WEBVTT - Weirdhouse Cinema Rewind: Legend 0:00:04.640 --> 0:00:08.559 Hello, and welcome to Weird House Cinema. Rewind. My name 0:00:08.640 --> 0:00:11.680 is Joe McCormick. Today we're bringing you an older episode 0:00:11.720 --> 0:00:14.840 of Weird House Cinema. This is the feature that we 0:00:14.880 --> 0:00:19.520 did on Legend, directed by Ridley Scott, starring Tom Cruise, 0:00:19.680 --> 0:00:24.200 MIAs Sarah, and Tim Curry. This originally published on August thirtieth, 0:00:24.320 --> 0:00:26.840 twenty twenty four. Let's jump right in. 0:00:30.920 --> 0:00:36.360 Welcome to Stuff to Blow your Mind, a production of iHeartRadio. 0:00:40.960 --> 0:00:42.680 Hey, welcome to Weird House Cinema. 0:00:42.760 --> 0:00:45.680 This is Rob Lamb and this is Joe McCormick. And 0:00:45.760 --> 0:00:48.200 today on Weird House Cinema we're going to be talking 0:00:48.240 --> 0:00:53.960 about the nineteen eighty five Ridley Scott fantasy tale Legend 0:00:54.120 --> 0:00:58.880 starring Tom Cruise, MIAs Sarah, and Tim Curry. I wanted 0:00:58.880 --> 0:01:01.400 to start off just by because I mentioned it so 0:01:01.440 --> 0:01:04.360 many times on the show that I love a good 0:01:04.520 --> 0:01:08.759 synthetic forest set, like a you know, a fairytale woodland 0:01:08.840 --> 0:01:12.600 built inside a sound stage. Legend is a kind of 0:01:12.680 --> 0:01:16.040 heaven for me because it is there's more of that 0:01:16.200 --> 0:01:18.960 in this movie than any other movie I can think of. 0:01:19.480 --> 0:01:23.080 Yeah, they built an enormous forest for this one inside 0:01:23.200 --> 0:01:25.880 the double Low seven Stage at Pinewood Studios. That was 0:01:25.920 --> 0:01:28.560 the studio that was built for nineteen seventy seven's The 0:01:28.600 --> 0:01:32.800 Spy Who Loved Me, and interestingly enough, it burned down 0:01:33.400 --> 0:01:37.360 shortly before filming could wrap on Legend, tragically killing the 0:01:37.400 --> 0:01:38.680 last two living unicorns. 0:01:39.480 --> 0:01:39.760 Yeah. 0:01:39.840 --> 0:01:42.840 Yeah, now, no, the unicorns are fine, but some of 0:01:42.880 --> 0:01:45.640 their final scenes had to be filmed in an actual 0:01:45.760 --> 0:01:49.160 outdoor location because of this. So if you're watching closely, 0:01:49.200 --> 0:01:51.480 there may be some unicorn scenes here and there where 0:01:51.480 --> 0:01:53.480 you're like, oh, that looks like maybe that's for real 0:01:53.520 --> 0:01:58.480 outdoors instead of this lush and amazing indoor forest they built. 0:02:00.440 --> 0:02:02.880 But they do a good job of making you not 0:02:03.280 --> 0:02:04.720 necessarily focus. 0:02:04.320 --> 0:02:06.800 On the difference. I love that it goes back and 0:02:06.840 --> 0:02:09.960 forth and you can't always tell if you're actually outside 0:02:10.080 --> 0:02:11.920 or if this is an indoor forest. 0:02:12.360 --> 0:02:16.280 Yeah. Like they just like they're like particles floating around 0:02:16.280 --> 0:02:18.480 in the air. I'm not sure if it's like pollen 0:02:19.600 --> 0:02:22.640 or fairy dust. I mean, it's just there's a lot 0:02:22.720 --> 0:02:25.480 going on. It's a very rich visual texture. 0:02:25.960 --> 0:02:30.720 In my opinion, this is an almost perfect example of 0:02:30.720 --> 0:02:33.800 a movie that has all the things it needs to 0:02:33.840 --> 0:02:38.280 be absolutely wonderful, but it doesn't know exactly how to 0:02:38.480 --> 0:02:42.400 use them to the greatest effect. So this this movie 0:02:42.440 --> 0:02:47.639 has unbelievably gorgeous sets, some of the most amazing production 0:02:47.760 --> 0:02:51.799 design of any movie I can think of ever. It 0:02:52.280 --> 0:02:56.760 has stupendous makeup effects and costumes. Has a great cast, 0:02:57.280 --> 0:02:59.919 especially in the sort of the down cheat character role 0:03:00.200 --> 0:03:04.880 in the villain roles. It has some intriguing ideas and moments, 0:03:04.919 --> 0:03:07.919 and some fun and funny dialogue in it. It's got 0:03:08.040 --> 0:03:12.280 unicorns all the resources and technical skill that is needed 0:03:12.320 --> 0:03:16.440 to make a best of the best fantasy adventure. And 0:03:16.520 --> 0:03:19.639 yet somehow the movie always still feels like it kind 0:03:19.680 --> 0:03:23.359 of doesn't come together right. Something kind of falls apart 0:03:23.440 --> 0:03:26.160 at the core of it. It's like it's not organized 0:03:26.600 --> 0:03:29.840 correctly toward a toward its storytelling purpose. 0:03:30.720 --> 0:03:32.280 Yeah, I know what you mean, and this is going 0:03:32.320 --> 0:03:34.639 to be something we're going to discuss back and forth, 0:03:34.680 --> 0:03:37.119 I think, the whole episode. But it's also I think 0:03:37.160 --> 0:03:40.000 one of the reasons that I realized that the time 0:03:40.080 --> 0:03:43.120 was right to discuss legend. We've been talking a lot 0:03:43.120 --> 0:03:46.280 about alien and alien related content on the show, and 0:03:46.360 --> 0:03:49.200 I was heavily tempted. And we may still come back 0:03:49.200 --> 0:03:51.040 and do Alien at some point. But Alien is one 0:03:51.080 --> 0:03:54.520 of those films, a Ridley Scott film that I mean, 0:03:54.520 --> 0:03:58.000 it's it's basically perfect, like it like everything works in 0:03:58.040 --> 0:04:01.080 that picture, and it's and it's fun to talk about 0:04:01.080 --> 0:04:04.560 films we're passionate about and that you know, are so 0:04:04.720 --> 0:04:06.800 great that you don't really have anything critical to say 0:04:06.800 --> 0:04:10.000 about them. But I don't know, sometimes it's a little 0:04:10.040 --> 0:04:12.080 more engaging maybe to get into something like this, a 0:04:12.120 --> 0:04:16.200 film that is rougher around some of the edges in 0:04:16.240 --> 0:04:17.600 some aspects of the production. 0:04:18.080 --> 0:04:20.880 I very much agree that Alien is basically perfect, but 0:04:21.520 --> 0:04:25.760 Legend is different. This is not the only Ridley Scott 0:04:25.839 --> 0:04:29.520 movie that could be described in this way as having 0:04:29.960 --> 0:04:33.560 so many technical elements that are just at the peak 0:04:33.640 --> 0:04:37.600 of excellence. You know, maybe has a kind of esthetic perfection, 0:04:38.560 --> 0:04:42.599 but something just doesn't all work as a narrative. It 0:04:42.640 --> 0:04:45.760 doesn't fit together in the right way. And I want 0:04:45.760 --> 0:04:48.000 to be clear that nobody's going to tag me as 0:04:48.000 --> 0:04:50.520 a Ridley hater, you know, as I already said, I 0:04:50.560 --> 0:04:53.560 think Alien is basically perfect. I'm not one of those 0:04:53.600 --> 0:04:56.320 people who thinks Blade Runner is overrated. Some people say 0:04:56.360 --> 0:04:58.560 that now I don't agree. I think it is brilliant, 0:04:59.360 --> 0:05:02.960 and I even personally find delight in some of Ridley 0:05:03.000 --> 0:05:07.520 Scott's more arguably or some would even say objectively bad 0:05:07.640 --> 0:05:11.799 films like Hannibal or Alien Covenant. I sort of think, well, yeah, 0:05:11.839 --> 0:05:14.280 maybe they are bad, but I kind of like them anyway. 0:05:14.640 --> 0:05:17.359 But apart from that, I think it's interesting that Scott 0:05:17.400 --> 0:05:20.039 has made a number of these films that, at least 0:05:20.040 --> 0:05:23.120 as I see it, pull together the best of the 0:05:23.160 --> 0:05:26.160 best in terms of all the technical elements of filmmaking. 0:05:26.200 --> 0:05:29.640 They look amazing, they sound amazing, they have beautiful and 0:05:29.680 --> 0:05:32.479 interesting things to show you, but at the same time 0:05:32.600 --> 0:05:36.280 they can end up feeling kind of disorganized, flabby, and 0:05:36.320 --> 0:05:39.600 sometimes even irritating. Exercises in storytelling. 0:05:40.160 --> 0:05:43.000 Yeah, yeah, I would broadly agree with all that, and 0:05:43.040 --> 0:05:45.000 I think maybe a lot of it comes down to 0:05:45.160 --> 0:05:49.200 the particular way that really Scott seems to command a picture, 0:05:49.760 --> 0:05:53.799 because yeah, I think he's a tremendous visual director. His storyboards, 0:05:54.080 --> 0:05:56.240 which are often called Ridley Grahams. I don't know if 0:05:56.240 --> 0:05:58.200 he calls them Redly Grahams or people who work with 0:05:58.279 --> 0:06:00.320 them call them Ridley Graams, but I'm not sure of 0:06:00.360 --> 0:06:03.400 the term. But the Ridley Grams alone are always worth 0:06:03.400 --> 0:06:06.359 a look because on one hand, they're just I mean, 0:06:06.440 --> 0:06:08.920 they look you could say, here's a comic book past 0:06:09.080 --> 0:06:11.040 the Ridley Grahams and you would buy it. Like they don't. 0:06:11.279 --> 0:06:14.640 They don't feel as much like a rough sketch of 0:06:14.680 --> 0:06:18.560 what is to be filmed as as some storyboards, do 0:06:18.600 --> 0:06:19.320 you know what I'm saying? 0:06:20.120 --> 0:06:20.560 Yeah? 0:06:20.600 --> 0:06:23.400 And also it's it's provides a lot of insight into 0:06:23.440 --> 0:06:26.560 how it all comes together, even though again they are 0:06:26.640 --> 0:06:29.560 essentially blueprints of everything to come. It's where he takes 0:06:29.640 --> 0:06:32.760 the screenplay written by others and projects them into a 0:06:32.800 --> 0:06:36.560 more solidified visual form. And like you say, you know that. 0:06:36.640 --> 0:06:38.960 On top of that, really Scott's going to bring in 0:06:39.160 --> 0:06:42.200 just the absolute best behind the scenes crew and generally 0:06:42.240 --> 0:06:44.560 just great casting choices as well to make it all 0:06:44.560 --> 0:06:47.760 come alive. That being said, yeah, he is often criticized 0:06:47.760 --> 0:06:51.120 for being inconsistent. And I guess one of the weird 0:06:51.160 --> 0:06:54.120 things here is I'm, by by all means not a 0:06:54.200 --> 0:06:56.679 Ridley Scott complete us. There are a bunch of Ridley 0:06:56.720 --> 0:06:59.880 Scott films. I haven't seen many of these. Yeah, many 0:07:00.120 --> 0:07:03.680 his historical pieces, for example, many of his dramas, even 0:07:03.680 --> 0:07:05.680 some of the big dramas like Film and Luise. I 0:07:06.240 --> 0:07:09.040 just haven't seen it and it's not on my immediate 0:07:09.040 --> 0:07:11.720 to watch list. It's not something we could work into 0:07:11.720 --> 0:07:14.960 Weird House, you know, But that one was critically acclaimed 0:07:15.240 --> 0:07:18.880 and nominated for multiple awards. But yeah, for my money, 0:07:18.960 --> 0:07:22.559 Alien and Blade Runner are all timer's. I personally loved 0:07:22.600 --> 0:07:26.320 Prometheus and Alien Covenant, and really admired Covenant more. On 0:07:26.360 --> 0:07:29.240 a recent rewatch, I realized that one's kind of divisive, 0:07:29.320 --> 0:07:33.080 but it certainly has its fans, and I think its faults, 0:07:33.080 --> 0:07:35.040 in my opinion, are trivial in the face of everything 0:07:35.080 --> 0:07:35.400 it does. 0:07:35.520 --> 0:07:35.680 Right. 0:07:36.920 --> 0:07:40.640 Hannibal, that's another weird one to look at. Hannibal is 0:07:40.680 --> 0:07:43.400 one I would almost consider doing for Weird House as well, 0:07:43.440 --> 0:07:48.320 because I remember when the novel came out and it 0:07:48.400 --> 0:07:50.280 was I thought it was kind of a mess and 0:07:50.360 --> 0:07:54.640 kind of repellent, And if anything, the film improved matters 0:07:54.640 --> 0:07:57.040 by cutting out some of the more lurid elements and 0:07:57.080 --> 0:08:00.600 finding its own sort of strange, grotesque tale to tell 0:08:01.000 --> 0:08:04.040 again with a stunning cast, great visuals and this kind 0:08:04.040 --> 0:08:08.880 of like, you know, baroque awfulness that Scott does so well. 0:08:08.920 --> 0:08:12.040 But yeah, that's one I probably need to rewatch, but 0:08:12.080 --> 0:08:15.239 it's it's also not one I'm in a super hurry 0:08:15.240 --> 0:08:15.800 to see again. 0:08:16.320 --> 0:08:18.560 I don't know. Ridley has a kind of magic that 0:08:18.640 --> 0:08:20.600 even when he makes a movie that I'm not going 0:08:20.680 --> 0:08:22.520 to go out and defend I don't think is a 0:08:22.520 --> 0:08:25.160 great movie, I do want to keep looking at it. 0:08:25.280 --> 0:08:27.880 Usually like I will come back to these movies. 0:08:28.800 --> 0:08:31.480 Yeah, yeah, absolutely. I mean Ridley is going to bring 0:08:31.560 --> 0:08:36.040 you somewhere you haven't been before, and in all likelihood 0:08:36.040 --> 0:08:37.600 no one else is going to bring you to, you know, 0:08:38.760 --> 0:08:42.320 And I think that's one thing I really love about Covenant. 0:08:42.320 --> 0:08:44.600 That's one thing that I even admire about Hannibal is 0:08:44.679 --> 0:08:47.560 like there have even been other adaptations of the source 0:08:47.600 --> 0:08:50.679 material for Hannibal, and that adaptation as well has its 0:08:50.679 --> 0:08:53.400 own visual flare, but it's not quite the same. 0:08:53.440 --> 0:08:53.600 You know. 0:08:53.679 --> 0:08:56.480 There's just something about the Ridley is really Scott approach 0:08:56.520 --> 0:08:59.400 to filmmaking that is just really going to sing. 0:09:00.480 --> 0:09:05.000 I'm curious about your own viewing history with Legend, because 0:09:05.040 --> 0:09:07.800 mine is a bit confused. I'm going to say what 0:09:07.880 --> 0:09:10.719 I think it was, but I'm not positive about this. 0:09:11.320 --> 0:09:14.880 I think the order for me goes. I saw pieces 0:09:15.040 --> 0:09:18.280 of this movie on TV growing up, so, you know, 0:09:18.520 --> 0:09:20.800 running it. I don't know which cut they'd be airing 0:09:20.840 --> 0:09:23.040 on TV. We'll have to talk about the multiple cuts 0:09:23.040 --> 0:09:25.839 of the film. I'd guess probably the US theatrical cut, 0:09:26.080 --> 0:09:28.400 but bits of it on TV where I was just 0:09:28.440 --> 0:09:32.640 seeing like a big devil with gigantic horns that's very 0:09:32.640 --> 0:09:36.520 striking and hard to forget Mia Sara wearing a kind 0:09:36.520 --> 0:09:40.200 of like triangle shaped black dress with goth makeup on, 0:09:40.920 --> 0:09:46.520 and seeing Tom Cruise's legs and thinking I didn't know 0:09:46.640 --> 0:09:48.800 Tom Cruise was ever in a fantasy movie like this. 0:09:48.960 --> 0:09:51.040 I'm not sure what's going on, but it just kind 0:09:51.080 --> 0:09:52.760 of getting past me, you know. I'd see a little 0:09:52.800 --> 0:09:55.880 bit here and there, and then at some point I 0:09:56.080 --> 0:09:59.800 saw the film in full, and I don't know what 0:10:00.080 --> 0:10:04.040 cut it was, but I remember thinking it was beautiful 0:10:04.600 --> 0:10:08.800 and I was mighty impressed by it in some ways. 0:10:08.840 --> 0:10:11.920 But I do kind of remember feeling tempted to fall 0:10:11.960 --> 0:10:13.240 asleep at certain parts. 0:10:14.400 --> 0:10:16.400 Yeah, I mean, there are plenty of stretches of this 0:10:16.400 --> 0:10:20.199 film that are very hypnotic and also in places a 0:10:20.240 --> 0:10:23.319 little slow. Especially. It depends on the cut of the film, 0:10:23.360 --> 0:10:25.880 which we'll get into there. I think two major cuts 0:10:25.920 --> 0:10:30.560 and probably four separate cuts you could point to. But 0:10:30.800 --> 0:10:33.240 with me, it's possible I saw part of it on 0:10:33.280 --> 0:10:36.240 TV at some point, or had seen a VHS box 0:10:36.320 --> 0:10:41.280 for it certainly previously. But my clear memory was being 0:10:41.520 --> 0:10:44.240 homesick from school one day and I had a couple 0:10:44.240 --> 0:10:47.120 of movies rented movies to watch. One of them was 0:10:47.200 --> 0:10:50.840 Highlander and the other was This wo And I do 0:10:50.960 --> 0:10:55.040 remember from the moment the VHS type started playing the 0:10:55.040 --> 0:10:58.720 film proper, I remember getting hit with that Tangerine dream score, 0:10:59.280 --> 0:11:02.880 and then you know, the visuals began to kick in, 0:11:03.280 --> 0:11:05.959 and I realized right away there was something special about 0:11:05.960 --> 0:11:09.000 this one. You know, this was an enthralling, dark fantasy 0:11:09.080 --> 0:11:14.400 world that I just hadn't seen anything like this on 0:11:14.440 --> 0:11:17.280 the screen before. You know, like you look back to 0:11:17.360 --> 0:11:19.600 this time period and like, what else, what else did 0:11:19.640 --> 0:11:23.079 you have in nineteen eighty five that really, I mean, 0:11:23.080 --> 0:11:26.559 that gave you live action fantasy at all, but much 0:11:26.840 --> 0:11:29.800 much more, to the point, gave you live action fantasy 0:11:30.000 --> 0:11:33.800 that was this dark in its texture, you know. I mean, 0:11:33.800 --> 0:11:36.480 nowadays you can easily point to Peter Jackson's Lord of 0:11:36.520 --> 0:11:38.600 the Rings films, which really get in there with all 0:11:38.640 --> 0:11:41.280 the mor door stuff that works in the goblins and 0:11:41.320 --> 0:11:44.360 deliver it to you know, in spades. But at the time, 0:11:44.520 --> 0:11:46.559 like this was kind of this is as deep as 0:11:46.600 --> 0:11:47.720 dark and dark as it got. 0:11:48.240 --> 0:11:50.559 Yeah, I guess you've got the different sort of sub 0:11:50.640 --> 0:11:53.360 genres of fantasy. So like by the mid eighties you 0:11:53.480 --> 0:11:57.720 had you had Conan type stuff which could be dark, 0:11:57.840 --> 0:12:01.840 but was more I don't know, it was more gritty 0:12:02.160 --> 0:12:05.000 and though it had magic in, it was more brutal 0:12:05.080 --> 0:12:08.520 and realistic overall, and it was more pitched at a 0:12:09.320 --> 0:12:10.560 I don't know if this is the right word, but 0:12:10.640 --> 0:12:14.320 a mature audience. You know, it was the original Cone 0:12:14.360 --> 0:12:16.600 and rated R. Surely not or was it? 0:12:16.679 --> 0:12:17.680 I believe it was an R. 0:12:17.840 --> 0:12:21.040 Yeah, oh okay, I mean so just like very violent, 0:12:21.640 --> 0:12:24.920 kind of gritty, barbarian fantasy, you had that kind of thing. 