thing

0:50:38.000 --> 0:50:41.640
<v Speaker 2>around in a centrifuge, they shrink it down to size. Now,

0:50:41.719 --> 0:50:44.520
<v Speaker 2>the pod is this tiny speck inside of a syringe.

0:50:44.760 --> 0:50:47.160
<v Speaker 2>They use a magnification effect to take a look at it,

0:50:47.200 --> 0:50:50.680
<v Speaker 2>the lead doctor does. But you know that something is

0:50:50.719 --> 0:50:53.880
<v Speaker 2>going to shake things up, and that takes the form

0:50:54.040 --> 0:50:58.160
<v Speaker 2>of an attack by gas mask wearing goons. They come

0:50:58.160 --> 0:51:01.319
<v Speaker 2>in with an acid key card to short out the lock,

0:51:01.880 --> 0:51:03.960
<v Speaker 2>and they're clearly trying to take over the operation.

0:51:04.760 --> 0:51:08.399
<v Speaker 3>Yeah. The thing I love about this takeover is that

0:51:08.480 --> 0:51:11.600
<v Speaker 3>they got these gas masks, but they're not flooding the

0:51:11.640 --> 0:51:15.440
<v Speaker 3>space with gas. They're using a fire extinguisher type device

0:51:15.760 --> 0:51:19.080
<v Speaker 3>to point the gas at somebody, shoot a blast of

0:51:19.120 --> 0:51:22.000
<v Speaker 3>gas directly at them so that only that person is

0:51:22.080 --> 0:51:25.919
<v Speaker 3>knocked out by it, which is genius. Like, yeah, that's

0:51:25.920 --> 0:51:29.480
<v Speaker 3>how gas warfare would be should be. I am not

0:51:29.560 --> 0:51:33.960
<v Speaker 3>advocating for gas warfare, but I were, that's how you

0:51:34.000 --> 0:51:34.719
<v Speaker 3>would do with it.

0:51:35.200 --> 0:51:38.120
<v Speaker 2>They have a pretty non violent approach, like they're clearly

0:51:38.160 --> 0:51:41.440
<v Speaker 2>trying to cut down on casualties, though they do punch

0:51:41.480 --> 0:51:43.840
<v Speaker 2>a few people, which seems uncalled for if you have

0:51:43.880 --> 0:51:46.760
<v Speaker 2>those great gas cannons on hand. But still they quickly

0:51:46.800 --> 0:51:48.600
<v Speaker 2>take over things, and this is where we first see

0:51:48.960 --> 0:51:53.799
<v Speaker 2>Fiona Lewis's doctor Kinker taking control of the computers there.

0:51:54.600 --> 0:51:58.680
<v Speaker 3>That's right. Clearly the bad guys have invaded this space.

0:51:59.520 --> 0:52:04.480
<v Speaker 3>But it did occur to me at this moment were

0:52:04.760 --> 0:52:07.600
<v Speaker 3>the other guys the good guys. I don't know what

0:52:07.640 --> 0:52:11.240
<v Speaker 3>the purpose of this project was. They don't really state

0:52:11.320 --> 0:52:14.200
<v Speaker 3>what they're going to do after they've successfully completed the

0:52:14.320 --> 0:52:18.200
<v Speaker 3>Rabbit project, but we're just supposed to assume that their

0:52:18.239 --> 0:52:21.640
<v Speaker 3>intentions were good. These guys' intentions were bad. And I

0:52:21.680 --> 0:52:23.840
<v Speaker 3>think you know, I mentioned that Grimlins was trying to

0:52:23.840 --> 0:52:25.920
<v Speaker 3>tell you a message in this movie is not Maybe

0:52:25.920 --> 0:52:27.840
<v Speaker 3>this movie is trying to tell you a message about

0:52:27.960 --> 0:52:33.960
<v Speaker 3>early Silicon Valley tech espionage and that it's really just

0:52:34.000 --> 0:52:36.960
<v Speaker 3>bad guys versus bad guys, and it's a question of

0:52:37.400 --> 0:52:38.520
<v Speaker 3>which one are you rooting for.

0:52:39.160 --> 0:52:42.240
<v Speaker 2>I did have a fun time trying to piece together

0:52:42.600 --> 0:52:45.600
<v Speaker 2>like the intended endpoint for this research, and we can

0:52:45.960 --> 0:52:48.000
<v Speaker 2>kind of feel it out a little bit by seeing

0:52:48.080 --> 0:52:52.200
<v Speaker 2>the capabilities of the pod. So the pod allows the

0:52:52.400 --> 0:52:57.880
<v Speaker 2>pilot to ultimately see and hear through the host and

0:52:58.080 --> 0:52:59.759
<v Speaker 2>or communicate with them, though I guess that did this

0:53:00.200 --> 0:53:05.319
<v Speaker 2>necessary and then also deliver a powerful electromagnetic pulse that

0:53:05.400 --> 0:53:09.360
<v Speaker 2>can destroy electronics within a short term radius, and so

0:53:09.880 --> 0:53:11.279
<v Speaker 2>it seemed to me I was like, Okay, I can

0:53:11.320 --> 0:53:13.960
<v Speaker 2>imagine that this is building up maybe to having a

0:53:14.000 --> 0:53:17.000
<v Speaker 2>human pilot a rat into a sensitive environment and then

0:53:17.000 --> 0:53:21.000
<v Speaker 2>set off that pulse, or of course, ultimately to some extent,

0:53:21.080 --> 0:53:25.640
<v Speaker 2>like is planting a spy inside of a human being

0:53:26.320 --> 0:53:30.000
<v Speaker 2>and potentially doing that electromagnetic pulse elsewhere. But oh, then

0:53:30.040 --> 0:53:32.879
<v Speaker 2>we see other capabilities that shake things up even more,

0:53:32.920 --> 0:53:34.000
<v Speaker 2>which we'll get do later.

0:53:34.600 --> 0:53:37.200
<v Speaker 3>Yeah, I think it's probably says more about me than

0:53:37.239 --> 0:53:39.680
<v Speaker 3>it does about the movie. But every application of this

0:53:39.760 --> 0:53:41.880
<v Speaker 3>technology I could think of was a really dark and

0:53:41.920 --> 0:53:48.320
<v Speaker 3>depressing one that used another living being as a vessel

0:53:48.440 --> 0:53:53.640
<v Speaker 3>to achieve something via a smaller human being inside of

0:53:53.680 --> 0:53:57.600
<v Speaker 3>that vessel that might be small enough to escape whatever

0:53:57.640 --> 0:53:59.920
<v Speaker 3>situation it's putting the larger vessel in.

0:54:00.760 --> 0:54:03.560
<v Speaker 2>Yeah, I mean, they kind of they definitely allude to

0:54:03.600 --> 0:54:07.040
<v Speaker 2>these espionage applications, but they never even once hint at

0:54:07.040 --> 0:54:09.880
<v Speaker 2>a medical application, not directly. I mean, there are a

0:54:09.880 --> 0:54:12.000
<v Speaker 2>couple of jokes, but for the most part, Yeah, the

0:54:12.040 --> 0:54:13.920
<v Speaker 2>idea that you would have a little submarine inside of

0:54:13.960 --> 0:54:16.960
<v Speaker 2>person is not even explored. Is a medical breakthrough here.

0:54:17.080 --> 0:54:21.399
<v Speaker 3>Well, Tuck casually turns Putter into if you're getting ahead

0:54:21.400 --> 0:54:23.279
<v Speaker 3>of ourselves, but he casually turns it into like a

0:54:23.320 --> 0:54:27.200
<v Speaker 3>superhuman just yeah, because it's convenient for that scene. So

0:54:27.280 --> 0:54:30.560
<v Speaker 3>the technology is very easy to do once you're in there, apparently.

0:54:31.080 --> 0:54:33.120
<v Speaker 2>Yeah, once you're inside at that scale, you can do

0:54:33.160 --> 0:54:36.680
<v Speaker 2>anything you want, change faces up, cure diseases, I guess,

0:54:37.320 --> 0:54:39.799
<v Speaker 2>but also make computers explode. And that seems to be

0:54:39.840 --> 0:54:52.280
<v Speaker 2>the prime focus here. All right, So what happens? Okay,

0:54:52.360 --> 0:54:54.600
<v Speaker 2>so we have the miniature I sub it's in a syringe.

0:54:54.600 --> 0:54:56.839
<v Speaker 2>They were going to inject it into the rabbit, but

0:54:56.880 --> 0:54:59.640
<v Speaker 2>then all hell breaks loose. The doc, the main doctor

0:54:59.640 --> 0:55:04.840
<v Speaker 2>here is, escapes with the syringe and then our villain,

0:55:04.920 --> 0:55:09.640
<v Speaker 2>doctor Canker, calls for mister I go to chase after him.

0:55:09.640 --> 0:55:12.000
<v Speaker 2>So we get this big car bike chase, a number

0:55:12.000 --> 0:55:14.400
<v Speaker 2>of big chase scenes that take place in the picture.

0:55:14.840 --> 0:55:17.040
<v Speaker 2>On all heads to the mall and hey, that is

0:55:17.040 --> 0:55:20.160
<v Speaker 2>where Jack is trying to book relaxing vacation. And I

0:55:20.200 --> 0:55:22.040
<v Speaker 2>think you know where all this is going to come together.

0:55:22.640 --> 0:55:24.600
<v Speaker 3>Yeah, And I just got to say this car chase

0:55:25.000 --> 0:55:29.720
<v Speaker 3>on the freeway again, way more elaborate, way more action packed,

0:55:29.800 --> 0:55:32.680
<v Speaker 3>way more elegant than it needs to be. It could

0:55:32.680 --> 0:55:34.919
<v Speaker 3>have been a quick shot that gets you to the mall.

