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

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

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Speaker 2: My co host Joe was out on holiday leave at

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Speaker 2: the time of this recording, so I turned to former

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Speaker 2: Weird House guest host and former producer on the show,

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Speaker 2: Seth Nicholas Johnson of the podcast Rusty Needles Record Club. Seth.

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Speaker 2: Welcome back.

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Speaker 3: Thank you for having me happy to be here.

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Speaker 2: Before we get into the movie and the movie selection here,

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Speaker 2: what have you been up to on Rusty Needles Record Club.

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Speaker 3: Well, I believe just yesterday we recorded our Best Albums

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Speaker 3: of twenty twenty three list, which is always fun. Not

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Speaker 3: only do I enjoy making that list every year, but

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Speaker 3: I also enjoy hearing everyone else's lists, like my co

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Speaker 3: host Scott's. When he was making his list, I gotta say,

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Speaker 3: despite the absolutely absurd amount of music that I consume

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Speaker 3: every year, all of my spare money goes into listening

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Speaker 3: to music and going to concerts and all that stuff,

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Speaker 3: I still hadn't heard probably two thirds of his top

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Speaker 3: ten list, which is amazing to me because we're close

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Speaker 3: friends with very similar taste in music, and yet there's

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Speaker 3: just so much wonderful music in the world that I

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Speaker 3: love this time of year, the Decembers and Januaries, and

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Speaker 3: you get to catch up on everyone's Favorites of the

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Speaker 3: Year list. You're pretty much guaranteed gold from everyone. I

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Speaker 3: love it.

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Speaker 2: Yeah, yeah, I mean, I guess when you fill your

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Speaker 2: life with music, there are so many different corners of

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Speaker 2: your life. You have different musical tastes occupying, and yet

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Speaker 2: not all of them are going to come up in conversation,

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Speaker 2: even with close collaborators or friends. You know, there's gonna

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Speaker 2: be some hidden gems in there as.

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Speaker 3: Well, exactly. So, Yeah, it's a great time for music,

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Speaker 3: and yeah it's a fun show. If there are any

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Speaker 3: music fans in the audience.

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Speaker 2: All right, Well, the movie for this week is a

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Speaker 2: nineteen fifty nine Roger Korman directed and of course produced,

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Speaker 2: beaten in carror comedy or you know, I guess, a

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Speaker 2: black comedy if you will, titled A Bucket of Blood

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Speaker 2: starring Dick Miller. This was your pick, Seth. This was

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Speaker 2: not one that was really on my radar. How do

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Speaker 2: you zero in on this one? What's your history with

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Speaker 2: the film?

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Speaker 3: Well, basically, I have a real love for what's known

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Speaker 3: as gray market DVDs. They're not quite black market DVDs.

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Speaker 3: They are legal, but just barely. You know, those kind

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Speaker 3: the kinds of things you find in a store or

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Speaker 3: online called like drive in Cult Classics thirty two movie collection,

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Speaker 3: or you know, the Classic Sci Fi Ultimate Collection, Volume two.

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Speaker 3: So if it was Ultimate, I'm not sure why there's

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Speaker 3: a volume two, but hey, then Tales of Terror two

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Speaker 3: hundred classic horror movies. Like I buy these collections often

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Speaker 3: ultimately just because I'm a big fan of creativity overcraft.

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Speaker 3: And when I'm watching let's call it a typical Hollywood film,

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Speaker 3: it usually follows the same beats and has the same structure,

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Speaker 3: and it's just not very interesting to me, just because

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Speaker 3: you can predict where everything's gonna go, and it's whatever.

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Speaker 3: It's boring. So by just taking a step outside of

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Speaker 3: that blueprint for filmmaking, you end up in some weird corners.

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Speaker 3: And even if it's a bad movie, as long as

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Speaker 3: it's interesting, that's kind of enough for me. So by

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Speaker 3: going down the B movie routes, that's at least my

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Speaker 3: reasoning for why I love B movies and old movies

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Speaker 3: and bad movies is that you can't really predict where

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Speaker 3: it's going, which makes them far more interesting than the

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Speaker 3: typical Hollywood film these days. And uh yeah, yeah, so

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Speaker 3: that's why I went down that route. And then in

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Speaker 3: one of these collections, I actually dug through my DVDs

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Speaker 3: and I found the exact disc where I discovered this.

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Speaker 3: This was called Horror Classics, and then it has the

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Speaker 3: title here, four movies over four hours.

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Speaker 2: Well, that's reasonably cut down because I was thinking one

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Speaker 2: of the things about these, especially DVD releases, and they're

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Speaker 2: still putting them out, and some of them are, you know,

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Speaker 2: or very nice. Some of them are higher budget affairs. But yeah,

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Speaker 2: sometimes it's like four movies, and to your point, other

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Speaker 2: times it's like fifty movies. Yes, and you can sort

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Speaker 2: of do the algebra in your head. It's like, okay,

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Speaker 2: the quality of those four films is now spread out

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Speaker 2: over like fifty titles. Here're going to be a number

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Speaker 2: of neglected films and forgotten films in this lot.

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Speaker 3: Well, for example, here's what's on this disc which I

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Speaker 3: was looking at the dates on it, and I purchased

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Speaker 3: this in two thousand and three from Platinum Disc Corporation

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Speaker 3: from Lacrosse Wisconsin. So that's fun. But here's what was

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Speaker 3: on this disc Horror Hotel, A bucket of Blood, the

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Speaker 3: Devil's Hand, and I Bury the Living. I've actually seen

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Speaker 3: all four of those and they're actually not bad. But

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Speaker 3: I think that's the point, though, is that usually when

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Speaker 3: you're watching these, it's a real roll of the dice

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Speaker 3: what the quality is going to be, because the reason

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Speaker 3: why people put out these gray market DVDs is because

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Speaker 3: it costs them very little. Either these are public domain

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Speaker 3: films or films that have just like the lowest licensing

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Speaker 3: fees ever, and so it's just a cheap way for

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Speaker 3: someone to make a quick buck, so they just, you know,

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Speaker 3: I think shovel wear is a term for it when

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Speaker 3: it's applied to video games. But it's just it's nothing.

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Speaker 3: It's cheap nothing. So usually it's garbage. And every once

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Speaker 3: in a while you find a gem, and this a

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Speaker 3: Bucket of Blood is one of those very rare gems

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Speaker 3: in these piles of public domain and low licensing fees

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Speaker 3: movies on these gray market DVDs. And when I saw

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Speaker 3: it the first time, I immediately knew that it was

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Speaker 3: just a cut above the rest and that it was

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Speaker 3: a movie that I was going to share with people

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Speaker 3: and show to people. And I think, more to the point,

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Speaker 3: I am an art school kid, you know, my college

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Speaker 3: degrees and the fine arts and all that kind of stuff.

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Speaker 3: So when I see things like beat Nicks and cafes

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Speaker 3: and gallery showings and all those things, it just feels

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Speaker 3: very at home to me. And the lampooning of it

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Speaker 3: feels very direct and personal in a charming and fun way.

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Speaker 3: So I think that's another reason why I latch onto

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Speaker 3: it so directly.

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Speaker 2: Yeah, I mean, there's an authenticity to this film, right,

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Speaker 2: It feels like it's commenting on actual people and culture.

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Speaker 2: Sometimes the films of this caliber have that feeling of

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Speaker 2: like having been written by an alien, acted by aliens,

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Speaker 2: Like this is just a rough approximation of what human

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Speaker 2: beings are like. But there's real humanity in this even

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Speaker 2: though at the same time, of course, it is a

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Speaker 2: horror film, horror comedy, a satire. It's not attempting to

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Speaker 2: adhere very closely to the contours of life, but it's

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Speaker 2: commenting on those contours for sure.

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Speaker 3: And some of those comments are still pretty valid. So,

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Speaker 3: like this movie was made in the nineteen or sorry,

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Speaker 3: late nineteen fifties. I think it's fifty nine. And there's

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Speaker 3: one joke in here in particular where I was like, yeah,

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Speaker 3: that still hits home. It was all the beat Nicks

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Speaker 3: were like waking up and they're like flop house, and

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Speaker 3: they're all sitting around to breakfast. And our protagonist walks

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Speaker 3: in and the the head beatnik offers him breakfast. And

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Speaker 3: I wrote this down because I loved it so much.

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Speaker 3: He offers him soy and wheat, germ pancakes or go.

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Speaker 3: He pronounces it organic, but it's organic organic guava nectar,

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Speaker 3: calcium lactate and tomato juice and gorbonzo omelets sprinkled with

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Speaker 3: smoked yeast. And I thought to myself, that's one hundred

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Speaker 3: percent a meal I run into in my little vegan

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Speaker 3: cafes that I go to. Like, no over exaggeration, no

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Speaker 3: like playing it up for giggles. That's a real meal

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Speaker 3: that I have eaten in a standard typical twenty twenty

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Speaker 3: three or I guess twenty twenty four now vegan cafe.

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Speaker 2: Yeah, absolutely, yeah. I was excited when I realized this

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Speaker 2: was going to be a Beatnik movie because I was

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Speaker 2: recently reflecting to sort of you know, casually want doing

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Speaker 2: something else, like around the house or something that I

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Speaker 2: don't think weird how cinema had featured a proper beatnik movie,

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Speaker 2: and this is a perfect one. Yeah, it hits all

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Speaker 2: the right notes, and there's not a note like it's

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Speaker 2: not just casually beaten it. It's not like, Okay, we

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Speaker 2: kill a couple of beat Nicks off in the first

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Speaker 2: couple of minutes. It's devoted to commenting on beatnik culture,

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Speaker 2: right right for sure. Now, for anyone out there you're

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Speaker 2: not familiar with the term beatnik or you're only loosely

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Speaker 2: familiar with it. Roughly speaking, these were members of the

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Speaker 2: beat generation, and more specifically followers of kind of an

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Speaker 2: anti materialistic bohemian lifestyle. You know, to varying degrees that

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Speaker 2: people are aligned with any given social movement. This would

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Speaker 2: have been the late fifties early sixties. You know, icons

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Speaker 2: like Alan Ginsberg are generally associated with this scene. They

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Speaker 2: were pre hippies, though many of them would go on

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Speaker 2: to become hippies.

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Speaker 3: It's also I love when the mainstream bastardizes subcultures. I

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Speaker 3: find it so funny every single time. A lot of

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Speaker 3: eighties films when they're trying to identify and focus on

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Speaker 3: the punk scene, hilarious hippies. Yeah, yeah, honestly, it's all

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Speaker 3: of the subcultures. Whenever the mainstream focuses on a subculture,

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Speaker 3: whether it be kids in their early two thousands, anything, anything,

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Speaker 3: it's always ridiculous and always fun. Hackers, the film Hackers

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Speaker 3: was it was a great version of that, So they're

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Speaker 3: all good. Any any mainstream version of a subculture is

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Speaker 3: lampoon worthy in itself, and this is one of them

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Speaker 3: for sure. But I think they're they're pretty accurate.

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Speaker 2: Yeah, yeah, you always they always paying with a broad brush.

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Speaker 2: But given that they get to devote the whole film

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Speaker 2: to Beatnicks, you have like these different caricatures of Beatninks.

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Speaker 2: Very true. Now you mentioned the different subcultures across different decades,

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Speaker 2: you know, especially given that this film ultimately has a

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Speaker 2: has a simplistic but effective format, you know, you could

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Speaker 2: easily apply it to a different subculture like every decade

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Speaker 2: or even every five years. And indeed, there's at least

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Speaker 2: one seemingly bad remake of this film from nineteen ninety

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Speaker 2: five that updates it, for like gen X hipsters instead

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Speaker 2: of Beatnicks.

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Speaker 3: I've seen it. I've seen it.

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Speaker 2: Yeah.

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Speaker 3: The main reason I watched it is I believe years ago,

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Speaker 3: I was on like IMDb trivia or something for this

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Speaker 3: movie Bucket of Blood, And while I was there, one

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Speaker 3: of the pieces of trivia was like Will Ferrell plays

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Speaker 3: a bit part in the remake of this film, and

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Speaker 3: so I had to hunt it down and see it

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Speaker 3: just to see what it was like. Because one of

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Speaker 3: the things this movie, a Bucket of Blood, is clearly

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Speaker 3: lacking as a budget, Like it's clearly like a bottom

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Speaker 3: of the barrel Roger Korman. We have twelve dollars and

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Speaker 3: five days, let's just make a movie. And so because

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Speaker 3: of that, you know, it suffers from the things that

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Speaker 3: do suffer without a budget. But then I watched the remake,

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Speaker 3: and I think, if I remember correctly, I may not.

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Speaker 3: I think it was a Showtime original movie, like Movie

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Speaker 3: of the Week kind of thing, so it still had

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Speaker 3: a rock bottom budget and it was not improved with

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Speaker 3: an increased budget, because I don't believe they actually increased

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Speaker 3: the budgets, And so I think the original is.

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Speaker 2: All, you know. Yeah, yeah, the remake has Anthony Michael Hall,

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Speaker 2: and I think David Cross also shows up in it

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Speaker 2: at some point, but I have not seen it. I

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Speaker 2: just watched a clip of it and that was all

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Speaker 2: I need.

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Speaker 3: Yes, Yes, that's correct, that's correct. If you're going to

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Speaker 3: watch one, I recommend the original.

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Speaker 2: All right, well, let's go ahead and listen to a

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Speaker 2: little bit of the trailer audio on this one, so

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Speaker 2: folks can get a taste of what we're going to

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Speaker 2: be talking about here. The artist, the poet, the figure

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Speaker 2: muddle who loves to show it. Do you suppose he

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Speaker 2: could be physically attracted to No, man, he ain't the type.

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Speaker 2: You don't get enough vitamin E.

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Speaker 3: All these are beat All these.

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Speaker 2: Your meat him a bucket of blood.

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Speaker 3: Let us make the see.

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Speaker 2: Enjoy yourself where the hilarious, enjoy the horrifying in a

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Speaker 2: bucket of blood. Now you're gonna shoot me, don't chir

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Speaker 2: Come to the land of living dreams, where realists dream

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Speaker 2: of the unreal water. You've done something to me, something

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Speaker 2: deep down inside of my praana. Oh what I want

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Speaker 2: to be with you? Your creative beat nicks at their bodiest,

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Speaker 2: the creative urge at its most primitive. Irime deeply moved,

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Speaker 2: And I shall compose a poem, Love is art, Art

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Speaker 2: is love. It's the weirdest and the wildest.

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Speaker 3: I don't want to make statues anymore.

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Speaker 2: I want to get married to you. All right. Well,

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Speaker 2: if you want to go out and watch this film

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Speaker 2: before we discuss it anymore here and get into some

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Speaker 2: spoilers and so forth, well, luckily you don't have to

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Speaker 2: go and get that bargain bin four to fifty forgotten

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Speaker 2: horror films because it's widely available digitally. I watched this

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Speaker 2: one on Prime and the film Detective Studio put out

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Speaker 2: a very nice blu ray of the picture if you

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Speaker 2: want to go physical media on it, So you got

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Speaker 2: plenty of options. For sure.

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Speaker 3: It's public domain, so you can find it on YouTube.

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Speaker 3: You can find it, you know, playing at a gas station,

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Speaker 3: pump anywhere anywhere. Really that there's a screen.

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Speaker 2: That would be great. I wish they should movies like

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Speaker 2: this gas station. They should.

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Speaker 3: You know, there's a couple of really good restaurants where

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Speaker 3: they'll do that just project public domain old films, like

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Speaker 3: on the walls while you eat. There was a burger

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Speaker 3: place in Atlanta that did that that I really liked.

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Speaker 2: Yeah, I know the place, all right, let's get into

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Speaker 2: the people involved in this film. We mentioned already that

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Speaker 2: this is Roger Corman picture, directed and produced. Corman of

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Speaker 2: course towering name in American bet cinema, and this is

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Speaker 2: a film that's often mentioned in highlights of his directorial output.

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Speaker 2: Even though I never it wasn't really on my radar.

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Speaker 2: I think it was probably because it had kind of

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Speaker 2: has this grotesque title bucket of Blood, that puts a

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Speaker 2: lot of ideas into your head. And I do have

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Speaker 2: to stress there is no bucket of blood that I remember.

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Speaker 2: There's maybe a pan of blood, but it's not always

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Speaker 2: filled up. No, Yeah, it's not nearly as grizzly as

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Speaker 2: it implies. Obviously, you know they're trying to get the

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Speaker 2: teens into the drive in here.

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Speaker 3: This is perhaps a movie title first situation, and perhaps

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Speaker 3: even a poster first. Did you see the poster for this? Yeah,

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Speaker 3: it's wonderful. It's like a page out of Mad magazine.

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Speaker 3: It's ridiculous.

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Speaker 2: Yeah, but it clearly doesn't a monster So that might

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Speaker 2: have been a reason that I never really was drawn

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Speaker 2: into it before, just because it was it was clearly

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Speaker 2: not a monster film. It's talking about a bucket of blood,

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Speaker 2: and I ended up moving on to the next thing.