0:12:25.400 --> 0:12:28.200 Of course, you had the more animated approach often to 0:12:28.360 --> 0:12:31.600 high fantasy type stuff. But I think it's interesting that 0:12:31.880 --> 0:12:36.480 Legend is is dark fantasy that shows you a lot 0:12:36.520 --> 0:12:40.760 of scary, devilish kind of stuff, but at its core 0:12:40.880 --> 0:12:45.079 it is a fairy tale. It's not a grim, gritty, 0:12:45.320 --> 0:12:49.160 more kind of muscle and steel fantasy like the Conan movies. 0:12:49.200 --> 0:12:52.719 It's a fairy tale with a broad fairy tale kind 0:12:52.720 --> 0:12:55.160 of brushstroke to it, but it's also very dark. 0:12:55.720 --> 0:12:57.520 Yeah, and I think this is another thing that even 0:12:57.559 --> 0:12:59.360 early on I realized there was kind of a disconnect 0:12:59.440 --> 0:13:04.840 with because the visual style of Legend is insanely epic, 0:13:06.080 --> 0:13:10.000 the actual story that it tells is maybe it. I mean, 0:13:10.040 --> 0:13:13.360 it has high stakes, like you know, yea the world, 0:13:13.360 --> 0:13:16.160 it's about saving the world, but in many other respects 0:13:16.200 --> 0:13:19.719 it's less epic. The story is a little more simplified 0:13:19.760 --> 0:13:23.040 and more I think, just sort of fairy tale in form. 0:13:23.559 --> 0:13:28.040 So it's yeah, it's it feels it feels like the 0:13:28.120 --> 0:13:32.319 visuals are like far out delivering the actual story. 0:13:33.520 --> 0:13:36.240 Can I suggest I think a reason why it feels 0:13:36.360 --> 0:13:39.800 less epic. I think it's because it's a fairly tight 0:13:40.000 --> 0:13:43.920 character list, Like there are not we never see masses 0:13:44.040 --> 0:13:47.680 of people or armies or anything like that in this movie. 0:13:47.720 --> 0:13:51.160 It's actually quite intimate in terms of the characters. The 0:13:51.200 --> 0:13:54.920 only regular people we ever meet in the movie is like, 0:13:55.080 --> 0:13:57.640 is a single cottage full of peasants in the forest. 0:13:57.960 --> 0:14:01.200 You know that MIAs Sarah's character goes to visit at 0:14:01.240 --> 0:14:04.960 the beginning of the movie, And so there's no sense 0:14:05.000 --> 0:14:08.560 at all of kind of the broader world of peoples 0:14:08.640 --> 0:14:12.199 and armies clashing or anything like that. I mean, we 0:14:12.600 --> 0:14:15.120 are too believe that somewhere out there there is a 0:14:15.160 --> 0:14:18.200 castle where the king MIAs, Sarah's father lives and all that, 0:14:18.240 --> 0:14:23.160 but we never see them. So the characters almost kind 0:14:23.200 --> 0:14:28.400 of exist in this private, intimate kind of fantasy forest 0:14:28.600 --> 0:14:31.880 dream world. And so though we know that the fate 0:14:31.960 --> 0:14:34.960 of the entire world is at stake with what happens 0:14:34.960 --> 0:14:39.120 to the unicorns in the movie, we never see mighty 0:14:39.280 --> 0:14:40.560 forces coming together. 0:14:41.440 --> 0:14:43.640 Yeah. No, I think that's a solid red. Yeah, yeah, 0:14:43.840 --> 0:14:46.240 because just looking at the picture, they're less than like, 0:14:46.360 --> 0:14:48.760 less than twenty people in the whole world, but we 0:14:48.880 --> 0:14:50.920 know that they're out there. There's supposed to be a castle, 0:14:50.920 --> 0:14:54.200 there's supposed to be these more expansive civilizations, we assume. 0:14:54.920 --> 0:14:57.000 Now, Rob, maybe this is a good place to address 0:14:57.080 --> 0:14:59.600 the different cuts of the movie, because when you picked 0:14:59.680 --> 0:15:02.880 Legend for the show and you told me we're going 0:15:02.920 --> 0:15:06.440 to be watching the director's cut, which is not the 0:15:06.520 --> 0:15:10.160 cut that has a Tangerine Dream score, I was quite 0:15:10.200 --> 0:15:14.280 confused how you could make this selection. But this is 0:15:14.640 --> 0:15:17.560 preferred by most fans of the movie. They're going to 0:15:17.640 --> 0:15:19.760 say that the director's cut, which is a good bit 0:15:19.840 --> 0:15:24.560 longer and has a traditional orchestrated Jerry Goldsmith's score instead 0:15:24.560 --> 0:15:27.760 of the Tangerine Dream score, most people say this is 0:15:28.000 --> 0:15:31.040 massively preferable to the US theatrical version. 0:15:31.840 --> 0:15:35.160 Yeah, that's the vibe I've always gotten. And so I 0:15:35.160 --> 0:15:37.040 felt like, well, if we're going to talk about Legend, 0:15:37.560 --> 0:15:41.280 even though I'm all my nostalgia and my love is 0:15:41.320 --> 0:15:44.240 built up around this theatrical cut, it's going to be 0:15:44.240 --> 0:15:46.640 a little weird if we come in and then we're saying, well, 0:15:46.680 --> 0:15:49.640 this movie has problems, and then people are going to say, well, 0:15:49.640 --> 0:15:51.440 did you watch the director's cut, And we'll say no, no, 0:15:51.480 --> 0:15:53.880 we just watched the one that we're familiar with. So 0:15:54.720 --> 0:15:57.760 and you know, I want to thought, well, this is 0:15:57.960 --> 0:16:00.280 a way to experience a film that I do have 0:16:00.360 --> 0:16:03.280 nostalgia for and then I do admire in many ways, 0:16:04.240 --> 0:16:07.680 it's experiencing it in a different light. So yeah, it 0:16:07.840 --> 0:16:10.760 was like, let's do director's cut and then we can compare. 0:16:11.280 --> 0:16:14.920 To be clear, I still think the director's cut has problems. 0:16:14.480 --> 0:16:15.640 But yeah it does. 0:16:15.880 --> 0:16:21.560 I will say, on rewatching it, I was expecting, you know, 0:16:21.640 --> 0:16:24.160 I sort of had this idea in my memory that 0:16:24.240 --> 0:16:27.280 it was a very beautiful looking movie that had massive 0:16:27.560 --> 0:16:31.760 narrative deficiencies. I don't know which cut it was I 0:16:31.800 --> 0:16:34.600 saw in you know, the intervening years in between seeing 0:16:34.600 --> 0:16:37.760 Bits on TV and this rewatch. It may have been theatrical, 0:16:37.840 --> 0:16:41.000 may have been director's cut. I'm just not sure. But 0:16:41.520 --> 0:16:44.080 I thought the film was not as bad as I 0:16:44.160 --> 0:16:47.320 remembered in terms of putting together a cohesive narrative. I 0:16:47.320 --> 0:16:50.720 still think it's flawed, but it's better than I would 0:16:50.720 --> 0:16:52.240 have said. Yeah. 0:16:52.320 --> 0:16:55.560 Yeah, I'll get into some particular examples of ways that 0:16:55.640 --> 0:16:59.400 I think that the director's cut improves upon the theatrical cut, 0:17:00.160 --> 0:17:01.640 and I do want to also go ahead and throw 0:17:01.680 --> 0:17:03.720 in here that I think there are maybe like four 0:17:03.720 --> 0:17:05.760 different cuts total that have been out there and the 0:17:06.320 --> 0:17:10.719 ecosystem of movie viewing. The director's cut, which came out 0:17:10.800 --> 0:17:16.040 years later, decades later. I think there's the US theatrical cut, 0:17:16.200 --> 0:17:20.000 there's the euro theatrical cut that I think is in 0:17:20.240 --> 0:17:23.880 large part reflected in the director's cut, and then there's 0:17:23.920 --> 0:17:26.240 apparently some sort of a TV cut out there that 0:17:26.320 --> 0:17:29.160 I think was US theatrical cut with some extra added stuff. 0:17:29.200 --> 0:17:31.840 Added in, you know, to fill out a certain run time, 0:17:31.880 --> 0:17:32.480 that sort of thing. 0:17:33.200 --> 0:17:35.119 However, one other thing I want to say about the 0:17:35.119 --> 0:17:37.840 different cuts is that I was not able. I didn't 0:17:37.840 --> 0:17:41.280 have time to watch the US theatrical cut in full, 0:17:41.720 --> 0:17:43.959 but I watched the full director's cut and then the 0:17:43.960 --> 0:17:47.080 first I don't know ten minutes of the US theatrical cut. 0:17:47.320 --> 0:17:50.600 And the difference is not just that there is more 0:17:50.720 --> 0:17:53.040 stuff in the director's cut that was taken out for 0:17:53.119 --> 0:17:56.080 the theatrical That is not the only difference. There is 0:17:56.119 --> 0:18:00.080 a very different style and approach. For example, in the 0:18:00.119 --> 0:18:04.720 opening scenes, the US theatrical cut just straight up shows 0:18:04.760 --> 0:18:08.560 you the villain's face, which is delayed for a long time. 0:18:08.640 --> 0:18:11.000 In the director's cut, there's a big build up. And 0:18:11.080 --> 0:18:16.080 so I perceived the US theatrical version to be significantly 0:18:16.280 --> 0:18:21.120 more clumsy and awkward in its edit from the very beginning, 0:18:21.280 --> 0:18:26.160 even without talking about major differences in what material is there? 0:18:27.600 --> 0:18:31.160 Yeah, yeah, Like it feels like the US theatrical cut 0:18:31.320 --> 0:18:34.919 was very much an attempt to make everything tighter and 0:18:34.960 --> 0:18:38.439 more exciting at the beginning, and like I guess, to 0:18:38.520 --> 0:18:41.320 keep people from falling asleep or leaving the theater or something. 0:18:41.359 --> 0:18:41.800 I don't know. 0:18:42.400 --> 0:18:45.080 But in doing so, Yeah, they make some choices like this, like, 0:18:45.160 --> 0:18:47.520 let's go ahead and show them darkness in full, Let's 0:18:47.520 --> 0:18:49.280 go ahead and show them the tree, Let's go ahead 0:18:49.280 --> 0:18:51.720 and show them the hell kitchens. We're gonna go ahead 0:18:51.960 --> 0:18:53.880 and roll out all of some of our at least 0:18:53.880 --> 0:18:56.399 a glimpse of some of our big set pieces early on. 0:18:57.000 --> 0:19:02.120 And they have this scrolling in on the screen. Yeah, 0:19:02.200 --> 0:19:05.480 it really feels like the abstract from a peer reviewed 0:19:05.520 --> 0:19:07.600 science paper, you know, where it just lays out all 0:19:07.640 --> 0:19:10.920 the basics of the hypothesis, tells you what the experiments 0:19:10.920 --> 0:19:15.760 were and the findings right up top. Whereas the director's 0:19:15.760 --> 0:19:17.840 cut does not do this. The director's cut lets you 0:19:18.240 --> 0:19:20.399 pick up on this or not pick up on it 0:19:20.640 --> 0:19:24.120 on your own. But the yeah, the the US theatrical 0:19:24.119 --> 0:19:25.840 cut basically force feeds it to you. 0:19:26.560 --> 0:19:29.240 Now, on one hand, you can kind of understand the 0:19:29.280 --> 0:19:33.800 impetus behind the theatrical cut, because you were saying they 0:19:33.800 --> 0:19:36.400 were trying to make it tighter and more exciting right 0:19:36.400 --> 0:19:39.800 at the beginning. I don't know if the director's cut 0:19:39.840 --> 0:19:42.159 needed to be more exciting right at the beginning, but 0:19:42.200 --> 0:19:45.560 I will say the first twenty or thirty minutes of 0:19:45.600 --> 0:19:51.240 the director's cut. It happens at a very dreamy, lilting pace, 0:19:51.520 --> 0:19:54.840 and that can feel particularly it can have a kind 0:19:54.880 --> 0:19:58.840 of sedative effect, especially when you know Tom Cruise and 0:19:58.880 --> 0:20:01.159 Mia Sarah are just kind of frolicking around in the 0:20:01.200 --> 0:20:04.560 forest and you know, looking at the flowers and stuff. 0:20:04.840 --> 0:20:08.320 I was feeling the call of sleep at those times. 0:20:09.280 --> 0:20:12.040 Yeah. Again, it's very hypnotic and dream like as well 0:20:12.040 --> 0:20:15.960 in these sequences, and be watching all unicorn run and 0:20:16.080 --> 0:20:19.119 slow motion through an unreal forest. Yeah, I mean, you're 0:20:19.119 --> 0:20:21.000 supposed to feel at peace at that point. 0:20:21.200 --> 0:20:23.080 I'm not knocking it too much. I'm just saying, like 0:20:23.160 --> 0:20:26.000 I can understand somebody watching this and saying the first 0:20:26.040 --> 0:20:28.760 third of it is slow, Like you've got to have 0:20:28.800 --> 0:20:32.440 some patience to go with it at the beginning there. 0:20:32.760 --> 0:20:35.760 But I agree that the way they tightened it in 0:20:35.840 --> 0:20:39.199 the US version is not an improvement. Instead, it just 0:20:39.240 --> 0:20:41.760 sort of like it kind of blows the air out 0:20:41.760 --> 0:20:42.360 of the whole thing. 0:20:42.960 --> 0:20:44.520 All right, Well, let's go ahead and hear a little 0:20:44.520 --> 0:20:46.720 little trailer audio, not the full trailer, but just a 0:20:46.760 --> 0:20:50.280 little of it to get a certain taste of it. 0:20:53.600 --> 0:20:59.199 There is a balance to the universe. The struggle to 0:20:59.359 --> 0:21:06.640 maintain that balance is the stuff of legends. For there 0:21:06.680 --> 0:21:12.960 can be no good without evil, no love without hate, 0:21:13.960 --> 0:21:22.399 life needs death, innocence, please last. There can be no 0:21:22.640 --> 0:21:28.040 heaven without hell. There's no light without. 0:21:28.200 --> 0:21:52.879 Meeting I am darkness. 0:21:49.600 --> 0:21:51.960 All right. If you want to go out and watch Legend, well, 0:21:52.119 --> 0:21:55.159 you can stream, And I'm mostly speaking of the US 0:21:55.400 --> 0:21:59.080 situation here. I'm not sure what availability is like in Europe, where, 0:21:59.240 --> 0:22:02.240 of course there was a theatrical cut, but at least 0:22:02.240 --> 0:22:04.600 here in the United States you can stream Legend in 0:22:04.640 --> 0:22:08.720 a number of places. You can buy it rent it digitally, 0:22:09.160 --> 0:22:12.240 but at least currently for the director's cut, you'll need 0:22:12.320 --> 0:22:14.440 to hunt that up on disc. Fortunately, there's a great 0:22:14.560 --> 0:22:16.879 Arrow Blu ray of the film that features both the 0:22:16.960 --> 0:22:20.359 US theatrical cut and the director's cut, plus loads of extras. 0:22:20.800 --> 0:22:22.360 This is the version that I rented for video. 0:22:22.440 --> 0:22:26.399 Dr Yeah, I watched the Arrow Blu ray and Robert, 0:22:26.560 --> 0:22:28.280 I don't know if you had the same thought to me. 0:22:28.359 --> 0:22:32.200 I was kind of surprised by how much grain it 0:22:32.320 --> 0:22:35.280 still felt like there was in the film, Like it 0:22:36.320 --> 0:22:40.000 seemed like something that would or could have been sharpened 0:22:40.080 --> 0:22:42.040 up a good bit, but it wasn't, and I don't 0:22:42.080 --> 0:22:44.920 know if that's for lack of effort or if that's 0:22:45.119 --> 0:22:47.160 an intentional choice about this release. 0:22:47.680 --> 0:22:50.320 Yeah, I wouldn't sure about that either. I'm not tech 0:22:50.359 --> 0:22:54.480 savvy enough on their whole remastering scenario. But certainly we've 0:22:54.480 --> 0:22:57.639 seen some older films that have been remastered to like 0:22:57.800 --> 0:23:03.880 just a level of perfection that that that certainly influences 0:23:03.880 --> 0:23:06.359 your viewing of other films. You know, why why aren't 0:23:06.400 --> 0:23:09.119 other films as flawless looking as this one? So I 0:23:09.119 --> 0:23:13.000 don't know what exactly, you know, the choices or hurdles 0:23:13.040 --> 0:23:15.479 were with this one, but there was more grain than 0:23:15.520 --> 0:23:18.040 I expected, But still it did not get in the 0:23:18.080 --> 0:23:21.399 way of appreciating these visuals in the long run. 0:23:21.640 --> 0:23:25.080 No, I almost wonder if it's a oh, I don't know, 0:23:25.240 --> 0:23:27.560 kind of a film version of like t staining a 0:23:27.600 --> 0:23:30.440 document to make it look ancient, you know, that if 0:23:31.040 --> 0:23:33.880 maybe there was a concern that if it was sharpened 0:23:33.960 --> 0:23:37.399 up too much, it wouldn't have the kind of the dreamy, 0:23:37.440 --> 0:23:39.440 fairy tale effect that they were going for. 0:23:39.920 --> 0:23:41.960 I wonder if these you know, i'd have to go 0:23:42.000 --> 0:23:44.639 back and rewatch, but I wonder if these were some 0:23:44.680 --> 0:23:47.800 of the restored segments in the director's cut. I know, 0:23:47.880 --> 0:23:52.040 sometimes there's a sourcing issue there and you have to 0:23:52.040 --> 0:23:55.160 sort of make do with what you can get when 0:23:55.240 --> 0:23:58.639 you're restoring sequences and scenes that were not used in 0:23:58.760 --> 0:24:00.680 like the main cut. 0:24:00.440 --> 0:24:01.920 Of the film. Possibly. 