0:55:35.600 --> 0:55:40.160
<v Speaker 3>But it's really fun and there are convertibles, there are

0:55:40.320 --> 0:55:43.800
<v Speaker 3>This is actually happening on a busy freeway. It's really

0:55:43.840 --> 0:55:44.600
<v Speaker 3>really exciting.

0:55:45.680 --> 0:55:47.520
<v Speaker 2>Yeah, and then yeah, we get to the mall. Mister

0:55:47.640 --> 0:55:50.480
<v Speaker 2>I goes using he's the finger gun, which I remember

0:55:50.640 --> 0:55:52.239
<v Speaker 2>just thinking was super cool when I was a kid,

0:55:52.560 --> 0:55:55.319
<v Speaker 2>This crazy robot hand of his that he can make

0:55:55.360 --> 0:55:57.279
<v Speaker 2>the make the finger guns and then actually fire the

0:55:57.280 --> 0:55:57.839
<v Speaker 2>finger gun.

0:55:58.560 --> 0:56:01.759
<v Speaker 3>Yeah, it's very into spectro gadgety in the way that

0:56:02.560 --> 0:56:04.480
<v Speaker 3>the tip of the finger kind of comes off to

0:56:04.920 --> 0:56:08.800
<v Speaker 3>reveal the gun. But I mean, aside from that, like malls,

0:56:09.239 --> 0:56:13.200
<v Speaker 3>this mall in particular, this is the height of mals

0:56:14.080 --> 0:56:17.279
<v Speaker 3>at nineteen eighty nine. You know, you get not just

0:56:17.320 --> 0:56:20.160
<v Speaker 3>a really busy, active, vibrant mall. You get one that's

0:56:20.200 --> 0:56:24.759
<v Speaker 3>got mascots walking around giving away or selling balloons, a

0:56:24.800 --> 0:56:29.879
<v Speaker 3>lot of strange things happening for the scientist and mister

0:56:29.960 --> 0:56:33.160
<v Speaker 3>Igo to disrupt from this chase, you know, they're really

0:56:33.239 --> 0:56:35.280
<v Speaker 3>knocking a lot of people out of the way, ruining

0:56:35.320 --> 0:56:37.960
<v Speaker 3>a lot of these mascots days. One of the mascots

0:56:38.000 --> 0:56:40.319
<v Speaker 3>is a penguin who's giving away balloons to a pair

0:56:40.360 --> 0:56:44.240
<v Speaker 3>of nuns, which is a very very funny visual throwaway.

0:56:46.239 --> 0:56:48.839
<v Speaker 2>Yeah, this whole sequence is feels very Joe Dante, like

0:56:48.880 --> 0:56:51.600
<v Speaker 2>the bit where the doctor with the syringe. He ends

0:56:51.680 --> 0:56:56.760
<v Speaker 2>up injecting Martin Short in the buttock and then falls

0:56:56.880 --> 0:57:00.200
<v Speaker 2>into the arms of three or four different mascots and

0:57:00.280 --> 0:57:04.120
<v Speaker 2>dies and we get that that hazy pov of him

0:57:04.120 --> 0:57:06.520
<v Speaker 2>looking up at the mascots looming over him.

0:57:06.920 --> 0:57:08.440
<v Speaker 3>Yeah, fantastic.

0:57:09.719 --> 0:57:17.040
<v Speaker 2>So at this point we have miniaturized Pendleton tuck inside

0:57:17.400 --> 0:57:23.120
<v Speaker 2>of full sized Jack Martin Short and that, and we're

0:57:23.160 --> 0:57:24.640
<v Speaker 2>off to the race. It's like, this is the this

0:57:24.680 --> 0:57:26.520
<v Speaker 2>is the plot. It's we're going to get into this

0:57:26.560 --> 0:57:31.240
<v Speaker 2>whole situation of how does Pendleton make Jack aware of

0:57:31.240 --> 0:57:34.240
<v Speaker 2>his presence inside him? What kind of gadgets are going

0:57:34.280 --> 0:57:37.040
<v Speaker 2>to allow that to happen, and then how are they

0:57:37.080 --> 0:57:39.160
<v Speaker 2>going to figure out, you know, what sort of plot

0:57:39.200 --> 0:57:41.520
<v Speaker 2>is going on, and how they're going to maneuver their

0:57:41.520 --> 0:57:42.240
<v Speaker 2>way out of it.

0:57:43.200 --> 0:57:47.480
<v Speaker 3>Yeah, I you know, throughout this whole basically from this

0:57:47.600 --> 0:57:51.120
<v Speaker 3>point on, I have a tough time reconciling how big

0:57:51.240 --> 0:57:53.560
<v Speaker 3>Tuck and the pod are supposed to be inside of

0:57:53.600 --> 0:57:57.440
<v Speaker 3>the syringe and inside of Martin George's or Putter's body,

0:57:58.240 --> 0:58:02.720
<v Speaker 3>that they're points at which the action is high and

0:58:02.760 --> 0:58:05.920
<v Speaker 3>the pod is shaken around. So it's like, oh, so

0:58:06.040 --> 0:58:08.240
<v Speaker 3>you must be big enough to be like moving, to

0:58:08.320 --> 0:58:11.600
<v Speaker 3>be moved along by by the motions of the body.

0:58:12.080 --> 0:58:15.200
<v Speaker 3>But then there are points where Tuck is so so

0:58:15.200 --> 0:58:17.800
<v Speaker 3>so small that he can get through. He's at the

0:58:17.920 --> 0:58:21.920
<v Speaker 3>atomic level to where he wouldn't be impacted by these

0:58:21.960 --> 0:58:23.880
<v Speaker 3>other things. And this is me trying to apply my

0:58:24.040 --> 0:58:27.680
<v Speaker 3>people outside and like trying to unsuspend my disbelief and

0:58:27.720 --> 0:58:32.600
<v Speaker 3>pick it apart. But they do lean on just he's

0:58:32.640 --> 0:58:35.640
<v Speaker 3>just small enough, Okay. They lean on you to just

0:58:35.720 --> 0:58:37.760
<v Speaker 3>accept that fact and just go along for the ride,

0:58:37.800 --> 0:58:38.680
<v Speaker 3>which I'm happy to do.

0:58:39.440 --> 0:58:41.360
<v Speaker 2>The pod is as small or as large as the

0:58:41.400 --> 0:58:44.040
<v Speaker 2>plot requires it to be. Can it be grabbed with

0:58:44.080 --> 0:58:46.840
<v Speaker 2>a pair of tweezers? Yes? Can't. Can it cut its

0:58:46.840 --> 0:58:50.280
<v Speaker 2>way through the wall of an artery without causing any

0:58:50.360 --> 0:58:55.240
<v Speaker 2>kind of trouble inside the body? Absolutely? All right, So

0:58:55.280 --> 0:58:58.000
<v Speaker 2>at this point we're gonna we're gonna proceed with like

0:58:58.080 --> 0:59:00.720
<v Speaker 2>a little less attention to every little detail here, but

0:59:00.760 --> 0:59:03.520
<v Speaker 2>we want to talk, certainly in broad strokes about like

0:59:03.560 --> 0:59:07.480
<v Speaker 2>the central piece of technology here, the pod. I definitely

0:59:07.520 --> 0:59:10.520
<v Speaker 2>want to talk about the love triangle and the big

0:59:10.560 --> 0:59:13.520
<v Speaker 2>finale and any other moments that stand out to us.

0:59:13.560 --> 0:59:17.240
<v Speaker 2>But yeah, the big, the big thing about the pod,

0:59:17.320 --> 0:59:18.840
<v Speaker 2>and this was something that you know I loved as

0:59:18.840 --> 0:59:21.280
<v Speaker 2>a kid, is that we get like this this first

0:59:21.280 --> 0:59:26.440
<v Speaker 2>contact between Tuck Pendleton and Jack, where you know you

0:59:26.440 --> 0:59:29.000
<v Speaker 2>can use well, for first of all, he uses a

0:59:29.040 --> 0:59:32.240
<v Speaker 2>device like fires a harpoon into the inside of his

0:59:32.320 --> 0:59:34.360
<v Speaker 2>eyes so that he can see out of his his

0:59:34.440 --> 0:59:38.000
<v Speaker 2>eyes see what Jack sees. And then later he also

0:59:38.200 --> 0:59:42.240
<v Speaker 2>uses some sort of a harpoon type device inside of

0:59:42.280 --> 0:59:44.440
<v Speaker 2>his ear so that he can hear him as well.

0:59:45.040 --> 0:59:48.240
<v Speaker 2>And then at that point, like Tuck Pendleton is just

0:59:48.240 --> 0:59:50.880
<v Speaker 2>completely jacked into the whole system. He can do all

0:59:50.920 --> 0:59:52.960
<v Speaker 2>sorts of things as we'll see. You know, he can

0:59:53.320 --> 0:59:59.120
<v Speaker 2>he can adjust like is adrenaline and then ultimately change

0:59:59.160 --> 1:00:02.520
<v Speaker 2>his face one them really in addition to the electro

1:00:03.000 --> 1:00:06.640
<v Speaker 2>magnetic pulse thing, changing his face, shifting his face into

1:00:06.640 --> 1:00:10.400
<v Speaker 2>the face of another person, well, that one really up

1:00:10.440 --> 1:00:12.480
<v Speaker 2>the ante here. It's like, Wow, we can do anything

1:00:12.520 --> 1:00:12.840
<v Speaker 2>in there.