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Speaker 2: And there are a lot of things to move on

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Speaker 2: to in Roger Corman's filmography, but yeah, this one stands

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Speaker 2: out because it's actually, you know, a darkly satirical horror comedy,

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Speaker 2: and it kicks off a loose trilogy of Corman directed

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Speaker 2: in Charles B. Griffith's scripted black comedies. Again, this was

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Speaker 2: fifty nine A Bucket of Blood, followed up by nineteen

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Speaker 2: sixties The Little Shop of Horror, which I think everyone

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Speaker 2: is familiar with to some degree or another, and then

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Speaker 2: nineteen sixty one's Creature from the Haunted Sea.

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Speaker 3: All classics, all wonderful films, excellent.

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Speaker 2: Yeah, I haven't seen Creature from the Haunted Sea, but

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Speaker 2: now I'm interested to check it out.

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Speaker 3: I mean Roger Corman, I mean, I don't think he's underrated,

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Speaker 3: but perhaps people think of him mostly as someone who

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Speaker 3: had a lot of content, But he also had a

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Speaker 3: lot of quality. I have to say, like, I think,

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Speaker 3: for his limitations in budget and time, he made amazing

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Speaker 3: pieces for what resources he had. If he had more resources, actually,

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Speaker 3: who knows. Maybe he worked well under pressure, but for

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Speaker 3: the amount of money that he worked with and the

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Speaker 3: amount of time that he spent on them. They're actually

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Speaker 3: remarkable films.

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Speaker 2: Oh yeah, I mean just just discussing films that have

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Speaker 2: been covered on Weird House in the past that Joe

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Speaker 2: and I've talked about, like nineteen fifty seven's Not of

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Speaker 2: This Earth very cheap, but the fact that the movie

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Speaker 2: is so cheap and you can still find things to

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Speaker 2: talk about, that there's still things that stand out and

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Speaker 2: are memorable and demand bad remakes decades later. It's commendable.

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Speaker 3: Yeah, and that you want to rewatch them and you

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Speaker 3: want to share them with your friends. That's really telling

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Speaker 3: when you when you just finished watching one hundred and

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Speaker 3: ninety nine other bad horror movies.

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Speaker 2: Yeah, and then you know a film like nineteen sixty

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Speaker 2: four's Mask of the Red Death. You get to see

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Speaker 2: what Corman was capable of when he did have a

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Speaker 2: bigger budget backing him up right and did go for

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Speaker 2: like a stylistic picture.

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Speaker 3: That's a great example.

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Speaker 2: Yeah. This picture though, is again nineteen fifty nine. It's

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Speaker 2: coming on the Heels. I think five different pictures that

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Speaker 2: he directed in the previous year in fifty eight, including

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Speaker 2: Teenage Caveman and eight pictures from fifty seven including Not

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Speaker 2: of This Earth and Attack of the Crab Monsters. So

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Speaker 2: it's kind of entering a new dimension here. You know.

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Speaker 2: He directed a lot of different things. We think of him,

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Speaker 2: you know, in terms of monster films, but he did westerns,

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Speaker 2: he did crime, he did dramas, and of course he

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Speaker 2: did black comedies and satires, as we see in this picture.

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Speaker 2: Now the screenwriter again as Charles B. Griffith, who of

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Speaker 2: nineteen thirty through two thousand and seven American screenwriter, best

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Speaker 2: known for his work with Corman, which also included some acting.

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Speaker 2: And you know, as is often the case in the

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Speaker 2: Corman camp, you know, it's like you're just called on

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Speaker 2: to do different things. He worked on such films as

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Speaker 2: Not of This Earth, from fifty six, Attack of the

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Speaker 2: Crab Monsters, fifty seven The Little Shop of Hers. He

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Speaker 2: also directed six films, including fifty nine Forbidden Island, seventy

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Speaker 2: nine's Up from the Depths in nineteen eighty nine's Wizards

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Speaker 2: of the Lost Kingdom too.

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Speaker 3: I actually like that one. That one's an MST three

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Speaker 3: K one, and I like that one quite a bit.

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Speaker 2: Oh yeah, I haven't. I haven't watched that MST three

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Speaker 2: K episode yet.

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Speaker 3: But yeah's I want to say, that's perhaps the second

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Speaker 3: Netflix season perhaps, And yeah, that was actually a good one.

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Speaker 3: I like that one.

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Speaker 2: This has some sort of crazy lion creature or something

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Speaker 2: in the sky. I want to say.

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Speaker 3: That sounds about right. That sounds about right. Mostly it

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Speaker 3: was that kind of like comedic relief and small child

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Speaker 3: traveling across medieval Europe kind of situation.

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Speaker 2: Yeah, yeah, all right, getting into the cast here, this

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Speaker 2: film is all about Walter Paisley, and we're gonna have

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Speaker 2: a lot to say about the character of Walter Paisley

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Speaker 2: as we proceed here. But Walter Paisle was played by

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Speaker 2: the great Dick Miller, who lived nineteen twenty eight through

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Speaker 2: twenty nineteen. We've talked about him before on Weird House

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Speaker 2: cinema legendary character actor from the Bronx who made his

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Speaker 2: way to California in the mid fifties. He's trying to

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Speaker 2: make it, go at it as a writer, but then

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Speaker 2: he meets Roger Corman. Roger Corman didn't need writers, he

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Speaker 2: needed actors, so he started using him on pictures as

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Speaker 2: early as nineteen fifty five as Apache Woman, in which

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Speaker 2: I believe he plays two different Dick parts. So it's like,

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Speaker 2: get in there, Dick, we need you in the background

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Speaker 2: here and okay, now wipe the makeup off. We need

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Speaker 2: you in this scene as well. And from that point

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Speaker 2: on he ends up showing up in other Corman pictures

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Speaker 2: such as Not of This Earth and He Not of

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Speaker 2: This Earth is a great example where he comes in.

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Speaker 2: He brings a lot of energy and creativity to the role.

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Speaker 2: I think he ad libs some stuff. He takes something

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Speaker 2: that could just be a thankless, little extra role, this

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Speaker 2: guy's it's going to be killed by the alien menace,

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Speaker 2: and makes it something memorable. And so it's no surprise

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Speaker 2: that Corman finally casts him in the lead. He casts

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Speaker 2: him in the lead in a crime drama titled Rock

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Speaker 2: all Night, and this kicks off a whole string of

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Speaker 2: roles in Corman pictures. It becomes an icon of genre cinema,

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Speaker 2: popping up later on in memorable roles in such pictures

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Speaker 2: as Grimlins, Tales from the Crypt, Demon Knight, the Terminator.

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Speaker 2: Of course, he has that great small role as the

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Speaker 2: guy that's running the gun shop that the Terminator goes into.

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Speaker 2: So wherever he pops up, he's always a treat. And

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Speaker 2: while many film goers, I think, tend to associate him

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Speaker 2: with kind of snappy working man roles, you know, like

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Speaker 2: a terminator. Just what you see here Pal Bucket of

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Speaker 2: Blood casts them as a likable but ultimately dim witted

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Speaker 2: outcast who desperately wants to belong. So if you're not

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Speaker 2: used to seeing him outside of those sort of working

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Speaker 2: man roles, you might be a little surprised at the

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Speaker 2: ultimately the depth that they get into here with this character.

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Speaker 2: It's also the first of several characters named Walter Paisley

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Speaker 2: that he ends up playing, right.

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Speaker 3: I was going through his IMDb recently because this is

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Speaker 3: something that I had heard but never really paid much

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Speaker 3: attention to, And yeah, I found about a dozen other

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Speaker 3: times he played someone named either Walter Paisley, Walter Walt

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Speaker 3: or something Paisley Like. I saw these two cop films

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Speaker 3: he was in where he played like Sergeant Paisley back

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Speaker 3: to back, and yeah, it seems like that was I

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Speaker 3: have to assume that it's everyone paying homage back to

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Speaker 3: this film, but I guess it could also be that

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Speaker 3: there was some sort of inside joke where that's something

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00:21:32,520 --> 00:21:35,520
Speaker 3: happened even pre this film with the name Walter Paisley.

402
00:21:35,720 --> 00:21:38,960
Speaker 3: And even this film is homage to some other inside

403
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Speaker 3: joke about the name Walter Paisley, but at least in

404
00:21:41,960 --> 00:21:44,840
Speaker 3: cinema on screen, this is the birth of the name

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Speaker 3: Walter Paisley that he then played that. I guess just

406
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Speaker 3: the name, because it can't be the same role, because

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Speaker 3: again and again and again, all the different waltz and

408
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Speaker 3: Walter's and Walter Paisley's he plays, like, for example, the

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Speaker 3: garbage man in the Burbs, I believe that's a Walter Paisley.

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Speaker 3: I may be getting this one wrong, but so he

411
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Speaker 3: kept working with Joe Dante over and over. Joe Dante

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Speaker 3: loved to put him in any movie he ever did.

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Speaker 3: I think the show Let's See It was called Erie Indiana,

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Speaker 3: and I believe his role was in that episode. He

415
00:22:19,000 --> 00:22:22,560
Speaker 3: would sneak around and whenever someone loses something, like they

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Speaker 3: lose a sock in the dryer, they lose the capital,

417
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Speaker 3: their pen whatever, it's because Walter Paisley is sneaking up

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Speaker 3: and stealing it. Because it's a big part about like

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Speaker 3: the American economy, where they need to ensure that people

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Speaker 3: are still buying new things. So Walter Paisley is sneaking

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Speaker 3: around and stealing people's belongings when they think that they

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Speaker 3: lose them. Really remarkable. Oh I bring that up because

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Speaker 3: Joe Dante produced that series. That's the connection there.

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Speaker 2: Yeah, okay, I remember Eerie Indiana. I remember liking it,

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Speaker 2: but I haven't really revisited it since it originally aired.

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Speaker 3: Yeah, it was like X Files for kids, with definitely

427
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Speaker 3: some like Twilight Zone for kids mixed in there.

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Speaker 2: It was.

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Speaker 3: It was a fun series.

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Speaker 2: Yeah, yeah, all right, Well, yeah, Dick Miller the star

431
00:23:04,560 --> 00:23:06,680
Speaker 2: of this picture, and I think it's a pretty solid performance.

432
00:23:06,720 --> 00:23:09,919
Speaker 2: He's awkward and likable in the early goings, not just

433
00:23:09,960 --> 00:23:14,000
Speaker 2: socially awkward, but like physically bumbling in a very effective manner.

434
00:23:14,040 --> 00:23:16,159
Speaker 2: Like there's an early scene where he is frustrated he

435
00:23:16,200 --> 00:23:18,119
Speaker 2: goes to kick like a milk carton on the street

436
00:23:18,520 --> 00:23:23,159
Speaker 2: and falls. It's it's great, No, he's.

437
00:23:23,200 --> 00:23:26,479
Speaker 3: Very believable, and especially when you compare him to like

438
00:23:26,520 --> 00:23:29,240
Speaker 3: you said, his more like workman type characters later where

439
00:23:29,240 --> 00:23:32,040
Speaker 3: he's kind of like gruff And you know what was

440
00:23:32,040 --> 00:23:33,760
Speaker 3: he in chopping mall and I remember now.

441
00:23:33,720 --> 00:23:36,719
Speaker 2: Correctly, Yeah, it was a janitor who gets murdered by

442
00:23:36,720 --> 00:23:37,400
Speaker 2: the robots.

443
00:23:37,720 --> 00:23:40,040
Speaker 3: Exactly like that, that kind of role. I think most

444
00:23:40,040 --> 00:23:42,399
Speaker 3: people associate him with just kind of like that, like

445
00:23:42,880 --> 00:23:46,440
Speaker 3: grumpy old man and part of the body counts basically.

446
00:23:47,080 --> 00:23:49,359
Speaker 3: But yeah, no, this is a true character. It's it's

447
00:23:49,440 --> 00:23:49,880
Speaker 3: quite good.

448
00:23:50,200 --> 00:23:52,960
Speaker 2: Yeah, And eventually, this is a character that darkens somewhat.

449
00:23:53,280 --> 00:23:55,600
Speaker 2: It is titled a bucket of Blood, and he's able

450
00:23:55,640 --> 00:23:57,439
Speaker 2: to push that portrayal to the dark side a bit

451
00:23:57,520 --> 00:23:59,760
Speaker 2: as well, you know, not to the degree that somebody

452
00:23:59,800 --> 00:24:02,560
Speaker 2: who specializes in that sort of thing. But then that

453
00:24:02,720 --> 00:24:07,000
Speaker 2: sort of actor wouldn't be necessarily be able to manage

454
00:24:07,040 --> 00:24:10,080
Speaker 2: the lovable and likable aspects of the character as well.

455
00:24:10,119 --> 00:24:12,200
Speaker 2: I mean, you know, it would take it would take

456
00:24:12,200 --> 00:24:14,800
Speaker 2: a special actor to really nail both of those, and

457
00:24:14,840 --> 00:24:17,120
Speaker 2: I think Dick Miller does a pretty darn good job

458
00:24:17,119 --> 00:24:19,800
Speaker 2: here for sure. All Right. Other members of the cast,

459
00:24:21,280 --> 00:24:23,800
Speaker 2: Carla is the only beat Nick in the film that

460
00:24:23,920 --> 00:24:26,919
Speaker 2: is nice to him early on, and as such, this

461
00:24:27,080 --> 00:24:30,960
Speaker 2: is the woman of his dreams. She's played by Barbara Morris,

462
00:24:31,000 --> 00:24:33,280
Speaker 2: who lived nineteen thirty two. From nineteen seventy five, she

463
00:24:33,320 --> 00:24:36,679
Speaker 2: appeared in several Corman films, beginning in fifty seven with

464
00:24:37,040 --> 00:24:39,840
Speaker 2: a trio that included Rock All Night. She's also in

465
00:24:39,880 --> 00:24:42,920
Speaker 2: fifty eight Teenage Caveman, She's in fifty nine's The Wasp Woman,

466
00:24:42,960 --> 00:24:46,119
Speaker 2: and later on she appeared in Corman's nineteen sixty seven

467
00:24:46,240 --> 00:24:49,439
Speaker 2: LSD movie The Trip, which is pretty amusing. That's the

468
00:24:49,560 --> 00:24:52,960
Speaker 2: Dennis Hopper and his crew. Bruce Dern is in it

469
00:24:53,000 --> 00:24:55,679
Speaker 2: as a guy that's here to guide you on your trip.

470
00:24:56,440 --> 00:24:58,320
Speaker 2: And then she pops up in nineteen seventies The Done,

471
00:24:58,359 --> 00:25:00,760
Speaker 2: which horror one of her final role. That's a film

472
00:25:00,800 --> 00:25:03,160
Speaker 2: that's been covered on Weird House as well. Not much

473
00:25:03,200 --> 00:25:08,200
Speaker 2: to say here, she's a likable, effective performance. Absolutely, Okay,

474
00:25:08,240 --> 00:25:11,879
Speaker 2: then we have we should mention that the central setting

475
00:25:11,960 --> 00:25:15,000
Speaker 2: for the whole picture is the beat Nick bar I

476
00:25:15,000 --> 00:25:18,520
Speaker 2: guess it's more of a coffee shop type of situation,

477
00:25:18,720 --> 00:25:22,639
Speaker 2: a coffee house beat Nick coffee house called the Yellow Door.

478
00:25:23,320 --> 00:25:26,680
Speaker 3: Yeah, it's kind of like that that typical coffee house

479
00:25:26,680 --> 00:25:28,159
Speaker 3: that you picture in your mind where has like a

480
00:25:28,160 --> 00:25:31,440
Speaker 3: little stage for like an open mic night type situation.

481
00:25:31,880 --> 00:25:35,120
Speaker 3: It's got you know, locals art hanging around the walls.

482
00:25:35,240 --> 00:25:38,959
Speaker 3: It's it's that general purpose local art scene.

483
00:25:39,200 --> 00:25:43,840
Speaker 2: Yeah. Yeah, and it's it's interesting that it's it's presented

484
00:25:44,119 --> 00:25:46,679
Speaker 2: it it's presented, well, you believe that this is a

485
00:25:46,720 --> 00:25:50,880
Speaker 2: real place, but it's presented seemingly simultaneously, like from an

486
00:25:50,880 --> 00:25:53,639
Speaker 2: inward view as well as an outside view, because it

487
00:25:53,680 --> 00:25:56,760
Speaker 2: feels authentic. But then also there's this whole element of like,

488
00:25:56,840 --> 00:25:59,879
Speaker 2: not one but two undercover cops have been assigned to

489
00:26:00,080 --> 00:26:04,200
Speaker 2: his place to keep track of the Beatnik heroin trade.

490
00:26:04,000 --> 00:26:06,119
Speaker 3: And going like twenty four hours we see them like

491
00:26:06,240 --> 00:26:09,880
Speaker 3: trade off, you know, yeah, my shift's done, your turn.