0:24:11.200 --> 0:24:13.920 All right, let's get into the people involved in this one, 0:24:14.160 --> 0:24:16.359 starting at the top, of course, with Sir Ridley Scott 0:24:16.720 --> 0:24:20.680 born nineteen thirty seven, highly successful and influential English filmmaker who, 0:24:20.760 --> 0:24:23.919 at eighty six years old and turns eighty seven in 0:24:24.080 --> 0:24:27.320 just a few months, shows no signs of slowing down 0:24:27.720 --> 0:24:31.080 on his directing and producing. I mean, it's really quite uninspiring. 0:24:31.960 --> 0:24:35.040 He worked on projects as a TV production designer from 0:24:35.200 --> 0:24:38.280 nineteen sixty two through nineteen sixty five, and his first 0:24:38.280 --> 0:24:41.280 directorial credit was a nineteen sixty five episode of a 0:24:41.280 --> 0:24:43.880 police series in the UK called Z Cars. 0:24:45.760 --> 0:24:46.880 Sounds great. Yeah. 0:24:47.920 --> 0:24:51.159 His debut film was, of course, nineteen seventy sevens The Duelists, 0:24:51.480 --> 0:24:55.880 starring Keith Carrodine, Harvey Kaiitel and Albert Finney, a serious 0:24:55.960 --> 0:24:59.679 historical drama that is cited as a key inspiration on Highlander. 0:25:00.000 --> 0:25:01.959 I've wanted to see this for years, but I never have. 0:25:02.480 --> 0:25:04.439 Yeah, this one kind of ends up falling through the 0:25:04.440 --> 0:25:07.399 cracks for me because it is it's a Ridley Scott 0:25:07.920 --> 0:25:10.359 period piece. And I mean I have seen some of 0:25:10.400 --> 0:25:14.159 his historical films. Of course, I've seen Gladiator, but I 0:25:14.160 --> 0:25:15.800 don't know, They're just not the ones that I'm drawn 0:25:15.840 --> 0:25:18.160 to as much. So he followed this up, of course, 0:25:18.240 --> 0:25:21.120 in nineteen seventy nine with Alien and then in eighty 0:25:21.160 --> 0:25:24.640 two with Blade Runner. He tackled some smaller projects during 0:25:24.920 --> 0:25:28.240 that time, including the Apple Mac nineteen eighty four commercial, 0:25:29.720 --> 0:25:33.679 and so already a really strong, genre heavy early career, 0:25:34.480 --> 0:25:37.639 and then comes Legend, a fairy tale, a fantasy, and 0:25:37.680 --> 0:25:40.679 this of course ends up proving a commercial failure upon release, 0:25:40.960 --> 0:25:43.960 and from here we see Ridley Scott veer off into 0:25:44.440 --> 0:25:48.240 historical crime and drama pictures. He doesn't return to science 0:25:48.240 --> 0:25:51.600 fiction or fantasy for twenty seven years, returning to the 0:25:51.640 --> 0:25:55.040 Alien franchise with Prometheus in twenty twelve, and then he 0:25:55.040 --> 0:25:58.640 did twenty fifteen's The Martian, which it is quite good 0:25:58.640 --> 0:26:02.520 as well, based on the novel, and then he did 0:26:02.520 --> 0:26:06.719 twenty seventeen's Alien Covenant and two episodes of The Super Weird, 0:26:07.320 --> 0:26:11.960 very original and criminally canceled Max series Raised by Wolves, 0:26:12.200 --> 0:26:15.639 which he also produced. Now as a producer, he's also 0:26:15.720 --> 0:26:19.080 had a hand in many other great films and series, 0:26:19.119 --> 0:26:24.040 including including AMC's The Terror, which I really enjoyed. The 0:26:24.080 --> 0:26:27.800 recent alien Romulus is of course a Scott free production, 0:26:28.280 --> 0:26:31.320 and Academy Award nominations for Ridley Scott include nineteen ninety 0:26:31.320 --> 0:26:34.200 two's Film and Louise, two thousand and ones Gladiator, two 0:26:34.200 --> 0:26:37.640 thousand and two's Blackhawk Down, and twenty sixteen's The Martian. 0:26:38.400 --> 0:26:40.520 I should note that Ridley Scott, as far as I 0:26:40.520 --> 0:26:43.080 can tell, has never directed what you'd truly call a 0:26:43.200 --> 0:26:48.280 kids movie or maybe even a family movie. This really 0:26:48.440 --> 0:26:50.879 Legend from eighty five is really the best case you 0:26:50.920 --> 0:26:54.320 can make for either category. But at the same time, 0:26:54.600 --> 0:26:57.880 it is just way too dark, both visually and thematically 0:26:57.920 --> 0:26:58.480 for children. 0:26:59.240 --> 0:27:01.680 Yeah, this is who this is one of those who 0:27:01.760 --> 0:27:04.000 is this for movies? I mean, I don't have a 0:27:04.000 --> 0:27:07.040 problem enjoying it, because I'm the kind of adult that 0:27:07.119 --> 0:27:10.000 can enjoy a fairy tale, but it is clearly it's 0:27:10.000 --> 0:27:12.720 a fairy tale which is going to make a lot 0:27:12.720 --> 0:27:15.480 of adults think, oh, this movie is not meant for me. 0:27:16.160 --> 0:27:18.840 And while the movie. It doesn't have a lot of 0:27:18.920 --> 0:27:24.040 like explicit like sex or violence in it. It really 0:27:24.080 --> 0:27:27.879 doesn't seem appropriate for kids because of the way that 0:27:28.000 --> 0:27:31.720 it is. I don't know, it has kind of erotic undercurrents, 0:27:31.760 --> 0:27:37.120 and it has a lot of very scary suggestions of violence, 0:27:37.160 --> 0:27:39.960 even if you're not seeing explicit like blood and guts 0:27:40.000 --> 0:27:40.560 on screen. 0:27:41.160 --> 0:27:43.520 Yeah, and also a subtext that I'll get back to 0:27:43.680 --> 0:27:47.959 that seems to deal with with sin and shame. Yeah, 0:27:48.119 --> 0:27:51.480 in ways that I just don't feel as fun for 0:27:51.880 --> 0:27:53.240 you know, ten and twelve year. 0:27:53.119 --> 0:27:56.320 Olds, right, So it's like it's a fairy tale but 0:27:56.680 --> 0:28:01.399 not probably not appropriate for kids. So you're limiting your 0:28:01.440 --> 0:28:03.160 audience here. Yeah. 0:28:03.520 --> 0:28:03.680 Now. 0:28:03.680 --> 0:28:06.520 The screenwriter on this one was William Hertzberg, who lived 0:28:06.560 --> 0:28:09.360 nineteen forty one through twenty seventeen American writer, best known 0:28:09.400 --> 0:28:11.920 for his work on this film, as well as as 0:28:11.960 --> 0:28:15.280 his nineteen seventy eight horror novel Falling Angel that was 0:28:15.320 --> 0:28:18.679 adapted into the nineteen eighty seven Alan Parker movie Angel Heart. 0:28:19.040 --> 0:28:21.800 I did read this book ages ago, and I remember 0:28:21.840 --> 0:28:23.719 liking it. I remember liking it more than I liked 0:28:23.760 --> 0:28:27.880 the actual film, all right. Now, getting into the cast, Yes, 0:28:28.040 --> 0:28:30.800 this is a Tom Cruise movie. But it's also not 0:28:30.920 --> 0:28:34.080 a Tom Cruise movie in the sense that it from 0:28:34.080 --> 0:28:36.200 the modern perspective of what you expect from a Tom 0:28:36.240 --> 0:28:38.600 Cruise movie. It's not that it's something different, it's something 0:28:38.600 --> 0:28:40.880 a little it's like proto Tom Cruise movie. 0:28:41.200 --> 0:28:43.720 This is from before Tom Cruise was Tom Cruise. I 0:28:43.760 --> 0:28:45.880 mean he was a star at this time, I think 0:28:45.880 --> 0:28:48.040 because he'd already been in risky business. 0:28:47.680 --> 0:28:48.880 Right, that's correct. 0:28:49.240 --> 0:28:51.920 Yeah, Okay, so he was like a young actor who'd 0:28:51.960 --> 0:28:54.360 been in at least one or two big movies, So 0:28:54.480 --> 0:28:56.760 like he wasn't a nobody at the time, but he 0:28:56.800 --> 0:29:00.640 also was not like the Hollywood juggernaut that we know today. 0:29:00.800 --> 0:29:04.440 He was like a young, up and coming, good looking actor. 0:29:05.000 --> 0:29:07.880 Yeah. I mean today, Tom Cruise is someone that is 0:29:08.240 --> 0:29:11.120 known around the world. He's like one of, if not 0:29:11.200 --> 0:29:14.840 the most bankable stars in Hollywood. You know, you put 0:29:14.880 --> 0:29:17.880 him in Blockbusters, that's where he lives as his ecosystem, 0:29:18.160 --> 0:29:19.800 and he's one of these people too that it's like 0:29:19.880 --> 0:29:22.360 he's more industry than man. You almost don't think of 0:29:22.440 --> 0:29:26.320 Tom Cruise as an individual, but he's like an industry 0:29:26.400 --> 0:29:32.200 built around somebody that is almost as much myths as human, 0:29:32.200 --> 0:29:34.560 if not more myth than human, at least from our perspective. 0:29:34.720 --> 0:29:35.560 Outside of that. 0:29:35.920 --> 0:29:38.080 Yeah, speaking of built around, I mean now, I think 0:29:38.200 --> 0:29:41.200 some of his movies they build around some stunts he 0:29:41.240 --> 0:29:43.400 wants to do. He's like, so he'll be a producer 0:29:43.440 --> 0:29:45.440 on the movie. He's like, here, I'm going to cling 0:29:45.480 --> 0:29:47.480 to the side of an airplane or something. Write a 0:29:47.480 --> 0:29:49.440 script around that. Yeah. 0:29:49.680 --> 0:29:53.960 So Legend was only his seventh film role. His debut 0:29:54.040 --> 0:29:56.840 part was in nineteen eighty one's Endless Love, and he 0:29:56.880 --> 0:29:59.280 also had a supporting role in Taps the same year, 0:29:59.680 --> 0:30:02.160 but two he had a starring role in the team 0:30:02.200 --> 0:30:05.720 comedy Losing It, and nineteen eighty three was a real 0:30:05.760 --> 0:30:09.520 breakout year with parts in Francis Ford Coppola's The Outsiders 0:30:09.840 --> 0:30:12.960 and the starring role in both Risky Business and the 0:30:12.960 --> 0:30:16.000 football movie All the Right Moves. So the time was 0:30:16.080 --> 0:30:20.160 right for Tom Cruise to do a genre film, but 0:30:20.240 --> 0:30:22.760 not a B movie, you know, not a not a 0:30:23.400 --> 0:30:25.360 B sci fi or horror movie on your Way Up, 0:30:25.400 --> 0:30:28.120 but I know, a lavish, twenty five million dollar epic 0:30:28.440 --> 0:30:31.120 that of course wouldn't quite break even at the box office. 0:30:31.680 --> 0:30:34.160 So the next year he would go on to star 0:30:34.360 --> 0:30:36.440 in the mega hit Top Gun, and I guess his 0:30:36.560 --> 0:30:39.560 legacy was assured at that point. But then again, it's 0:30:39.640 --> 0:30:41.840 kind of with Tom Cruise. It's easy to say that 0:30:42.520 --> 0:30:45.000 because he has proven to have this real staying power 0:30:45.000 --> 0:30:48.480 in Hollywood and has remained this juggernaut despite you know, 0:30:48.600 --> 0:30:52.760 various things popping up that would you know, you might 0:30:52.840 --> 0:30:56.920 expect to derail some careers, or certainly the occasional film 0:30:56.960 --> 0:31:01.000 that doesn't deliver to the degree that producers would like. 0:31:01.240 --> 0:31:03.640 For the most part, he has remained stable up there 0:31:03.720 --> 0:31:05.360 and is still big business. 0:31:05.880 --> 0:31:09.520 Yeah, So from what I understand, apart from weird movie connoisseurs, 0:31:09.560 --> 0:31:11.040 if you're just looking at it from the kind of 0:31:11.320 --> 0:31:15.360 Hollywood business point of view, I think Legend would have 0:31:15.480 --> 0:31:21.040 long been mainly regarded as a as an early misstep 0:31:21.160 --> 0:31:24.080 in the career of Tom Cruise. You know, it's just 0:31:24.120 --> 0:31:27.440 like a this was some weird, failed little movie that 0:31:27.520 --> 0:31:31.400 Tom Cruise did early on that critics hated and audiences 0:31:31.440 --> 0:31:34.600 hated too, and just didn't go anywhere. But then he 0:31:34.680 --> 0:31:36.440 corrected course and was in Top Gun. 0:31:37.120 --> 0:31:38.680 Though it is kind of interesting that I don't think 0:31:38.680 --> 0:31:41.400 he would come back to any genre pictures like this 0:31:41.480 --> 0:31:43.280 for a while, though he would in time come back 0:31:43.280 --> 0:31:46.040 and do you know at least some weirder and sci 0:31:46.080 --> 0:31:50.560 fi type material, but still very much like blockbuster angled 0:31:50.600 --> 0:31:54.280 material at the same time. But that was the case 0:31:54.280 --> 0:31:56.760 with this film as well. This film was meant to 0:31:56.800 --> 0:31:59.240 be a big success at the box office. That's why 0:31:59.280 --> 0:32:01.800 they spent twenty five million dollars on it. 0:32:02.080 --> 0:32:04.360 Wait, is this the first time we've talked about either 0:32:04.680 --> 0:32:07.080 Tom Cruise or Ridley Scott on Weird House? 0:32:08.400 --> 0:32:10.360 The first time they've come up that we've looked at 0:32:10.400 --> 0:32:13.280 something they were either involved with. Yeah, yeah, yeah, so 0:32:13.320 --> 0:32:17.360 they're both you know, huge mainstream successes. Though when Ridley 0:32:17.400 --> 0:32:19.959 wants to go weird, he definitely I think goes weirder 0:32:19.960 --> 0:32:21.240 than Tom Cruise goes weird. 0:32:21.800 --> 0:32:25.360 Yeah. Well, in terms of movie plots. 0:32:25.200 --> 0:32:27.400 Yes, And part of this too is like, what is 0:32:27.600 --> 0:32:30.680 Tom Cruise's role in a picture? It is the leading man, 0:32:30.760 --> 0:32:34.320 and it has always been the leading man with you know, 0:32:34.360 --> 0:32:36.760 a few small caveats along the way, you know, you're 0:32:36.800 --> 0:32:39.280 only going to go so weird in that kind of 0:32:39.360 --> 0:32:42.440 role that Tom Cruise plays. Well, maybe there's an alternate 0:32:42.440 --> 0:32:44.280 dimension where he ends up playing a bunch of villains 0:32:44.280 --> 0:32:47.920 and it's really fascinating as well. I don't know, but anyway, 0:32:48.000 --> 0:32:50.600 Cruise was twenty three at the time, and we should 0:32:50.640 --> 0:32:54.520 acknowledge that he was, I think, by many estimates, dangerously hot. 0:32:55.520 --> 0:32:59.160 I was looking around for some like outside the podcast 0:32:59.520 --> 0:33:03.360 commentary on this, and I found some words from the 0:33:03.360 --> 0:33:06.640 blogger Jin at ep bot dot com, who has a 0:33:06.680 --> 0:33:09.360 post titled Legend, the thirty six year old movie that's 0:33:09.360 --> 0:33:12.920 a love letter to Tom Cruise's thighs and other thoughts. 0:33:14.520 --> 0:33:17.320 I could not help but notice that the camera is 0:33:17.520 --> 0:33:23.800 all up in Tom Cruise's upper thighs. Yes, it's uh yeah, 0:33:24.080 --> 0:33:26.360 So they gave him a costume like once he gets 0:33:26.360 --> 0:33:30.960 his armor on, it's basically like a short tunic. He 0:33:31.000 --> 0:33:34.080 wears no pants most of the movie, and just yeah, 0:33:34.160 --> 0:33:35.720 it's it's all up in his haunches. 0:33:37.120 --> 0:33:39.760 Here's here's a quote from that post by Jen at 0:33:39.800 --> 0:33:43.160 epbot dot com. Tom Cruise was twenty two during filming, 0:33:43.240 --> 0:33:45.520 and fresh off the set of Risky Business, the movie 0:33:45.520 --> 0:33:48.240 that gave us the world famous underwear dance. Not to 0:33:48.240 --> 0:33:50.959 be outdone, the producers of Legend decided Tom would not 0:33:51.000 --> 0:33:53.840 only be pantiless the entire movie, he would also be 0:33:53.920 --> 0:33:56.440 prohibited from walking upright for most of it. 0:33:56.600 --> 0:33:59.880 I noticed the same thing. He is like squatting or 0:34:00.080 --> 0:34:03.680 crawling or on the ground in nearly every shot of 0:34:03.720 --> 0:34:04.200 the movie. 0:34:04.840 --> 0:34:07.040 Yeah, and I guess part of this is that he 0:34:07.120 --> 0:34:10.920 is kind of like a feral creature, you know, especially 0:34:10.960 --> 0:34:13.279 early on, like he is a he's a boy of 0:34:13.280 --> 0:34:16.879 the woods. He's kind of a Peter Pan. Yeah, he's 0:34:16.920 --> 0:34:20.840 a little loopine, So I guess that's part of the 0:34:21.120 --> 0:34:24.520 whole attraction here. I also want to note that this 0:34:24.640 --> 0:34:28.200 is Cruz prebracest, So he doesn't have that perfect Hollywood 0:34:28.239 --> 0:34:31.280 smile yet, but he has like he has a smile 0:34:31.400 --> 0:34:34.080 befitting of a fair young man in a fantasy world, 0:34:34.120 --> 0:34:36.960 which I think is perfect. He also has like a 0:34:37.000 --> 0:34:39.680 bit of a unibrow going on, like not a full unibrow, 0:34:39.680 --> 0:34:43.960 but like his brows are a little more connected, you know, 0:34:44.040 --> 0:34:48.239 he's which again is also perfect for a fairal young 0:34:48.280 --> 0:34:50.360 man running around the woods falling in love with princesses. 0:34:50.719 --> 0:34:51.120 I guess. 