1:00:13.520 --> 1:00:17.840
<v Speaker 3>That one is more okay. I feel like the effects

1:00:17.840 --> 1:00:22.480
<v Speaker 3>of hooking into the eye looked painful, and you know

1:00:22.600 --> 1:00:26.240
<v Speaker 3>that's an effects success as far as I'm concerned. Same

1:00:26.280 --> 1:00:29.000
<v Speaker 3>with the ear, but those all seem like I can

1:00:29.040 --> 1:00:31.680
<v Speaker 3>wrap my head around those. And then yeah, he changes

1:00:31.720 --> 1:00:33.880
<v Speaker 3>his face, which it's like, I feel like you need

1:00:33.920 --> 1:00:37.800
<v Speaker 3>outside pieces to do that. You're not just read rearranging

1:00:37.920 --> 1:00:40.600
<v Speaker 3>cells at that point. You know, you're trying to take

1:00:40.640 --> 1:00:44.000
<v Speaker 3>on an appearance and give a hair color and a

1:00:44.040 --> 1:00:46.520
<v Speaker 3>hair consistency that he doesn't or I guess he had

1:00:46.560 --> 1:00:51.480
<v Speaker 3>his original hair or he had Jack's hair still, But

1:00:51.840 --> 1:00:55.320
<v Speaker 3>it just seemed like a huge leap of technology to

1:00:55.360 --> 1:00:57.400
<v Speaker 3>be able to do that, and all of a sudden

1:00:57.800 --> 1:01:01.520
<v Speaker 3>Tuck knows how to do this. Yeah, this is his

1:01:01.560 --> 1:01:04.720
<v Speaker 3>first voyage too, or maybe not, maybe was it his

1:01:04.800 --> 1:01:05.320
<v Speaker 3>first voice.

1:01:05.360 --> 1:01:07.800
<v Speaker 2>Well, he was planning for rabbits, so he should if anything,

1:01:07.880 --> 1:01:11.880
<v Speaker 2>he should be okay, but not particularly experienced with shifting

1:01:11.960 --> 1:01:14.840
<v Speaker 2>rabbit faces around it. But a full blown Martin short

1:01:14.840 --> 1:01:16.240
<v Speaker 2>face that seems like a lot.

1:01:16.760 --> 1:01:18.560
<v Speaker 3>Yeah, he should have been able to turn the rabbit

1:01:18.600 --> 1:01:22.200
<v Speaker 3>into the cowboy. Yeah, but not Jack Putter into the cowboy.

1:01:22.240 --> 1:01:25.680
<v Speaker 2>Yeah, because that's a very expressive face. To change into

1:01:25.760 --> 1:01:28.480
<v Speaker 2>another very expressive face, you need something a little plainer,

1:01:28.560 --> 1:01:29.920
<v Speaker 2>I think for your first big.

1:01:29.840 --> 1:01:34.640
<v Speaker 3>Hurrah, exactly exactly. I think, you know, I blame this

1:01:34.760 --> 1:01:37.960
<v Speaker 3>movie as a child for my impression that I still

1:01:38.000 --> 1:01:41.640
<v Speaker 3>have today, where my instinct is that there's a lot

1:01:41.680 --> 1:01:44.680
<v Speaker 3>of empty space in the human body and you can

1:01:44.760 --> 1:01:48.480
<v Speaker 3>travel between the organs with you know, the same way

1:01:48.480 --> 1:01:51.200
<v Speaker 3>that you're traveling between planets and the Solar System, that

1:01:51.240 --> 1:01:53.920
<v Speaker 3>there's just a lot of dead space there, which is

1:01:54.000 --> 1:01:57.760
<v Speaker 3>not true. Anybody who's seen a diagram of what's going

1:01:57.800 --> 1:02:00.640
<v Speaker 3>on inside a human body knows how just packed together

1:02:00.760 --> 1:02:05.600
<v Speaker 3>absolutely everything is. But my child mind saw the human

1:02:05.640 --> 1:02:11.440
<v Speaker 3>body as spacious, well lit, lots of areas between your

1:02:11.760 --> 1:02:13.840
<v Speaker 3>vital organs that you could just kind of hang out

1:02:13.840 --> 1:02:15.160
<v Speaker 3>in and fly between.

1:02:15.520 --> 1:02:17.320
<v Speaker 2>Yeah, he's inner space, not inner goop.

1:02:17.920 --> 1:02:20.800
<v Speaker 3>That's right, exactly exactly, And the title yeah supports that

1:02:20.960 --> 1:02:23.680
<v Speaker 3>backs that up. I will say that I don't know

1:02:23.680 --> 1:02:25.520
<v Speaker 3>how big or small this pod is. I'm ready to

1:02:25.880 --> 1:02:28.880
<v Speaker 3>move away from that gripe. But he's able to get

1:02:28.920 --> 1:02:30.360
<v Speaker 3>around that body real fast.

1:02:30.760 --> 1:02:33.760
<v Speaker 2>Oh yeah, Like he starts off in the buttock and

1:02:33.880 --> 1:02:38.360
<v Speaker 2>is almost immediately at the optic nerves. Maybe they cut something,

1:02:38.640 --> 1:02:41.160
<v Speaker 2>but maybe he also he is just like firing through

1:02:41.160 --> 1:02:42.040
<v Speaker 2>those blood vessels.

1:02:42.400 --> 1:02:45.640
<v Speaker 3>Yeah, he gets into blood vessels and somehow is able

1:02:45.680 --> 1:02:48.120
<v Speaker 3>to because it seems like a blood vessel is like

1:02:48.160 --> 1:02:51.760
<v Speaker 3>a highway. Like the vessel goes to one part of

1:02:51.760 --> 1:02:53.800
<v Speaker 3>your body and maybe has some off ramps on the

1:02:53.800 --> 1:02:58.880
<v Speaker 3>way there, but you don't have full agency of where

1:02:58.880 --> 1:03:01.280
<v Speaker 3>else to go in the body unless you kareene out

1:03:01.280 --> 1:03:03.800
<v Speaker 3>of that blood vessel, which you're going to start causing

1:03:03.880 --> 1:03:05.840
<v Speaker 3>damage to to your host at that point.

1:03:06.440 --> 1:03:09.240
<v Speaker 2>Yeah, he does make the host uncomfortable at times. It's

1:03:09.960 --> 1:03:12.000
<v Speaker 2>there's some some related symptoms.

1:03:12.920 --> 1:03:16.479
<v Speaker 3>I'm shocked that that Martin short did not display any

1:03:16.520 --> 1:03:19.320
<v Speaker 3>sort of existential I mean, he had some existential dread

1:03:19.360 --> 1:03:22.000
<v Speaker 3>at the beginning before he realized that there was a

1:03:22.040 --> 1:03:23.080
<v Speaker 3>pot inside of him.

1:03:23.560 --> 1:03:23.920
<v Speaker 2>M hm.

1:03:24.320 --> 1:03:27.080
<v Speaker 3>To me, that would have just heightened the existential dread

1:03:28.000 --> 1:03:31.320
<v Speaker 3>that there's now something, an actual thing inside of me

1:03:31.440 --> 1:03:35.120
<v Speaker 3>that's talking to me and manipulating my body without me

1:03:35.240 --> 1:03:37.480
<v Speaker 3>being able to stop it if I if I wanted.

1:03:37.240 --> 1:03:40.680
<v Speaker 2>To Now some important plot stuff that you mentioned too,

1:03:40.720 --> 1:03:43.440
<v Speaker 2>is that eventually okay? Well, first of all, character wise

1:03:44.720 --> 1:03:48.440
<v Speaker 2>Jack and Pendleton, Jack and Tuck, Uh, they come together,

1:03:48.520 --> 1:03:51.360
<v Speaker 2>they end up bonding over things like it becomes a

1:03:51.440 --> 1:03:54.920
<v Speaker 2>very close relationship, not only because one is literally inside

1:03:54.920 --> 1:03:59.760
<v Speaker 2>of the other, but but you know, they're they're they're

1:03:59.760 --> 1:04:01.400
<v Speaker 2>the only people who can talk to each other, you know,

1:04:01.400 --> 1:04:05.080
<v Speaker 2>they can. They have this this very intimate relationship, which

1:04:05.080 --> 1:04:06.840
<v Speaker 2>I think the movie does a good good job with,

1:04:07.280 --> 1:04:09.920
<v Speaker 2>you know, building this relationship between the two. And then

1:04:09.920 --> 1:04:12.600
<v Speaker 2>of course is ultimately gonna introduce Meg Ryan's character Lydia.

1:04:12.920 --> 1:04:14.520
<v Speaker 2>And then this is where we're gonna end up with

1:04:14.560 --> 1:04:17.160
<v Speaker 2>this love triangle, which I have to say is one

1:04:17.200 --> 1:04:21.080
<v Speaker 2>of the stranger love triangles I've ever seen, because again,

1:04:21.120 --> 1:04:24.600
<v Speaker 2>we have Jack in large, we have Tuck in small.

1:04:25.120 --> 1:04:29.320
<v Speaker 2>She is Tuck's X. Tuck ends up essentially being like

1:04:29.360 --> 1:04:36.000
<v Speaker 2>the romance whisperer for Jack, helping him to pursue his

1:04:36.160 --> 1:04:40.280
<v Speaker 2>ex at the same time, like he still has feelings

1:04:40.320 --> 1:04:44.439
<v Speaker 2>for Lydia and they and also Lydia, I'm sorry. Also

1:04:44.600 --> 1:04:46.960
<v Speaker 2>Jack and Tuck end up kind of bunding butting heads

1:04:46.960 --> 1:04:52.360
<v Speaker 2>over this as well. It's it's bizarre and and at

1:04:52.360 --> 1:04:55.520
<v Speaker 2>the same time was completely lost on me as a kid.

1:04:56.160 --> 1:04:58.120
<v Speaker 2>But it has to be one of the stranger love

1:04:58.120 --> 1:04:59.560
<v Speaker 2>triangles I've ever seen in a picture.