492
00:26:10,400 --> 00:26:13,520
Speaker 2: Yeah, there was there really that much heroin action going

493
00:26:13,560 --> 00:26:16,359
Speaker 2: on at your average like you know, small coffee house

494
00:26:16,640 --> 00:26:19,439
Speaker 2: in the late fifties. I don't know, but anyway, the

495
00:26:19,480 --> 00:26:23,760
Speaker 2: guy that runs the place is this character. Leonard decentis

496
00:26:24,520 --> 00:26:28,120
Speaker 2: played by Anthony Carbutten, who lived nineteen twenty five through

497
00:26:28,160 --> 00:26:32,240
Speaker 2: twenty twenty the immoral owner operator of the Beatnick coffee

498
00:26:32,240 --> 00:26:35,480
Speaker 2: house here. He appeared in various TV and film projects,

499
00:26:35,560 --> 00:26:38,320
Speaker 2: including several Corman pictures. He pops up in sixty one's

500
00:26:38,359 --> 00:26:41,879
Speaker 2: The Pit and the Pendulum, which of course stars Vincent Price.

501
00:26:42,440 --> 00:26:45,639
Speaker 3: Those were such great films. I love that run of

502
00:26:45,680 --> 00:26:48,119
Speaker 3: all the Poe films. Oh that so funny.

503
00:26:48,520 --> 00:26:52,080
Speaker 2: Yeah, so I really like him in this picture. I

504
00:26:52,119 --> 00:26:55,920
Speaker 2: think you know. So he's initially just another beatnick jerk

505
00:26:56,160 --> 00:26:59,119
Speaker 2: who doesn't give Walter a chance. He's also Walter's boss,

506
00:26:59,280 --> 00:27:01,560
Speaker 2: and he's or some mean boss who tells Walter he

507
00:27:01,640 --> 00:27:04,200
Speaker 2: has to do his job and so forth, quit staring

508
00:27:04,240 --> 00:27:07,879
Speaker 2: into the stars, quit talking to the customers. But he

509
00:27:08,000 --> 00:27:11,240
Speaker 2: ultimately becomes like the one person who knows the terrible

510
00:27:11,280 --> 00:27:14,399
Speaker 2: truth about what's going on, and he has to wrestle

511
00:27:14,440 --> 00:27:17,879
Speaker 2: with that, and we'll get into how he wrestles with

512
00:27:17,880 --> 00:27:19,919
Speaker 2: it and what sort of choices he makes based on

513
00:27:19,960 --> 00:27:20,640
Speaker 2: that knowledge.

514
00:27:20,800 --> 00:27:22,679
Speaker 3: It's fun as an audience that we can see his

515
00:27:22,720 --> 00:27:25,400
Speaker 3: motivation very clearly, but no one else can.

516
00:27:26,200 --> 00:27:31,359
Speaker 2: Fun. All right, We also have Ed Nelson popping up

517
00:27:31,359 --> 00:27:33,720
Speaker 2: in this one. Ed Nelson lived nineteen twenty eight through

518
00:27:33,720 --> 00:27:35,560
Speaker 2: twenty fourteen. He was the star of fifty eights The

519
00:27:35,600 --> 00:27:38,600
Speaker 2: Brain Eaters, which we've talked about on We Your House before.

520
00:27:38,960 --> 00:27:42,880
Speaker 2: He was a frequent Corman actor. In this he plays

521
00:27:43,000 --> 00:27:47,640
Speaker 2: one of those two undercover cops, Art Lacroix. And I'm

522
00:27:47,640 --> 00:27:51,480
Speaker 2: not sure what flavor Lacroix he would be, because he'd

523
00:27:51,520 --> 00:27:55,199
Speaker 2: be one of the less drinkable flavors. I think, you know,

524
00:27:55,480 --> 00:27:58,240
Speaker 2: because he has a very rough exterior he's At first

525
00:27:58,320 --> 00:28:00,800
Speaker 2: you think he's like the sleazier of the beat Nicks,

526
00:28:00,800 --> 00:28:02,640
Speaker 2: and then you realize, oh, he's an undercover cop.

527
00:28:03,400 --> 00:28:06,000
Speaker 3: And he is dressed like an undercover cop, like a

528
00:28:06,040 --> 00:28:10,679
Speaker 3: big goofy hat to fur jackets, like he's he's definitely like, hello,

529
00:28:10,720 --> 00:28:12,240
Speaker 3: fellow kids, I'm here.

530
00:28:13,400 --> 00:28:14,800
Speaker 2: All right. So we have a lot of beat Nicks

531
00:28:14,840 --> 00:28:16,560
Speaker 2: hanging out in there, and we do have kind of

532
00:28:16,600 --> 00:28:19,720
Speaker 2: like a lead beat Nick, your head beat Nick. This

533
00:28:19,840 --> 00:28:23,760
Speaker 2: is the poet Maxwell, played by Julian Burton of the

534
00:28:23,960 --> 00:28:26,560
Speaker 2: nineteen thirty two through two thousand and six, mostly a

535
00:28:26,600 --> 00:28:29,480
Speaker 2: TV actor, perhaps best known for this film. Yeah, he's

536
00:28:29,480 --> 00:28:32,600
Speaker 2: the lead, pompous beat Nick poet and ultimately the taste

537
00:28:32,600 --> 00:28:34,680
Speaker 2: maker at the Yellowdar. If he says something is good,

538
00:28:34,760 --> 00:28:37,320
Speaker 2: it is good and everyone falls in line. I thought

539
00:28:37,320 --> 00:28:39,400
Speaker 2: this character was a constant delight. He does a lot

540
00:28:39,400 --> 00:28:43,760
Speaker 2: of poetry performances, either officially or sort of unofficially off Mike,

541
00:28:43,880 --> 00:28:46,680
Speaker 2: because it's also just how he speaks to everyone, and

542
00:28:46,760 --> 00:28:49,200
Speaker 2: it ultimately plays an essential role in both the plot

543
00:28:49,240 --> 00:28:51,760
Speaker 2: and also just sort of the texture of the films.

544
00:28:51,840 --> 00:28:55,520
Speaker 3: It's note perfect, pitch perfect for someone who is both

545
00:28:55,680 --> 00:29:00,240
Speaker 3: very pompous and yet like not phony, like he does

546
00:29:00,320 --> 00:29:03,160
Speaker 3: kind of back up what he says. He's just like

547
00:29:03,200 --> 00:29:07,560
Speaker 3: a typical blow hard artist that really really buys into

548
00:29:07,600 --> 00:29:10,720
Speaker 3: their own their own scene and their own message and

549
00:29:10,760 --> 00:29:14,120
Speaker 3: their own intentions. And it's it's perfect. It's perfect. I've

550
00:29:14,120 --> 00:29:17,800
Speaker 3: met dozens of men just like Maxwell for sure.

551
00:29:18,040 --> 00:29:20,880
Speaker 2: And of course there's a hypocrisy to him as well,

552
00:29:20,920 --> 00:29:23,480
Speaker 2: as we'll get old, of course, because that is a

553
00:29:23,480 --> 00:29:28,640
Speaker 2: part of art, absolutely all right. Moving on to the

554
00:29:28,720 --> 00:29:30,720
Speaker 2: art direction on this film, it's worth pointing out because

555
00:29:30,720 --> 00:29:34,200
Speaker 2: it's Daniel Holler born nineteen twenty nine. He's come up

556
00:29:34,240 --> 00:29:36,200
Speaker 2: on the show before because he went on to direct

557
00:29:36,320 --> 00:29:39,440
Speaker 2: nineteen seventies The Dunwich Horror and he also did production

558
00:29:39,520 --> 00:29:42,560
Speaker 2: design on Mask of the Red Death, so he worked

559
00:29:42,600 --> 00:29:45,920
Speaker 2: with Corman a lot and went on to went on

560
00:29:45,960 --> 00:29:48,080
Speaker 2: to direct a number of pictures as well.

561
00:29:48,600 --> 00:29:50,920
Speaker 3: I don't want to give away probably what he spent

562
00:29:51,040 --> 00:29:54,400
Speaker 3: most of his time and money on, but yeah, you

563
00:29:54,400 --> 00:29:56,920
Speaker 3: can tell well, I bet most of his time went

564
00:29:56,960 --> 00:29:58,520
Speaker 3: into but we'll talk about that later.

565
00:29:58,880 --> 00:30:02,120
Speaker 2: Because he couldn't take the same shortcuts that Walter did, right,

566
00:30:02,520 --> 00:30:06,600
Speaker 2: very true, very true, all right. Music wise, the score

567
00:30:06,840 --> 00:30:09,880
Speaker 2: is attributed to Fred Katz, who have nineteen nineteen through

568
00:30:09,880 --> 00:30:12,440
Speaker 2: twenty thirteen, and fittingly, there's a lot of a lot

569
00:30:12,480 --> 00:30:16,000
Speaker 2: of sacks, a lot of delirious beat, nicked sacks that

570
00:30:16,080 --> 00:30:18,600
Speaker 2: you've heard, and if you watch the films of this caliber,

571
00:30:18,600 --> 00:30:22,600
Speaker 2: you've heard it before. You know the sacks is drizzling.

572
00:30:23,320 --> 00:30:27,760
Speaker 2: There's like implied or overt drug use. It is supposed

573
00:30:27,760 --> 00:30:30,720
Speaker 2: to be the soundtrack of getting high in the late fifties.

574
00:30:30,560 --> 00:30:34,680
Speaker 3: And we have matching Stoner characters. We just really convey

575
00:30:34,800 --> 00:30:38,080
Speaker 3: that really lets you know what's happening behind the scenes

576
00:30:38,200 --> 00:30:40,440
Speaker 3: right here, but the Hayes coat is stopping them from

577
00:30:40,640 --> 00:30:41,600
Speaker 3: overtly telling you.

578
00:30:42,520 --> 00:30:45,240
Speaker 2: I was, yeah, you're referring to there's a there's a duo,

579
00:30:45,400 --> 00:30:49,320
Speaker 2: like the comedic duo of Stoner's. And I was constantly

580
00:30:49,360 --> 00:30:53,120
Speaker 2: floored by the humor because I it was not connecting

581
00:30:53,160 --> 00:30:54,840
Speaker 2: with me, and I wasn't sure how much of it is,

582
00:30:54,840 --> 00:30:57,000
Speaker 2: like the cultural distance, how much of it is like

583
00:30:57,080 --> 00:30:59,880
Speaker 2: the fact that they had to be a little careful

584
00:31:00,160 --> 00:31:04,000
Speaker 2: how they treated this humor, because you know, they're supposed

585
00:31:04,000 --> 00:31:05,840
Speaker 2: to be high all the time and they're sort of

586
00:31:05,920 --> 00:31:08,360
Speaker 2: drifting in and out of the room blasted out of

587
00:31:08,360 --> 00:31:11,400
Speaker 2: their skulls. But I found very little that they did

588
00:31:11,480 --> 00:31:13,680
Speaker 2: was actually like overtly funny. I felt like I was

589
00:31:13,720 --> 00:31:14,400
Speaker 2: missing the joke.

590
00:31:15,080 --> 00:31:17,800
Speaker 3: I mean, they were definitely the Beavis and butt Head

591
00:31:17,920 --> 00:31:20,040
Speaker 3: of the fifties, or perhaps the Cheech and Chong of

592
00:31:20,080 --> 00:31:24,040
Speaker 3: the nineteen fifties. And yeah, all of their slang and

593
00:31:24,080 --> 00:31:27,440
Speaker 3: goofiness never really did much for me. But I did

594
00:31:27,480 --> 00:31:29,600
Speaker 3: notice one point that I was like, oh, that's clearly

595
00:31:29,640 --> 00:31:32,880
Speaker 3: a joke that they're making, which was like someone said

596
00:31:32,920 --> 00:31:35,680
Speaker 3: something and then one of the stoner beat nick says, oh,

597
00:31:35,680 --> 00:31:36,360
Speaker 3: what did he say?

598
00:31:36,640 --> 00:31:36,720
Speaker 2: So?

599
00:31:36,880 --> 00:31:38,760
Speaker 3: And the other one goes, didn't you hear him? He's like, nah,

600
00:31:38,800 --> 00:31:39,680
Speaker 3: I'm too far out.

601
00:31:40,200 --> 00:31:41,440
Speaker 2: Ah. Oh yeah, that's good.

602
00:31:41,600 --> 00:31:43,600
Speaker 3: That's good of course.

603
00:31:44,080 --> 00:31:49,360
Speaker 2: Hours now, one final note on the saxophone music, though

604
00:31:49,880 --> 00:31:52,120
Speaker 2: the credited SAXOPHONEI ist here and we see him on

605
00:31:52,240 --> 00:31:56,080
Speaker 2: screen is Grammy nominated Paul Horn, who lived nineteen thirty

606
00:31:56,120 --> 00:31:59,000
Speaker 2: through twenty fourteen. Were you familiar with Paul Horn.

607
00:31:59,320 --> 00:32:03,240
Speaker 3: Only by I can't say I'm too familiar with specific

608
00:32:03,520 --> 00:32:04,760
Speaker 3: saxophone jazz.

609
00:32:05,520 --> 00:32:08,560
Speaker 2: Yeah, I wasn't either, But this guy apparently was a

610
00:32:08,600 --> 00:32:10,120
Speaker 2: pretty big deal. He went on to become a pretty

611
00:32:10,160 --> 00:32:13,840
Speaker 2: big deal. He got into the early New Age music scene,

612
00:32:14,200 --> 00:32:17,800
Speaker 2: particularly with a nineteen sixty nine album called Inside Sometimes.

613
00:32:17,800 --> 00:32:20,440
Speaker 2: I think it's on like Spotify as Inside the taj

614
00:32:20,520 --> 00:32:24,040
Speaker 2: Mahll because it was apparently recorded inside the taj Mahll

615
00:32:24,640 --> 00:32:26,760
Speaker 2: And I was listening to part of it before we

616
00:32:26,800 --> 00:32:29,280
Speaker 2: came in to record this, and it's it's pretty good stuff.

617
00:32:29,280 --> 00:32:34,040
Speaker 2: It's like it's got that thing soothing, you know, very

618
00:32:34,080 --> 00:32:39,640
Speaker 2: obviously inspired by traditional Indian music and utilizing traditional Indian instruments,

619
00:32:40,360 --> 00:32:42,120
Speaker 2: but yeah, it's quite good. And apparently it was a

620
00:32:42,120 --> 00:32:44,160
Speaker 2: big hit in like the New Age scene, and he

621
00:32:44,240 --> 00:32:47,360
Speaker 2: went on to doing albums for what is it Wyndham Hill,

622
00:32:47,800 --> 00:32:50,120
Speaker 2: you know, the big New Age music label of the day.

623
00:32:50,920 --> 00:32:55,000
Speaker 3: I mean it matches this movie perfectly. It's a lone

624
00:32:55,080 --> 00:32:58,320
Speaker 3: saxophone wailing into the night. Is the sound of like

625
00:32:58,440 --> 00:33:01,200
Speaker 3: open mic nights at a at a little coffee shop.

626
00:33:01,280 --> 00:33:04,360
Speaker 3: So yeah, no, it's perfect for this beatnik styled film.

627
00:33:04,560 --> 00:33:06,640
Speaker 2: Well, let's let's get into the plot a little bit. Now.

628
00:33:06,640 --> 00:33:08,960
Speaker 2: This is not one that we're going to necessarily do

629
00:33:09,080 --> 00:33:11,960
Speaker 2: like a blow by blow or beat by beat if

630
00:33:11,960 --> 00:33:15,920
Speaker 2: you will, if you want to get cheeky account of

631
00:33:15,960 --> 00:33:17,800
Speaker 2: what happens. And then to a certain extent, we don't

632
00:33:17,840 --> 00:33:21,960
Speaker 2: have to go beat by beat because the formula you

633
00:33:22,000 --> 00:33:24,120
Speaker 2: can pretty much guess at everything once we lay out

634
00:33:24,160 --> 00:33:25,160
Speaker 2: the initial steps.

635
00:33:25,880 --> 00:33:31,880
Speaker 3: I mean, it's basically five chunks of escalation escalates one

636
00:33:31,960 --> 00:33:35,560
Speaker 3: after the other after the other, both in severity and

637
00:33:35,600 --> 00:33:38,479
Speaker 3: I suppose in motivation, but I suppose we should tell

638
00:33:38,480 --> 00:33:40,720
Speaker 3: the people what we're talking about before we start getting into

639
00:33:40,720 --> 00:33:41,560
Speaker 3: those five steps.

640
00:33:42,160 --> 00:33:45,479
Speaker 2: Yeah. So again, it's the late fifties. You've got this

641
00:33:45,560 --> 00:33:51,000
Speaker 2: beatnik hang You've got this coffee house. There's a lot

642
00:33:51,040 --> 00:33:56,640
Speaker 2: of poetry going on, visual arts, obviously smokingland and also

643
00:33:56,640 --> 00:33:59,800
Speaker 2: obviously some drug use going on. They're very clear about that.