0:34:51.160 --> 0:34:54.040 So, speaking of that princess, the princess is of course 0:34:54.080 --> 0:34:57.560 played by Mia Sara born in nineteen sixty seven. This 0:34:57.680 --> 0:35:00.439 is Lily, and we talked about her previous on Weird 0:35:00.440 --> 0:35:03.000 House Cinema because she was in nineteen ninety four's Time Cop. 0:35:03.239 --> 0:35:03.479 Ah. 0:35:03.560 --> 0:35:05.600 Yes, I was thinking, this is not our first Mia 0:35:05.680 --> 0:35:06.280 Sarah film. 0:35:06.560 --> 0:35:09.680 Yeah, this was. This was her first film role, following 0:35:09.800 --> 0:35:12.040 up just of one shot I think on TV's All 0:35:12.080 --> 0:35:15.360 in the Family, Legend and Labyrinth were shooting next to 0:35:15.400 --> 0:35:18.080 each other at the same time here, and the casts 0:35:18.080 --> 0:35:20.719 and crew apparently frequently mingled, And this is where she 0:35:20.760 --> 0:35:23.000 would meet her future husband Brian Henson. 0:35:23.280 --> 0:35:26.520 Oh, okay, but was she in Time Cop? Yes, she was. 0:35:26.600 --> 0:35:28.320 So you can go back and check out our episode 0:35:28.360 --> 0:35:31.320 on Time Cop if you want. Now. Is this also 0:35:31.520 --> 0:35:33.760 our first Tim Curry movie on Weird House? 0:35:34.280 --> 0:35:36.600 This is the first time we have gotten to talk 0:35:36.640 --> 0:35:39.920 about Tim Curry. There was a time when you were 0:35:39.920 --> 0:35:42.600 out in Parental Leave and Annie Reese came on the 0:35:42.640 --> 0:35:44.839 show and we talked about Congo, Oh my. 0:35:44.920 --> 0:35:49.600 Lord, where he plays her Kimerhamolka, the formerly of Romania, 0:35:49.800 --> 0:35:51.400 traveling the world and doing good. 0:35:51.920 --> 0:35:56.440 Yes, another great scene chewing performance, but not as the 0:35:56.480 --> 0:35:59.960 primary antagonist, second or third level antagon. 0:36:00.280 --> 0:36:03.200 Tim Curry in Congo is one of the most hilarious 0:36:03.320 --> 0:36:07.120 movie acting jobs I can think of ever. He is. 0:36:08.040 --> 0:36:11.480 I love Tim Curry. He is just a delight every time. 0:36:11.960 --> 0:36:16.120 Yeah, he plays darkness in this Born nineteen forty six. Yeah, 0:36:16.160 --> 0:36:19.800 just a true legend stage, screen and TV. He was, 0:36:19.840 --> 0:36:22.600 of course doctor Frankenfurter in The Rocky Horror Picture Show 0:36:22.600 --> 0:36:25.000 back in nineteen seventy five, and was in the original 0:36:25.320 --> 0:36:28.439 stage version as well. He was Wadsworth in nineteen eighty 0:36:28.480 --> 0:36:32.520 five's Clue. Other memorable films and Clue, Let's see There's Annie. 0:36:32.640 --> 0:36:35.400 There's the nineteen ninety adaptation of it, in which he 0:36:35.400 --> 0:36:38.160 played penny Wise, the dancing clown. And he's also done 0:36:38.200 --> 0:36:40.600 a great deal of voice work over the years, I know, 0:36:40.680 --> 0:36:42.759 outside of weird House cinema. You and I have also 0:36:42.960 --> 0:36:45.960 discussed his triple role in the Tales from the Crypt 0:36:45.960 --> 0:36:48.080 episode Death of Some Salesman. 0:36:48.160 --> 0:36:52.240 Oh, where he terrorizes Ed Begley Junior. Right, Ed Begley Junior. 0:36:52.360 --> 0:36:54.960 Is he's like some kind of corrupt salesman or something. 0:36:55.440 --> 0:36:59.520 Yeah, but yeah, obviously just a terrific all round performer. 0:37:00.320 --> 0:37:02.360 Been in a share of more than his share of 0:37:02.400 --> 0:37:04.400 bad movies as well, but some of the other like 0:37:04.520 --> 0:37:07.080 credits worth noting nineteen ninety is The Hunt for the 0:37:07.120 --> 0:37:10.279 Red October nineteen ninety two's fern Gully, ninety three's The 0:37:10.280 --> 0:37:13.319 Three Musketeers, ninety four is The Shadow, and nineteen ninety 0:37:13.320 --> 0:37:16.279 six is Muppet Treasure Island. But like, even if it's 0:37:16.320 --> 0:37:19.920 a not a great film, you know that Tim Curry 0:37:19.960 --> 0:37:21.880 is going to be amusing in it no matter what. 0:37:22.400 --> 0:37:26.040 Now, this movie makes an interesting decision, which is a legend. 0:37:26.239 --> 0:37:30.520 Takes a solid gold character actor with charm for Miles 0:37:31.160 --> 0:37:35.920 and hides him behind forty seven pounds of makeup. He 0:37:36.360 --> 0:37:39.239 is under so much makeup in this movie it is 0:37:39.280 --> 0:37:42.880 hard to believe. And the makeup I think looks amazing. 0:37:43.880 --> 0:37:46.040 But yeah, it's an interesting way to like there's a 0:37:46.080 --> 0:37:48.759 trade off here, isn't there. It's almost like maybe they 0:37:48.800 --> 0:37:53.839 did have to cast somebody with Tim Curry's you know, 0:37:54.000 --> 0:37:57.400 kind of not just screen presence, but stage presence almost 0:37:57.400 --> 0:37:59.720 like it's almost like it requires a type of stage 0:37:59.760 --> 0:38:03.160 act to get through the makeup to the camera. Does 0:38:03.160 --> 0:38:03.760 that make sense? 0:38:03.920 --> 0:38:07.040 Yeah? Absolutely. I think it is a huge testament to 0:38:07.120 --> 0:38:11.200 both Curry and the effects crew that this works as 0:38:11.360 --> 0:38:15.200 tremendously well as it does. That it doesn't feel like 0:38:15.239 --> 0:38:19.120 you've buried Tim Curry and a bunch of prosthetics that 0:38:18.880 --> 0:38:22.000 you know that it doesn't feel like you have something 0:38:22.000 --> 0:38:25.360 that only works in close up shots or something like. 0:38:25.400 --> 0:38:29.120 They managed to make this feel like a cohesive living 0:38:29.239 --> 0:38:32.680 being as opposed to know what it could have been. 0:38:33.280 --> 0:38:35.680 Of course, Tim Curry plays the main villain in the movie. 0:38:35.800 --> 0:38:37.200 I don't know if we already said this, but he 0:38:37.760 --> 0:38:40.520 is like the devil essentially, he's the lord of darkness 0:38:40.560 --> 0:38:42.560 and he has I don't know how long do you 0:38:42.560 --> 0:38:45.160 think his horns are. I mean, he's got so much 0:38:45.239 --> 0:38:48.080 horn on his head it looks like his neck muscles 0:38:48.120 --> 0:38:48.799 should be sore. 0:38:49.320 --> 0:38:51.640 It is. I mean, if you haven't seen it, do 0:38:51.760 --> 0:38:55.319 look up at least images of this character, because it 0:38:55.440 --> 0:38:59.160 is essentially an outrageous red devil men a tar that 0:38:59.200 --> 0:39:01.840 it feels like it's about eight feet tall, not counting 0:39:01.840 --> 0:39:06.480 the horns. So it is a bold design choice and 0:39:06.560 --> 0:39:07.920 they manage to make it work. 0:39:16.200 --> 0:39:17.759 You know who else in this movie I feel like 0:39:17.880 --> 0:39:22.120 really acts through heavy makeup and just shines right through 0:39:22.680 --> 0:39:26.720 a character design is Alice Playton as blicks. 0:39:26.520 --> 0:39:29.640 Yes, Oh my god, she's so good in this. She 0:39:30.120 --> 0:39:33.160 lived nineteen forty seven through twenty eleven. Stage actor with 0:39:33.200 --> 0:39:35.359 a lot of Broadway and off Broadway credit its TV 0:39:35.440 --> 0:39:38.799 and film credits going back to sixty three, but she's 0:39:38.840 --> 0:39:42.680 often best remembered for her voice because she has this 0:39:42.680 --> 0:39:45.920 this kind of childlike voice that she can utilize, and 0:39:45.960 --> 0:39:49.960 she can perfectly lean into really haunting an uncanny territory 0:39:50.000 --> 0:39:52.719 with it. She voiced a demon in nineteen eighty two 0:39:53.280 --> 0:39:57.000 Amityville to the Possession. She has also voice credits and 0:39:57.040 --> 0:39:59.439 things like nineteen eighty one's Heavy Metal nineteen eighty six 0:39:59.520 --> 0:40:02.920 is My Little Pony the movie. She was also in 0:40:03.000 --> 0:40:05.680 twelve episodes of The Croft Super Show in seventy six. 0:40:05.760 --> 0:40:10.320 But yeah, in this she plays the scheming goblin blicks 0:40:10.480 --> 0:40:14.920 like just a perfect goblin that also has an outrageous 0:40:15.560 --> 0:40:18.680 design in play, you know, with the long nose and 0:40:18.920 --> 0:40:24.200 like elongated head, just so nasty, so vicious looking, and 0:40:24.239 --> 0:40:25.439 she just shines here. 0:40:25.800 --> 0:40:29.040 Appears to be made of rot in a way, almost 0:40:29.120 --> 0:40:33.760 kind of an undead looking sort of goblin, and also 0:40:34.280 --> 0:40:37.359 speaks in rhyming couplets, which I love. I would say 0:40:37.400 --> 0:40:41.399 that you know it's weird because we were saying. The 0:40:41.480 --> 0:40:44.520 way in which this movie falls short, despite all of 0:40:44.560 --> 0:40:49.880 its great elements, is in its cohesiveness as a story. 0:40:50.000 --> 0:40:53.480 So you might think from that the script is weak, 0:40:53.960 --> 0:40:56.959 but actually I think the moment to moment, line to line, 0:40:57.000 --> 0:41:00.319 the script is pretty strong. Like the dialogue is good. 0:41:00.360 --> 0:41:03.080 And so this character speaks in rhyming couplets that are 0:41:03.120 --> 0:41:07.680 mostly I think, great rhyming couplets. They're very pleasing when so, 0:41:07.880 --> 0:41:11.360 like when Blicks is looking down on Princess Lily, he says, 0:41:11.840 --> 0:41:15.200 may be innocent, maybe sweet, ain't half as nice as 0:41:15.280 --> 0:41:19.000 rotting meat, And Clayton really sells the couplets, like I 0:41:19.160 --> 0:41:21.160 just believe that this is how Blix talks. 0:41:21.560 --> 0:41:26.440 Yes, and indeed like just such a goblin, like just 0:41:26.480 --> 0:41:32.080 delights in grotesqueness and depravity but not but not within 0:41:32.280 --> 0:41:34.600 like without any underlying argument for why that is the 0:41:34.640 --> 0:41:38.359 superior choice. It's just that is just the texture of 0:41:38.600 --> 0:41:43.640 Blix's life and Blix's values, and Blix is very vocal 0:41:43.800 --> 0:41:46.359 about his his preferences here. 0:41:46.520 --> 0:41:47.320 Yeah. 0:41:47.400 --> 0:41:51.120 Now, interestingly enough, I mentioned that that Alice Clayton's voice 0:41:51.360 --> 0:41:55.160 like it has this she can lean into these uncanny aspects, 0:41:55.640 --> 0:41:57.560 but she can also get kind of like a childlike 0:41:57.719 --> 0:42:01.840 voice going on as well. She actually dubs the character 0:42:01.960 --> 0:42:03.359 Honeythorn Gump. 0:42:03.400 --> 0:42:07.240 Oh picture, Okay, that makes sense. Honey Thorn Gump. 0:42:07.120 --> 0:42:11.879 Is our elf, our youthful elf guy who's helping out, 0:42:12.239 --> 0:42:16.480 played physically here by David Bennett born nineteen sixty six, 0:42:16.520 --> 0:42:19.319 a German actor at the time eighteen or nineteen years old, 0:42:19.320 --> 0:42:22.640 but he looks younger, and yeah, we don't hear his 0:42:22.680 --> 0:42:26.160 actual voice. I've read that producers thought he sounded too German, 0:42:26.600 --> 0:42:28.719 which I'm kind of like, why did you cast a 0:42:28.840 --> 0:42:33.160 German actor? Didn't want him to sound potentially German? But anyway, 0:42:34.200 --> 0:42:36.680 Bennett is still really good in this is still a 0:42:36.760 --> 0:42:39.800 very good physical performance even though we don't hear his voice, 0:42:40.600 --> 0:42:43.600 and he's been working in German productions for ages, still 0:42:43.600 --> 0:42:46.919 active now, started out at an early age. His other 0:42:47.080 --> 0:42:51.640 like big international credit is probably nineteen seventy nine's The 0:42:51.680 --> 0:42:52.320 ten Drum. 0:42:52.840 --> 0:42:55.440 I think the job they did dubbing him. I didn't 0:42:55.480 --> 0:42:57.720 realize while I was watching that that was also Alice 0:42:57.719 --> 0:43:01.080 Playton doing his voice. But I think the ubbing is fantastic. 0:43:01.200 --> 0:43:06.759 It totally matches the pace of the character speaking, and 0:43:07.200 --> 0:43:12.920 instead of feeling uncanny and unpleasant, as some post production 0:43:13.040 --> 0:43:17.960 dubbing without live sound can be, instead it fits the 0:43:18.080 --> 0:43:21.319 character the way that his voice doesn't feel like it's 0:43:21.320 --> 0:43:23.319 coming like it's what should be coming out of his 0:43:23.400 --> 0:43:26.920 mouth works and makes him feel more kind of magical. 0:43:27.440 --> 0:43:30.560 Yeah, I would agree, I would agree. So, yeah, it 0:43:30.560 --> 0:43:31.920 didn't throw me off. It's one of those things I 0:43:31.920 --> 0:43:35.239 only picked up on much later reading about the production. Yeah, 0:43:35.719 --> 0:43:38.919 all right, now, I want to probably try and speed 0:43:38.920 --> 0:43:40.360 things along here a little bit, so I'm going to 0:43:40.480 --> 0:43:42.799 spend less time than I should, perhaps on some of 0:43:42.840 --> 0:43:46.040 the additional cast members. We have a number of various 0:43:46.160 --> 0:43:49.320 Elvin folk that are involved in the plot. For instance, 0:43:49.320 --> 0:43:53.359 they're Screwball, played by the tremendous Billy Bardi, who lived 0:43:53.400 --> 0:43:56.439 nineteen twenty four to through the year two thousand, three 0:43:56.480 --> 0:44:00.319 foot nine character actor who often played wise, cracking, little 0:44:00.360 --> 0:44:04.080 person roles, but he instantly stands out in any ensemble 0:44:04.120 --> 0:44:06.279 cast because he is at the heart just a tremendous 0:44:06.360 --> 0:44:10.280 character actor. His uncredited work goes back to I believe 0:44:10.400 --> 0:44:13.719 nineteen thirty and apparently includes a very small part as 0:44:13.800 --> 0:44:16.840 the baby in nineteen thirty five's Bride of Frankenstein. So 0:44:16.880 --> 0:44:19.360 one of those early scenes with the little miniature people 0:44:19.440 --> 0:44:20.360 in the vials. 0:44:20.880 --> 0:44:22.600 Wow, I didn't realize that so. 0:44:22.680 --> 0:44:25.680 Many credits to Billy Bardy, but they include the likes 0:44:25.680 --> 0:44:29.040 of Roger Corman's The Undead in nineteen fifty seven, nineteen 0:44:29.080 --> 0:44:31.920 eighty seven's Masters of the Universe film. He has a 0:44:31.960 --> 0:44:34.719 memorable role in that. He's in eighty eight Willow, but 0:44:34.760 --> 0:44:36.640 he also did some voice acting as well, like nineteen 0:44:36.680 --> 0:44:40.239 nine he's the rescuers down under. All right, some of 0:44:40.280 --> 0:44:42.440 the other folks here. We have Brown Tom, who I 0:44:42.480 --> 0:44:44.560 guess is kind of a leprechaun. He's part of the 0:44:44.560 --> 0:44:48.800 good guy Elvin Krk here. He's played by Cork Hubert, 0:44:48.840 --> 0:44:51.160 who lived nineteen fifty two through two thousand and three. 0:44:51.320 --> 0:44:54.680 A four foot eleven actor. His other credits include eighty 0:44:54.719 --> 0:44:57.920 one's cave Man under the Rainbow from eighty one and 0:44:58.040 --> 0:44:59.880 nineteen eighty nine sent Bat of the Seven Seas. 0:45:00.760 --> 0:45:03.640 He has a real dad joke moment in the movie 0:45:03.680 --> 0:45:05.720 that I think works pretty well. Yeah. 0:45:05.800 --> 0:45:09.160 There's also there's a scene where he thinks he's been shot. 0:45:09.920 --> 0:45:10.799 That's what I'm talking about. 0:45:10.880 --> 0:45:14.839 Yeah, yeah, yeah, I love that. That's great. Okay, all right, 0:45:14.880 --> 0:45:18.320 we have Pox. Pox is a pig demon and somewhere 0:45:18.400 --> 0:45:20.880 underneath all of the prosthetics for this role there is 0:45:21.320 --> 0:45:24.240 a man by the name of Peter O'Farrell. I couldn't 0:45:24.239 --> 0:45:26.840 find any additional information about this actor in terms of 0:45:26.840 --> 0:45:30.040 his you know, when he was born and so forth. 0:45:30.200 --> 0:45:32.440 But his other credits include nineteen eighty has Hawk the Slayer, 0:45:32.760 --> 0:45:36.080 nineteen eighty five Santa Claus, and he has a role 0:45:36.120 --> 0:45:37.440 in two thousand and two is Harry Potter and the 0:45:37.480 --> 0:45:41.040 Chamber of Secrets. All right, we also have Blunder. We'll 0:45:41.040 --> 0:45:43.799 get into Blunder in a bit. He's kind of he's 0:45:43.840 --> 0:45:47.840 one faction then another. But he's played by Kieran Shaw 0:45:48.120 --> 0:45:50.920 born nineteen fifty six, a four foot one and a 0:45:50.960 --> 0:45:55.160 half tall actor who is Elijah Woods scale double in 0:45:55.200 --> 0:45:57.640 all three Lord of the Rings films. His other credits 0:45:57.640 --> 0:46:00.359 include two thousand and five's The Chronicles of Narnia, Star 0:46:00.440 --> 0:46:03.520 Wars Productions, The Dark Crystal and Raiders of the Last Art. 0:46:04.080 --> 0:46:07.560 We also have a fairy Una played by Annabelle Lanyon 0:46:07.920 --> 0:46:10.759 born nineteen sixty British actress who has worked a lot 0:46:10.760 --> 0:46:13.719 in TV. She's temperamental tinker Bell. 0:46:14.400 --> 0:46:16.520 She doesn't want you don't get to know about what 0:46:16.600 --> 0:46:18.840 her powers are. That's that's for her to decide. 