1:05:00.200 --> 1:05:02.800
<v Speaker 3>Yeah, it's tricky because you don't really get a clear

1:05:02.840 --> 1:05:08.280
<v Speaker 3>picture of what Jack's steaks are and emotionally, and I mean,

1:05:08.320 --> 1:05:12.080
<v Speaker 3>you get the idea of his physical stakes, but you

1:05:12.120 --> 1:05:20.320
<v Speaker 3>don't know he's obviously attracted to Lydia, but he's characterized

1:05:20.320 --> 1:05:22.880
<v Speaker 3>as somebody who does not need a lot of convincing

1:05:22.960 --> 1:05:26.120
<v Speaker 3>to help Tuck out. And sure that's motivated by the

1:05:26.160 --> 1:05:29.120
<v Speaker 3>fact that Tuck is in his body and Tuck needs him,

1:05:29.440 --> 1:05:32.560
<v Speaker 3>and maybe that is something that Jack wants as well

1:05:32.600 --> 1:05:35.480
<v Speaker 3>as somebody to need him or need his help. But

1:05:36.240 --> 1:05:41.920
<v Speaker 3>he's pretty willing, both motivated by fear of the spies

1:05:42.400 --> 1:05:45.640
<v Speaker 3>catching up to him, trying to get Tuck out of

1:05:45.720 --> 1:05:48.720
<v Speaker 3>him their way, which is going to be ugly, trying

1:05:48.760 --> 1:05:51.000
<v Speaker 3>to find a better way to do that, but also

1:05:51.040 --> 1:05:56.320
<v Speaker 3>trying to help him, like you say, romantically, convince Lydia

1:05:56.440 --> 1:06:00.280
<v Speaker 3>to trust him and to trust that Tuck needs her

1:06:00.320 --> 1:06:03.560
<v Speaker 3>help as well. It's it's really interesting and kind of

1:06:03.600 --> 1:06:08.800
<v Speaker 3>puts Jack in the middle in a way that supports

1:06:09.040 --> 1:06:12.520
<v Speaker 3>kind of his warming warm He's not the right word,

1:06:12.640 --> 1:06:15.960
<v Speaker 3>but the fact that people push him around on a

1:06:16.000 --> 1:06:19.760
<v Speaker 3>regular basis. He's kind of being moved around as well,

1:06:20.800 --> 1:06:23.760
<v Speaker 3>emotionally and not just physically the way that Tuck is

1:06:23.760 --> 1:06:26.600
<v Speaker 3>doing to him with the pod. But I do think

1:06:26.720 --> 1:06:29.680
<v Speaker 3>we've got a ticking clock here that we didn't speak about,

1:06:29.720 --> 1:06:32.040
<v Speaker 3>which is Tuck's oxygen is running out.

1:06:32.120 --> 1:06:36.360
<v Speaker 2>Oh yes, yes, that's the Tucks you guys running out.

1:06:36.480 --> 1:06:38.600
<v Speaker 2>He's eventually going to die in there if he doesn't

1:06:38.600 --> 1:06:39.880
<v Speaker 2>get out right.

1:06:39.920 --> 1:06:43.280
<v Speaker 3>So you've got ticking clock a which is there's these

1:06:43.320 --> 1:06:45.760
<v Speaker 3>guys on your tail that you don't want them to

1:06:45.800 --> 1:06:48.240
<v Speaker 3>catch you because they're happy to kill Jack to get

1:06:48.320 --> 1:06:50.880
<v Speaker 3>Tuck out of him if they need to. B If

1:06:50.960 --> 1:06:54.400
<v Speaker 3>you want Tuck to succeed at again whatever he's doing,

1:06:55.200 --> 1:06:59.760
<v Speaker 3>you need to get back to the good lab quote

1:06:59.800 --> 1:07:03.080
<v Speaker 3>unk quote good lab before tucks oxygen runs out and

1:07:03.080 --> 1:07:06.800
<v Speaker 3>it gets real close and then you somehow have to

1:07:06.840 --> 1:07:11.200
<v Speaker 3>save Tuck and Lydia's relationship. That's the sea ticking clock.

1:07:11.680 --> 1:07:14.000
<v Speaker 2>Yeah. We also learn that there are like two little

1:07:14.080 --> 1:07:16.800
<v Speaker 2>chips that are involved in the miniaturization process. There are

1:07:16.840 --> 1:07:19.800
<v Speaker 2>other groups out there who have been working on miniaturization,

1:07:19.880 --> 1:07:25.280
<v Speaker 2>and they can miniaturize things, but apparently relargifying things is

1:07:25.320 --> 1:07:27.400
<v Speaker 2>the hard part, and that's where you need both chips,

1:07:27.400 --> 1:07:29.320
<v Speaker 2>the chip that is out here in the full sized

1:07:29.320 --> 1:07:31.960
<v Speaker 2>world and the chip that is now on that pod

1:07:32.360 --> 1:07:35.000
<v Speaker 2>inside of Jack's body. And so that's what the bad

1:07:35.040 --> 1:07:37.800
<v Speaker 2>guys want. They need to get that chip off of

1:07:37.800 --> 1:07:41.960
<v Speaker 2>that pod, and as we'll learn, they'll do anything in

1:07:42.000 --> 1:07:43.800
<v Speaker 2>their power to do so.

1:07:43.800 --> 1:07:48.000
<v Speaker 3>So that's where Robert Piccardo comes in as the Cowboy,

1:07:48.160 --> 1:07:55.000
<v Speaker 3>the agent employed to retrieve one of the chips, and

1:07:55.760 --> 1:08:01.320
<v Speaker 3>their plan is to appropriate the Cowboy's face onto Jack's

1:08:01.360 --> 1:08:06.320
<v Speaker 3>face and then infiltrate the meeting with Scrimshaw to get

1:08:06.640 --> 1:08:10.000
<v Speaker 3>that chip to take back to the quote unquote Good Lab,

1:08:10.520 --> 1:08:14.120
<v Speaker 3>right so that they can re enlarge Tuck and save him.

1:08:14.680 --> 1:08:17.120
<v Speaker 2>Right. But then at the same time, they've already had

1:08:17.120 --> 1:08:20.040
<v Speaker 2>some run ins with the Good Lab where they've overheard

1:08:20.240 --> 1:08:23.640
<v Speaker 2>the good scientists saying, you know, it's actually easier if

1:08:23.640 --> 1:08:26.599
<v Speaker 2>we just let him die inside of Jack's body, because

1:08:26.640 --> 1:08:29.000
<v Speaker 2>nobody can get to that thing, it's miniaturized. Just let

1:08:29.040 --> 1:08:31.200
<v Speaker 2>it go, you know, he'll get I guess, you know,

1:08:31.920 --> 1:08:35.120
<v Speaker 2>excreted one way or another from Jack's body and it'll

1:08:35.160 --> 1:08:39.280
<v Speaker 2>just be lost to time. And maybe that's easier, Yeah.

1:08:38.840 --> 1:08:43.080
<v Speaker 3>I gotta say, all things being equal, taking humanity out

1:08:43.120 --> 1:08:46.080
<v Speaker 3>of the equation altogether, which is what these scientists are doing,

1:08:47.000 --> 1:08:48.280
<v Speaker 3>that's not a bad case.

1:08:48.800 --> 1:08:53.200
<v Speaker 2>Yeah, and especially considering what mister Scrimshaw wants. We have

1:08:53.240 --> 1:08:56.920
<v Speaker 2>a great later. So Drag gets abducted at least twice.

1:08:56.960 --> 1:09:00.320
<v Speaker 2>I feel like it's like he's constantly escaping and re

1:09:00.479 --> 1:09:03.560
<v Speaker 2>escaping and getting caught. There's one scene where mister Scrimshaw

1:09:03.640 --> 1:09:07.839
<v Speaker 2>gets this great villain monologue about like, you know, nuclear

1:09:07.880 --> 1:09:10.160
<v Speaker 2>weapons aren't there in the future. Space is in the future.

1:09:10.200 --> 1:09:14.760
<v Speaker 2>It's miniaturization. So great villain monologue there. But then we

1:09:14.880 --> 1:09:17.200
<v Speaker 2>get what we also get time and time again, a

1:09:17.240 --> 1:09:22.000
<v Speaker 2>Pendleton Tuck assisted escape by Jack. So Jack's not necessarily

1:09:22.040 --> 1:09:24.160
<v Speaker 2>he didn't realize when he's been trapped or see the

1:09:24.280 --> 1:09:28.479
<v Speaker 2>light of the escape route. But that's where Tuck comes in.

1:09:28.560 --> 1:09:30.639
<v Speaker 2>Tuck has this great gut instinct where he's like, okay,

1:09:30.640 --> 1:09:34.480
<v Speaker 2>punch now, kick now, jump out of the moving vehicle now.

1:09:34.560 --> 1:09:38.000
<v Speaker 2>And so you know, the movie stays in constant motion.

1:09:38.720 --> 1:09:42.240
<v Speaker 3>Yeah. Jack gets a lot of heroic stunt opportunities to

1:09:42.280 --> 1:09:46.280
<v Speaker 3>really look like like the hero, you know, and it's

1:09:46.360 --> 1:09:48.920
<v Speaker 3>a lot of it's driven by Tuck, but he's the

1:09:48.920 --> 1:09:52.280
<v Speaker 3>one doing it. It's not that Tuck's making his body move.

1:09:52.360 --> 1:09:55.280
<v Speaker 3>Tuck's just guiding him through what to do. And that's

1:09:55.360 --> 1:09:58.680
<v Speaker 3>kind of a Dumbo feather to Jack, where he's he

1:09:58.800 --> 1:10:01.320
<v Speaker 3>has the confidence to actually execute on a lot of

1:10:01.320 --> 1:10:02.880
<v Speaker 3>those things, and he's successful at it.