644
00:33:59,760 --> 00:34:02,520
Speaker 2: The police are are interested in this in this place

645
00:34:02,720 --> 00:34:06,240
Speaker 2: for that very reason. And uh, you see, you know

646
00:34:06,280 --> 00:34:09,160
Speaker 2: the typical interactions between you know, we have the you know,

647
00:34:09,200 --> 00:34:12,640
Speaker 2: the tastemaker Maxwell, and we have his hangers on. We

648
00:34:12,719 --> 00:34:16,840
Speaker 2: have the stoner duo who are not artists and barely

649
00:34:16,920 --> 00:34:20,000
Speaker 2: seem to know really what's going on in their immediate vicinity,

650
00:34:20,000 --> 00:34:21,879
Speaker 2: but you know, they're they're there, they're there to hang out,

651
00:34:22,120 --> 00:34:24,480
Speaker 2: they're part of the scene. And in the midst of

652
00:34:24,520 --> 00:34:27,279
Speaker 2: all of this we have we have Walter. Uh, And

653
00:34:27,360 --> 00:34:30,480
Speaker 2: Walter just works at the coffee shop. He's going around

654
00:34:30,560 --> 00:34:33,640
Speaker 2: like busting the tables and so forth, bringing coffee out

655
00:34:33,680 --> 00:34:37,719
Speaker 2: to folks. But he's constantly distracted because he is ultimately,

656
00:34:37,719 --> 00:34:39,520
Speaker 2: even though he works here, he is an outsider to

657
00:34:39,600 --> 00:34:43,600
Speaker 2: the actual scene. Uh. He is a loner. He desperately

658
00:34:43,600 --> 00:34:46,920
Speaker 2: wants to belong somewhere, and this is the primary culture

659
00:34:46,960 --> 00:34:49,560
Speaker 2: that he is apparently exposed to. So he wants to

660
00:34:49,600 --> 00:34:52,480
Speaker 2: be a part of what he sees here, and he

661
00:34:52,560 --> 00:34:55,000
Speaker 2: sees that the main thing he needs to do is

662
00:34:55,040 --> 00:34:56,640
Speaker 2: he needs to become an artist.

663
00:34:57,120 --> 00:34:59,759
Speaker 3: And yeah, I think most people become artists in real

664
00:34:59,840 --> 00:35:03,040
Speaker 3: life because they have an affinity for it or perhaps

665
00:35:03,080 --> 00:35:06,719
Speaker 3: some sort of innate talent. Walter, as we see, doesn't

666
00:35:06,760 --> 00:35:09,680
Speaker 3: really have either of those things. It's like you said,

667
00:35:09,719 --> 00:35:12,880
Speaker 3: it's just logically he wants to be a part of

668
00:35:12,920 --> 00:35:15,600
Speaker 3: this social group, and the way to do that is

669
00:35:15,640 --> 00:35:19,000
Speaker 3: to be a popular artist amongst this social group.

670
00:35:19,640 --> 00:35:24,480
Speaker 2: Yeah, Unfortunately, they're not they're not looking to let anybody in.

671
00:35:24,600 --> 00:35:26,640
Speaker 2: Certainly they're not looking to let him in. They're very

672
00:35:26,880 --> 00:35:32,520
Speaker 2: that everyone, with the exception of Clara, are pretty pretty

673
00:35:32,520 --> 00:35:35,400
Speaker 2: clear on this right that that he does not belong.

674
00:35:35,520 --> 00:35:37,719
Speaker 2: He's only here to pick up the coffee munks and

675
00:35:37,800 --> 00:35:40,720
Speaker 2: so forth. So that's part of it. But he doesn't

676
00:35:40,719 --> 00:35:43,359
Speaker 2: seem to be drawn to the creative side of art

677
00:35:43,440 --> 00:35:46,880
Speaker 2: so much. He's drawn to the prospect of social belonging

678
00:35:47,000 --> 00:35:50,560
Speaker 2: and ultimately fame. But he doesn't put the time in.

679
00:35:50,640 --> 00:35:53,439
Speaker 2: And perhaps part of that is he doesn't know how

680
00:35:53,480 --> 00:35:55,760
Speaker 2: to put the time in. You know, he's he's, I guess,

681
00:35:55,760 --> 00:35:59,920
Speaker 2: exposed to this like very poetic vision of what creative

682
00:36:00,120 --> 00:36:03,560
Speaker 2: he is. That Maxwell is spouting the idea that, like,

683
00:36:03,640 --> 00:36:06,280
Speaker 2: you know, creativity is just something that like the artist

684
00:36:06,400 --> 00:36:09,640
Speaker 2: breathes in and out, and it's not implied that it's

685
00:36:09,640 --> 00:36:13,600
Speaker 2: something that imployed, that takes work and dedication, that you

686
00:36:13,800 --> 00:36:16,719
Speaker 2: may fail at a lot before you get somewhere. And

687
00:36:16,760 --> 00:36:19,400
Speaker 2: so he also doesn't know how to fail. He doesn't

688
00:36:19,400 --> 00:36:20,759
Speaker 2: know how to set goes. He doesn't have any of

689
00:36:20,800 --> 00:36:24,120
Speaker 2: these tools, and he's also probably you know, supposed to

690
00:36:24,160 --> 00:36:27,239
Speaker 2: be picking up a lot of additional myths about creativity.

691
00:36:28,000 --> 00:36:29,920
Speaker 3: Yeah, we'll see this a little bit later when we

692
00:36:29,960 --> 00:36:33,080
Speaker 3: watch him attempting to make art on his own early on,

693
00:36:33,520 --> 00:36:36,600
Speaker 3: where he's trying to sculpt a bust of Carla, the

694
00:36:37,440 --> 00:36:39,920
Speaker 3: woman who's nice to him, And while he's doing it,

695
00:36:39,920 --> 00:36:42,480
Speaker 3: you can just see his anger and like he's trying

696
00:36:42,480 --> 00:36:44,120
Speaker 3: to like punch at it and jab at it. He's

697
00:36:44,160 --> 00:36:48,680
Speaker 3: like Bean knows, Pia knows, and he doesn't know. He

698
00:36:48,719 --> 00:36:51,680
Speaker 3: doesn't know how to actually do these things. He isn't

699
00:36:51,719 --> 00:36:55,319
Speaker 3: going through the steps. He just wants instantaneously, like he said,

700
00:36:55,360 --> 00:36:57,719
Speaker 3: to like breathe out the art and it exists.

701
00:36:58,239 --> 00:37:00,840
Speaker 2: Yeah, he's hitting that. I've heard it called creative Cliff

702
00:37:01,520 --> 00:37:05,400
Speaker 2: and and I. And it's interesting because I think you

703
00:37:05,400 --> 00:37:08,319
Speaker 2: know everyone out there, you know, myself included. I'm sure

704
00:37:08,320 --> 00:37:10,080
Speaker 2: you've had this experience. We've all had those b and

705
00:37:10,160 --> 00:37:12,920
Speaker 2: O's moments of the things we're working on where you

706
00:37:13,040 --> 00:37:16,600
Speaker 2: just you you can't do make the thing happen, and

707
00:37:16,600 --> 00:37:19,440
Speaker 2: and it's frustrating, and ultimately you know you have to

708
00:37:19,880 --> 00:37:22,120
Speaker 2: you have to stop, you have to come back. But

709
00:37:22,120 --> 00:37:23,719
Speaker 2: but again, he hasn't been trained any of that, He

710
00:37:23,719 --> 00:37:25,319
Speaker 2: hasn't been told any of that. He hasn't been picking

711
00:37:25,400 --> 00:37:29,040
Speaker 2: up on a culture that that that that that that

712
00:37:29,239 --> 00:37:31,239
Speaker 2: says that that is a part of the the of

713
00:37:31,320 --> 00:37:34,160
Speaker 2: being a creative person and engaging in creative endeavors, so

714
00:37:34,440 --> 00:37:38,200
Speaker 2: he just gets super frustrated. Uh and and doesn't know

715
00:37:38,239 --> 00:37:42,000
Speaker 2: how to move forward. Poor guy. Yeah, but we have

716
00:37:42,080 --> 00:37:44,399
Speaker 2: to stress that he is, at least initially a very

717
00:37:44,480 --> 00:37:48,680
Speaker 2: likable guy. He's you know, he's he's supposed to be

718
00:37:48,719 --> 00:37:51,440
Speaker 2: a bit dim witted. He's supposed to still, you know,

719
00:37:51,480 --> 00:37:54,560
Speaker 2: be a nice guy. He wants to make friends. Nobody

720
00:37:54,560 --> 00:37:56,840
Speaker 2: else is letting him in or giving him a chance

721
00:37:56,880 --> 00:38:01,480
Speaker 2: except maybe Carla, and uh yeah, yeah. At the same time,

722
00:38:02,520 --> 00:38:04,960
Speaker 2: all he's exposed to is this culture of there is

723
00:38:04,960 --> 00:38:08,000
Speaker 2: only art. You know. Maxwell's constantly talking about this in

724
00:38:08,040 --> 00:38:11,960
Speaker 2: his poetry, like nothing else has value except art. Everything

725
00:38:11,960 --> 00:38:15,520
Speaker 2: else serves art. And these are the ideas that take

726
00:38:15,520 --> 00:38:18,360
Speaker 2: on literal weight and end up festering in his increasingly

727
00:38:18,360 --> 00:38:19,040
Speaker 2: troubled mind.

728
00:38:19,640 --> 00:38:21,480
Speaker 3: If he had just grown up in a different neighborhood,

729
00:38:21,520 --> 00:38:24,120
Speaker 3: maybe this entire movie would be aimed to him wanting

730
00:38:24,160 --> 00:38:26,800
Speaker 3: to become a baseball player or wanting to become a chef.

731
00:38:26,960 --> 00:38:29,000
Speaker 3: It was just, you know, this happened to be the

732
00:38:29,040 --> 00:38:31,680
Speaker 3: scene that he was in, and so this is what

733
00:38:31,760 --> 00:38:32,759
Speaker 3: he needed to do.

734
00:38:33,239 --> 00:38:35,439
Speaker 2: Oh and the chef is a great idea because there's

735
00:38:35,440 --> 00:38:39,560
Speaker 2: your instant template for a cannibal movie. Yes, yeah, different.

736
00:38:39,560 --> 00:38:43,880
Speaker 2: Walter Paisley wants to be a fine chef, doesn't have

737
00:38:43,960 --> 00:38:46,640
Speaker 2: the skills and ends up committing murder and cannibalism.

738
00:38:47,000 --> 00:38:51,000
Speaker 3: I can and I bet I have seen that film.

739
00:38:51,160 --> 00:38:54,720
Speaker 2: So yeah, let's get to the point. Because he's trying

740
00:38:54,719 --> 00:38:58,799
Speaker 2: to create, he wants to create, and he's failing. He

741
00:38:58,840 --> 00:39:03,640
Speaker 2: can't make a nose does not manifest out of the clay. Meanwhile,

742
00:39:03,840 --> 00:39:06,520
Speaker 2: the landlady, the nice but also nosey land lady who

743
00:39:06,560 --> 00:39:09,040
Speaker 2: gets checking in on him, has a cat, a beloved

744
00:39:09,040 --> 00:39:12,799
Speaker 2: cat that has somehow climbed into the wall, and he's

745
00:39:12,840 --> 00:39:14,920
Speaker 2: got several things going and frustrated with the art, he's

746
00:39:14,920 --> 00:39:18,279
Speaker 2: trying to cook some sort of dinner, and then it's

747
00:39:18,320 --> 00:39:19,880
Speaker 2: clear that the cat is stuck in the wall. So

748
00:39:19,920 --> 00:39:23,040
Speaker 2: he does what a rational person does. He decides to

749
00:39:23,080 --> 00:39:26,120
Speaker 2: stab the wall to free the cat, and of course

750
00:39:26,280 --> 00:39:28,239
Speaker 2: murders the cat in the process.

751
00:39:28,600 --> 00:39:32,480
Speaker 3: Yeah, it's important to keep this in mind. The first

752
00:39:32,560 --> 00:39:37,040
Speaker 3: death was not human, and the first death was an accident.

753
00:39:37,880 --> 00:39:40,680
Speaker 3: I think it's also very important that something you'll read

754
00:39:40,680 --> 00:39:44,320
Speaker 3: a lot in oh, how to write a screenplay, movies

755
00:39:44,560 --> 00:39:46,279
Speaker 3: or books and things like that, where it'll be like,

756
00:39:47,080 --> 00:39:49,319
Speaker 3: the save the cat moment is something that gets brought

757
00:39:49,360 --> 00:39:51,800
Speaker 3: up often. You can look at the movie Alien for example,

758
00:39:52,360 --> 00:39:56,120
Speaker 3: et cetera, et cetera, And yeah, saving the cats is

759
00:39:56,160 --> 00:39:58,920
Speaker 3: a big thing for a protagonist to do, to show

760
00:39:58,960 --> 00:40:02,719
Speaker 3: that they are bikable and that they are caring and

761
00:40:02,800 --> 00:40:05,920
Speaker 3: empathetic towards other creatures, et cetera, et cetera. This is

762
00:40:05,920 --> 00:40:11,640
Speaker 3: the opposite. We start our film with killing a cat accidentally.

763
00:40:12,080 --> 00:40:14,279
Speaker 2: Yeah, he's trying to save it, he's trying to do right.

764
00:40:14,480 --> 00:40:17,359
Speaker 2: But if the hideous fumble, the cat doesn't suffer mine

765
00:40:17,440 --> 00:40:20,080
Speaker 2: just not too grotesque or anything. But he's left with

766
00:40:20,160 --> 00:40:23,839
Speaker 2: this dead cat and something clicks in his head, right,

767
00:40:24,360 --> 00:40:27,640
Speaker 2: he realizes this is the opportunity. You know, He's got

768
00:40:27,640 --> 00:40:34,000
Speaker 2: Maxwell's poetic drivels running around his head and he realizes, Okay,

769
00:40:34,040 --> 00:40:37,120
Speaker 2: there is something I can do here, and then you

770
00:40:37,160 --> 00:40:38,399
Speaker 2: can probably guess what it.

771
00:40:38,360 --> 00:40:43,880
Speaker 3: Is, yeah, if you haven't caught on. Basically, he traces

772
00:40:44,000 --> 00:40:49,320
Speaker 3: the cat by covering the dead cat with clay, turning

773
00:40:49,360 --> 00:40:53,719
Speaker 3: it into a sculpture, which suddenly makes him hyper realistic

774
00:40:53,760 --> 00:40:56,360
Speaker 3: in his sculptures. That's something, I mean, how do you

775
00:40:56,360 --> 00:40:58,880
Speaker 3: get that kind of anatomy. You know, it's difficult to

776
00:40:59,040 --> 00:41:04,040
Speaker 3: really replicate the exact form and ratios of body parts

777
00:41:04,080 --> 00:41:06,759
Speaker 3: of a living creature, but he's got it overnight.

778
00:41:07,239 --> 00:41:11,400
Speaker 2: Yeah. Yeah, So he brings this this hideous sculpture in,

779
00:41:11,480 --> 00:41:15,040
Speaker 2: which is just you know, supposed to be a dead

780
00:41:15,080 --> 00:41:18,480
Speaker 2: cat covered in clay, and then there's a knife sticking

781
00:41:18,520 --> 00:41:18,920
Speaker 2: out of it.

782
00:41:19,200 --> 00:41:20,960
Speaker 3: I'd love that he didn't remove the knife.

783
00:41:21,280 --> 00:41:24,560
Speaker 2: Yeah, he just left the knife in there. And you

784
00:41:24,600 --> 00:41:26,719
Speaker 2: know it first, you know, he brings us in, and

785
00:41:27,040 --> 00:41:29,640
Speaker 2: you know, Carla takes a look at it, and and

786
00:41:29,719 --> 00:41:32,719
Speaker 2: also decantist takes a look at it, and you know,

787
00:41:32,840 --> 00:41:35,400
Speaker 2: it's it's it's grim and Desanta's is pretty quick to

788
00:41:35,520 --> 00:41:38,440
Speaker 2: want to just dismiss it. But but Carla's nice and

789
00:41:38,480 --> 00:41:40,440
Speaker 2: she's like, I think you might have something here. And

790
00:41:40,480 --> 00:41:43,000
Speaker 2: eventually Desanta's is like, okay, we'll put it in the corner.

791
00:41:43,000 --> 00:41:45,040
Speaker 2: We'll see if anybody buys it. It can go in

792
00:41:45,040 --> 00:41:48,239
Speaker 2: the corner of the coffee house and we'll just see

793
00:41:48,239 --> 00:41:51,160
Speaker 2: what happens. He doesn't seem to expect much, but of

794
00:41:51,200 --> 00:41:53,799
Speaker 2: course you know what's going to happen. It catches on.

795
00:41:54,000 --> 00:41:57,719
Speaker 2: People are noticing this cool, hyper realistic sculpture of a

796
00:41:57,760 --> 00:41:58,200
Speaker 2: dead cat.

797
00:41:58,560 --> 00:42:09,279
Speaker 3: It's very telling and very accurate of the art scene.