0:46:19.040 --> 0:46:23.000 Yes, Oh, and then we've talked about this. This is 0:46:23.040 --> 0:46:26.239 a character that it comes up every now and then 0:46:26.360 --> 0:46:29.200 on the show pretty much anytime we're talking about hags, 0:46:29.239 --> 0:46:32.400 because oh we have such a hag in legend. The 0:46:32.520 --> 0:46:36.520 character is Meg Mucklebones and the actor underneath there, and 0:46:36.560 --> 0:46:39.160 also I think doing a great job shining through and 0:46:39.200 --> 0:46:45.480 making this a living being is Robert Picardo really? Yeah? Yeah, 0:46:45.520 --> 0:46:47.480 we talked about him previously in our episode on Joe 0:46:47.520 --> 0:46:51.960 Dante's Grimlins too, because he's like the he's like one 0:46:52.000 --> 0:46:57.160 of the executives there that ends up marrying the lady Grimlin. 0:46:57.280 --> 0:47:00.239 Right, Oh, yes, that's right, Yes, what a what a 0:47:00.239 --> 0:47:03.680 beautiful marriage? Yes? But he what is he? Is he 0:47:03.840 --> 0:47:07.120 like a coach on The Wonder Years, Jim Teacher or something? 0:47:07.200 --> 0:47:08.879 Yeah, yeah, some sort of role like that. I wonder 0:47:08.920 --> 0:47:10.600 he's been a while since seeing that he was on 0:47:10.719 --> 0:47:13.000 China Beach, But most I think people would know him 0:47:13.000 --> 0:47:16.000 from like Star Trek Voyager. He's like the hologram guy 0:47:16.040 --> 0:47:18.680 on there. But his other film credits include eighty one's 0:47:18.680 --> 0:47:22.279 The Howling, eighty seven's Inner Space. Oh, he's Johnny cab 0:47:22.480 --> 0:47:25.160 in nineteen ninety's Total Recall, And he also has a 0:47:25.239 --> 0:47:27.800 role in the twenty sixteen Coen Brothers film Hail Caesar. 0:47:28.320 --> 0:47:30.040 The Door Opened. You got in. 0:47:31.600 --> 0:47:34.920 Richard O'Brien what was apparently considered for this role, and 0:47:34.960 --> 0:47:37.880 that's what led them to realizing that Curry would be 0:47:37.920 --> 0:47:38.960 perfect for darkness. 0:47:39.239 --> 0:47:39.560 Wow. 0:47:39.960 --> 0:47:42.359 All right, some behind the scenes people worth noting here. 0:47:42.640 --> 0:47:46.240 Production design Hashton Gordon, who lived nineteen thirty through twenty fourteen, 0:47:46.280 --> 0:47:48.440 worked on such films as nineteen sixty six Is a 0:47:48.480 --> 0:47:51.400 Blow Up, nineteen seventy one's Get Carter in two thousands, 0:47:51.440 --> 0:47:54.480 Shadow of the Vampire. The director of photography was Alex Thompson, 0:47:54.480 --> 0:47:56.600 who lived nineteen twenty nine through two thousand and seven. 0:47:56.840 --> 0:47:59.879 Regular camera operator for Nicholas Rogue in the nineteen sixty 0:48:00.800 --> 0:48:04.080 before becoming a director of photography in nineteen sixty eight. 0:48:04.320 --> 0:48:06.800 Nominated for an oscar for his work on the nineteen 0:48:06.800 --> 0:48:10.600 eighty two John Borman epic ex Caliber, which I think 0:48:11.080 --> 0:48:14.040 that shows there's definitely some great scenes in this with 0:48:14.080 --> 0:48:17.279 the lighting and shiny armor that made me think about Excalibur. 0:48:17.600 --> 0:48:22.040 Yeah. You've mentioned Excalibur before as a movie that is gleaming, yes, 0:48:23.080 --> 0:48:25.200 and yeah, we have some gleaming armor in this one 0:48:25.200 --> 0:48:25.600 as well. 0:48:26.080 --> 0:48:29.560 Thompson's other cinematography credits include Doctor Fibes Rises Again, which 0:48:29.600 --> 0:48:32.480 we've talked about on the show Deathline from the same 0:48:32.560 --> 0:48:35.239 year in nineteen seventy two, Michael Man's The Keep from 0:48:35.280 --> 0:48:38.240 eighty three, Electric Dreams in eighty four, Labyrinth in nineteen 0:48:38.280 --> 0:48:40.360 eighty six, which is like right next door, So I 0:48:40.360 --> 0:48:43.959 guess he's just walking back and forth Leviathan in eighty nine, 0:48:44.040 --> 0:48:47.160 Alien three and ninety two, Demolition Man in ninety three, 0:48:47.239 --> 0:48:50.680 and Hamlet in nineteen ninety six. Who you called this 0:48:50.719 --> 0:48:56.360 one out, Joe? What credit stood up to you? 0:48:56.520 --> 0:48:58.520 It's just because I saw it in the credits as 0:48:58.560 --> 0:49:01.799 it was rolling by. So we have somebody named Vic 0:49:02.000 --> 0:49:05.799 Armstrong as he was given two titles. I don't remember 0:49:05.840 --> 0:49:07.920 what the first one was, but the second one was 0:49:08.239 --> 0:49:09.320 Unicorn Master. 0:49:09.920 --> 0:49:12.880 Yes, yeah, it's not often you have a Unicorn Master 0:49:13.360 --> 0:49:15.839 on set, but yeah, that's Vick Armstrong. He was also 0:49:15.840 --> 0:49:20.400 the stunt coordinator born nineteen forty six, Very Prolific. Guinness 0:49:20.440 --> 0:49:23.080 Book of World Records has listed him as the most 0:49:23.120 --> 0:49:27.440 prolific like stunt coordinator, but his earliest role is apparently 0:49:27.480 --> 0:49:30.880 an uncredited Ninja extra part in nineteen sixty seven's You 0:49:30.960 --> 0:49:32.120 Only Live Twice. 0:49:32.080 --> 0:49:34.719 Oh, recently came up in our Ninja episodes. 0:49:34.840 --> 0:49:38.160 Yep, he's still working well. The costumes in this are 0:49:38.200 --> 0:49:42.120 pretty great. Costume designer and this was Charles Node. He 0:49:42.160 --> 0:49:45.200 lived nineteen forty two through twenty twenty three, English costume 0:49:45.200 --> 0:49:48.200 designer whose work includes nineteen seventy nine's Life of Brian, 0:49:48.239 --> 0:49:51.520 the Munty Python film, Blade Runner fourteen ninety two, The 0:49:51.520 --> 0:49:55.399 Conquest of Paradise, another Ridley Scott film. Oh, and then 0:49:55.440 --> 0:49:56.600 Braveheart from ninety five. 0:49:57.080 --> 0:49:59.680 Costumes are great, you could mention a number of them. 0:50:01.000 --> 0:50:07.319 Mia Sarah's goth gown is just the triangular color hood thing. 0:50:07.360 --> 0:50:09.640 I don't know what that is, but it's great. 0:50:10.000 --> 0:50:13.200 Yes, Yeah, and then everything that Jack is wearing, from 0:50:13.280 --> 0:50:16.640 his the rags that he's wearing initially like the feral rags, 0:50:16.920 --> 0:50:21.040 to the like gleaming Elven armor that he dons for 0:50:21.400 --> 0:50:24.759 the main adventure portion of the picture. Yeah, but then 0:50:24.800 --> 0:50:27.160 again we have to come back to the special effects 0:50:27.239 --> 0:50:29.920 makeup and the special effects makeup lead on this was 0:50:30.040 --> 0:50:33.880 Rob Botein, who've talked about on the show before. The 0:50:33.960 --> 0:50:37.440 Rob Botin crew as well various people working with and 0:50:37.480 --> 0:50:40.439 for him on this. He was born nineteen fifty nine, 0:50:41.600 --> 0:50:45.320 special makeup practical effects wizard who worked on such films 0:50:45.360 --> 0:50:48.480 as Squirm in seventy six, Star Wars in seventy seven, 0:50:48.560 --> 0:50:51.640 The Howling The Thing from eighty two, the John Carpenter 0:50:51.719 --> 0:50:54.480 version Robocot from eighty seven. I think we talked about 0:50:54.560 --> 0:50:58.760 him in that one as well. Total Recall from nineteen ninety. 0:50:59.239 --> 0:51:05.719 Just capable of such phenomenally nasty, fleshy work. And you know, 0:51:05.760 --> 0:51:08.480 it's hard to imagine this picture with anyone else. It 0:51:08.880 --> 0:51:11.280 would be a different picture if anyone else had done 0:51:11.480 --> 0:51:12.600 the makeup effects. 0:51:12.920 --> 0:51:16.759 Now, wait, so Robert Piccardo played the Johnny Cab. Did 0:51:16.840 --> 0:51:19.400 Rob Bottin make the Johnny Cab in Total Recall? 0:51:19.840 --> 0:51:21.680 Oh, that's a good question. I don't know for certain 0:51:21.719 --> 0:51:24.920 on that, because I mean, we know for certain some 0:51:25.040 --> 0:51:28.360 of the things that Rob Botein was doing on Total Recall, 0:51:28.440 --> 0:51:31.480 you know, but I'm not sure about Johnny Cab. But 0:51:31.960 --> 0:51:33.479 I guess it very likely. 0:51:34.040 --> 0:51:36.200 How to split my time between a quatto and a 0:51:36.280 --> 0:51:36.920 Johnny Cab? 0:51:37.160 --> 0:51:40.560 Yeah, yeah, he was definitely on quata duty, all right. Now, 0:51:40.600 --> 0:51:43.879 coming to the music, this film Fade famously features those 0:51:43.880 --> 0:51:49.040 two separate scores. There's the original Jerry Goldsmith's score, and 0:51:49.280 --> 0:51:51.160 this is the one that is used in the original 0:51:51.160 --> 0:51:55.000 euro theatrical release of the picture. But then for the 0:51:55.120 --> 0:51:59.520 US theatrical release, they brought in Tangerine Dream to do 0:51:59.680 --> 0:52:03.719 a new score for the film. Now, I, of course, 0:52:03.840 --> 0:52:05.600 is what we've been saying. Grew up on the Tangerine 0:52:05.640 --> 0:52:08.560 Dream score, and I think it's absolutely excellent. I listened 0:52:08.600 --> 0:52:10.560 to it a couple of times through while working on 0:52:10.600 --> 0:52:13.759 notes for this episode. It really connected with me when 0:52:13.760 --> 0:52:15.279 I was younger, and there are a few things that 0:52:15.320 --> 0:52:18.480 I love more today as an adult than a really 0:52:18.520 --> 0:52:23.040 good Tangerine Dream motion picture score, So this one, in 0:52:23.080 --> 0:52:26.239 my opinion, They instantly elevate anything they touch, so it 0:52:26.280 --> 0:52:28.759 was hard for me to set that aside and watch 0:52:28.800 --> 0:52:31.239 a full cut of the picture, an even longer cut 0:52:31.239 --> 0:52:33.480 of the picture that has this score by Jerry Goldsmith. 0:52:34.280 --> 0:52:37.000 Jerry Goldsmith lived nineteen twenty nine through two thousand and four. 0:52:37.440 --> 0:52:41.040 Multiple Academy Award winner, responsible for the scores of seventy 0:52:41.080 --> 0:52:44.720 sevens to Omen Alien, nineteen eighties Star Trek, the Motion Picture, 0:52:44.719 --> 0:52:49.120 and many more. Obviously, Jerry Goldsmith is no slouch. This 0:52:49.239 --> 0:52:52.640 is his score for Legend is terrific. There are times 0:52:53.160 --> 0:52:56.439 where it is maybe more is certainly more mainstream, more 0:52:56.520 --> 0:53:01.399 swashbucklery in its scope, maybe by some estimates, a little 0:53:01.480 --> 0:53:05.800 hammy in an intentional way, but it's also just really 0:53:05.840 --> 0:53:08.359 great in moments as well, like the whole section we'll 0:53:08.360 --> 0:53:11.440 get into with the Hell Kitchen. Jerry Goldsmith's score here 0:53:11.520 --> 0:53:12.160 is tremendous. 0:53:12.600 --> 0:53:15.600 Yeah, it's a very traditional score you would expect with 0:53:15.600 --> 0:53:19.759 the fantasy movie and it delivers on that front. But yeah, 0:53:19.800 --> 0:53:22.319 as I said earlier, Rob, I know your love for 0:53:22.400 --> 0:53:26.359 Tangerine Dream, for electronic music generally, but especially Tangerine Dream, 0:53:26.440 --> 0:53:29.120 goes so deep. That is why I was shocked that 0:53:29.200 --> 0:53:32.000 you would have us watch the director's cut. But what's 0:53:32.080 --> 0:53:35.000 the main difference in the sonic texture here? What does 0:53:35.040 --> 0:53:37.719 the Tangerine Dream score sound like in the US cut? 0:53:38.040 --> 0:53:40.480 Oh? I mean the Tangerine Dream cut is, of course 0:53:40.600 --> 0:53:45.000 it's electronic, it's very synth heavy, but it also has 0:53:45.040 --> 0:53:49.120 this kind of ethereal otherworldly vibe to it, you know, 0:53:49.200 --> 0:53:53.520 and that I think is typified by that opening bit 0:53:53.560 --> 0:53:56.200 of music that plays in the US theatrical cut, where 0:53:56.200 --> 0:54:00.600 it's like a strange Elven synth flute playing to you, 0:54:00.560 --> 0:54:05.160 you know, across the dimensional barrier. Tangerine Dream is, of 0:54:05.200 --> 0:54:09.040 course a German electronic act founded by the late Edgar Frosie, 0:54:09.400 --> 0:54:12.400 who lived nineteen forty four through twenty fifteen. There have 0:54:12.440 --> 0:54:16.080 been numerous lineups over time, but he was the only 0:54:16.160 --> 0:54:21.160 consistent member of the group at the time of this score. 0:54:21.239 --> 0:54:25.680 I believe Christopher Frank and Johannes Schmoling were also in 0:54:25.719 --> 0:54:30.120 the group. The band Tangerine Dream is still around. They 0:54:30.160 --> 0:54:34.160 still record and tour, but it is a younger lineup, 0:54:34.239 --> 0:54:36.560 so none of the original members. And I could be 0:54:36.600 --> 0:54:38.040 wrong in this, but I don't think any of the 0:54:38.080 --> 0:54:42.160 current members were alive when the band was initially formed. 0:54:42.360 --> 0:54:46.480 But you know, I haven't seen them. I assume they're 0:54:46.480 --> 0:54:50.200 still great, but it is not the original members all right. Finally, 0:54:51.320 --> 0:54:54.719 of note, we also have two different vocal tracks on 0:54:54.760 --> 0:54:57.880 the US release, We have Loved by the Sun, a 0:54:57.920 --> 0:55:01.040 Tangerine Dream track with vocals by John Am, former lead 0:55:01.080 --> 0:55:04.000 singer of the band. Yes, this one plays towards the 0:55:04.080 --> 0:55:06.239 end of the very end of the picture. I don't 0:55:06.239 --> 0:55:10.120 hate it, but it's far outclassed I think by the 0:55:10.280 --> 0:55:13.480 end credits song, which is Brian Fairies. Is your love 0:55:13.520 --> 0:55:14.200 strong Enough? 0:55:14.600 --> 0:55:16.640 I was trying to describe this one, and it's like, 0:55:17.400 --> 0:55:21.360 it's such a mood. It is soft, smooth, neon waves 0:55:21.360 --> 0:55:21.840 of emotion. 0:55:22.600 --> 0:55:24.799 Yeah. Yeah, I think it's a great vibe. You got 0:55:24.800 --> 0:55:28.239 you got Fairy in his vocals, of course is the 0:55:28.640 --> 0:55:31.600 was the front man of Roxy Music. Ridley Scott co 0:55:31.680 --> 0:55:33.839 directed one of their music videos in eighty two and 0:55:33.840 --> 0:55:36.320 then on guitars. For this track we have David Gilmour 0:55:36.360 --> 0:55:39.600 of Pink Floyd. So great track, I think, a great 0:55:39.600 --> 0:55:42.799 way to end the picture. I think is one that 0:55:43.040 --> 0:55:44.800 I overlooked this when I was a kid. I was 0:55:44.800 --> 0:55:46.400 like I had some sort of cheesy pop song. But 0:55:46.440 --> 0:55:48.560 now now I'm like, this song is amazing and it 0:55:48.600 --> 0:55:54.360 should be it should be heard. 0:55:58.719 --> 0:56:00.640 You ready to go to the plot, Let's do it. 0:56:01.200 --> 0:56:02.960 So note as we get into the plot that I'm 0:56:03.000 --> 0:56:05.200 going to be talking about this from the point of 0:56:05.239 --> 0:56:09.080 view of having watched the director's cut most recently so 0:56:09.719 --> 0:56:12.279 in this version, the plot begins with a character we 0:56:12.360 --> 0:56:15.080 do not see or only see from behind, in a 0:56:15.200 --> 0:56:19.440 high backed chair like doctor Claw. This is the Lord 0:56:19.480 --> 0:56:23.000 of Darkness, and he is in a shadowy hall within 0:56:23.040 --> 0:56:27.960 a stonework palace illuminated by fire, with fog flowing across 0:56:28.000 --> 0:56:32.000 the floor, and we hear his voice. It's deep and complex. 0:56:32.400 --> 0:56:34.920 It's almost like it was kind of made of multiple voices, 0:56:35.040 --> 0:56:39.480 or maybe it contains its own echo, and Darkness says, 0:56:39.680 --> 0:56:43.560 I am the Lord of Darkness. I require the solace 0:56:43.640 --> 0:56:47.280 of the shadows and the dark of the night. Sunshine 0:56:47.440 --> 0:56:52.920 is my destroyer. All this shall change tonight, the sun 0:56:53.120 --> 0:56:57.719 sets forever, there shall never be another dawn. So we 0:56:57.880 --> 0:57:00.799 learn that the Lord of Darkness has a place he 0:57:01.120 --> 0:57:05.000 wants to forever, destroy the sunshine and rule over a 0:57:05.040 --> 0:57:08.840 frozen kingdom of eternal midnight. And he calls forth his 0:57:08.960 --> 0:57:13.920 most loyal, infernal servant, a foul, fetid goblin named Blicks, 0:57:14.680 --> 0:57:18.000 and Darkness says that he senses the presence of an 0:57:18.120 --> 0:57:21.960 enemy in the forest outside, an enemy that mercifully he 0:57:22.080 --> 0:57:25.680 had almost forgotten the existence of. But now it's sort 0:57:25.680 --> 0:57:28.800 of resurging in his mind. It's out there. It's a 0:57:28.920 --> 0:57:32.520 power that threatens him. What power could that be? Well, 0:57:32.680 --> 0:57:36.520 Darkness says, looking upon these frail creatures, one would not 0:57:36.680 --> 0:57:40.480 think they could contain such power. One could rule the 0:57:40.640 --> 0:57:43.800 universe with it. And then he tells Blicks, you must 0:57:43.840 --> 0:57:47.720 find them for me and destroy them. Blicks asks what 0:57:47.800 --> 0:57:50.840 these creatures look like? And Darkness gets very angry, says 0:57:50.880 --> 0:57:53.919 you fool, and he stabs a piece of silverware into 0:57:53.920 --> 0:57:56.360 Blicks's head, or it might be a dagger or something. 