1:10:10.760 --> 1:10:12.880
<v Speaker 2>So at this point I don't know which thread to follow.

1:10:12.920 --> 1:10:16.120
<v Speaker 2>We have more of the love triangle plot that is

1:10:16.160 --> 1:10:19.479
<v Speaker 2>propelling Jack ever closer to a sexual encounter with Lydia

1:10:19.520 --> 1:10:21.799
<v Speaker 2>it would seem though, Again this is a PG film,

1:10:21.840 --> 1:10:24.600
<v Speaker 2>so we're dealing in very broad strokes here, and a

1:10:24.640 --> 1:10:27.960
<v Speaker 2>lot is implied. And then and then we have the

1:10:28.000 --> 1:10:33.160
<v Speaker 2>whole scheme to figure out what Cowboy is up to, uh,

1:10:33.200 --> 1:10:37.800
<v Speaker 2>to seduce Cowboy and then and then take advantage of him,

1:10:38.120 --> 1:10:41.000
<v Speaker 2>and then the morphing of the face, the infiltration of

1:10:41.040 --> 1:10:43.240
<v Speaker 2>the batties. Uh. And this is of course going to

1:10:43.320 --> 1:10:48.599
<v Speaker 2>involve another round of chasing and escaping and everyone going

1:10:48.640 --> 1:10:49.439
<v Speaker 2>after those chips.

1:10:50.120 --> 1:10:52.639
<v Speaker 3>Yeah, I think it, you know, just to quickly top

1:10:52.680 --> 1:10:57.000
<v Speaker 3>lined the cowboy thread, I think they realized or they learned,

1:10:57.040 --> 1:11:00.680
<v Speaker 3>that the Cowboy goes to a club Inferno whenever he's

1:11:00.720 --> 1:11:03.320
<v Speaker 3>in town because he loves to go dancing and meet women,

1:11:03.720 --> 1:11:06.920
<v Speaker 3>so they go to Club Inferno as well. That's where

1:11:07.240 --> 1:11:11.200
<v Speaker 3>Jack runs into Wendy from the grocery store. Wendy sees

1:11:11.240 --> 1:11:14.280
<v Speaker 3>a new bad boy side of Jack that piques her interest.

1:11:14.840 --> 1:11:18.120
<v Speaker 3>But the long story short there is that Lydia is

1:11:18.160 --> 1:11:21.080
<v Speaker 3>able to seduce the cowboy bring him back to the hotel.

1:11:21.520 --> 1:11:23.680
<v Speaker 3>That's where they're able to knock him out and appropriate

1:11:23.680 --> 1:11:27.280
<v Speaker 3>his face to go to the meeting with Scrimshaw. That

1:11:27.720 --> 1:11:30.679
<v Speaker 3>disguise starts to fall apart in the middle of that meeting.

1:11:30.800 --> 1:11:35.080
<v Speaker 3>I think that the cowboy has a gold toothcap that

1:11:35.720 --> 1:11:39.960
<v Speaker 3>falls out of fake Cowboy's mouth, which tips Scrimshaw off

1:11:40.400 --> 1:11:44.360
<v Speaker 3>gets all of the bad guys up in arms to

1:11:45.640 --> 1:11:51.120
<v Speaker 3>capture Jack. Which there's a great line in lieu of champagne.

1:11:51.320 --> 1:11:56.360
<v Speaker 3>How about some real pain pro pain. I had to

1:11:56.360 --> 1:11:58.400
<v Speaker 3>give it a lot of flowers for going past. How

1:11:58.439 --> 1:12:01.080
<v Speaker 3>about some real pain and add an another pain.

1:12:00.960 --> 1:12:04.360
<v Speaker 2>To the Yeah this is and we get some more

1:12:04.520 --> 1:12:07.680
<v Speaker 2>Inspector gadget Shenanigans for mister Igo because he pulls out

1:12:07.720 --> 1:12:10.839
<v Speaker 2>the blowtorch. Uh, that's right, appendage or maybe the blowtorch

1:12:10.920 --> 1:12:12.760
<v Speaker 2>is just always in there as a as part of

1:12:12.800 --> 1:12:16.160
<v Speaker 2>his Swiss army hand. But they're gonna they're like, oh,

1:12:16.280 --> 1:12:19.879
<v Speaker 2>you know, the cowboy is known for his incredible pain tolerance,

1:12:20.000 --> 1:12:21.920
<v Speaker 2>so let's just get an example of that here.

1:12:22.520 --> 1:12:26.520
<v Speaker 3>That's right, and this is where the actual grotesque transformation

1:12:26.680 --> 1:12:31.439
<v Speaker 3>scene from Cowboy face back to jackface happens. It freaks

1:12:31.439 --> 1:12:34.960
<v Speaker 3>out everybody in the room. S Grimshaw's terrified, and rightly so,

1:12:35.120 --> 1:12:36.880
<v Speaker 3>because it's it's a lot.

1:12:37.400 --> 1:12:39.840
<v Speaker 2>Yeah, it is. It's very well done because if you

1:12:39.880 --> 1:12:42.360
<v Speaker 2>slow it down or watch it twice, you're like, oh, yeah,

1:12:42.400 --> 1:12:45.080
<v Speaker 2>this is this seems like boutine material right here, like

1:12:45.120 --> 1:12:49.280
<v Speaker 2>this is the thing, but it is, but it's it's

1:12:49.320 --> 1:12:52.719
<v Speaker 2>blurry and sped up in a very comedic Looney Tunes fashion,

1:12:53.160 --> 1:12:57.280
<v Speaker 2>and that ultimately like overwhelms the horrific aspects of it.

1:12:57.840 --> 1:12:59.960
<v Speaker 2>But it's very well done. Yeah.

1:13:00.080 --> 1:13:03.559
<v Speaker 3>Yeah. Another thing to point out, they obviously, you know,

1:13:04.240 --> 1:13:11.520
<v Speaker 3>escape this this scenario, Lydia helps them escape. Jack transfers

1:13:11.680 --> 1:13:17.559
<v Speaker 3>Tuck to Lydia through a French kiss. Yes, which again

1:13:17.680 --> 1:13:22.160
<v Speaker 3>I'm just gonna say, yeah, that works, you can do

1:13:22.200 --> 1:13:25.840
<v Speaker 3>that first try. You know. While that happens, Tuck is

1:13:25.840 --> 1:13:29.880
<v Speaker 3>inside Lydia's body, sees that Lydia is pregnant, presumably with

1:13:30.040 --> 1:13:34.320
<v Speaker 3>his child. But the thing that gets me is that

1:13:35.320 --> 1:13:39.520
<v Speaker 3>they then transfer Tuck back to Jack through another French kiss,

1:13:41.280 --> 1:13:43.439
<v Speaker 3>which is like, I'm just this good at it that

1:13:43.880 --> 1:13:46.879
<v Speaker 3>we can do this again. And it happened so quickly

1:13:47.000 --> 1:13:48.840
<v Speaker 3>that it's like, I guess Tuck was just there at

1:13:48.840 --> 1:13:49.760
<v Speaker 3>the mouth ready to go.

1:13:51.479 --> 1:13:54.880
<v Speaker 2>French kisses work. French kisses are a complete exchange of

1:13:54.920 --> 1:13:58.759
<v Speaker 2>all saliable content of the mouth and esophagus, right, That's.

1:13:58.600 --> 1:14:00.519
<v Speaker 3>What we were warned about when we were younger.

1:14:00.600 --> 1:14:06.920
<v Speaker 2>Yes, yeah, but again, like the whole the baby, the pregnancy,

1:14:07.040 --> 1:14:11.720
<v Speaker 2>like this love triangle is very complex. One might even

1:14:11.840 --> 1:14:14.439
<v Speaker 2>argue too complex for a picture that is just trying

1:14:14.479 --> 1:14:17.519
<v Speaker 2>to be a big summertime explosion of special effects. But

1:14:18.120 --> 1:14:20.000
<v Speaker 2>it's one of his charms that it's all there.

1:14:20.720 --> 1:14:23.080
<v Speaker 3>Yeah, and I think it is. It does serve the

1:14:23.680 --> 1:14:27.200
<v Speaker 3>function of while Tuck is in Lydia's body, Jack's not

1:14:27.360 --> 1:14:35.320
<v Speaker 3>necessarily aware of that yet, and he is still acting

1:14:35.400 --> 1:14:39.160
<v Speaker 3>like a heroic, you know fighter. He's knocking people out,

1:14:39.600 --> 1:14:41.760
<v Speaker 3>he's you know, doing all of the things that Tuck

1:14:41.800 --> 1:14:44.280
<v Speaker 3>told him to do. Once he realizes that Tuck's not

1:14:44.320 --> 1:14:47.719
<v Speaker 3>inside him, is inside Lydia. He loses that, he loses

1:14:47.720 --> 1:14:50.240
<v Speaker 3>that Dumbo feather, and the confidence kind of quickly at

1:14:50.280 --> 1:14:51.559
<v Speaker 3>that Dumbo feather exactly.

1:14:53.720 --> 1:14:56.000
<v Speaker 2>Yeah, so all that's really well executed. But I know

1:14:56.080 --> 1:15:00.000
<v Speaker 2>that those of you who grew up watching Innerspace are

1:15:00.200 --> 1:15:02.880
<v Speaker 2>you've been waiting for us to get to the big showdown.

1:15:03.200 --> 1:15:06.920
<v Speaker 2>The big showdown is twofold because so basically they bring

1:15:06.960 --> 1:15:10.040
<v Speaker 2>captive Jack back to the bad guy lab, which is

1:15:10.160 --> 1:15:16.360
<v Speaker 2>super sleek and very military. We'll describe their pod here

1:15:16.560 --> 1:15:19.360
<v Speaker 2>in a minute. But of course Lydia is able to

1:15:19.360 --> 1:15:23.840
<v Speaker 2>take control. She built out a handgun. But after they

1:15:23.920 --> 1:15:28.559
<v Speaker 2>have already injected a new villain into Jack's body, they'll wait.