798
00:42:10,800 --> 00:42:13,120
Speaker 2: Well, is that you want to walk us through the

799
00:42:13,480 --> 00:42:17,400
Speaker 2: escalation of these of these crimes each won a different

800
00:42:17,760 --> 00:42:22,320
Speaker 2: artistic creation by our protagonist, Walter Paisley.

801
00:42:22,600 --> 00:42:26,760
Speaker 3: Yeah, almost an anti hero. He's the subject for sure,

802
00:42:27,560 --> 00:42:31,280
Speaker 3: So we'll tell you now. Basically there's a rapid escalation

803
00:42:32,080 --> 00:42:36,040
Speaker 3: and his motivation changes from death to death, to death

804
00:42:36,080 --> 00:42:38,439
Speaker 3: to death to death to moving on. So yeah, first

805
00:42:38,440 --> 00:42:42,360
Speaker 3: one is a cat and it's an accident, so perhaps

806
00:42:42,440 --> 00:42:46,080
Speaker 3: out of just desperation, he makes this statue and it's beloved.

807
00:42:46,480 --> 00:42:50,719
Speaker 3: Oh no, positive reinforcement. That's the worst thing anyone could

808
00:42:50,760 --> 00:42:55,360
Speaker 3: have done to Walter Paisley after accidentally killing something. So

809
00:42:55,480 --> 00:42:59,600
Speaker 3: he's very excited. He's he's he's uncloud nine. All the

810
00:42:59,600 --> 00:43:01,680
Speaker 3: other beat nick's are really proud of him for making

811
00:43:01,760 --> 00:43:05,080
Speaker 3: this beautiful piece of art that Maxwell has said is good,

812
00:43:05,360 --> 00:43:07,279
Speaker 3: you know, so now everyone else is to say it's

813
00:43:07,320 --> 00:43:07,920
Speaker 3: good too.

814
00:43:07,880 --> 00:43:10,640
Speaker 2: I should add. They like it so much that there's

815
00:43:10,680 --> 00:43:12,160
Speaker 2: this one lady who comes up to him at the

816
00:43:12,200 --> 00:43:15,040
Speaker 2: coffee house and she just can't put it into words

817
00:43:15,120 --> 00:43:17,600
Speaker 2: how beautiful the work is. So she gives him a

818
00:43:17,680 --> 00:43:18,720
Speaker 2: whole lot of heroin.

819
00:43:19,160 --> 00:43:22,319
Speaker 3: Yes, she gives him a vial of heroin and he

820
00:43:22,360 --> 00:43:24,640
Speaker 3: doesn't even know what it is. She just wanted to

821
00:43:24,680 --> 00:43:29,319
Speaker 3: be a part of this creation, and she thought that

822
00:43:29,440 --> 00:43:31,120
Speaker 3: the way she could do it. First, she tries to

823
00:43:31,160 --> 00:43:34,120
Speaker 3: go home with him, but he is very confused and

824
00:43:34,120 --> 00:43:36,759
Speaker 3: doesn't really understand what's happening. And then she goes, well,

825
00:43:36,880 --> 00:43:38,480
Speaker 3: I have to contribute. I have to be a part

826
00:43:38,480 --> 00:43:41,160
Speaker 3: of this. So then she gives him heroin. Now, as

827
00:43:41,200 --> 00:43:45,040
Speaker 3: we've mentioned, there are two undercover cops who are on

828
00:43:45,200 --> 00:43:48,600
Speaker 3: constant rotation at this one coffee house. One of them

829
00:43:48,680 --> 00:43:53,520
Speaker 3: sees this handoff and follows Walter home. He interrupts Walter

830
00:43:53,600 --> 00:43:55,600
Speaker 3: in his house and goes hello, Walter, and he's like, oh,

831
00:43:55,600 --> 00:43:57,200
Speaker 3: I know you. You come down to the store. How

832
00:43:57,239 --> 00:43:58,719
Speaker 3: are you come on in? Come on in? You know,

833
00:43:59,040 --> 00:44:00,960
Speaker 3: let's be friends, right, Someone came to see me at

834
00:44:00,960 --> 00:44:04,000
Speaker 3: my house. And he's like, I'm an undercover cop. I

835
00:44:04,400 --> 00:44:06,960
Speaker 3: saw that you were handed heroin. I'm gonna have to

836
00:44:06,960 --> 00:44:08,839
Speaker 3: take you in. He's like heroin. He's like, yeah, yeah,

837
00:44:08,840 --> 00:44:10,680
Speaker 3: that the little jar there's gonna be He's like, you know,

838
00:44:10,760 --> 00:44:12,640
Speaker 3: horse and he's like, oh it wasn't that nicerver to

839
00:44:12,640 --> 00:44:13,640
Speaker 3: give me that nice horse?

840
00:44:13,880 --> 00:44:15,440
Speaker 2: Yeah, that nice expensive horse.

841
00:44:15,719 --> 00:44:20,880
Speaker 3: Yes, And so he doesn't get it. He definitely doesn't

842
00:44:20,880 --> 00:44:23,600
Speaker 3: get it. Now the undercover cop is frustrated, so he

843
00:44:23,719 --> 00:44:25,759
Speaker 3: tries to convince him and try to get what he

844
00:44:25,760 --> 00:44:27,640
Speaker 3: wants from him. So he pulls out his gun and

845
00:44:27,640 --> 00:44:29,680
Speaker 3: he's like, look, Walterrott, don't make me use this. I'm

846
00:44:29,719 --> 00:44:31,319
Speaker 3: gonna have to. He's like, oh, no, you're gonna shoot me.

847
00:44:31,360 --> 00:44:32,839
Speaker 3: He's like, no, I'm not going to shoot you. I'm

848
00:44:32,840 --> 00:44:36,000
Speaker 3: just saying I'm a cop. I'm arresting you. Let's go.

849
00:44:36,239 --> 00:44:37,840
Speaker 3: And he's like, no, I don't want you to shoot me.

850
00:44:38,200 --> 00:44:39,920
Speaker 3: And so he was cooking at the time, and he

851
00:44:40,000 --> 00:44:42,600
Speaker 3: was holding like almost like a crape pan, let's say.

852
00:44:43,239 --> 00:44:45,399
Speaker 3: And so if you haven't seen a crape pan, it's

853
00:44:45,480 --> 00:44:48,560
Speaker 3: like a frying pan, except the edges are very very low,

854
00:44:48,719 --> 00:44:54,319
Speaker 3: very a very shallow frying pan. And so Walter seemingly,

855
00:44:54,480 --> 00:44:57,800
Speaker 3: at least in his own mind for sure, in self defense,

856
00:44:58,480 --> 00:45:01,399
Speaker 3: swings this pan at the cop and we don't see

857
00:45:01,400 --> 00:45:03,760
Speaker 3: it on screen, but later we will see just cleaves

858
00:45:03,800 --> 00:45:06,600
Speaker 3: his head right down the middle with this with this

859
00:45:06,840 --> 00:45:11,319
Speaker 3: very slim pan. So first death was an animal and

860
00:45:11,360 --> 00:45:15,120
Speaker 3: it was an accident. Second death undercover cop quote unquote

861
00:45:15,120 --> 00:45:19,000
Speaker 3: self defense. Let's let's see where this keeps going. So

862
00:45:19,719 --> 00:45:22,600
Speaker 3: obviously there's the pattern here. So he covers this undercover

863
00:45:22,680 --> 00:45:26,959
Speaker 3: cop in clay, and I suppose we'll kind of let

864
00:45:27,000 --> 00:45:30,640
Speaker 3: this part happen. So the first person to realize what

865
00:45:30,719 --> 00:45:34,280
Speaker 3: Walter is doing is Leonard, the guy that owns the

866
00:45:34,280 --> 00:45:37,000
Speaker 3: the art house, the coffee shop at the yellow door,

867
00:45:37,719 --> 00:45:40,600
Speaker 3: and he sees it because I believe the cat statue

868
00:45:40,640 --> 00:45:43,120
Speaker 3: tips over and just a little piece of fur is

869
00:45:43,200 --> 00:45:47,160
Speaker 3: poking out, and he's like, oh, you hack, fraud, you weirdo.

870
00:45:47,320 --> 00:45:49,759
Speaker 3: What do you do in trying to cover a dead

871
00:45:49,840 --> 00:45:51,799
Speaker 3: cat and clay and put it in my coffee house?

872
00:45:51,840 --> 00:45:54,799
Speaker 3: This is ridiculous. So he's about to like go tell

873
00:45:54,840 --> 00:45:57,600
Speaker 3: it to Walter and get mad at him, when someone

874
00:45:57,640 --> 00:46:00,799
Speaker 3: comes in, let's call it a square page comes in

875
00:46:00,920 --> 00:46:02,960
Speaker 3: and it's like, I need that cat sculpture. I'll pay

876
00:46:02,960 --> 00:46:05,239
Speaker 3: you ten times what you ask for. It's getting I

877
00:46:05,320 --> 00:46:07,320
Speaker 3: must have it. I must have it. And at first

878
00:46:07,560 --> 00:46:08,920
Speaker 3: he's like, no, I'm not going to sell you a

879
00:46:08,960 --> 00:46:10,960
Speaker 3: dead cat covered in clay. He's like, I'll double it

880
00:46:11,000 --> 00:46:13,640
Speaker 3: and he's like, oh no, no, no, I can't do that.

881
00:46:13,719 --> 00:46:14,440
Speaker 3: I'll triple it.

882
00:46:15,640 --> 00:46:16,279
Speaker 2: And you see it.

883
00:46:16,320 --> 00:46:19,719
Speaker 3: You see it Leonard's eye that he's like, oh, this

884
00:46:19,800 --> 00:46:24,359
Speaker 3: is money, this is absolutely money. Fine, I won't give

885
00:46:24,360 --> 00:46:27,560
Speaker 3: it to you today, but yes we'll do it. Because

886
00:46:27,600 --> 00:46:29,400
Speaker 3: I'm sure he goes through his mind. He's like, all right,

887
00:46:29,800 --> 00:46:33,640
Speaker 3: it's just a dead cat. It's fine, it's fine. Then

888
00:46:33,680 --> 00:46:36,440
Speaker 3: Walter brings in his next piece, which he has named

889
00:46:36,640 --> 00:46:42,560
Speaker 3: Murdered Man, and it's the undercover cop covered in clay,

890
00:46:43,400 --> 00:46:46,480
Speaker 3: and Leonard is the only one who puts two and

891
00:46:46,520 --> 00:46:50,400
Speaker 3: two together and understands what's happening, what has escalated. Everyone

892
00:46:50,480 --> 00:46:53,280
Speaker 3: else thinks it's a wonderful sculpture. How did you capture

893
00:46:53,320 --> 00:46:55,120
Speaker 3: that look of agony on his face?

894
00:46:55,440 --> 00:46:55,560
Speaker 2: Oh?

895
00:46:55,600 --> 00:46:58,399
Speaker 3: Your realism? Oh this is so wonderful. I remember there's

896
00:46:58,400 --> 00:46:59,719
Speaker 3: one point where someone's like, oh, how did you do

897
00:46:59,760 --> 00:47:02,080
Speaker 3: this so quickly? He's like, oh, you know, I just

898
00:47:02,120 --> 00:47:03,680
Speaker 3: put some clay on and fixed it up.

899
00:47:03,840 --> 00:47:04,839
Speaker 2: No, no big deal.

900
00:47:05,239 --> 00:47:06,680
Speaker 3: He's like, must have taken you forever. It's like, no,

901
00:47:06,760 --> 00:47:10,360
Speaker 3: it doesn't take me too long. Like okay, right, because

902
00:47:11,040 --> 00:47:13,640
Speaker 3: you're just putting a facade on this, you're not actually

903
00:47:14,120 --> 00:47:18,960
Speaker 3: sculpting anything. So everyone loves it except Leonard. Leonard feels ill.

904
00:47:19,040 --> 00:47:20,839
Speaker 3: Leonard does not want to be a part of this,

905
00:47:21,560 --> 00:47:23,560
Speaker 3: and he doesn't know what to do because on the

906
00:47:23,560 --> 00:47:26,279
Speaker 3: one hand, money, and on the other hand, is he

907
00:47:26,400 --> 00:47:30,600
Speaker 3: like an accessory at this point, And so he's trying

908
00:47:30,680 --> 00:47:34,080
Speaker 3: to de escalate this whole situation. He's like, you know what, Walter,

909
00:47:35,000 --> 00:47:37,120
Speaker 3: why don't you maybe try some free form you know,

910
00:47:37,480 --> 00:47:40,399
Speaker 3: forget this human figure thing. No, no, nobody, nobody can

911
00:47:40,480 --> 00:47:44,680
Speaker 3: do that anymore. Just just just free form abstract things.

912
00:47:45,080 --> 00:47:48,360
Speaker 3: No more humans, no more death and destruction. Okay, And

913
00:47:48,400 --> 00:47:50,520
Speaker 3: everyone else is like, what he's so good at this,

914
00:47:50,800 --> 00:47:53,279
Speaker 3: clearly let him lean into this.

915
00:47:54,000 --> 00:47:57,040
Speaker 2: Yeah, Like Maxwell comes to his defense. It's like, don't

916
00:47:57,040 --> 00:47:58,440
Speaker 2: tell him how to do his art.

917
00:47:58,680 --> 00:48:03,080
Speaker 3: Yes, it's wonderful, and uh so there we are now

918
00:48:03,160 --> 00:48:06,480
Speaker 3: now now because of this new statue and and the

919
00:48:06,520 --> 00:48:10,839
Speaker 3: first cat statue, the whole place is a buzz And

920
00:48:10,920 --> 00:48:14,960
Speaker 3: Leonard has even in an attempt to just kind of

921
00:48:15,440 --> 00:48:18,839
Speaker 3: I guess uh a, to keep Walter away from him

922
00:48:18,840 --> 00:48:21,800
Speaker 3: a little bit. He has I guess fired is the

923
00:48:21,880 --> 00:48:23,760
Speaker 3: right wrong way to put it, but he has given

924
00:48:23,840 --> 00:48:27,719
Speaker 3: him an advance for his sculptures and said just just

925
00:48:27,760 --> 00:48:31,040
Speaker 3: go just leave, don't don't don't make any more statues

926
00:48:31,080 --> 00:48:32,520
Speaker 3: for now, Okay, just just relax.

927
00:48:32,920 --> 00:48:34,920
Speaker 2: Yeah, going on, it's a little sabbatical here, and he's

928
00:48:34,960 --> 00:48:37,879
Speaker 2: clear he's not. He's like, yeah, don't don't make any

929
00:48:37,880 --> 00:48:41,600
Speaker 2: more art just yet, because again money. But also yeah,

930
00:48:41,640 --> 00:48:44,279
Speaker 2: he knows that what then what another piece would mean?

931
00:48:44,880 --> 00:48:48,360
Speaker 2: And he's probably, you know, juggling around this idea is like,

932
00:48:48,400 --> 00:48:51,480
Speaker 2: am I an accessory to murder at this point? And

933
00:48:51,520 --> 00:48:53,799
Speaker 2: then also you can imagine he's telling himself but hey,

934
00:48:53,800 --> 00:48:56,560
Speaker 2: nobody else has to know that. I know, I can

935
00:48:56,600 --> 00:48:59,560
Speaker 2: just be as surprised as everyone else when this eventually

936
00:48:59,600 --> 00:49:01,520
Speaker 2: blows up up. But I can make a little bit

937
00:49:01,560 --> 00:49:02,400
Speaker 2: of money in the meantime.

938
00:49:02,840 --> 00:49:05,680
Speaker 3: Absolutely. I mean, you know, the Yellow Door is not

939
00:49:05,800 --> 00:49:09,520
Speaker 3: a huge money making endeavor like the Beats and but

940
00:49:09,640 --> 00:49:12,600
Speaker 3: Head characters. I think they often say they have no

941
00:49:12,800 --> 00:49:16,560
Speaker 3: money and they're just hanging around. Yeah, I think there's

942
00:49:17,120 --> 00:49:19,560
Speaker 3: a lot of just people lurking there that aren't actually

943
00:49:19,600 --> 00:49:23,600
Speaker 3: giving Leonard any money. So moving on, the next time

944
00:49:23,640 --> 00:49:26,960
Speaker 3: we see Walter Paisley, suddenly he's got a little money

945
00:49:27,000 --> 00:49:30,160
Speaker 3: in his pocket. He has two successful sculptures. He comes

946
00:49:30,200 --> 00:49:32,799
Speaker 3: into the Yellow Door not as an employee, but as

947
00:49:32,840 --> 00:49:36,480
Speaker 3: a guest's He's bought a fancy, new beat nick outfit.

948
00:49:37,320 --> 00:49:39,560
Speaker 3: He's walking around like a little walking stick that he

949
00:49:39,600 --> 00:49:42,920
Speaker 3: refers to as his zen stick, which is just remarkable,

950
00:49:43,960 --> 00:49:47,760
Speaker 3: and everyone's just fawning over him. Maxwell invites him down

951
00:49:47,840 --> 00:49:50,960
Speaker 3: to be his special guest, et cetera, et cetera, and

952
00:49:51,080 --> 00:49:53,200
Speaker 3: this is all wonderful. Walter is having the best time

953
00:49:53,200 --> 00:49:56,200
Speaker 3: of his life. This is anything and everything he ever wanted.