0:57:56.680 --> 0:57:59.720 So the answer is they look like this. They've got 0:57:59.760 --> 0:58:02.880 a single spike growing out of their heads, like an 0:58:02.960 --> 0:58:07.880 antenna reaching up to heaven. Now, Blix is like, okay, 0:58:08.200 --> 0:58:11.360 single horn on the head, intenna reaching to heaven. Got it. 0:58:11.440 --> 0:58:14.800 I will destroy them. And but wait a minute, how 0:58:14.840 --> 0:58:18.320 am I going to find these creatures? And here Darkness says, 0:58:18.400 --> 0:58:21.800 you know, there's only one lure for such disgusting goodness, 0:58:21.840 --> 0:58:25.560 one bait that never fails. Blick says, what's the bait? 0:58:25.880 --> 0:58:32.480 And Darkness says, in no sense, in no sense, I 0:58:32.520 --> 0:58:35.440 can't quite capture Tim Curry's delivery there, but it is 0:58:35.480 --> 0:58:35.960 the best. 0:58:36.880 --> 0:58:40.080 This is This is a great scene. Pretty much any 0:58:40.080 --> 0:58:44.479 interaction between Blicks and Darkness is golden, and I wish 0:58:44.480 --> 0:58:47.360 we had more of it, because yeah, Darkness is of 0:58:47.400 --> 0:58:52.920 course just absolute, over the top dramatic evil, and Blicks 0:58:53.240 --> 0:58:56.600 is of course also extremely evil, but in a more 0:58:58.880 --> 0:59:01.960 sniveling way. But also you know, like he like, clearly 0:59:02.000 --> 0:59:06.800 Blicks can and will betray darkness at any moment, but 0:59:07.240 --> 0:59:09.080 he also knows he could be destroyed at any moment 0:59:09.160 --> 0:59:11.280 by darkness, so he's yeah, I love this line where 0:59:11.280 --> 0:59:13.760 he's like, what be the bab Please you teach you 0:59:13.840 --> 0:59:16.520 teach me, you know, and oh it's so good. 0:59:16.960 --> 0:59:21.840 Yeah. Blix is your classic subordinate villain, who is who 0:59:21.920 --> 0:59:24.800 is haughty and abusive when he is out on his 0:59:24.840 --> 0:59:28.160 own with his own subordinates, but then very servile when 0:59:28.160 --> 0:59:30.400 in the presence of his of his infernal lord. 0:59:30.800 --> 0:59:35.040 Yeah, it's it's tremendous, great vocal performance, great physical performance, 0:59:35.080 --> 0:59:36.280 shining through the makeup. 0:59:36.880 --> 0:59:39.800 It's a bummer that Blicks and the other goblins just 0:59:39.960 --> 0:59:42.600 disappear at some point in the movie, like somewhere in 0:59:42.640 --> 0:59:44.360 the second act. They never show up again. 0:59:44.680 --> 0:59:46.760 Yeah, I think I read that at some point it 0:59:46.880 --> 0:59:48.960 was they'd written it so that they would come back 0:59:49.000 --> 0:59:51.640 in for the final showdown, you know, which would make sense, right, 0:59:51.840 --> 0:59:55.320 because there's especially Blicks is such a great character, This 0:59:55.400 --> 0:59:59.560 is such a great secondary villain. It's weird that he 0:59:59.680 --> 1:00:01.560 just like retires or something. 1:00:01.960 --> 1:00:07.320 Yeah, So Blick's goes out hunting the in no sense 1:00:07.560 --> 1:00:09.800 with a couple of other goblins. One of them is 1:00:09.840 --> 1:00:13.160 a bipedal hog named Pox, and the other is a 1:00:13.320 --> 1:00:16.320 goblin whose face we do not see. This goblin is 1:00:16.400 --> 1:00:19.920 named Blunder and he wears a cage visored bucket helmet 1:00:19.960 --> 1:00:20.600 with horns. 1:00:22.120 --> 1:00:23.680 Yeah, he kind of looks like he could have wandered 1:00:23.680 --> 1:00:27.280 out a labyrinth down down the studio road there. 1:00:27.680 --> 1:00:30.920 Yeah, so next we're gonna meet our main characters, Lily 1:00:31.080 --> 1:00:35.000 and Jack. Lily is a princess, but we learn that 1:00:35.080 --> 1:00:37.240 she does not want to be cooped up in the 1:00:37.280 --> 1:00:40.960 stuffy castle with her servants and her glittering treasures. She 1:00:41.120 --> 1:00:44.640 wants to wander free in the countryside and roam through 1:00:44.680 --> 1:00:47.800 the forest. She hangs out with peasants in their cottages, 1:00:48.280 --> 1:00:52.240 and especially she wants to meet up with Jack, and 1:00:52.280 --> 1:00:54.880 she I think she's talking to well, I don't remember 1:00:54.920 --> 1:00:57.440 if she's talking to one of her peasant friends or 1:00:57.480 --> 1:01:00.200 to Jack when she says this, But she says, this 1:01:00.240 --> 1:01:02.880 place holds more magic for me than any palace in 1:01:02.920 --> 1:01:03.400 the world. 1:01:03.760 --> 1:01:06.360 So Lily is, of course the embodiment of purity and 1:01:06.360 --> 1:01:09.360 innocence here, but there is something more, and it's kind 1:01:09.360 --> 1:01:13.000 of underscored at this point in the picture, especially I 1:01:12.880 --> 1:01:15.720 imagine more so in the in the US theatrical cut. 1:01:15.960 --> 1:01:19.600 But I think her privilege is also really key to 1:01:19.680 --> 1:01:23.240 her character, because you know, who would deny you anything, princess? 1:01:24.120 --> 1:01:26.480 You know, you know, she's really sweet and she's innocent, 1:01:26.560 --> 1:01:29.360 but she does feel like she has the right to 1:01:29.520 --> 1:01:31.880 everything in the world, be it walking into a peasant's 1:01:31.880 --> 1:01:35.920 house and observing their life and feeling to some level 1:01:36.000 --> 1:01:37.960 like she gets to be a part of it, or 1:01:38.760 --> 1:01:41.120 as we'll see in a bit, that she should be 1:01:41.120 --> 1:01:43.520 able to walk right up to a unicorn and touch it. 1:01:43.880 --> 1:01:48.160 Yeah. The other side of innocence is naivety, and so 1:01:48.240 --> 1:01:52.480 she does not realize the consequences of her actions and 1:01:52.520 --> 1:01:53.960 maybe doesn't even consider them. 1:01:54.240 --> 1:01:56.480 Yeah, she doesn't understand that there are things in the 1:01:56.520 --> 1:01:58.040 world that are not meant for her. 1:01:58.520 --> 1:02:01.960 Yeah. Now, the other character or is Jack, played by 1:02:02.000 --> 1:02:06.120 Tom Cruise and Jack, I'm not sure exactly what he 1:02:06.880 --> 1:02:09.479 is in the movie. I see if you agree with this, Rob, 1:02:09.600 --> 1:02:14.080 I think the layout is that he is biologically a 1:02:14.160 --> 1:02:17.440 regular human, so he's not a fairy or an elf 1:02:17.560 --> 1:02:19.400 or any of the other types of hidden folk that 1:02:19.440 --> 1:02:22.560 we meet in the story, but he does not seem 1:02:22.600 --> 1:02:26.600 to be a part of human society and seems to 1:02:26.880 --> 1:02:29.920 live alone in a in a kind of ageless and 1:02:30.080 --> 1:02:36.200 carefree communion with the forest. He's almost a hot raticas. 1:02:36.280 --> 1:02:38.360 Yeah, I think I think hot ratagas is a good 1:02:38.360 --> 1:02:40.040 way of putting it. I also was thinking of him 1:02:40.040 --> 1:02:43.240 as sort of a fairal Peter Pan, you know. So 1:02:43.440 --> 1:02:45.720 he also has more than his share of innocence. He's 1:02:45.800 --> 1:02:49.080 very connected with nature, very connected to the forces of 1:02:49.160 --> 1:02:53.360 light in the fairy Folk, but this is underscored a 1:02:53.400 --> 1:02:57.080 bit as well. But he's also lusty, granted in a 1:02:57.120 --> 1:02:58.840 way that I think we're to understand is a largely 1:02:58.880 --> 1:03:01.640 in a largely innocent way part of his youthfulness. And 1:03:01.680 --> 1:03:04.920 it's not like he's manipulating Lily or anything like that. 1:03:04.960 --> 1:03:08.280 But his desire is obvious as well, so you know, 1:03:08.320 --> 1:03:11.760 it's like that's kind of that's we're setting that up 1:03:11.800 --> 1:03:14.640 to be his sin here. And I mentioned this because 1:03:15.120 --> 1:03:18.400 the plot, especially in the in the director's cut, is 1:03:18.520 --> 1:03:21.800 very concerned with the interconnectedness of light and darkness, as 1:03:21.880 --> 1:03:24.880 well as feelings of shame and are two protagonists. Though 1:03:24.920 --> 1:03:28.040 it feels rather lily heavy in that regard, which I guess, 1:03:28.080 --> 1:03:30.520 you know, kind of matches up the basic story of 1:03:30.520 --> 1:03:33.080 Adam and Eden, where it's you know, far more shame 1:03:33.160 --> 1:03:35.919 is placed on the female in the scenario, when really 1:03:35.960 --> 1:03:38.720 it takes two people to touch sacred fruit. 1:03:39.160 --> 1:03:42.280 Yeah. So Jack and Lily they meet together in the 1:03:42.280 --> 1:03:47.600 forest to frolic about, and eventually Jack takes Lily to 1:03:47.760 --> 1:03:51.480 show her something very special. He sort of blindfolds her 1:03:51.520 --> 1:03:54.720 while he's leading her to a secret place, and he 1:03:54.760 --> 1:03:57.520 takes her blindfold off when they arrive. They're at this 1:03:57.640 --> 1:04:01.280 kind of hidden brook somewhere somewhere in in the forest glen, 1:04:01.600 --> 1:04:05.000 and what they see there is a pair of unicorns 1:04:05.040 --> 1:04:07.200 that emerge from the trees, and then they kind of 1:04:07.280 --> 1:04:12.000 gallop about together like they're playing. And these unicorns, we understand, 1:04:12.160 --> 1:04:17.840 are sacred creatures, almost primordial, and their fates are linked 1:04:17.960 --> 1:04:21.760 to the fate of the world itself. So Jack communicates somehow, 1:04:21.880 --> 1:04:24.320 we've got to treat these creatures with reverence. You know, 1:04:24.400 --> 1:04:27.040 remember she had to be like blindfolded to go to 1:04:27.080 --> 1:04:28.160 their secret grounds. 1:04:28.920 --> 1:04:29.120 Yeah. 1:04:29.200 --> 1:04:32.520 Yeah, these this matches up with some of the ideas 1:04:32.560 --> 1:04:35.000 swirling around the concept of the unicorn. We talked about 1:04:35.120 --> 1:04:38.840 unicorns in an older episode of Stuff to Blow Your Mind, 1:04:38.880 --> 1:04:42.439 where at times like the unicorn is presented as Christ 1:04:42.640 --> 1:04:46.800 as Jesus Christ himself in the form of a single 1:04:46.960 --> 1:04:47.800 horned horse. 1:04:48.320 --> 1:04:52.640 Now we watch the unicorns play together and Lily becomes enraptured. 1:04:52.680 --> 1:04:56.080 I guess because of her in no sense she does 1:04:56.480 --> 1:04:59.680 not take the proper precautions in their presence. She doesn't 1:04:59.680 --> 1:05:02.360 want to hold back and just observe them from a 1:05:02.400 --> 1:05:05.640 distant a distance like Jack recommends. She sort of runs 1:05:05.680 --> 1:05:07.760 out of hiding and touches one of them. I think 1:05:07.760 --> 1:05:09.160 the stallion right. 1:05:09.080 --> 1:05:11.640 And it's not so much the touch that is going 1:05:11.720 --> 1:05:18.120 to be disastrous, but it does impact other elements in play. 1:05:17.560 --> 1:05:21.720 Right, because all along Lily has been tracked by the 1:05:21.760 --> 1:05:25.880 Goblin trio. They've been they've been following the inno sense, 1:05:26.480 --> 1:05:30.160 and sure enough, the innocense led them straight to the unicorns. 1:05:30.720 --> 1:05:33.880 And I think this is around the scene where Blick 1:05:33.960 --> 1:05:36.960 says that line, maybe innocent may be sweet, ain't half 1:05:37.000 --> 1:05:40.280 as nice as rotting meat. So we see where Blick's 1:05:40.280 --> 1:05:44.120 preferences lie, and they are with death and attack. So 1:05:44.200 --> 1:05:47.280 when they when the Goblins see the unicorns, I think 1:05:47.320 --> 1:05:52.000 Blunder yells out look ugly one horned mule, and they 1:05:52.000 --> 1:05:54.680 take the opportunity to strike. They shoot one of the 1:05:54.680 --> 1:05:59.080 two unicorns with a poisoned dart, and the unicorns gallop away, 1:05:59.480 --> 1:06:02.680 and I think at first Jack and Lily don't realize 1:06:02.680 --> 1:06:05.680 what has happened. Like Jack is disturbed that Lily was 1:06:05.680 --> 1:06:09.040 so brazen with these holy creatures, but he is quickly 1:06:09.080 --> 1:06:13.240 distracted by love because Lily takes off a piece of jewelry, 1:06:13.280 --> 1:06:16.720 a golden ring inlaid with gems, and she throws it 1:06:16.760 --> 1:06:19.320 into the pool at the base of a waterfall where 1:06:19.320 --> 1:06:22.400 they're hanging out, and she says, I'm gonna marry whoever 1:06:22.440 --> 1:06:25.760 finds this ring, and Jack is just hot diggity he 1:06:25.880 --> 1:06:30.920 dives right in after it. Yeah. Now a lot happens 1:06:30.960 --> 1:06:33.600 while Jack is diving under the water looking for the ring. 1:06:34.080 --> 1:06:37.160 The goblins catch up to the unicorn, which is faltering 1:06:37.280 --> 1:06:39.720 under the influence of the poison, and blicks his dart 1:06:40.200 --> 1:06:42.840 and they go up to it and they chop off 1:06:42.920 --> 1:06:48.120 its horn, and this instantly causes a worldwide calamity. A 1:06:48.240 --> 1:06:53.400 supernatural winter descends. The peasants are frozen solid in their cottages. 1:06:53.960 --> 1:06:57.600 Ice forms over the pool where Jack is diving for 1:06:57.640 --> 1:06:59.360 the ring, so like when he comes up for air, 1:06:59.400 --> 1:07:02.680 he has to break through the ice. Lily is caught 1:07:02.680 --> 1:07:05.320 out in the blizzard and she runs in terror as 1:07:05.360 --> 1:07:08.280 the Goblins come tramping through the new world of frosty 1:07:08.320 --> 1:07:11.720 horror that they've created. It's a scary time, and it. 1:07:11.720 --> 1:07:14.080 Must have been scary to read this script and think 1:07:14.120 --> 1:07:16.640 about producing this. You know, this is it's like, we're 1:07:16.680 --> 1:07:18.760 gonna build a forest, then it's gonna be winter in 1:07:18.800 --> 1:07:21.600 the forest. We're gonna have a frozen over pond. We're 1:07:21.600 --> 1:07:24.240 gonna have somebody swimming in that and breaking up through 1:07:24.240 --> 1:07:26.160 the ice later, like I don't know. It is one 1:07:26.200 --> 1:07:28.160 of the many places in the film where you'd really 1:07:28.160 --> 1:07:32.040 have to admire the what they really set out to 1:07:32.080 --> 1:07:34.280 do here, Like this is a lot. 1:07:34.520 --> 1:07:38.680 Blick says, mortal world turned ice. Here be Goblin paradise. 1:07:39.120 --> 1:07:41.520 So the goblins are having a ball, they run around 1:07:41.680 --> 1:07:44.800 using the unicorn horn as a magic wand they're just 1:07:45.720 --> 1:07:49.240 doing all kinds of mischief and Lily eventually tracks them 1:07:49.280 --> 1:07:52.840 back to their Goblin camp, which I think his position's 1:07:52.880 --> 1:07:54.920 sort of down in a kind of ravine or a 1:07:54.960 --> 1:07:57.760 pit in the earth, and they've got a fire going 1:07:57.840 --> 1:08:01.680 and they're playing around with the horn, and this is 1:08:01.720 --> 1:08:04.600 all good stuff. I love this scene. I think this 1:08:04.640 --> 1:08:08.800 is where Blick says, higher burning fire, making music like 1:08:08.880 --> 1:08:13.320 a choir, and they're all sort of talking about what 1:08:13.360 --> 1:08:15.240 they could do with their new found of power. I 1:08:15.240 --> 1:08:19.160 think the pig Goblin I love this, suggests turning everything 1:08:19.280 --> 1:08:22.479 into garbage. That's a quote. He says, why not turn 1:08:22.600 --> 1:08:26.960 everything into garbage, A big, towering mountain of slot. Wouldn't 1:08:27.000 --> 1:08:27.799 that be magic? 1:08:29.479 --> 1:08:31.160 He's a simple guy, he knows what he wants. 1:08:31.680 --> 1:08:33.520 Love numb, numb garbage. 1:08:33.640 --> 1:08:37.439 Now, one of my recurring questions on this rewatch of Legend, 1:08:37.960 --> 1:08:42.679 given recent changes and slaying, is this goblin mode? Does 1:08:42.720 --> 1:08:46.360 this constitute goblin mode? If you're not familiar, Goblin mode, 1:08:46.439 --> 1:08:49.240 as defined by the Oxford Dictionary in twenty twenty two, 1:08:49.479 --> 1:08:53.919 is a type of behavior which is unapologetically self indulgent, lazy, slovenly, 1:08:54.040 --> 1:08:57.080 or greedy, typically in a way that rejects social norms 1:08:57.160 --> 1:08:58.120 or expectations. 1:08:58.640 --> 1:09:01.080 You know, I would say that the goblins in this 1:09:01.160 --> 1:09:04.559 movie are not in goblin mode by default, but in 1:09:04.600 --> 1:09:09.360 this particular scene, they are going goblin mode. Okay, like 1:09:09.439 --> 1:09:14.519 Pox's desire to quote turn everything into garbage. That's goblin mode. 1:09:14.520 --> 1:09:15.400 That's going right. 1:09:16.200 --> 1:09:16.559 Yeah. 1:09:16.680 --> 1:09:16.960 Yeah. 1:09:17.080 --> 1:09:19.840 Now, at the same time, Blick's he seems he's having 1:09:20.240 --> 1:09:24.000 a big time here waving this unicorn horn wand around 1:09:24.680 --> 1:09:27.160 and it seems like he has he has greater designs. 