1:15:28.640 --> 1:15:32.960
<v Speaker 2>At the same time, Tuck is not in Jack anymore

1:15:33.000 --> 1:15:35.439
<v Speaker 2>at this point, right, Tuck is in Lydia, but they

1:15:35.479 --> 1:15:40.080
<v Speaker 2>inject mister I go inside of just a frightening like

1:15:40.280 --> 1:15:45.599
<v Speaker 2>military combat pod with big claws, an amazing design here.

1:15:45.640 --> 1:15:50.040
<v Speaker 2>They injected that into him to go after the original pod,

1:15:50.200 --> 1:15:52.360
<v Speaker 2>to get those chips and to kill Tuck.

1:15:53.040 --> 1:15:55.759
<v Speaker 3>That's right, this enemy lab, it looks like the TV

1:15:55.920 --> 1:15:59.759
<v Speaker 3>room from Willy Wonka's cog factory. It's just all white

1:15:59.760 --> 1:16:03.000
<v Speaker 3>and tons of space in contrast to the other lab,

1:16:03.040 --> 1:16:06.240
<v Speaker 3>which has just stacks of machinery on top of stacks

1:16:06.240 --> 1:16:10.519
<v Speaker 3>of machinery. But yeah, this this exopod, it's a suit,

1:16:10.720 --> 1:16:15.879
<v Speaker 3>whereas the you know, tucks in a little chair inside

1:16:15.880 --> 1:16:18.600
<v Speaker 3>of a small room. It feels like this is a

1:16:18.640 --> 1:16:22.200
<v Speaker 3>scuba suit that has attachments. It's a lot more menacing.

1:16:22.439 --> 1:16:25.719
<v Speaker 3>Presumably this guy can whip around more quickly within the body,

1:16:26.000 --> 1:16:28.479
<v Speaker 3>and he is designed to cause damage. That's what the

1:16:28.479 --> 1:16:31.320
<v Speaker 3>suit is for, you know, so pretty scaring. Of course

1:16:31.320 --> 1:16:34.840
<v Speaker 3>it's all black compared to the silver white pod that

1:16:35.160 --> 1:16:35.680
<v Speaker 3>Tuck is in.

1:16:36.040 --> 1:16:38.680
<v Speaker 2>Yeah, it's frightening. And you got the one portal so

1:16:38.800 --> 1:16:43.080
<v Speaker 2>you can have mister IGO's face like the horrifying mug

1:16:43.120 --> 1:16:49.599
<v Speaker 2>of his, like sneering through it and grinning. Yeah, terrifying pod.

1:16:49.840 --> 1:16:52.840
<v Speaker 2>Enemy pod here like a fighter pod that they have

1:16:52.920 --> 1:16:55.920
<v Speaker 2>now injected into Jack, miniaturized and injected. And we get

1:16:55.920 --> 1:16:58.719
<v Speaker 2>a nice bit from Scrimshaw where he turns to doctor

1:16:58.800 --> 1:17:01.280
<v Speaker 2>Canker and he's like, you know, it's going to be

1:17:01.320 --> 1:17:04.800
<v Speaker 2>easier if we just re enlarge him inside Jack's body afterwards,

1:17:06.000 --> 1:17:08.439
<v Speaker 2>which is which is like, we we never see something

1:17:08.479 --> 1:17:10.160
<v Speaker 2>like that happen in the show, But just by mentioning

1:17:10.160 --> 1:17:13.080
<v Speaker 2>the idea, it does bring about a certain amount of menace.

1:17:13.479 --> 1:17:16.280
<v Speaker 3>Yeah, I love that. Again, take the humanity out of it,

1:17:16.360 --> 1:17:18.800
<v Speaker 3>and these are all the sound These are as sound

1:17:18.840 --> 1:17:23.960
<v Speaker 3>ideas as any other suggestion. At this point, Lydia gets

1:17:24.320 --> 1:17:28.720
<v Speaker 3>Tuck back into Jack with an intentional kiss to get

1:17:28.760 --> 1:17:32.880
<v Speaker 3>him in. That's where Tuck can help Jack fight off

1:17:32.960 --> 1:17:38.400
<v Speaker 3>mister Igo. Lydia also forces all of the scientists Scrimshaw

1:17:38.439 --> 1:17:43.480
<v Speaker 3>and Canker into the miniaturization pod or into the miniaturization

1:17:43.680 --> 1:17:46.479
<v Speaker 3>chamber and shrinks them all, does not shrink them all

1:17:46.520 --> 1:17:51.840
<v Speaker 3>to a microscopic size, which they are for the rest

1:17:51.880 --> 1:17:52.360
<v Speaker 3>of the movie.

1:17:52.760 --> 1:17:57.000
<v Speaker 2>Yes, So the big showdown then is twofold in the

1:17:57.040 --> 1:18:01.960
<v Speaker 2>world at large. We have Jack and Lydia driving you know,

1:18:02.000 --> 1:18:05.880
<v Speaker 2>down the highway in San Francisco, and then Scrimshaw, miniaturized

1:18:05.920 --> 1:18:10.479
<v Speaker 2>Scrimshaw and doctor Kenker attack from the back seat, so

1:18:10.520 --> 1:18:14.200
<v Speaker 2>they're wrestling them in the front and back seat. Meanwhile,

1:18:14.760 --> 1:18:19.519
<v Speaker 2>inside of Jack's body on his esophagus, there is now

1:18:19.560 --> 1:18:22.960
<v Speaker 2>a battle between the original pod and the new pod,

1:18:23.240 --> 1:18:28.000
<v Speaker 2>between a Tuck and mister Igo. And this is just

1:18:28.280 --> 1:18:30.439
<v Speaker 2>a really cool battle. Like I'm not saying it's like

1:18:30.560 --> 1:18:35.280
<v Speaker 2>RoboCop RoboCop two level, but it's pretty great with lots

1:18:35.320 --> 1:18:41.080
<v Speaker 2>of gadget arms and cutting of robotic components, some nice

1:18:41.120 --> 1:18:42.080
<v Speaker 2>back and forth.

1:18:42.160 --> 1:18:44.799
<v Speaker 3>Well, and it moves to the stomach for the final

1:18:45.000 --> 1:18:47.960
<v Speaker 3>blows of the scene, and that is probably my favorite

1:18:47.960 --> 1:18:51.439
<v Speaker 3>set piece of the entire movie. It's this raging sea

1:18:51.600 --> 1:18:55.200
<v Speaker 3>of stomach acid at the bottom. Again, a ton of

1:18:55.240 --> 1:18:58.400
<v Speaker 3>distance from the top of the esophagus where they enter

1:18:58.520 --> 1:19:02.479
<v Speaker 3>the stomach to where the acid is. And Tuck has

1:19:02.560 --> 1:19:07.160
<v Speaker 3>to get Jack's allergies. A Chekhov's gun that was introduced

1:19:07.200 --> 1:19:11.240
<v Speaker 3>earlier in the movie needs to get him I forget

1:19:11.240 --> 1:19:14.280
<v Speaker 3>what he's specifically allergic to, but needs him to activate

1:19:14.280 --> 1:19:16.400
<v Speaker 3>his allergies to get his stomach acid going.

1:19:16.960 --> 1:19:19.479
<v Speaker 2>This is a great set piece for the finale here

1:19:19.360 --> 1:19:21.439
<v Speaker 2>the stomach is like this. Like you said, there's a

1:19:21.479 --> 1:19:24.080
<v Speaker 2>lot of space there is. It's very well lit. That's

1:19:24.120 --> 1:19:26.840
<v Speaker 2>another thing about the inside of the body. You just

1:19:26.840 --> 1:19:29.320
<v Speaker 2>go by innerspace and fantastic voyage. It's like a well

1:19:29.360 --> 1:19:32.639
<v Speaker 2>lit nebula in there, which works. It is an inner space,

1:19:32.640 --> 1:19:34.160
<v Speaker 2>and so it should look like some of our most

1:19:34.160 --> 1:19:38.120
<v Speaker 2>colorful visions of outer space, whereas in reality it's like

1:19:38.120 --> 1:19:40.720
<v Speaker 2>that old saying, like a man's best friend outside of

1:19:40.720 --> 1:19:42.880
<v Speaker 2>a book is a dog, and inside of a dog,

1:19:42.920 --> 1:19:43.800
<v Speaker 2>it's too dark to read.

1:19:44.080 --> 1:19:47.559
<v Speaker 3>It's very dark and so well and I misspoke. It's

1:19:47.560 --> 1:19:50.080
<v Speaker 3>not his allergies that he needs to trigger. He stresses

1:19:50.200 --> 1:19:52.519
<v Speaker 3>Jack out to the point where he gets reflux from

1:19:52.520 --> 1:19:55.800
<v Speaker 3>the ay. Yes, and that's what causes the churn to

1:19:55.920 --> 1:20:00.200
<v Speaker 3>which the fight then leads mister Igo down in the

1:20:00.200 --> 1:20:03.240
<v Speaker 3>stomach acid, where he is eaten up, down to a

1:20:03.320 --> 1:20:07.280
<v Speaker 3>skeleton an aka kaak bones skeleton, which.

1:20:07.120 --> 1:20:10.280
<v Speaker 2>Is a skeleton and the remains the prosthetic arm trying

1:20:10.320 --> 1:20:14.920
<v Speaker 2>to drill through the portal of the original POD's Yeah

1:20:15.160 --> 1:20:18.439
<v Speaker 2>so good, great great villain kill quality, kill here all

1:20:18.479 --> 1:20:18.720
<v Speaker 2>the way.