954
00:49:56,239 --> 00:50:00,759
Speaker 3: He's getting it. But then a artist's model who is

955
00:50:00,800 --> 00:50:02,920
Speaker 3: often a part of this scene named Alice, who's been

956
00:50:02,920 --> 00:50:05,040
Speaker 3: out of town for the past week or two. She says,

957
00:50:05,640 --> 00:50:08,720
Speaker 3: she comes into the hangout and then like everyone's fawning

958
00:50:08,760 --> 00:50:12,520
Speaker 3: over Walter, and she's confused because she's like what, no, no, no, no,

959
00:50:12,640 --> 00:50:15,319
Speaker 3: I'm awesome. You guys are awesome. He's not awesome. He's

960
00:50:15,400 --> 00:50:17,520
Speaker 3: just the bus boy. And they're like, no, no, he's

961
00:50:17,520 --> 00:50:19,560
Speaker 3: an artist now. And he's like, no, y'all, y'all are

962
00:50:19,560 --> 00:50:21,160
Speaker 3: putting me on, like this is just a joke for

963
00:50:21,239 --> 00:50:23,960
Speaker 3: my benefit, Like he's just the bus boy. He get

964
00:50:24,000 --> 00:50:26,400
Speaker 3: him out of here. Walter doesn't like this. He was

965
00:50:26,600 --> 00:50:28,400
Speaker 3: just on the top of the mountain. He's not gonna

966
00:50:28,400 --> 00:50:32,320
Speaker 3: come down. So, like I said, she's an artist model.

967
00:50:32,440 --> 00:50:35,319
Speaker 3: He's mad at her. But she goes on home and

968
00:50:35,360 --> 00:50:37,720
Speaker 3: he follows her and he's like, I'd love to hire

969
00:50:37,760 --> 00:50:39,680
Speaker 3: you to be an artist model so I can make

970
00:50:39,680 --> 00:50:42,319
Speaker 3: another sculpture. And she's like, well that is my job. Fine,

971
00:50:42,400 --> 00:50:44,239
Speaker 3: let's do it. And he's like, yeah, let's do it now.

972
00:50:44,440 --> 00:50:44,760
Speaker 2: Yeah.

973
00:50:44,920 --> 00:50:49,160
Speaker 3: Yeah. So she goes to his place and now Walter

974
00:50:49,360 --> 00:50:52,399
Speaker 3: is definitely crossing a line because you can see where

975
00:50:52,440 --> 00:50:54,880
Speaker 3: this is going. He kills her. He strangles her with

976
00:50:54,920 --> 00:50:58,480
Speaker 3: a scarf, and this one's just personal spite, like there's

977
00:50:58,520 --> 00:51:01,560
Speaker 3: no self defense, there's no act. He is doing this

978
00:51:01,640 --> 00:51:05,000
Speaker 3: because Alice was mean to him, and now he is

979
00:51:05,600 --> 00:51:06,919
Speaker 3: he needs a body for the arts.

980
00:51:06,920 --> 00:51:07,080
Speaker 2: You know.

981
00:51:07,120 --> 00:51:09,560
Speaker 3: It's it's very funny. I was thinking about this. This

982
00:51:09,680 --> 00:51:13,240
Speaker 3: movie came out from the same writer director right before

983
00:51:13,320 --> 00:51:18,400
Speaker 3: Little Shop of Horrors. Many similarities. This situation here, specifically

984
00:51:18,520 --> 00:51:22,560
Speaker 3: is where it's like I gotta kill someone, well, you're mean,

985
00:51:23,239 --> 00:51:26,759
Speaker 3: I guess, I guess you'll do. It's that same situation

986
00:51:27,040 --> 00:51:29,680
Speaker 3: of a of a of a ne'er do well, kind

987
00:51:29,680 --> 00:51:32,600
Speaker 3: of nebish guy just being like I need bodies.

988
00:51:33,200 --> 00:51:35,520
Speaker 2: Here we go. And so now now he's going in

989
00:51:35,560 --> 00:51:39,479
Speaker 2: cold blood and yeah, it's a character that she's not hateable, No,

990
00:51:39,600 --> 00:51:42,240
Speaker 2: she's but she's not supposed to be one hundred percent likable.

991
00:51:42,320 --> 00:51:46,600
Speaker 2: So you know, we're accelerating through that gray zone into like, yeah,

992
00:51:46,640 --> 00:51:49,000
Speaker 2: it's clearly he's a murderer at this point, but he

993
00:51:49,120 --> 00:51:52,920
Speaker 2: hasn't attempted to murder anyone that we really like yet.

994
00:51:53,000 --> 00:51:56,040
Speaker 2: And you know, especially in a genre picture like I

995
00:51:56,040 --> 00:51:58,560
Speaker 2: guess we were more forgiving of that sort of thing,

996
00:51:59,040 --> 00:52:04,160
Speaker 2: Like the threshold of the uncrossable transgression is is maybe

997
00:52:04,280 --> 00:52:06,799
Speaker 2: a little a little farther out in.

998
00:52:06,760 --> 00:52:09,200
Speaker 3: A movie like this, but we still a room to escalate.

999
00:52:09,440 --> 00:52:14,080
Speaker 3: So we continue, and once again Leonard is like stop,

1000
00:52:14,239 --> 00:52:17,720
Speaker 3: you have to stop, please stop, this is terrible. Stop

1001
00:52:17,719 --> 00:52:20,359
Speaker 3: stop stop, But he just keeps on doing his thing,

1002
00:52:20,440 --> 00:52:23,640
Speaker 3: and he's he's he's really like kind of like hitting

1003
00:52:23,680 --> 00:52:25,960
Speaker 3: the thesis on the head at this point because they

1004
00:52:26,040 --> 00:52:28,239
Speaker 3: threw like a big celebration for him where he got

1005
00:52:28,360 --> 00:52:31,359
Speaker 3: very drunk, and he's just kind of like lamenting and

1006
00:52:31,360 --> 00:52:34,200
Speaker 3: feeling kind of sad, and he starts like walking home

1007
00:52:34,280 --> 00:52:38,120
Speaker 3: alone by himself, and he literally says the phrase, I

1008
00:52:38,200 --> 00:52:41,760
Speaker 3: gotta do something before they forget. Yeah, it's just this

1009
00:52:41,760 --> 00:52:44,000
Speaker 3: this moment where it's like, yeah, that's a kind of

1010
00:52:44,080 --> 00:52:48,160
Speaker 3: all he has and all he wants is this moment

1011
00:52:48,360 --> 00:52:52,000
Speaker 3: of being in the spotlight and being admired. I don't

1012
00:52:52,000 --> 00:52:54,520
Speaker 3: want to put too many parallels here, but there's definitely

1013
00:52:54,560 --> 00:52:57,839
Speaker 3: some modern social media parallels there of things of just

1014
00:52:57,880 --> 00:52:59,640
Speaker 3: like I just got to do something for the gram.

1015
00:53:00,000 --> 00:53:02,440
Speaker 3: He's got to put something up on TikTok. It doesn't

1016
00:53:02,520 --> 00:53:05,040
Speaker 3: really matter what it is. I just need to stay

1017
00:53:05,280 --> 00:53:07,279
Speaker 3: in the spotlight for another minute, and kind of like

1018
00:53:07,320 --> 00:53:10,160
Speaker 3: we were saying before, where it's like he's not trying

1019
00:53:10,200 --> 00:53:13,200
Speaker 3: to get notoriety by being good at something. He's not

1020
00:53:13,200 --> 00:53:17,000
Speaker 3: trying to get notoriety because like he particularly loves making art,

1021
00:53:17,239 --> 00:53:20,840
Speaker 3: he just wants to be famous. And so again there's

1022
00:53:20,880 --> 00:53:23,560
Speaker 3: some social media parallels there of like just wanting fame

1023
00:53:23,600 --> 00:53:25,360
Speaker 3: for fame's sake, to fit in be a part of

1024
00:53:25,360 --> 00:53:28,320
Speaker 3: a social scene. And just like he said, I gotta

1025
00:53:28,360 --> 00:53:31,120
Speaker 3: do something before they forget. I just need to go.

1026
00:53:31,280 --> 00:53:34,759
Speaker 3: I just need to do And so here's here's where

1027
00:53:34,800 --> 00:53:37,840
Speaker 3: he crosses yet another line, a further escalation. He's walking

1028
00:53:37,880 --> 00:53:40,279
Speaker 3: home drunk from the yellow door, and he sees like

1029
00:53:40,320 --> 00:53:43,319
Speaker 3: a construction worker perhaps like making a furniture in like

1030
00:53:43,360 --> 00:53:46,359
Speaker 3: a little like outdoor kind of like alleyway workshop kind

1031
00:53:46,400 --> 00:53:50,000
Speaker 3: of thing, and he just kills the man. He cuts

1032
00:53:50,000 --> 00:53:53,799
Speaker 3: off his head with a like circular saw. Again, this

1033
00:53:53,880 --> 00:53:55,919
Speaker 3: is all Hayes coache, so we don't see anything. There's

1034
00:53:55,920 --> 00:53:59,560
Speaker 3: like no violence in any of this. And he makes

1035
00:53:59,719 --> 00:54:03,040
Speaker 3: a it's just the man's head that he covers in

1036
00:54:03,120 --> 00:54:05,520
Speaker 3: clay and like sticks on a stick. And if that's

1037
00:54:05,560 --> 00:54:09,280
Speaker 3: our hey, that happens all the time. But no, Leonard

1038
00:54:09,440 --> 00:54:13,200
Speaker 3: once again knows exactly what that is. And he's flipping out.

1039
00:54:13,280 --> 00:54:15,600
Speaker 3: He doesn't know what to do. You see him just

1040
00:54:15,719 --> 00:54:19,560
Speaker 3: acting like a like a very conflicted, you know, weirdo.

1041
00:54:20,160 --> 00:54:21,560
Speaker 3: And but he's like, all right, we're going to set

1042
00:54:21,600 --> 00:54:23,560
Speaker 3: up an art show because I got a cash in

1043
00:54:23,640 --> 00:54:24,400
Speaker 3: on this owl.

1044
00:54:24,680 --> 00:54:27,239
Speaker 2: That's his logical conclusion. Not this is the point where

1045
00:54:27,280 --> 00:54:30,440
Speaker 2: I call the police or even like set opposite like

1046
00:54:30,680 --> 00:54:33,360
Speaker 2: convince everyone, like now I realize what's up. He's like,

1047
00:54:33,840 --> 00:54:35,239
Speaker 2: let's go ahead and do that art show.

1048
00:54:35,239 --> 00:54:38,920
Speaker 3: Well, we can't exactly this has a shelf life, and

1049
00:54:39,000 --> 00:54:42,520
Speaker 3: I need to get my money quick because he mentions this,

1050
00:54:42,600 --> 00:54:45,200
Speaker 3: and this is actually very accurate. He gets a fifty

1051
00:54:45,239 --> 00:54:49,440
Speaker 3: percent cut of the sales of the pieces, and in fact,

1052
00:54:49,520 --> 00:54:52,080
Speaker 3: we do see him take advantage of Walter early on.

1053
00:54:52,520 --> 00:54:54,960
Speaker 3: The dead Cat was originally being sold I believe for

1054
00:54:55,040 --> 00:54:58,040
Speaker 3: a hundred, and so Walter would have gotten fifty, and

1055
00:54:58,080 --> 00:55:01,040
Speaker 3: he would have gotten fifty. But the when he was like, no,

1056
00:55:01,080 --> 00:55:02,640
Speaker 3: I'm not gonna sell, I'm not gonna sell. I believe,

1057
00:55:02,680 --> 00:55:04,400
Speaker 3: it went all the way up to five hundred. But

1058
00:55:04,440 --> 00:55:07,040
Speaker 3: when he paid Walter, he still only paid him fifty dollars.

1059
00:55:07,640 --> 00:55:11,359
Speaker 3: So Leonard is a villain here and he is taking

1060
00:55:11,400 --> 00:55:14,839
Speaker 3: advantage of Walter, but he really needs this money. So

1061
00:55:14,880 --> 00:55:18,600
Speaker 3: he's gonna do an art show and it's gonna bring

1062
00:55:18,640 --> 00:55:20,560
Speaker 3: in everybody. And so they do it. They bring him

1063
00:55:20,560 --> 00:55:23,040
Speaker 3: this big art show. Got a dead cat, got a

1064
00:55:23,080 --> 00:55:25,480
Speaker 3: dead cop, got a dead art model, got a dead

1065
00:55:25,520 --> 00:55:28,400
Speaker 3: construction worker's head on a stick, all covered in clay,

1066
00:55:28,960 --> 00:55:32,520
Speaker 3: and everyone's loving it. There's an art critic there saying, oh,

1067
00:55:32,520 --> 00:55:34,560
Speaker 3: I'm going to write this up and all these pieces

1068
00:55:34,640 --> 00:55:36,600
Speaker 3: are gonna be worth ten times what they are now,

1069
00:55:36,680 --> 00:55:39,879
Speaker 3: and everyone's loving it. This is a great time. And

1070
00:55:40,320 --> 00:55:45,560
Speaker 3: at this point Walter Paisley is so, you know, living

1071
00:55:45,600 --> 00:55:48,520
Speaker 3: his dreams, that he does something that he's wanted to do,

1072
00:55:48,719 --> 00:55:52,920
Speaker 3: which is to attempt a romantic relationship with Carla. She's

1073
00:55:52,920 --> 00:55:54,759
Speaker 3: the only one that's ever been nice to him. He's

1074
00:55:54,760 --> 00:55:59,520
Speaker 3: got to go and show her his feelings. He's at

1075
00:55:59,520 --> 00:56:03,360
Speaker 3: the peak of his career that perhaps he'll that he

1076
00:56:03,400 --> 00:56:05,799
Speaker 3: ever will be, he needs to do this now. So

1077
00:56:05,840 --> 00:56:09,040
Speaker 3: he confesses his feelings and she's like, nah, we can

1078
00:56:09,080 --> 00:56:11,160
Speaker 3: be friends, but I just don't see you that way.

1079
00:56:11,200 --> 00:56:14,440
Speaker 3: Typical trying to let him down. Easy situation, and you

1080
00:56:14,520 --> 00:56:18,399
Speaker 3: see something kind of change in him, and he goes, yeah,

1081
00:56:18,400 --> 00:56:20,360
Speaker 3: how about I do a sculpture of you, Carla?

1082
00:56:20,440 --> 00:56:23,440
Speaker 2: Oh yeah, And now he's really crossed that line, Like

1083
00:56:23,520 --> 00:56:28,200
Speaker 2: now he's in the in the unredeemable area here because

1084
00:56:28,200 --> 00:56:30,560
Speaker 2: he's decided, well, if you're not going to be my partner,

1085
00:56:30,840 --> 00:56:32,040
Speaker 2: you are going to be my art.

1086
00:56:32,440 --> 00:56:36,200
Speaker 3: Absolutely. So it went from accident to self defense to

1087
00:56:36,360 --> 00:56:39,920
Speaker 3: personal spite with a stranger, random killing of a stranger.

1088
00:56:40,719 --> 00:56:43,920
Speaker 3: Now it's personal killing of someone that he knows well

1089
00:56:44,000 --> 00:56:47,600
Speaker 3: and has affection for. There's only one place you can

1090
00:56:47,640 --> 00:56:49,160
Speaker 3: go after this, and I bet you can guess what

1091
00:56:49,280 --> 00:57:01,680
Speaker 3: it is so ultimately. I believe at the event, someone

1092
00:57:01,680 --> 00:57:04,080
Speaker 3: I think bumps into Oh no no. I believe they

1093
00:57:04,280 --> 00:57:08,880
Speaker 3: see a fingernail poking out of the alice sculpture and

1094
00:57:09,280 --> 00:57:10,879
Speaker 3: they're trying to figure out what it is. Then someone

1095
00:57:10,960 --> 00:57:13,680
Speaker 3: knocks over one of them and it cracks open, and

1096
00:57:13,719 --> 00:57:17,040
Speaker 3: like so the cat is out of the bag. Everyone knows,

1097
00:57:17,360 --> 00:57:20,040
Speaker 3: and they are trying to go get Walter. Walter's like,

1098
00:57:20,040 --> 00:57:22,040
Speaker 3: I got to get out of here, so he runs home.