1:09:27.479 --> 1:09:30.000 He's thinking about the power of the wand here and 1:09:30.000 --> 1:09:30.880 what he could do with it. 1:09:31.439 --> 1:09:33.880 I don't know, so we'll see what happens and when 1:09:34.000 --> 1:09:37.120 Darkness shows up. So Darkness arrives at the goblin camp, 1:09:37.120 --> 1:09:38.960 he's covered in a cloak, so we still don't see 1:09:38.960 --> 1:09:41.760 his face or his true form. And this is where 1:09:41.920 --> 1:09:44.760 one of the three goblins, I know it's Blunder, the 1:09:44.760 --> 1:09:47.880 one with the helmet on, tries to take the horn 1:09:48.080 --> 1:09:50.639 and use it to usurp the power of the Lord 1:09:50.680 --> 1:09:53.880 of Darkness, but he's he's not strong enough. Tim Curry 1:09:53.960 --> 1:09:57.000 just like sucks it out of Blunder's hand magically and 1:09:57.040 --> 1:10:01.800 then reanimates a nearby mummy, grab up Blunder and cast 1:10:01.840 --> 1:10:04.000 him into a crevice in the earth, though we'll meet 1:10:04.080 --> 1:10:04.760 him again later. 1:10:05.160 --> 1:10:07.920 Yeah, this is a great thing because basically, yeah, Blicks 1:10:07.960 --> 1:10:10.599 has been playing around with the wand there's really getting 1:10:10.640 --> 1:10:13.400 into it. And has all these flourishes to his movements. 1:10:14.080 --> 1:10:17.200 You know, clearly he's really digging this power trip, and 1:10:17.240 --> 1:10:19.800 you get the impression that Darkness has shown up really 1:10:19.840 --> 1:10:21.680 to be like, Okay, enough of this before it gets 1:10:21.720 --> 1:10:24.600 out of hand. I'm here for what's mine. So but 1:10:24.680 --> 1:10:26.840 Blix is smart enough to just drop it to the 1:10:26.840 --> 1:10:31.600 ground immediately. Yeah yeah, But but Blunder is stupid, and 1:10:31.680 --> 1:10:34.320 Blunder is like, oh, there's the wand it's mine now, 1:10:34.600 --> 1:10:36.640 this is my time to shine, and as sind at 1:10:36.640 --> 1:10:40.719 the top, and he's just instantly destroyed. Yeah, or seemingly 1:10:40.760 --> 1:10:41.200 at the time. 1:10:42.160 --> 1:10:45.000 Blunder has some good lines though, before he gets cast 1:10:45.040 --> 1:10:48.320 into the ravine when they're like they're talking about uh 1:10:48.439 --> 1:10:50.800 Lily and they're like, oh, she's so beautiful, and then 1:10:50.880 --> 1:10:53.160 Blunder's like, I know, I could eat her brains. 1:10:53.200 --> 1:10:58.280 Like jam, they just don't have the same values as mortals. 1:10:58.920 --> 1:10:59.160 Though. 1:10:59.320 --> 1:11:03.400 Unfortunately, the mission is not fully accomplished because Darkness is like, 1:11:03.560 --> 1:11:06.639 you fools, look, Dawn is about to break. That means 1:11:06.680 --> 1:11:08.800 one of the unicorns still lives. You have to get 1:11:08.960 --> 1:11:11.680 both of them, So go find the other unicorn and 1:11:11.720 --> 1:11:12.280 bring it to me. 1:11:13.160 --> 1:11:13.360 Yeah. 1:11:13.439 --> 1:11:16.519 Yeah, Because the remaining. Unicorn is the mayor, and they're 1:11:16.520 --> 1:11:19.080 like what, it's just the female and Darkness is like, yeah, 1:11:19.120 --> 1:11:21.479 that one has the power of creation, you dummies, Like 1:11:21.520 --> 1:11:23.080 that's the most important unicorn. 1:11:23.240 --> 1:11:26.480 Yeah, so you got to bring me Unicorn too. Meanwhile, 1:11:26.800 --> 1:11:30.200 Jack wakes up after being frozen in the Blizzard of Wickedness, 1:11:30.640 --> 1:11:33.040 and when he does, when he wakes up, he is 1:11:33.080 --> 1:11:37.200 surrounded by a coterie of hidden folk. So there is 1:11:37.240 --> 1:11:41.640 a sort of panlike magical boy called Honeythorn Gump. I 1:11:41.680 --> 1:11:44.639 think he's supposed to be an elf, do they say? Yeah? 1:11:44.640 --> 1:11:45.200 I believe so. 1:11:45.680 --> 1:11:48.680 I don't know technically what all of the fantasy classes 1:11:48.680 --> 1:11:51.639 of these creatures of the forest are. They're all various 1:11:51.680 --> 1:11:55.240 hidden folk of different kinds. A couple of them are 1:11:55.880 --> 1:12:00.080 Brown Tom and Screwball. They will be companions along the 1:12:00.120 --> 1:12:02.320 rest of the journey. In the movie, there is a 1:12:02.360 --> 1:12:04.920 fairy creature named Una, who I think is like a 1:12:04.960 --> 1:12:08.639 will of the Wisp. Yeah, honey Thorne Gump is sort 1:12:08.680 --> 1:12:11.080 of the leader of them. He's he's got the most 1:12:11.720 --> 1:12:14.599 lore information in his head and seems to like kind 1:12:14.600 --> 1:12:19.080 of know what's going on. And Gump is interesting. He 1:12:19.400 --> 1:12:22.679 has these great fantasy time units that he always talks 1:12:22.720 --> 1:12:26.000 in like he all the expressions of time are things 1:12:26.080 --> 1:12:29.120 like three flicks of a badger's tail or two hundred 1:12:29.120 --> 1:12:30.559 beats of a sparrow's heart. 1:12:31.080 --> 1:12:33.240 Yeah, it's like you get the impression where if you 1:12:33.280 --> 1:12:36.160 were in tune with nature as much as as an 1:12:36.160 --> 1:12:39.639 elf is or any of these magical fairy folk here, 1:12:39.920 --> 1:12:42.200 you would know exactly what that means. You would innately 1:12:42.280 --> 1:12:45.680 know what that means. But to us mortals, we're a 1:12:45.680 --> 1:12:47.480 little lost on the particulars. 1:12:47.760 --> 1:12:51.519 Yeah, there are some initial negotiations. When they first meet 1:12:51.560 --> 1:12:54.880 Tom Cruise, he has to answer a riddle or die. 1:12:55.080 --> 1:12:56.160 I think, is that right? 1:12:56.720 --> 1:12:59.800 I'm always this scene kind of lost me a little bit. 1:12:59.800 --> 1:13:03.240 I'm sure exactly what is happening in the scene, But 1:13:03.280 --> 1:13:05.320 then it's kind of like, Okay, I guess he passed 1:13:05.360 --> 1:13:06.559 the test, whatever it was. 1:13:07.160 --> 1:13:09.360 Also, I don't understand the logic of the riddle. The 1:13:09.680 --> 1:13:13.920 answer is flowers, bluebell flowers, but I don't understand how 1:13:13.960 --> 1:13:18.719 it corresponds to the riddle itself. Anyway. They eventually decide 1:13:18.720 --> 1:13:22.320 that Tom Cruise is the champion foretold who must defend 1:13:22.360 --> 1:13:24.800 the world from the Lord of Darkness, and so there's 1:13:24.840 --> 1:13:27.200 a scene of him being sent to raid a treasure 1:13:27.240 --> 1:13:30.480 trove and a hidden barrow to get magical armor and weapons. 1:13:31.360 --> 1:13:33.760 Around here is where I first started to notice that 1:13:33.800 --> 1:13:36.719 Tom Cruise is not getting to stand up in this movie. 1:13:36.720 --> 1:13:39.120 He's always squatting or creeping on the ground. 1:13:39.400 --> 1:13:42.320 Yeah, and now he has like a golden chain mail 1:13:42.360 --> 1:13:45.240 skirt to wear the whole time. Yeah, and a really 1:13:45.320 --> 1:13:48.720 cool shield and sword too, So he's decked out. He's 1:13:48.760 --> 1:13:51.960 gotten his plus one plus two gear from the dungeon 1:13:52.000 --> 1:13:54.439 Master and is ready to hop into the main adventure. 1:13:54.720 --> 1:13:57.960 Yeah. Meanwhile, there's a scene where Lily makes her way 1:13:58.000 --> 1:14:01.479 to sort of the camp where Jack originally was, but 1:14:01.479 --> 1:14:05.280 they don't meet up. Lily is there with the Unicorn 1:14:05.320 --> 1:14:08.559 Mayor and they get captured by the goblins and taken 1:14:08.600 --> 1:14:10.800 back to Tim Curry. And there's a funny moment here 1:14:10.800 --> 1:14:15.240 where Brown Tom, who was with them, one of the 1:14:15.240 --> 1:14:18.160 good guys, he gets shot in the head with an 1:14:18.360 --> 1:14:21.439 arrow and you think he's dead, and he thinks he's 1:14:21.479 --> 1:14:24.640 dead when his companions show back up. He says, I 1:14:24.680 --> 1:14:26.960 was shot through the brain pan. But then he takes 1:14:27.000 --> 1:14:29.840 his hat off and he literally had a pan in 1:14:29.880 --> 1:14:32.559 his hat. And it was the arrow went through it. 1:14:32.560 --> 1:14:34.280 It's a great moment when this movie wants to be 1:14:34.320 --> 1:14:40.680 silly and funny, it succeeds. 1:14:44.600 --> 1:14:48.040 So now that Tim Curry has Lily and the last 1:14:48.040 --> 1:14:50.320 living Unicorn, that they got to turn this into a 1:14:50.360 --> 1:14:53.720 rescue operation, right, So Jack and his magical friends make 1:14:53.760 --> 1:14:57.599 the journey to the Layer of Darkness to confront Darkness 1:14:57.600 --> 1:15:02.120 and his minions. And I thought this was interesting. It's 1:15:02.160 --> 1:15:05.040 shown from the outside and it is not your typical 1:15:05.160 --> 1:15:09.519 stone castle, but seems to be built inside a giant 1:15:09.720 --> 1:15:15.040 ancient tree. The Honeythorn. Gump describes it by saying, the 1:15:15.080 --> 1:15:19.040 Great Tree, when evil anarchy ruled the land, the wicked 1:15:19.160 --> 1:15:23.439 came here to sacrifice. That's an interesting, almost kind of 1:15:23.439 --> 1:15:28.160 biblical foundation story that, like the Cursed Place, is a 1:15:28.200 --> 1:15:32.320 place that you associate with the sacrifices made by an 1:15:32.320 --> 1:15:33.559 ancient enemy. 1:15:34.120 --> 1:15:36.599 It's interesting too in that like what we have here 1:15:36.640 --> 1:15:38.640 in form and it looks amazing in the picture with 1:15:38.880 --> 1:15:42.200 we see like the spots of carrion birds circling around it. 1:15:43.040 --> 1:15:45.280 But in many respects you could compare this to like 1:15:45.320 --> 1:15:49.680 a world tree from various mythologies, you know, connecting the 1:15:49.720 --> 1:15:52.680 realm of Earth to the realm of the cosmos, but 1:15:52.760 --> 1:15:56.360 it's corrupted and it's dark. But on the other level, 1:15:57.160 --> 1:16:00.120 numerous times we have, especially our evil characters, speak to 1:16:00.160 --> 1:16:04.040 a universe here in which darkness was the purity of 1:16:04.080 --> 1:16:07.640 existence that was then invaded by light. And therefore it 1:16:07.640 --> 1:16:10.639 maybe feels kind of fitting that the world tree here 1:16:11.360 --> 1:16:15.000 is something of the darkness, because the darkness is the 1:16:15.000 --> 1:16:16.639 original structure of the universe. 1:16:17.080 --> 1:16:19.479 Yeah, it is an interesting mythology, and again we get 1:16:19.479 --> 1:16:24.320 these statements about the necessary interconnectedness of the elements that 1:16:24.880 --> 1:16:27.920 come back in the very end as well. Okay, now 1:16:27.960 --> 1:16:30.040 on the way to the castle, they've got to do 1:16:30.120 --> 1:16:32.080 battle with a swamp hag. Right. We brought a megg 1:16:32.160 --> 1:16:35.000 muckle Bones early on, played by Robert Piccardo in some 1:16:35.400 --> 1:16:38.960 amazing makeup and prosthetics or I don't know if there's 1:16:39.000 --> 1:16:40.719 puppet Tree involved in as well. 1:16:40.880 --> 1:16:42.880 It feels like it there feels like there's some sort 1:16:42.880 --> 1:16:47.280 of like device that's moving him around at the base. 1:16:47.720 --> 1:16:50.679 Yeah, so it's like a big old Jenny Green teeth 1:16:50.760 --> 1:16:52.479 pops up out of the water and is going to 1:16:52.520 --> 1:16:56.559 eat Tom Cruise because she's like, you look delicious, and 1:16:56.640 --> 1:16:59.240 he starts trying to get out of it by flattering 1:16:59.280 --> 1:17:03.400 her beauty, and she ends up saying, ooh, what a 1:17:03.439 --> 1:17:05.479 fine meal you'll make be the rest of you as 1:17:05.520 --> 1:17:06.679 sweet as your tongue. 1:17:07.520 --> 1:17:10.000 And this scene, this scene is just so perfect but 1:17:10.120 --> 1:17:12.560 just and I'm just to touch on like some of 1:17:12.600 --> 1:17:15.439 the little things that make it great. The scene where 1:17:16.200 --> 1:17:20.760 he has the resplendent golden shield up and Meg is 1:17:20.800 --> 1:17:23.800 like close to it, half seeing a reflection in it, 1:17:24.120 --> 1:17:27.840 and her nails are tapping against it, and there's also 1:17:27.840 --> 1:17:30.519 so there's the gleam of the shield, but then also 1:17:30.560 --> 1:17:32.880 there's a little bit of her sliminess on it. So 1:17:32.960 --> 1:17:36.479 it's just like visually and just sonically too, that tapping 1:17:36.800 --> 1:17:39.800 is just complete overload. It's just a tremendous scene, even 1:17:39.880 --> 1:17:40.839 in this small detail. 1:17:41.120 --> 1:17:45.400 Yeah. Yeah, So eventually Meg is decapitated and our heroes, 1:17:45.840 --> 1:17:47.920 you know, they go on their way into the Great 1:17:47.960 --> 1:17:51.360 Tree of Wickedness, where they quickly fall into a pit 1:17:51.479 --> 1:17:55.760 and end up trapped inside prison cells. Now they will 1:17:55.760 --> 1:17:58.200 get out of these eventually released by the Fairy Una 1:17:58.320 --> 1:18:01.599 after she reveals that she had abilities that even Gump 1:18:01.640 --> 1:18:05.599 did not know of before. She's interesting because she's one 1:18:05.640 --> 1:18:09.880 of the heroes. But she's capricious, you know, she doesn't 1:18:09.920 --> 1:18:11.800 want to be pinned down. She's like, I'll do what 1:18:11.880 --> 1:18:14.960 I want, and you know, just so happens that that 1:18:15.360 --> 1:18:17.960 turns out to be helping them sometimes. But she also 1:18:18.080 --> 1:18:21.280 wants Tom cruise. By the way, Yes, but while in 1:18:21.320 --> 1:18:24.559 this prison, they meet the goblin Blunder, who reveals he 1:18:24.720 --> 1:18:27.639 is not actually a goblin. He takes his helmet off 1:18:27.680 --> 1:18:30.040 and we learned that he is one of the hidden 1:18:30.080 --> 1:18:32.880 folk of the forest and known to Screwball and Brown Tom. 1:18:33.680 --> 1:18:35.880 But I guess he sort of went astray and now 1:18:35.920 --> 1:18:39.080 he's back on the team. But unfortunately, right after they 1:18:39.120 --> 1:18:42.880 meet him and realize who he is, he gets snatched 1:18:42.960 --> 1:18:46.200 up by their jailers and the dungeon and taken away 1:18:46.400 --> 1:18:50.200 to be baked into a pie. Because this dungeon is 1:18:50.360 --> 1:18:54.240 right next to the kitchens of Hell. This set, we 1:18:54.320 --> 1:18:57.080 need to talk about the hell kitchens. Here. There's this 1:18:57.360 --> 1:19:01.400 doctor Salvador prep table in this blow bucket kitchen, where 1:19:01.439 --> 1:19:04.720 like right in the middle of the floor there are 1:19:04.880 --> 1:19:10.280 random fires burning, so it's like a barbecue preparation area 1:19:10.320 --> 1:19:13.080 attended by like bondage axe murderers. 1:19:13.880 --> 1:19:18.880 Yeah, they're like big ogres and like execution hoods just 1:19:18.960 --> 1:19:23.000 very physically intimidating. The fires are just raging, like just 1:19:23.080 --> 1:19:27.480 out of control levels of flame. It's like a delirious 1:19:27.560 --> 1:19:30.439 vision of hell, like a baroque mashup of Texas chainsaw 1:19:30.520 --> 1:19:35.280 massacre and a medieval wood cut. And they're also throughout 1:19:35.600 --> 1:19:38.680 like the last half or third of the picture. There 1:19:38.680 --> 1:19:41.720 are also just lots of creepy statues, Like there's a 1:19:41.760 --> 1:19:45.679 pazuzu statue from that pops up twice, I think, once 1:19:45.720 --> 1:19:48.360 in the swamp and then once in the depths of 1:19:48.400 --> 1:19:52.320 the underworld here. Sometimes those statues are actually alive and 1:19:52.360 --> 1:19:57.280 they move. So there's just a very rich, disturbing visual 1:19:57.320 --> 1:19:59.400 world down here in the hell. Kitchens are just yeah, 1:19:59.439 --> 1:20:00.479 absolutely terrifying. 1:20:00.920 --> 1:20:03.519 Now, there's also an extended series of scenes, a kind 1:20:03.560 --> 1:20:05.920 of drama here where after Lily is brought to the 1:20:05.920 --> 1:20:10.320 palace as a captive, Darkness decides that he wants to 1:20:10.439 --> 1:20:14.799 seduce her, and he's sort of instructed by this other voice, 1:20:14.920 --> 1:20:18.120 this kind of statue or other god speaking to him. 1:20:18.120 --> 1:20:21.599 I think it says, make her one of us, and 1:20:21.640 --> 1:20:25.560 so that's his goal. He wants to take the innocence 1:20:25.600 --> 1:20:29.080 of the princess and to make her evil as well, 1:20:29.120 --> 1:20:31.680 to bring her into the darkness and make her a 1:20:31.760 --> 1:20:32.720 creature of the night. 