1:20:18.800 --> 1:20:21.280
<v Speaker 3>Yeah yeah. So they get back to the good lab,

1:20:22.760 --> 1:20:26.760
<v Speaker 3>they can't get Tuck out, or they can't quickly get

1:20:26.800 --> 1:20:30.280
<v Speaker 3>Tuck out. The oxygen is at zero. At this point,

1:20:31.760 --> 1:20:35.880
<v Speaker 3>they think they've lost all hope. Jack realizes that he's

1:20:35.920 --> 1:20:40.679
<v Speaker 3>allergic to hairspray, which is the element that was introduced

1:20:40.720 --> 1:20:44.040
<v Speaker 3>earlier in the movie, is given some hair spray, sneezes

1:20:44.800 --> 1:20:48.639
<v Speaker 3>Tuck out onto one of the scientist's glasses, and.

1:20:48.520 --> 1:20:51.200
<v Speaker 2>Then they tweezer it, they tweeze her it, and they

1:20:51.320 --> 1:20:54.160
<v Speaker 2>get it back into the chamber. They re size him,

1:20:54.200 --> 1:20:57.800
<v Speaker 2>they re enlarge him, and we got our big, happy ending,

1:20:58.360 --> 1:21:01.559
<v Speaker 2>which is of course a wedding in true Shakespearean fashion.

1:21:01.640 --> 1:21:04.680
<v Speaker 2>We end with a lavish wedding. But who's going to

1:21:04.720 --> 1:21:06.920
<v Speaker 2>be married, Well, we know who's going to be married, right,

1:21:07.479 --> 1:21:08.719
<v Speaker 2>It's going to be tucking Lydia.

1:21:09.200 --> 1:21:12.040
<v Speaker 3>It's tucking Lydia. Jack is the best man, which, again

1:21:12.479 --> 1:21:14.719
<v Speaker 3>just met these guys, but they've been through a lot together.

1:21:14.760 --> 1:21:17.040
<v Speaker 3>So I kind of understand that. What I don't understand

1:21:17.080 --> 1:21:19.880
<v Speaker 3>is why Wendy is at the wedding. Don't understand why

1:21:19.920 --> 1:21:22.680
<v Speaker 3>mister Wormwood, the boss at the grocery store, is at

1:21:22.680 --> 1:21:25.080
<v Speaker 3>the wedding. What I don't understand is why the doctor

1:21:25.120 --> 1:21:27.719
<v Speaker 3>who prescribed the vacation for Jack is at the wedding.

1:21:27.840 --> 1:21:28.920
<v Speaker 3>This is not Jack's wedding.

1:21:29.479 --> 1:21:33.559
<v Speaker 2>Yeah, the jerky military guy is there apparently with his son.

1:21:34.040 --> 1:21:37.719
<v Speaker 2>It's this The events of this film just brought everyone

1:21:37.800 --> 1:21:41.320
<v Speaker 2>together into this like tight knit community, this tight knit family,

1:21:42.240 --> 1:21:45.200
<v Speaker 2>in ways that are perhaps a little inexplicable.

1:21:45.840 --> 1:21:48.680
<v Speaker 3>Yeah, and so it seems like a happy ending, but

1:21:49.880 --> 1:21:52.960
<v Speaker 3>not quite we see that the cowboy is the limo driver,

1:21:54.560 --> 1:21:58.240
<v Speaker 3>and that I believe Scrimshaw and Margaret are inside of

1:21:58.280 --> 1:22:02.759
<v Speaker 3>the suitcase. Yes, placed into the trunk. So they're driving

1:22:02.800 --> 1:22:06.679
<v Speaker 3>off on their happy wedding honeymoon drive down a twisty

1:22:06.720 --> 1:22:10.519
<v Speaker 3>mountain road, and Jack realizes that the job's not done

1:22:10.520 --> 1:22:11.760
<v Speaker 3>and he needs to help them out.

1:22:12.320 --> 1:22:14.360
<v Speaker 2>That's right. Oh, and we also find out that Tuck

1:22:14.439 --> 1:22:19.040
<v Speaker 2>has the chips, the very coveted dangerous technology chips are

1:22:19.080 --> 1:22:23.920
<v Speaker 2>his cufflins. So they set up a sequel here that,

1:22:24.000 --> 1:22:27.160
<v Speaker 2>of course never happened. But I remember at the time

1:22:27.880 --> 1:22:29.360
<v Speaker 2>as a kid, I just thought, if you set up

1:22:29.360 --> 1:22:32.120
<v Speaker 2>a sequel like this, it will happen. It's going to happen.

1:22:33.080 --> 1:22:34.800
<v Speaker 2>I feel like I spent spent a fair amount of

1:22:34.840 --> 1:22:38.639
<v Speaker 2>time just assuming Interspace too was coming right down the pipe,

1:22:38.640 --> 1:22:41.240
<v Speaker 2>and then it was coming up next. Never happened.

1:22:41.760 --> 1:22:44.760
<v Speaker 3>I kind of love the and then the adventures continued

1:22:45.120 --> 1:22:50.200
<v Speaker 3>layer of it. I wish that more franchise films took

1:22:50.240 --> 1:22:53.320
<v Speaker 3>that under advisement. I think it's okay to say Indiana

1:22:53.400 --> 1:22:56.160
<v Speaker 3>Jones went on more adventures after this one, and that,

1:22:56.280 --> 1:22:57.680
<v Speaker 3>you know what, I don't really need to show you

1:22:57.720 --> 1:23:00.160
<v Speaker 3>what the last one is or the second to last

1:23:00.160 --> 1:23:02.760
<v Speaker 3>one is, or continue that storyline if I don't want to.

1:23:03.200 --> 1:23:05.800
<v Speaker 3>Sometimes it's fun to just say. And their lives continued

1:23:05.840 --> 1:23:08.760
<v Speaker 3>to be that exciting, and so I agree with you.

1:23:08.800 --> 1:23:11.639
<v Speaker 3>I think that there was this left a door opened

1:23:11.680 --> 1:23:13.519
<v Speaker 3>to a sequel, and there seemed to be a lot

1:23:13.520 --> 1:23:18.719
<v Speaker 3>of enthusiasm for that. Maybe the mid box office return

1:23:19.160 --> 1:23:22.599
<v Speaker 3>diminished that hope, but I kind of like it where

1:23:22.640 --> 1:23:26.200
<v Speaker 3>it is, where if the job's not done, they're still

1:23:26.240 --> 1:23:28.920
<v Speaker 3>going to have more fun. This guy's life has been

1:23:29.000 --> 1:23:32.920
<v Speaker 3>inexplicably changed for and put on a different path that

1:23:33.080 --> 1:23:34.880
<v Speaker 3>he didn't choose, but he's going to roll with it,

1:23:34.920 --> 1:23:36.920
<v Speaker 3>you know. He's a different person now, and I kind

1:23:36.960 --> 1:23:38.000
<v Speaker 3>of really like that for him.

1:23:38.640 --> 1:23:40.840
<v Speaker 2>Yeah. Yeah, It's like, I think it's great you have

1:23:40.920 --> 1:23:42.559
<v Speaker 2>to set up these sequels that never happened. As long

1:23:42.600 --> 1:23:44.800
<v Speaker 2>as you told a complete story, you put everything on

1:23:44.840 --> 1:23:49.320
<v Speaker 2>the table, then I'm fine with just sort of dreaming

1:23:49.320 --> 1:23:51.320
<v Speaker 2>about what else could have been possible. And this is

1:23:51.320 --> 1:23:53.640
<v Speaker 2>a film that does leave everything on the table and

1:23:53.880 --> 1:23:56.400
<v Speaker 2>busts out all of its tricks. So yeah, I don't

1:23:56.400 --> 1:23:59.320
<v Speaker 2>feel like they held anything back with Inner Space. They

1:23:59.400 --> 1:24:03.240
<v Speaker 2>just left that indow open to potentially dream up interspace too.

1:24:03.760 --> 1:24:07.320
<v Speaker 3>Yeah, it's very strict. I mean, it's such a bizarre

1:24:07.360 --> 1:24:11.760
<v Speaker 3>fever dream of an ending scene where all of the

1:24:11.880 --> 1:24:14.160
<v Speaker 3>characters from the movie are invited to the wedding of

1:24:14.280 --> 1:24:16.920
<v Speaker 3>somebody who most of the characters have never met, and

1:24:16.960 --> 1:24:18.880
<v Speaker 3>then all of the bad guys are also at the

1:24:18.920 --> 1:24:24.799
<v Speaker 3>wedding in disguise to attack these two characters after the wedding,

1:24:24.880 --> 1:24:26.680
<v Speaker 3>What are they gonna do to Tug? I guess they're

1:24:26.720 --> 1:24:28.439
<v Speaker 3>good they I guess they know about the coup leaks.

1:24:28.760 --> 1:24:34.400
<v Speaker 2>Yep, somebody's gonna getized again. It's they're gonna be Shenanigan's.

1:24:33.840 --> 1:24:37.360
<v Speaker 3>Yeah, great time. Twist in the night Away takes us

1:24:37.360 --> 1:24:39.800
<v Speaker 3>into the credits. The credits are actually a pretty tight

1:24:39.880 --> 1:24:42.880
<v Speaker 3>credit roll where you're not it's not ten minutes long.

1:24:42.920 --> 1:24:44.960
<v Speaker 3>It's like a good three to five minutes credits twist

1:24:44.960 --> 1:24:46.720
<v Speaker 3>AND's playing the entire time and then you're out.

1:24:47.200 --> 1:24:48.920
<v Speaker 2>Yeah, and that's inner space.