1099
00:57:23,680 --> 00:57:25,800
Speaker 3: I guess I want to put this delicately because it's

1100
00:57:25,800 --> 00:57:29,000
Speaker 3: not a nice thing that happens. He puts a little

1101
00:57:29,000 --> 00:57:31,040
Speaker 3: bit of clay on his face, covers himself, just a

1102
00:57:31,080 --> 00:57:35,680
Speaker 3: little bit in clay, and he hangs himself and that

1103
00:57:35,880 --> 00:57:38,720
Speaker 3: is the end of the film. And I believe Maxwell

1104
00:57:38,760 --> 00:57:42,919
Speaker 3: says like, oh, it's his final piece, you know, And

1105
00:57:43,280 --> 00:57:47,800
Speaker 3: that's it. That's the whole movie. And it's very straightforward,

1106
00:57:47,960 --> 00:57:51,320
Speaker 3: very simple escalation, but just delicately done, and all the

1107
00:57:51,320 --> 00:57:54,920
Speaker 3: pieces kind of fit together in a real nice, a

1108
00:57:55,040 --> 00:57:59,480
Speaker 3: nice little you can you can feel the growth. It's

1109
00:57:59,480 --> 00:58:01,960
Speaker 3: almost like making bad in a way. You're okay with

1110
00:58:02,000 --> 00:58:04,040
Speaker 3: this character at first, and you just see them getting

1111
00:58:04,080 --> 00:58:06,240
Speaker 3: worse and worse and worse, and by the end you're like, no,

1112
00:58:06,280 --> 00:58:08,760
Speaker 3: I'm not with them. They're making they've made too many

1113
00:58:08,800 --> 00:58:11,880
Speaker 3: bad decisions against people. I like, I'm not in at all.

1114
00:58:12,280 --> 00:58:13,919
Speaker 2: Yeah, I mean this is like a lot of these

1115
00:58:14,280 --> 00:58:16,200
Speaker 2: the pictures of this time period, Like this is a

1116
00:58:16,280 --> 00:58:20,480
Speaker 2: very short run time sixty five minutes, so everything is

1117
00:58:20,720 --> 00:58:24,000
Speaker 2: very economically presented, like beat to beat. You can follow

1118
00:58:24,040 --> 00:58:26,600
Speaker 2: it very easily. There's not a lot of wasted motion.

1119
00:58:26,520 --> 00:58:31,120
Speaker 3: Here, absolutely, Robert. I must tell you about something that

1120
00:58:31,240 --> 00:58:34,000
Speaker 3: I attempted back when I believe I was in college

1121
00:58:34,040 --> 00:58:37,800
Speaker 3: at the time. I wanted to make a full length

1122
00:58:37,960 --> 00:58:43,000
Speaker 3: animated remake of this film by myself. At the time,

1123
00:58:43,080 --> 00:58:46,240
Speaker 3: I was really into rotoscope animation. There's a studio called

1124
00:58:46,240 --> 00:58:49,160
Speaker 3: Flat Black Films who did things like Waking Life and

1125
00:58:49,240 --> 00:58:52,840
Speaker 3: Scander Darkly stuff like that. Loved that animation style, and

1126
00:58:52,880 --> 00:58:55,080
Speaker 3: I decided I was going to make a rotoscoped film

1127
00:58:55,440 --> 00:58:59,120
Speaker 3: of this film A Bucket of Blood. So I started it,

1128
00:58:59,520 --> 00:59:01,920
Speaker 3: and I immediately realized how long it would take me

1129
00:59:02,680 --> 00:59:06,560
Speaker 3: by myself to rotoscope an entire feature length film. But

1130
00:59:06,840 --> 00:59:10,600
Speaker 3: I did plan it all out, and the idea and

1131
00:59:10,640 --> 00:59:12,919
Speaker 3: all of the work I put into is still sitting there.

1132
00:59:12,920 --> 00:59:15,800
Speaker 3: In my first ten minutes of this film finished, i'd

1133
00:59:15,840 --> 00:59:19,080
Speaker 3: called it another bucket of Blood. And my favorite part

1134
00:59:19,080 --> 00:59:21,600
Speaker 3: about this was that because it is black and white,

1135
00:59:21,720 --> 00:59:23,800
Speaker 3: I had the opportunity to do whatever I wanted with

1136
00:59:23,840 --> 00:59:28,600
Speaker 3: the color palette, and so I made each character within

1137
00:59:28,640 --> 00:59:31,560
Speaker 3: a completely different hue of a color palette that had

1138
00:59:31,640 --> 00:59:35,320
Speaker 3: a deeper meaning tied into like the representation of the

1139
00:59:35,360 --> 00:59:38,200
Speaker 3: color and what that color can mean in like the

1140
00:59:38,200 --> 00:59:41,840
Speaker 3: greater world. So, for example, Maxwell, because he was like

1141
00:59:42,000 --> 00:59:44,880
Speaker 3: the head of the whole yellow door scene, I made

1142
00:59:44,960 --> 00:59:47,320
Speaker 3: him purple because he was regal and the purple is

1143
00:59:47,360 --> 00:59:51,080
Speaker 3: often a royal color associated with that. Leonard because he

1144
00:59:51,160 --> 00:59:55,080
Speaker 3: runs the yellow door, his whole huge color palette was yellow.

1145
00:59:55,320 --> 00:59:57,960
Speaker 3: And also because he's quite a cowardly character, he won't

1146
00:59:57,960 --> 01:00:02,160
Speaker 3: actually take any action, won't do anything. Walter was completely

1147
01:00:02,160 --> 01:00:05,120
Speaker 3: in shades of green because not only was he green

1148
01:00:05,200 --> 01:00:08,040
Speaker 3: in terms of inexperience, he also had a bit at

1149
01:00:08,040 --> 01:00:10,880
Speaker 3: the green eyed monster he was. He was very envious

1150
01:00:10,880 --> 01:00:12,919
Speaker 3: of others and wanted to have what others had, et cetera,

1151
01:00:12,960 --> 01:00:15,600
Speaker 3: et cetera, et cetera. Like these all all these things

1152
01:00:15,640 --> 01:00:17,760
Speaker 3: happened for like all the central characters they all had

1153
01:00:18,280 --> 01:00:22,800
Speaker 3: a color coding that kind of like showed their future

1154
01:00:22,800 --> 01:00:27,000
Speaker 3: intentions and also perhaps said something about their personality. And

1155
01:00:27,040 --> 01:00:29,080
Speaker 3: I'm very sorry to say that I finished about oh,

1156
01:00:29,120 --> 01:00:31,120
Speaker 3: five minutes of this five to ten minutes, and I

1157
01:00:31,200 --> 01:00:34,520
Speaker 3: was like, I will never do anything else if I

1158
01:00:34,560 --> 01:00:37,520
Speaker 3: dedicate my time to this. This will absorb my entire

1159
01:00:37,560 --> 01:00:40,520
Speaker 3: life for the next five years if this is what

1160
01:00:40,640 --> 01:00:43,120
Speaker 3: I focus on. So so yes, I'm sad to say

1161
01:00:43,120 --> 01:00:46,000
Speaker 3: I I never finished it, but I used some clips

1162
01:00:46,000 --> 01:00:48,240
Speaker 3: in like animation reels that I used to like get

1163
01:00:48,280 --> 01:00:49,520
Speaker 3: real animation jobs.

1164
01:00:50,040 --> 01:00:53,120
Speaker 2: Oh that's good. It's a great idea for a project.

1165
01:00:54,120 --> 01:00:56,600
Speaker 2: I guess you didn't have a B and nos moment,

1166
01:00:56,680 --> 01:00:59,640
Speaker 2: but you had this moment that Walter never has, where

1167
01:01:00,480 --> 01:01:02,560
Speaker 2: where you realized how much work it would take and

1168
01:01:02,600 --> 01:01:04,200
Speaker 2: what it would take out of you, and what the

1169
01:01:04,240 --> 01:01:06,920
Speaker 2: returns would be based on this investment.

1170
01:01:07,240 --> 01:01:11,160
Speaker 3: Absolutely, and in some ways. Rotoscoping, if folks don't know,

1171
01:01:11,280 --> 01:01:17,200
Speaker 3: is an animation style used with tracing over source film panels.

1172
01:01:17,680 --> 01:01:19,960
Speaker 3: So that being the case, I was well aware that

1173
01:01:20,000 --> 01:01:24,000
Speaker 3: my animation style was pulling off what Walter Paisley was

1174
01:01:24,040 --> 01:01:26,560
Speaker 3: doing in the film as well, that I was instead

1175
01:01:26,560 --> 01:01:30,040
Speaker 3: of applying clay to the figures. I was putting a

1176
01:01:30,120 --> 01:01:33,920
Speaker 3: layer of pixels over everyone. It was a fun project.

1177
01:01:33,960 --> 01:01:36,600
Speaker 3: But that's for when you're you know, in your twenties,

1178
01:01:36,720 --> 01:01:40,000
Speaker 3: and you have nothing but free time, and you think that,

1179
01:01:40,080 --> 01:01:42,840
Speaker 3: you know, every art project is achievable because you have

1180
01:01:42,920 --> 01:01:46,720
Speaker 3: infinite time in this world. Then you have to get jobs,

1181
01:01:48,200 --> 01:01:48,400
Speaker 3: you know.

1182
01:01:48,520 --> 01:01:51,920
Speaker 2: Looking back on Walter's creations like the first one is

1183
01:01:52,080 --> 01:01:55,240
Speaker 2: kind of an interesting stopping point because there are artists

1184
01:01:55,280 --> 01:01:59,760
Speaker 2: who use and have used animals and dead animals, and

1185
01:02:00,560 --> 01:02:03,480
Speaker 2: two varying degrees, either actually as part of the work

1186
01:02:03,520 --> 01:02:07,440
Speaker 2: as we see with Walter, or of course as inspiration

1187
01:02:07,720 --> 01:02:10,680
Speaker 2: anatomical studies. I'm, of course very much opposed to any

1188
01:02:10,760 --> 01:02:14,800
Speaker 2: kind of animal cruelty based artwork, but just the idea

1189
01:02:14,960 --> 01:02:16,880
Speaker 2: of like a dead animal being used in the art

1190
01:02:16,960 --> 01:02:19,800
Speaker 2: is not completely out of bounds.

1191
01:02:20,120 --> 01:02:23,480
Speaker 3: A very famous one is Damien Hurst. Damien Hurst. He

1192
01:02:23,520 --> 01:02:27,560
Speaker 3: has done that with sharks, he has done that with gosh.

1193
01:02:27,560 --> 01:02:29,640
Speaker 3: I think there are other animals as well. His shark

1194
01:02:29,720 --> 01:02:33,520
Speaker 3: piece is the most famous. But you're absolutely right, and

1195
01:02:33,560 --> 01:02:38,960
Speaker 3: these are highly applauded, highly famous and well respected artists.

1196
01:02:39,160 --> 01:02:42,320
Speaker 3: Damien Hurst is one of the most popular modern artists

1197
01:02:42,320 --> 01:02:44,760
Speaker 3: in the world, and he has done this. He displayed

1198
01:02:44,800 --> 01:02:47,160
Speaker 3: a dead shark in a tank and was like, that's

1199
01:02:47,160 --> 01:02:47,560
Speaker 3: my art.

1200
01:02:48,200 --> 01:02:50,160
Speaker 2: Yeah. And of course there are artists who have also

1201
01:02:50,400 --> 01:02:54,080
Speaker 2: used either you know, anatomical fluids or parts or even

1202
01:02:54,160 --> 01:02:58,280
Speaker 2: cadavers to different degrees, human cadavers. But of course one

1203
01:02:58,280 --> 01:03:00,360
Speaker 2: of the key rules is you were not allow to

1204
01:03:00,440 --> 01:03:05,000
Speaker 2: make that cadaver yourself. And you need in any kind

1205
01:03:05,000 --> 01:03:06,960
Speaker 2: of fluids or parts you use, it needs to be

1206
01:03:07,000 --> 01:03:09,360
Speaker 2: above board, it needs to be consensual and above board.

1207
01:03:09,640 --> 01:03:13,040
Speaker 3: Yes, yes, I remember the body Works is like a

1208
01:03:13,120 --> 01:03:15,720
Speaker 3: museum piece where they did that as well. And another

1209
01:03:15,720 --> 01:03:20,240
Speaker 3: thing too that the artists who use these human or

1210
01:03:20,600 --> 01:03:25,360
Speaker 3: animal bodies death as as like the palette, they're not

1211
01:03:25,560 --> 01:03:29,080
Speaker 3: lying to you. They're not pretending that it's not a

1212
01:03:29,120 --> 01:03:32,480
Speaker 3: dead body. They are saying this is this, that's part

1213
01:03:32,520 --> 01:03:34,760
Speaker 3: of the message. They're not They're not hiding a dead

1214
01:03:34,760 --> 01:03:38,080
Speaker 3: body inside of a clay exterior.

1215
01:03:38,480 --> 01:03:41,120
Speaker 2: Now another interesting theme that I like, we get, we

1216
01:03:41,160 --> 01:03:42,360
Speaker 2: get we get to see a little bit of this,

1217
01:03:42,480 --> 01:03:46,760
Speaker 2: reflections of it, perhaps in the like you know, the

1218
01:03:46,800 --> 01:03:50,320
Speaker 2: third act, I guess you know, where Walter is concerned

1219
01:03:50,320 --> 01:03:53,000
Speaker 2: about what's next and you know, how am I gonna

1220
01:03:53,040 --> 01:03:54,560
Speaker 2: again we talked about this, how you know, I've got

1221
01:03:54,600 --> 01:03:55,840
Speaker 2: to put up something else. I've got to stay in

1222
01:03:55,880 --> 01:03:59,040
Speaker 2: the conversation. And at the same time, like fear that

1223
01:03:59,040 --> 01:04:00,920
Speaker 2: they're going to find him out, He's going to realize

1224
01:04:00,920 --> 01:04:03,520
Speaker 2: that he's a fraud. So we have that interesting texture

1225
01:04:03,720 --> 01:04:06,400
Speaker 2: that he is, I guess quite literally a fraud and

1226
01:04:06,560 --> 01:04:09,840
Speaker 2: there is this dark secret and people don't know the

1227
01:04:09,920 --> 01:04:12,160
Speaker 2: dark secret of how he's creating the art and it's

1228
01:04:12,200 --> 01:04:14,600
Speaker 2: not based in his sculpting talent that has come out

1229
01:04:14,640 --> 01:04:17,760
Speaker 2: of nowhere, and so you know, it gets into that

1230
01:04:17,800 --> 01:04:20,680
Speaker 2: whole like fear that I think even very successful artists

1231
01:04:20,720 --> 01:04:23,000
Speaker 2: have that like they're going to see through me. They're

1232
01:04:23,080 --> 01:04:26,400
Speaker 2: you know, they're going to They're going to to to

1233
01:04:26,560 --> 01:04:29,360
Speaker 2: realize the insecurities that I have about my creations.

1234
01:04:30,120 --> 01:04:32,720
Speaker 3: Imposter syndrome for sure. Yeah.

1235
01:04:32,760 --> 01:04:34,439
Speaker 2: And then also, you know, getting back to what you said,

1236
01:04:34,480 --> 01:04:36,240
Speaker 2: this idea of like how do I follow it up?

1237
01:04:36,440 --> 01:04:38,320
Speaker 2: Like what is the next thing that I have to do?

1238
01:04:38,440 --> 01:04:43,480
Speaker 2: And with Walter, like his pieces of art are literal crimes,

1239
01:04:43,680 --> 01:04:47,440
Speaker 2: they're literal, you know, traumatic experiences that you know, we're

1240
01:04:47,480 --> 01:04:49,840
Speaker 2: still taking a lot out of him, And yeah, we

1241
01:04:49,840 --> 01:04:51,880
Speaker 2: can sort of like roughly compare that to any creative

1242
01:04:51,920 --> 01:04:54,280
Speaker 2: process where it's like you put all this work into something,

1243
01:04:54,720 --> 01:04:57,160
Speaker 2: you know, you lose something in making it, maybe you

1244
01:04:57,240 --> 01:04:59,560
Speaker 2: don't even love the thing when you're done with it anymore.

1245
01:04:59,560 --> 01:05:03,560
Speaker 2: But it's and then there is either the overt demand

1246
01:05:03,720 --> 01:05:06,200
Speaker 2: or just the pressure you feel to like you've got

1247
01:05:06,240 --> 01:05:08,120
Speaker 2: to do something else. Now you've got to go perhaps

1248
01:05:08,160 --> 01:05:09,560
Speaker 2: go through all of that again.

1249
01:05:10,440 --> 01:05:17,160
Speaker 3: Yeah, yeah, no, very understandable, very believable. And if folks

1250
01:05:17,400 --> 01:05:21,560
Speaker 3: are curious, this version of a story has been told

1251
01:05:21,640 --> 01:05:24,840
Speaker 3: multiple times in other lampoonings of the art world. There's

1252
01:05:24,840 --> 01:05:28,520
Speaker 3: a really great one called Art School Confidential, where a

1253
01:05:28,600 --> 01:05:33,360
Speaker 3: series of murders are taking place around like an art

1254
01:05:33,400 --> 01:05:37,160
Speaker 3: school campus and then like the paintings of the dead

1255
01:05:37,240 --> 01:05:42,320
Speaker 3: bodies are the remnants from the from the killer. And

1256
01:05:42,360 --> 01:05:44,960
Speaker 3: then there's an episode of CSI I Remember where people

1257
01:05:45,040 --> 01:05:50,280
Speaker 3: were killing people and then the artist would then kind

1258
01:05:50,320 --> 01:05:54,680
Speaker 3: of like that like bodies exhibit, they would like plasticize

1259
01:05:55,120 --> 01:05:57,720
Speaker 3: them where they were just like standing on the street frozen,

1260
01:05:58,160 --> 01:06:01,640
Speaker 3: and that was like their art. Like this idea because

1261
01:06:01,680 --> 01:06:04,400
Speaker 3: like when you think about like what are the extremes

1262
01:06:04,480 --> 01:06:07,960
Speaker 3: of where art can go? This is a logical, slippery

1263
01:06:07,960 --> 01:06:11,000
Speaker 3: slope conclusion is like murder. Murder can be the thing

1264
01:06:11,000 --> 01:06:14,120
Speaker 3: because because there are also versions of this. There was

1265
01:06:14,440 --> 01:06:17,160
Speaker 3: an artist, for example, that his art piece was to

1266
01:06:17,320 --> 01:06:20,520
Speaker 3: be shot. He stood in a gallery and got shot

1267
01:06:20,560 --> 01:06:23,200
Speaker 3: by a gun and that was his art piece that day.