1:20:33.720 --> 1:20:36.360 You know, it's interesting that you look at this in Labyrinth, 1:20:36.400 --> 1:20:38.760 two films being made at the same time, next door 1:20:38.800 --> 1:20:41.880 to each other. They both have very similar elements in 1:20:41.920 --> 1:20:45.360 that you have a dark lord who is pleading with 1:20:45.680 --> 1:20:49.320 like trying to seduce and ultimately just offering to be 1:20:49.400 --> 1:20:52.519 subservient to a woman. He is in love with a 1:20:52.560 --> 1:20:57.880 mortal woman, and they I'm to understand that with Labyrinth too, 1:20:58.200 --> 1:21:00.799 they were aware of what was going on in Legend 1:21:01.080 --> 1:21:04.479 and made deliberate choices with Jareth the Goblin Goblin King 1:21:04.880 --> 1:21:08.719 to portray him in a less like overtly satanic manner 1:21:09.040 --> 1:21:11.479 and like finding a different sort of form for him. 1:21:11.560 --> 1:21:13.960 But it is interesting that, yeah, out of the same 1:21:14.160 --> 1:21:18.880 production timeline, you're getting like these two different I guess 1:21:18.920 --> 1:21:25.000 kind of like equally iconic versions of somebody's potential supernatural boyfriend, 1:21:25.120 --> 1:21:29.200 you know, from beyond the realm of mortals. You know. 1:21:29.240 --> 1:21:31.439 So it's like, ultimately, like who do you see yourself 1:21:31.479 --> 1:21:35.639 with on the dating show? Is it Darkness the Prince 1:21:35.680 --> 1:21:38.880 of Evil, or is it Jareth the Goblin King, I 1:21:38.920 --> 1:21:41.320 don't know, your preference may vary. 1:21:41.680 --> 1:21:44.920 But now Lily here goes through a transformation. At some 1:21:44.920 --> 1:21:47.479 point she gets a kind of spell cast on her 1:21:48.160 --> 1:21:51.960 while in the banquet Hall of Darkness here, and she 1:21:52.160 --> 1:21:58.719 becomes gothly. She like transforms to have this bizarre gown 1:21:58.880 --> 1:22:02.080 with like there's sort of this this we were talking about, 1:22:02.120 --> 1:22:07.639 this big extending triangular hood or collar thing, and then 1:22:07.760 --> 1:22:09.680 like a big V cut in the middle of it, 1:22:10.040 --> 1:22:13.080 and her hair gets very stringy and dark, and she's 1:22:13.080 --> 1:22:15.160 got this, I don't know what you call it, the 1:22:15.360 --> 1:22:20.120 kind of a a twiggy, twiggy black crown on her head. 1:22:20.479 --> 1:22:23.720 It's a it's a very strange and interesting look and 1:22:23.880 --> 1:22:27.599 props again to the costume designers there. But so there's 1:22:27.640 --> 1:22:30.800 like it's it's to symbolize that she has in a 1:22:30.840 --> 1:22:33.800 way had a spell cast over her. But she that 1:22:33.880 --> 1:22:36.840 doesn't mean she's been like hypnotized fully by the Lord 1:22:36.840 --> 1:22:39.120 of Darkness, because she's still not into him at this point. 1:22:39.160 --> 1:22:42.800 He's he's trying to make all these you know, seducing 1:22:42.840 --> 1:22:46.080 her to evil kind of moves, and she she's still 1:22:46.120 --> 1:22:48.839 screaming like, no, I will do nothing for your pleasure, 1:22:49.920 --> 1:22:53.920 but In the end, she does appear to make a turn. 1:22:54.360 --> 1:22:57.080 She says, Okay, I will stay with you here if 1:22:57.280 --> 1:23:01.439 you will grant me one thing. Let me be the 1:23:01.439 --> 1:23:04.439 one who cuts the throat of the last unicorn instead 1:23:04.439 --> 1:23:06.960 of you and Tim Curry. You could just see him. 1:23:07.000 --> 1:23:09.280 He's like, yes, yes, He's. 1:23:09.200 --> 1:23:11.479 Like, this is exactly the sort of thing I'm into, 1:23:11.520 --> 1:23:13.320 and I'm so glad you are into it as well. 1:23:13.760 --> 1:23:14.000 Yeah. 1:23:14.120 --> 1:23:16.880 But oh but before we get to that point, I 1:23:16.960 --> 1:23:19.920 have to talk about her brow though. Oh because yeah, 1:23:20.000 --> 1:23:24.080 because yeah, her costume of goth Lily is amazing, you know, 1:23:24.240 --> 1:23:27.040 the makeup is amazing. But they make a seemingly very 1:23:27.080 --> 1:23:32.280 deliberate choice to narrow and nearly unify her brow. So 1:23:32.360 --> 1:23:36.559 she has this very sweek monobrow youni brow going on 1:23:36.680 --> 1:23:39.160 here in a way that is that is of course 1:23:39.200 --> 1:23:42.320 also very like beautiful and hot. Don't don't get me wrong. 1:23:42.560 --> 1:23:43.160 It is enough. 1:23:43.240 --> 1:23:45.720 It is like the kind of like stylized you a 1:23:45.800 --> 1:23:48.120 brow that can make you realize, you know, it is 1:23:48.320 --> 1:23:51.439 like maybe a silly cultural thing that some of us 1:23:51.479 --> 1:23:54.080 don't think brows should grow together, because here's proof that 1:23:54.160 --> 1:23:58.080 it can look really cool. But like, first they made 1:23:58.080 --> 1:24:01.200 this decision, and I wonder, like how how they talked 1:24:01.200 --> 1:24:03.439 about it behind the scenes, where they're like, I really 1:24:03.439 --> 1:24:06.360 think we need to give her a unibrow here, and 1:24:06.400 --> 1:24:08.280 like maybe people were doubtful and then they saw the 1:24:08.280 --> 1:24:10.160 results and they're like, no, you got it. This is 1:24:10.240 --> 1:24:12.360 exactly what God Lily needs. 1:24:12.600 --> 1:24:16.240 So the audience at this point may be left to wonder, like, Okay, 1:24:16.600 --> 1:24:19.680 has she fully been captured by the darkness? Does she 1:24:19.720 --> 1:24:21.840 want to kill the unicorn for real? But no, No, 1:24:21.920 --> 1:24:24.880 Lily has a plan, and Jack's about to get a 1:24:24.880 --> 1:24:28.160 plan too. Like the Jack and his friends, they've snuck 1:24:28.200 --> 1:24:30.960 into the palace and they're like peeking through a through 1:24:31.000 --> 1:24:34.080 a window and watching what's going on. And so Jack 1:24:34.160 --> 1:24:37.800 comes up with an idea that involves bringing light into 1:24:37.840 --> 1:24:39.840 the darkness. So they need to go gather a bunch 1:24:39.840 --> 1:24:42.640 of big shiny plates from the hell Kitchens to have 1:24:42.720 --> 1:24:45.439 shiny plates for some reason that they're going to use 1:24:45.560 --> 1:24:49.759 to create a series of reflector beams to bring sunlight 1:24:49.800 --> 1:24:52.599 from up above down into the darkness where it will 1:24:52.600 --> 1:24:56.679 destroy Tim Curry now on the way. At one point 1:24:56.760 --> 1:24:59.680 they get drawn into a fight with the ogres and 1:24:59.720 --> 1:25:04.040 the Hell Kitchen. I think they they beat them by 1:25:04.080 --> 1:25:08.280 like dumping out a big pot of broth. Unclear exactly 1:25:08.360 --> 1:25:10.120 how this fight is resolved. 1:25:09.640 --> 1:25:12.719 Here now, yeah, I'm not sure either, but while it's happening, 1:25:12.760 --> 1:25:14.439 the fight is very cool. There's a lot of running 1:25:14.479 --> 1:25:17.320 around and jumping and dodging, and of course the set 1:25:17.360 --> 1:25:17.959 is amazing. 1:25:18.479 --> 1:25:20.599 And skipping over a few more things that go on 1:25:20.640 --> 1:25:22.240 in the palace here, it all leads up to this 1:25:22.280 --> 1:25:26.439 final confrontation where Lily and Darkness are down there with 1:25:26.520 --> 1:25:30.040 the last unicorn and Lily is about to exercise her 1:25:30.040 --> 1:25:33.080 privilege to be the one to put an end to 1:25:33.200 --> 1:25:37.160 all goodness and bring on the forever night, and Jack 1:25:37.240 --> 1:25:40.280 and Honeythorn Gump are They've got the plans set up 1:25:40.280 --> 1:25:42.639 to bring the light in and they're watching from above 1:25:42.760 --> 1:25:45.559 with bows drawn as this is about to happen, and 1:25:45.640 --> 1:25:47.960 Gump is saying, oh, no, she's going to kill the unicorn. 1:25:47.960 --> 1:25:51.080 You've got a stopper, Jack, But Jack says, no, I 1:25:51.200 --> 1:25:53.240 trust you, Lily, And so this is a sort of 1:25:53.280 --> 1:25:56.400 repeated idea that he puts his trust in her, and 1:25:56.479 --> 1:25:59.120 it was well placed, because she in fact does not 1:25:59.320 --> 1:26:02.040 go through with hurting the unicorn. She instead cuts it 1:26:02.080 --> 1:26:05.640 free of its bindings, and then it kicks off a 1:26:05.680 --> 1:26:09.200 final action scene where Jack rushes in to fight the 1:26:09.240 --> 1:26:12.519 Lord of Darkness and put an end to this once 1:26:12.560 --> 1:26:17.360 and for all. The fight scene here, I'm of mixed 1:26:17.400 --> 1:26:21.240 opinions about it. It has some cool elements, something about 1:26:21.240 --> 1:26:24.120 it feels kind of thrown together in a way, but 1:26:24.320 --> 1:26:26.120 individual moments of it I like. 1:26:26.720 --> 1:26:29.439 Yeah, I think the thing I was most impressed by 1:26:29.680 --> 1:26:33.400 is that Darkness still feels like a cohesive entity here, 1:26:33.840 --> 1:26:36.400 despite the fact that we're suddenly seeing him move around 1:26:36.439 --> 1:26:39.160 a lot more like he's swinging a giant sword. He's 1:26:39.200 --> 1:26:42.320 like shooting fire from his fingertips, and in one sequence 1:26:42.439 --> 1:26:45.960 like runs like charges like a bull at Jack and 1:26:46.360 --> 1:26:49.280 sort of like pins into the wall and snarls at him. 1:26:50.560 --> 1:26:52.840 And I feel like like, if the effects were not 1:26:53.040 --> 1:26:57.360 just so on point here, either this wouldn't feel believable 1:26:57.520 --> 1:26:59.880 or we wouldn't see an attempt like this at all. 1:27:00.400 --> 1:27:02.920 Yeah, yeah, I agree U. And he has some great 1:27:02.960 --> 1:27:05.200 dialogue in the scene too, like while they're fighting, at 1:27:05.240 --> 1:27:08.800 one point, Darkness says, every wolf suffers fleas 'tis easy 1:27:08.880 --> 1:27:13.080 enough to scratch. Oh, and then at the final defeat, Okay, 1:27:13.120 --> 1:27:15.720 so you know, they blow the doors open with the 1:27:15.720 --> 1:27:18.880 sunlight brought in through the maze of mirrors, and it 1:27:18.960 --> 1:27:21.760 shines a big ray of sunlight onto darkness, which is 1:27:22.000 --> 1:27:25.679 a destructive It like unleashes this destructive gale upon him 1:27:26.080 --> 1:27:29.760 that blows him out through this big sort of aperture 1:27:29.840 --> 1:27:31.840 we've seen in the wall. There's like this gap in 1:27:31.880 --> 1:27:35.200 the wall that seems to lead out into space and 1:27:35.240 --> 1:27:38.200 the night. We just see black and stars beyond it. 1:27:39.160 --> 1:27:41.599 And as he's being blown out, Darkness says, you think 1:27:41.640 --> 1:27:44.160 you have won? What is light without dark? What are 1:27:44.200 --> 1:27:46.600 you without me? I'm a part of you all. You 1:27:46.640 --> 1:27:50.240 can never defeat me. We are brothers eternal. But he 1:27:50.400 --> 1:27:54.680 is seemingly defeated. He's blown out into space. And I 1:27:54.840 --> 1:27:58.360 just want to point out for comparison, so the villain 1:27:58.400 --> 1:28:01.719 of this movie is destroyed by being sucked out into space. 1:28:01.840 --> 1:28:04.400 How is the Starbis defeated at the end of Alien, 1:28:04.479 --> 1:28:08.120 also by Ridley Scott from several years earlier, blown out 1:28:08.200 --> 1:28:11.160 the airlock. Both of these movies end with the villain 1:28:11.280 --> 1:28:14.559 being the villain nor the monster being blown out into space. 1:28:14.880 --> 1:28:19.960 That's also how Gladiator defeated Emperor Commutists in that movie, right, 1:28:20.040 --> 1:28:21.800 just out through the airlock, you know. 1:28:21.920 --> 1:28:24.880 Strangely, I would say, Thelma and Louise does have an 1:28:24.920 --> 1:28:26.960 almost kind of out into space ending. 1:28:27.439 --> 1:28:30.559 That's true, Yeah, like into the void. I guess you 1:28:30.560 --> 1:28:31.040 could say. 1:28:31.120 --> 1:28:34.240 Yeah, Now, after the evil is defeated, the unicorn is 1:28:34.240 --> 1:28:37.599 all right. Somehow we see the other unicorn revived, so 1:28:37.600 --> 1:28:41.679 now they're both okay. The supernatural winter ends, Lily is freed, 1:28:41.760 --> 1:28:45.040 and everything can go back to normal. I think depending 1:28:45.080 --> 1:28:48.040 on which cut of the film you are seeing, there'll 1:28:48.040 --> 1:28:50.160 be a slightly different ending. There might be one where 1:28:50.160 --> 1:28:52.200 it seems like they're going to get married or something. 1:28:52.720 --> 1:28:56.040 I think there is one ending where we hear darkness 1:28:56.120 --> 1:29:00.800 laughing after the happy ending, suggesting, oh, he's act coming back. 1:29:01.320 --> 1:29:06.320 The ending of the director's cuts has them coming to 1:29:06.400 --> 1:29:11.759 a kind of bittersweet agreement where Jack and Lily conclude 1:29:11.800 --> 1:29:15.240 that Jack can't really be part of Lily's world, that 1:29:15.280 --> 1:29:18.360 he is going to have to stay in the forest, 1:29:18.400 --> 1:29:20.479 But she says, can I come visit you every day? 1:29:20.520 --> 1:29:22.320 And he says yes, all right. 1:29:22.360 --> 1:29:25.200 I guess this getting into the the basic thesis statement 1:29:25.320 --> 1:29:28.640 that our heroes are going to have to embrace darkness 1:29:28.640 --> 1:29:30.120 and light, that they're going to have to find some 1:29:30.280 --> 1:29:33.559 balance of things, and that maybe, like the ideal happy 1:29:33.680 --> 1:29:37.280 ending isn't really in the cards, but I don't know. 1:29:37.320 --> 1:29:39.840 But then I don't know. Especially in the US theatrical cut, 1:29:39.920 --> 1:29:43.160 it does feel a lot more good conquers everything, you know, 1:29:43.200 --> 1:29:46.479 good over evil, And then we can't argue with those songs. 1:29:46.520 --> 1:29:49.880 We're hit first with that Tangerine Dream vocal track, and 1:29:49.960 --> 1:29:52.719 then we get your love Is your love strong enough? 1:29:53.000 --> 1:29:55.679 And the answer is yes, clearly, The answer is yes 1:29:55.760 --> 1:30:00.000 a million times. Yes, love is absolutely strong enough. 1:30:00.520 --> 1:30:03.560 Is your love strong enough to turn the world into garbage? 1:30:03.760 --> 1:30:05.599 One great big mountain of slop? 1:30:07.760 --> 1:30:11.599 All right, Well, there you have it. Legend from Ridley Scott. 1:30:12.240 --> 1:30:14.160 I'd be very interested to hear what everyone out there 1:30:14.200 --> 1:30:16.280 has to say about this film, like did you see it? 1:30:16.680 --> 1:30:20.040 What version did you initially see, and what were your impressions? 1:30:20.080 --> 1:30:23.639 And has it grown on you over the years, like again, 1:30:23.680 --> 1:30:25.840 like it's a film that had such an impact on me, 1:30:26.040 --> 1:30:29.439 like visually that it's always stuck with me, but it's 1:30:29.479 --> 1:30:31.400 also a film that I always come back to and 1:30:31.400 --> 1:30:33.360 realize that well, you know, it's a little rough around 1:30:33.360 --> 1:30:35.680 the edges in the in the end, but you know, 1:30:35.760 --> 1:30:39.439 it's definitely developed its own cult following, and it has become 1:30:39.600 --> 1:30:40.639 iconic in its own right. 1:30:41.120 --> 1:30:44.200 I can't deny there's something about it that just doesn't 1:30:44.280 --> 1:30:46.400 quite come together. And yet I'm not going to get 1:30:46.479 --> 1:30:48.320 rid of my copy. I know I'm going to be 1:30:48.320 --> 1:30:49.080 watching it again. 1:30:49.880 --> 1:30:51.519 Yeah, this is a great one to put on. I've 1:30:51.560 --> 1:30:53.599 played this one before just in the background with other 1:30:53.680 --> 1:30:55.759 music on top of it, and it's always a delight. 1:30:56.120 --> 1:30:56.880 Yeah. 1:30:56.960 --> 1:30:58.360 All right, Well we're going to go and close out 1:30:58.400 --> 1:31:01.200 this episode of Weird House Cinema, but we'll be back 1:31:01.320 --> 1:31:04.280 with the future installments, which air on Fridays in the 1:31:04.280 --> 1:31:06.240 Stuff to Blow Your Mind podcast feed. If you want 1:31:06.240 --> 1:31:07.760 to see a full list of the movies we've covered 1:31:07.800 --> 1:31:10.120 over the years for Weird House Cinema, go to letterbox 1:31:10.160 --> 1:31:11.840 dot com. It's L E T E R B o 1:31:12.000 --> 1:31:14.160 x D dot com. You'll find us on there. Our 1:31:14.240 --> 1:31:16.439 user name is weird House and there's a list of 1:31:16.479 --> 1:31:18.639 all the films we've covered and sometimes a peek ahead 1:31:18.680 --> 1:31:21.360 at what's coming out next. Also, if you're on Instagram, 1:31:21.400 --> 1:31:24.200 go to st b ym podcast. That's the Stuff to 1:31:24.200 --> 1:31:27.799 Blow Your Mind podcast channel handle and you'll get updates 1:31:27.840 --> 1:31:28.360 there as well. 1:31:28.880 --> 1:31:32.680 Huge thanks as always to our excellent audio producer Jjposway. 1:31:33.080 --> 1:31:34.599 If you would like to get in touch with us 1:31:34.600 --> 1:31:37.080 with feedback on this episode or any other, to suggest 1:31:37.080 --> 1:31:39.080 a topic for the future, or just to say hello, 1:31:39.200 --> 1:31:41.679 you can email us at contact at stuff to Blow 1:31:41.680 --> 1:31:49.240 your Mind dot com. 1:31:49.360 --> 1:31:52.280 Stuff to Blow Your Mind is production of iHeartRadio. 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