1:24:49.400 --> 1:24:51.200
<v Speaker 3>Yeah, fun, fun time.

1:24:51.680 --> 1:24:54.320
<v Speaker 2>Yeah. I really enjoyed revisiting this one, and I feel

1:24:54.320 --> 1:24:57.240
<v Speaker 2>like it largely held up. Yeah, you know, it was

1:24:57.240 --> 1:25:00.200
<v Speaker 2>still very entertaining today. The effects were tremendous. Perform This

1:25:00.360 --> 1:25:03.400
<v Speaker 2>were great. You know, you never know exactly what it's

1:25:03.400 --> 1:25:04.720
<v Speaker 2>going to be like going back to a film from

1:25:04.800 --> 1:25:07.800
<v Speaker 2>you know, the nineteen eighties, mid nineteen eighties and see

1:25:07.800 --> 1:25:10.000
<v Speaker 2>how everything lands. But yeah, this was a fun one,

1:25:10.080 --> 1:25:10.519
<v Speaker 2>good pick.

1:25:10.600 --> 1:25:14.160
<v Speaker 3>Yeah, yeah, this one for me, it like we were

1:25:14.200 --> 1:25:17.479
<v Speaker 3>saying at the top, it's stitched into my memory of

1:25:17.520 --> 1:25:19.720
<v Speaker 3>being a certain age because of how much I saw

1:25:19.760 --> 1:25:22.639
<v Speaker 3>it at that age. And even though I did drop

1:25:22.680 --> 1:25:26.280
<v Speaker 3>out a significant chunk of it from my memory, a

1:25:26.320 --> 1:25:29.879
<v Speaker 3>lot of it took me back into that spare bedroom

1:25:29.920 --> 1:25:32.000
<v Speaker 3>at my grandmother's house, sitting and watching it on a

1:25:32.040 --> 1:25:36.000
<v Speaker 3>tiny TV. And to that point, it's not just the

1:25:36.040 --> 1:25:40.160
<v Speaker 3>nostalgia of that viewing it holds up. It's fun. I'm

1:25:40.200 --> 1:25:42.160
<v Speaker 3>having the same kind of fun that I was having

1:25:42.240 --> 1:25:43.439
<v Speaker 3>back then watching it again.

1:25:44.040 --> 1:25:47.160
<v Speaker 2>All right, Dave boy, as we begin to lead out here,

1:25:47.800 --> 1:25:51.479
<v Speaker 2>let's talk talk in Tofu for a minute here in

1:25:51.520 --> 1:25:54.320
<v Speaker 2>case listeners don't remember from last time, tell us a

1:25:54.320 --> 1:25:57.439
<v Speaker 2>little bit about what Talking Tofu is and tell us

1:25:57.520 --> 1:25:59.639
<v Speaker 2>what has come out recently in the podcast and what's

1:25:59.640 --> 1:26:00.479
<v Speaker 2>coming out in the future.

1:26:01.000 --> 1:26:05.800
<v Speaker 3>Sure, yeah, so Talking Tofu is myself and my co

1:26:05.880 --> 1:26:10.160
<v Speaker 3>host slash wife Becky Streepy we're both vegans, and we

1:26:11.479 --> 1:26:14.280
<v Speaker 3>felt like there's not a lot of fun vegan content

1:26:14.320 --> 1:26:17.400
<v Speaker 3>out there. Some of the stuff that you see about

1:26:17.439 --> 1:26:19.240
<v Speaker 3>being vegan can be kind of hard handed in the

1:26:19.240 --> 1:26:22.120
<v Speaker 3>way that it convinces you of the value and the

1:26:22.200 --> 1:26:27.719
<v Speaker 3>virtue of adopting a different lifestyle, whereas we don't really

1:26:28.120 --> 1:26:30.040
<v Speaker 3>think about that much on a day to day basis.

1:26:30.040 --> 1:26:31.479
<v Speaker 3>We just have a lot of fun with it. We

1:26:31.520 --> 1:26:34.679
<v Speaker 3>love food, we love eating food, we love trying new food,

1:26:34.800 --> 1:26:37.760
<v Speaker 3>we love crusting out on junk food, and so our

1:26:37.800 --> 1:26:40.559
<v Speaker 3>podcast is a lot of that. It's us trying new things,

1:26:41.080 --> 1:26:44.519
<v Speaker 3>trying new foods. Usually each episode we'll talk about some

1:26:44.600 --> 1:26:46.800
<v Speaker 3>takeout or a restaurant that we went to, whether it's

1:26:46.840 --> 1:26:48.960
<v Speaker 3>in town or on one of our travels. We travel

1:26:49.040 --> 1:26:51.360
<v Speaker 3>quite a bit, and we'll usually try a new snack

1:26:51.400 --> 1:26:53.719
<v Speaker 3>on the pod, and then we'll spend the other seventy

1:26:53.720 --> 1:26:56.280
<v Speaker 3>percent of the time talking about whatever bs has happened

1:26:56.280 --> 1:26:58.639
<v Speaker 3>to us that week, whatever show we watched that week,

1:26:58.680 --> 1:27:02.920
<v Speaker 3>what movies were into. We just talked about Wicked at length,

1:27:02.960 --> 1:27:04.640
<v Speaker 3>which we both saw in the theater and loved it

1:27:04.720 --> 1:27:08.760
<v Speaker 3>and has a very strong pro animal message unintentionally, I think,

1:27:10.200 --> 1:27:13.320
<v Speaker 3>but just a lot of fun, some of the stuff

1:27:13.320 --> 1:27:16.520
<v Speaker 3>that we've talked about lately. We just went to Disneyland

1:27:16.560 --> 1:27:19.519
<v Speaker 3>recently and did a round up of all the vegan

1:27:19.720 --> 1:27:22.360
<v Speaker 3>snacks and food you can eat at Disneyland in and

1:27:22.400 --> 1:27:26.120
<v Speaker 3>around those parks. We've traveled to Vegas recently, did a

1:27:26.200 --> 1:27:28.640
<v Speaker 3>couple of trips to Vegas and a few Vegas episodes.

1:27:29.439 --> 1:27:32.439
<v Speaker 3>We are traveling this weekend to New York City, probably

1:27:32.479 --> 1:27:36.400
<v Speaker 3>come out with a New York City roundup. Obviously will

1:27:36.400 --> 1:27:39.439
<v Speaker 3>not be comprehensive, as there are lots of vegan options

1:27:39.479 --> 1:27:41.519
<v Speaker 3>in New York City, but just kind of a rundown

1:27:41.560 --> 1:27:43.760
<v Speaker 3>of what we did while we were up there. And again,

1:27:43.800 --> 1:27:45.960
<v Speaker 3>we're just having fun and keeping it light and showing

1:27:46.040 --> 1:27:53.800
<v Speaker 3>that it's fun to be vegan. So yeah, that's that's

1:27:53.800 --> 1:27:54.400
<v Speaker 3>what we're up.

1:27:54.280 --> 1:27:57.400
<v Speaker 2>To, all right, that's talking to That's t a l

1:27:57.680 --> 1:28:02.519
<v Speaker 2>k I n Apostrophe TOFU podcast. That's right, So look

1:28:02.560 --> 1:28:04.680
<v Speaker 2>that up. You can find that wherever you get your episodes.

1:28:05.120 --> 1:28:06.760
<v Speaker 3>Yeah, yeah, we gotta get you on there.

1:28:07.000 --> 1:28:10.200
<v Speaker 2>Yeah, anytime. All right, all right, We're gonna go ahead

1:28:10.200 --> 1:28:12.759
<v Speaker 2>and close out this episode, but I'll just remind everyone

1:28:12.760 --> 1:28:14.719
<v Speaker 2>out there that stuff to blow your mind is primarily

1:28:14.720 --> 1:28:17.240
<v Speaker 2>a science and culture podcast, with core episodes on Tuesdays

1:28:17.240 --> 1:28:20.879
<v Speaker 2>and Thursdays, short form episodes on Wednesdays and on Fridays.

1:28:20.880 --> 1:28:23.240
<v Speaker 2>We set aside most serious concerns to just talk about

1:28:23.479 --> 1:28:26.360
<v Speaker 2>weird films on Weird House Cinema. And if you want

1:28:26.360 --> 1:28:28.559
<v Speaker 2>a full list of the movies we've covered over the years,

1:28:28.560 --> 1:28:32.160
<v Speaker 2>you can find them on letterboxed our username there is

1:28:32.240 --> 1:28:34.439
<v Speaker 2>weird House got a nice list there, so you can

1:28:34.520 --> 1:28:36.920
<v Speaker 2>just dive in there and see what we've chatted about

1:28:36.920 --> 1:28:40.040
<v Speaker 2>in the past. As always, thanks to the great JJ

1:28:40.120 --> 1:28:43.519
<v Speaker 2>Possway for producing and editing the show, stitching everything together

1:28:43.560 --> 1:28:45.680
<v Speaker 2>and making it sound right. And if you want to

1:28:45.720 --> 1:28:49.080
<v Speaker 2>reach out to me, to Joe to JJ, or if

1:28:49.080 --> 1:28:51.880
<v Speaker 2>you want to reach out to Dave, I'll shoot that

1:28:52.040 --> 1:28:55.200
<v Speaker 2>on todave as well that you can email us at

1:28:55.280 --> 1:29:04.120
<v Speaker 2>contact at stuff to Blow your Mind dot com.

1:29:04.320 --> 1:29:07.280
<v Speaker 1>Stuff to Blow Your Mind is production of iHeartRadio. For

1:29:07.360 --> 1:29:11.200
<v Speaker 1>more podcasts from my iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1:29:11.280 --> 1:29:13.080
<v Speaker 1>or wherever you listen to your favorite shows.