1268
01:06:23,640 --> 01:06:25,160
Speaker 3: So so you know there are versions of this in

1269
01:06:25,200 --> 01:06:27,600
Speaker 3: the real world, and so it's it's fascinating.

1270
01:06:27,800 --> 01:06:30,240
Speaker 2: Yeah, yeah, yeah. And then of course you also have

1271
01:06:30,320 --> 01:06:33,920
Speaker 2: the various wax museum pictures where a toy was some

1272
01:06:34,040 --> 01:06:36,760
Speaker 2: version of this as well. It's like the hideous secret

1273
01:06:36,800 --> 01:06:40,200
Speaker 2: behind these these wax doubles as that of course they're

1274
01:06:40,200 --> 01:06:43,880
Speaker 2: dead bodies that the wax master is covered up in wax. Yeah.

1275
01:06:44,000 --> 01:06:47,040
Speaker 3: Yeah, it's an interesting concept that can be approached multiple boys.

1276
01:06:47,480 --> 01:06:50,560
Speaker 2: Now, i'd say with the ending of the film, it like,

1277
01:06:50,560 --> 01:06:52,960
Speaker 2: like you said, it's it's a pretty dark ending, but

1278
01:06:53,040 --> 01:06:55,640
Speaker 2: it also happens really fast. It has that kind of

1279
01:06:55,720 --> 01:06:57,720
Speaker 2: quick wrap up feel that you find in a lot

1280
01:06:57,720 --> 01:07:00,320
Speaker 2: of especially that crime pictures of the time period, even

1281
01:07:00,440 --> 01:07:04,760
Speaker 2: like very you know, superheroe, horror, sci fi things. It's

1282
01:07:04,800 --> 01:07:08,680
Speaker 2: like Enemy's Dead roll credits, so it's all very sudden

1283
01:07:08,680 --> 01:07:11,040
Speaker 2: and it's very much in keeping with the time period.

1284
01:07:11,040 --> 01:07:14,520
Speaker 2: But I found myself wondering again, he's just hanging up there,

1285
01:07:14,560 --> 01:07:18,200
Speaker 2: He's got some clay just smeared on him. What if

1286
01:07:18,280 --> 01:07:20,920
Speaker 2: they'd gone in a different direction, And what if Walter's

1287
01:07:20,960 --> 01:07:24,200
Speaker 2: final creation, his own death was beautiful. What if it

1288
01:07:24,200 --> 01:07:27,720
Speaker 2: had been transcendent? What if it had been sublime? It

1289
01:07:27,720 --> 01:07:29,600
Speaker 2: would have been really in keeping with the feel of

1290
01:07:29,600 --> 01:07:33,400
Speaker 2: the film. But I can't help but imagine what that

1291
01:07:33,440 --> 01:07:36,480
Speaker 2: would have I guess it would have skewed the message

1292
01:07:36,480 --> 01:07:40,600
Speaker 2: of the film and perhaps an undesirable direction, But it

1293
01:07:40,720 --> 01:07:43,080
Speaker 2: might have also been just a little less dark in

1294
01:07:43,120 --> 01:07:43,600
Speaker 2: that regard.

1295
01:07:43,640 --> 01:07:48,640
Speaker 3: I'm not sure absolutely. And you know, there is also gosh.

1296
01:07:48,640 --> 01:07:52,400
Speaker 3: I suppose a fetishization is perhaps too extreme of a term,

1297
01:07:52,600 --> 01:07:56,720
Speaker 3: but you know, when artists die young, that is always

1298
01:07:56,720 --> 01:08:00,360
Speaker 3: a thing that occurs where people will then give a

1299
01:08:00,400 --> 01:08:04,840
Speaker 3: deeper embrace to their work, quite often for good reason,

1300
01:08:04,840 --> 01:08:08,000
Speaker 3: because it's wonderful art. But it is just, you know,

1301
01:08:08,040 --> 01:08:10,520
Speaker 3: it's a trope. It's a trope that if an artist

1302
01:08:10,520 --> 01:08:13,400
Speaker 3: dies young, their work is embraced even more so. What

1303
01:08:13,640 --> 01:08:16,360
Speaker 3: would have happened the year after this? Would there have

1304
01:08:16,360 --> 01:08:19,800
Speaker 3: been artists that were really inspired by his work? Could

1305
01:08:19,840 --> 01:08:22,320
Speaker 3: there have been a bucket of blood too, where it

1306
01:08:22,400 --> 01:08:24,879
Speaker 3: was another artist in like art school who was studying

1307
01:08:24,920 --> 01:08:28,400
Speaker 3: Walter Paisley and then becomes a copycat murderer. I think

1308
01:08:28,400 --> 01:08:30,519
Speaker 3: that's the easiest idea in the world. It would have

1309
01:08:30,560 --> 01:08:31,160
Speaker 3: been wonderful.

1310
01:08:31,479 --> 01:08:34,120
Speaker 2: Yeah, yeah, that's a great point. Yeah, the the cult

1311
01:08:34,120 --> 01:08:38,639
Speaker 2: of the the the young artist that has we've tragically lost.

1312
01:08:39,080 --> 01:08:41,080
Speaker 2: But also just like the idea, like the cult of

1313
01:08:41,120 --> 01:08:44,360
Speaker 2: the young artist. I was listening to an MPR piece

1314
01:08:45,240 --> 01:08:49,120
Speaker 2: before this recording and the expert I'm sorry, I don't

1315
01:08:49,160 --> 01:08:50,560
Speaker 2: I don't have the information in front of me. I

1316
01:08:50,560 --> 01:08:53,320
Speaker 2: can't remember what the expert's name was, but he was

1317
01:08:53,360 --> 01:08:55,120
Speaker 2: talking a bit about like this this myth, like the

1318
01:08:55,120 --> 01:09:00,519
Speaker 2: basic myth that, like real creativity, it comes young and strong,

1319
01:09:00,800 --> 01:09:03,479
Speaker 2: you know, And it's the sort of creative myth that

1320
01:09:03,600 --> 01:09:06,920
Speaker 2: ends up having a negative impact on a lot of us.

1321
01:09:06,960 --> 01:09:08,920
Speaker 2: And you can imagine that sort of myth impacting the

1322
01:09:08,920 --> 01:09:12,680
Speaker 2: fictional Walter Paisley as well, Like, you know, I'm not

1323
01:09:12,760 --> 01:09:15,840
Speaker 2: a natural talent, then I must be lost. There's nothing

1324
01:09:15,840 --> 01:09:17,960
Speaker 2: I can do, And that's that's not the case.

1325
01:09:18,560 --> 01:09:23,479
Speaker 3: Yeah, absolutely, yeah, No, it's for such a silly throwaway movie.

1326
01:09:23,760 --> 01:09:25,960
Speaker 3: There's a lot of thought that went into it, and

1327
01:09:26,000 --> 01:09:28,720
Speaker 3: a lot of thought you can have afterwards about its

1328
01:09:28,760 --> 01:09:33,679
Speaker 3: implications and it's greater effect. And yeah, in many ways,

1329
01:09:33,720 --> 01:09:36,599
Speaker 3: like I said that, the mirroring of our modern world

1330
01:09:36,640 --> 01:09:38,439
Speaker 3: and how perhaps it's not that different from how it

1331
01:09:38,479 --> 01:09:41,439
Speaker 3: was in the fifties. Comparing social media to the beatnick

1332
01:09:41,560 --> 01:09:46,000
Speaker 3: world of the nineteen fifties, a lot of similar aspects,

1333
01:09:46,040 --> 01:09:46,920
Speaker 3: which is fascinating.

1334
01:09:47,360 --> 01:09:49,360
Speaker 2: I think my final thought well on this film would

1335
01:09:49,400 --> 01:09:52,640
Speaker 2: be I was really expecting someone to say daddy O

1336
01:09:52,800 --> 01:09:55,360
Speaker 2: at some point, and no one ever did. And it

1337
01:09:55,400 --> 01:09:59,960
Speaker 2: makes me wonder. I've never researched when daddy O entered

1338
01:10:00,240 --> 01:10:04,479
Speaker 2: public usage or becomes associated with Beatnicks. Maybe I'm going

1339
01:10:04,479 --> 01:10:05,800
Speaker 2: on faulty information here.

1340
01:10:06,400 --> 01:10:09,639
Speaker 3: That's a great point. I actually own a couple of

1341
01:10:10,439 --> 01:10:14,400
Speaker 3: beatnik comics from around this era. There's a comic artist

1342
01:10:14,439 --> 01:10:16,880
Speaker 3: I love named John Stanley, and he tried to make

1343
01:10:16,920 --> 01:10:19,960
Speaker 3: a whole series just about goofy Beatniks in the nineteen fifties,

1344
01:10:20,439 --> 01:10:23,639
Speaker 3: and it was only popular enough to make two issues

1345
01:10:23,760 --> 01:10:26,679
Speaker 3: and then it was canceled. And the thing I remember

1346
01:10:27,120 --> 01:10:29,960
Speaker 3: in their slang is they use the word reat all

1347
01:10:30,000 --> 01:10:33,559
Speaker 3: the time. R ee t to mean like correct, right,

1348
01:10:33,920 --> 01:10:37,080
Speaker 3: you know, And I remember, you know, in the twenty

1349
01:10:37,120 --> 01:10:41,160
Speaker 3: twenties being like huh, all right, like you know better

1350
01:10:41,200 --> 01:10:42,519
Speaker 3: than I do. But yeah, I thought you'd be saying

1351
01:10:42,560 --> 01:10:44,599
Speaker 3: things like daddy oh, but no, no, no, they had

1352
01:10:44,600 --> 01:10:45,439
Speaker 3: their own slang.

1353
01:10:45,520 --> 01:10:45,800
Speaker 2: It was.

1354
01:10:46,880 --> 01:10:49,760
Speaker 3: It's fascinating seeing those little like time capsules.

1355
01:10:50,280 --> 01:10:51,960
Speaker 2: All right, seth, Well, this has been a lot of fun.

1356
01:10:52,040 --> 01:10:55,439
Speaker 2: Thanks for coming on the show to discuss a Bucket

1357
01:10:55,439 --> 01:10:58,360
Speaker 2: of Blood from nineteen fifty nine. Yeah, a lot to

1358
01:10:58,439 --> 01:11:02,040
Speaker 2: chew on with this one. Tell folks out there where

1359
01:11:02,040 --> 01:11:04,880
Speaker 2: they can find Rusty Needles Record Club and how they.

1360
01:11:04,760 --> 01:11:08,759
Speaker 3: Can get in touch with you, absolutely so. Rusty Needles

1361
01:11:08,800 --> 01:11:11,919
Speaker 3: Record Club is a weekly podcast, new episode every Friday,

1362
01:11:12,600 --> 01:11:16,200
Speaker 3: and it's a podcast in the style of how podcasts

1363
01:11:16,320 --> 01:11:18,879
Speaker 3: used to be. Remember the old days folks like around,

1364
01:11:18,920 --> 01:11:23,639
Speaker 3: like let's say two thousand and four, when people made

1365
01:11:23,680 --> 01:11:26,040
Speaker 3: podcasts just for fun and didn't put ads in them

1366
01:11:26,080 --> 01:11:29,439
Speaker 3: and just kind of like, yeah, they were personal and

1367
01:11:29,560 --> 01:11:33,080
Speaker 3: simple and very niche. That's what Rusty Needle's Record Club is.

1368
01:11:33,680 --> 01:11:37,400
Speaker 3: It's a two thousand and four style podcast. And if

1369
01:11:37,400 --> 01:11:40,480
Speaker 3: you like music and you want to expand your musical horizons,

1370
01:11:40,600 --> 01:11:42,479
Speaker 3: or perhaps you just don't have anyone around you that

1371
01:11:42,479 --> 01:11:44,720
Speaker 3: you can have those kind of conversations with. You can

1372
01:11:44,760 --> 01:11:47,240
Speaker 3: at least have like a parasocial relationship with me and

1373
01:11:47,280 --> 01:11:49,840
Speaker 3: my co host Scott as we talk about music. Our

1374
01:11:49,920 --> 01:11:52,719
Speaker 3: goal of the podcast is to listen to every single

1375
01:11:52,760 --> 01:11:57,040
Speaker 3: album ever made, and so far we're doing great. It's

1376
01:11:57,360 --> 01:12:01,320
Speaker 3: we are progressively moving towards that direction. So if you

1377
01:12:01,320 --> 01:12:04,280
Speaker 3: want to join us, just look up Rusty Needles Record

1378
01:12:04,280 --> 01:12:08,120
Speaker 3: Club anywhere you listen to podcasts. We're available everywhere, and yeah,

1379
01:12:08,200 --> 01:12:11,519
Speaker 3: you'll find it. It's easy, that's it. I join us

1380
01:12:11,520 --> 01:12:12,320
Speaker 3: if you feel like it.

1381
01:12:14,000 --> 01:12:17,400
Speaker 2: All right. As for Weird House Cinema, of course, Stuff

1382
01:12:17,400 --> 01:12:19,960
Speaker 2: to Blow Your Mind is primarily a science podcast, with

1383
01:12:20,000 --> 01:12:22,320
Speaker 2: core episodes on Tuesdays and Thursdays, but on Fridays we

1384
01:12:22,360 --> 01:12:24,320
Speaker 2: set aside most serious concerns to just talk about a

1385
01:12:24,360 --> 01:12:27,040
Speaker 2: weird film on Weird House Cinema. If you want a

1386
01:12:27,160 --> 01:12:29,240
Speaker 2: nice list of all the films we've covered so far

1387
01:12:29,320 --> 01:12:32,840
Speaker 2: in the show, including I guess three episodes with you

1388
01:12:32,920 --> 01:12:36,679
Speaker 2: now seth because during Joe's Brintal leave we covered two films,

1389
01:12:36,720 --> 01:12:39,400
Speaker 2: I think, right. If you want to find all of those, well,

1390
01:12:39,600 --> 01:12:42,240
Speaker 2: you can find a nice list at letterboxed dot com.

1391
01:12:42,240 --> 01:12:43,800
Speaker 2: It's L E T T E R B O x

1392
01:12:43,880 --> 01:12:46,600
Speaker 2: D dot com. Our username is weird House. There's a

1393
01:12:46,680 --> 01:12:49,439
Speaker 2: nice list there. Dive in there, find something you've never

1394
01:12:49,479 --> 01:12:53,920
Speaker 2: seen before, or find something you want to revisit. It's

1395
01:12:53,920 --> 01:12:57,080
Speaker 2: a great tool to use. And yeah, in general, I'll

1396
01:12:57,120 --> 01:13:00,439
Speaker 2: just ask everyone out there, Hey, if you've never rated

1397
01:13:00,439 --> 01:13:02,879
Speaker 2: and reviewed the podcast on one of the many platforms

1398
01:13:02,880 --> 01:13:04,439
Speaker 2: where you can get it, why don't you do that?

1399
01:13:04,439 --> 01:13:06,800
Speaker 2: That could help us out. Another thing, if you listen

1400
01:13:06,840 --> 01:13:09,760
Speaker 2: to this on Apple on Apple device, just maybe pop

1401
01:13:09,800 --> 01:13:12,479
Speaker 2: in and make sure that you're still still subscribe, you're

1402
01:13:12,479 --> 01:13:14,680
Speaker 2: still getting downloads. That also helps us out in the

1403
01:13:14,680 --> 01:13:18,280
Speaker 2: long run. Thanks as always to our excellent producer JJ

1404
01:13:18,960 --> 01:13:21,120
Speaker 2: for helping put together the show here and if you

1405
01:13:21,120 --> 01:13:23,479
Speaker 2: want to get in touch with me and or Joe,

1406
01:13:23,720 --> 01:13:26,200
Speaker 2: you can email us at contact at stuff to Blow

1407
01:13:26,240 --> 01:13:34,080
Speaker 2: your Mind dot com.

1408
01:13:34,160 --> 01:13:37,120
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1409
01:13:37,200 --> 01:13:40,000
Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app,

1410
01:13:40,160 --> 01:13:43,360
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.