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Speaker 1: Dear listeners of Hollywood Land, does it feel like you're

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Speaker 1: stuck in limbo? Standing under a flickering street light at

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Speaker 1: the corner of Hollywood and True Crime, waiting for the

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Speaker 1: next episode of hollywood Land to drop. I got you.

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Speaker 1: Welcome to hollywood Land, the Rap Party. Welcome to the

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Speaker 1: hollywood Land bonus episode. That's right, it's the Rap Party.

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Speaker 1: This is where you come to hang out. After that

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Speaker 1: last camera rolls, after the gate is checked, the director

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Speaker 1: calls cut, and the studio a lot empties out. My

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Speaker 1: name is Zeth Lundy, writer and editor at Double Elvis,

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Speaker 1: and on this bonus episode, we are talking about this

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Speaker 1: week's full episode subject of hollywood Land, Roman Polanski. We

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Speaker 1: are previewing next week's episode on Jane Fonda. We're taking

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Speaker 1: movie and music recommendations and we're going to check out

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Speaker 1: your voicemails, texts, dms, and emails. So come on, everybody,

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Speaker 1: let's party. Separating the art from the artist. This is

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Speaker 1: a recurring topic and a recurring theme for pretty much

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Speaker 1: all of us who consume movies and music and literature

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Speaker 1: and art. Jake has brought this up in the past.

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Speaker 1: I'm thinking most recently and maybe in the After Party

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Speaker 1: episode following the r Kelly episode. But this idea of

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Speaker 1: can you watch the films or listen to the songs

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Speaker 1: of an artist, a director, an actor whose transgressions are

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Speaker 1: so bad, like objectively unimpeachably bad, And whether we consciously

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Speaker 1: think of it in that way or not, it's always there.

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Speaker 1: If you're watching a movie directed by Brian Singer or

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Speaker 1: you're listening to an album by Michael Jackson, whether or

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Speaker 1: not you're actively asking yourself that art versus his artist question,

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Speaker 1: you are in some way answering it for me. Roman Polanski,

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Speaker 1: the subject of this week's Hollywood Land episode. First, I've

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Speaker 1: got to say this, this is my Polanski hot take.

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Speaker 1: I think the guy is an Oka director who had

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Speaker 1: a fluke success with a couple of killer movies. Okay,

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Speaker 1: he has never been as great as any of his peers.

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Speaker 1: He's not Coppola, he's not Scorsese, he's not Spielberg, He's

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Speaker 1: I don't know, is he DiPalma. He's a DiPalma in

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Speaker 1: my book, Brian de Palma. Very hit and miss for me,

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Speaker 1: way more miss than hit. And I'm not going to

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Speaker 1: get into a full rundown here of Polanski's filmography, But

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Speaker 1: suffice to say, I think he has two all timer films,

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Speaker 1: and those are Rosemary's Baby in Chinatown. Now here's the thing.

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Speaker 1: When I watch movies by Coppola or Scorsese or Spielberg,

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Speaker 1: part of the experience for me is how they make

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Speaker 1: the thing. It's how Coppola frames the shot, or how

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Speaker 1: Scorsese moves the camera, or how Spielberg tells the story

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Speaker 1: visually in a way that only he can. Their fingerprints

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Speaker 1: are all over it. But when it comes to Rosemary's

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Speaker 1: Baby in Chinatown, I don't have that same experience. Film

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Speaker 1: is a collaborative medium, more so than music, even the

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Speaker 1: number of people involved in making a movie. It's about

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Speaker 1: much more than the director. For me, Chinatown is all

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Speaker 1: about the production designer. And to that point, for me,

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Speaker 1: Chinatown is all about the production design, the period cars

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Speaker 1: and the suits, and the outdoor gardens and the orange groves.

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Speaker 1: It's Jack Nicholson's performance, Fae Dunaway's performance, John Houston's incredible performance,

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Speaker 1: and being a writer and a lover of great writing.

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Speaker 1: It's all about Robert Town's screenplay, which for my money,

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Speaker 1: remains one of the best screenplays of all time. Over

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Speaker 1: fifty years later. Same goes for Rosemary's Baby. That movie

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Speaker 1: is all about Mia Farrow, John Cassavetti's Ruth Gordon, the

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Speaker 1: Great Ruth Gordon, and Sydney Blackmaer as the Castavet's the

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Speaker 1: weirdest fucking neighbors in the history of cinema. I don't

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Speaker 1: see Polanski as an oteur. I see him as a

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Speaker 1: filmmaker who got lucky with a couple of great films

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Speaker 1: made at a time when filmmakers are being given more

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Speaker 1: autonomy in the Hollywood system. And I think that both

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Speaker 1: of those films would still be held in such high

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Speaker 1: esteem today have Polanski not done what he did. But

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Speaker 1: I do think that in some ways his place in

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Speaker 1: this hierarchy of great directors from this era has been

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Speaker 1: in some way aided by his notoriety and by scandal.

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Speaker 1: Do I think that what Roman Polanski did back in

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Speaker 1: nineteen seventy seven, the drugging and sexual assault of a minor,

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Speaker 1: something he admitted to doing. Do I think that was

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Speaker 1: an absolutely disgusting, irredeemable act, and that he is a

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Speaker 1: disgusting piece of shit of a person, no matter how

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Speaker 1: many times he's apologized or whatever. Yes, of course I do.

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Speaker 1: I have two daughters aged sixteen and eleven. And the

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Speaker 1: fact that this man, who was in his forties at

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Speaker 1: the time, not only did this to a teenage girl

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Speaker 1: but basically got away with it by running away from

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Speaker 1: it just makes my blood boil. He survived the Holocaust,

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Speaker 1: his wife, Sharon Tate, and his unborn baby were brutally

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Speaker 1: murdered by the Manson family, and that's a lot of

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Speaker 1: trauma and a lot of shit for one person to

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Speaker 1: live with. But obviously it does not excuse in the

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Speaker 1: least what he did later on. And I think it's

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Speaker 1: on record pretty well, and you can hear this in

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Speaker 1: our two part episode on Sharon Tate. It's on record

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Speaker 1: pretty well that even before this bullshit with the girl

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Speaker 1: in seventy seven, Polanski was a piece of shit person.

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Speaker 1: I think he subjected Sharon Tate to a lot of

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Speaker 1: fucked up things, made her do fucked up things, humiliated her,

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Speaker 1: ran around on her behind her back while he was

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Speaker 1: making a movie abroad and she was at home nine

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Speaker 1: months pregnant and getting stabbed in the belly by Tex

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Speaker 1: Watson and Susan Natkins. But all that said, can I

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Speaker 1: and do. I still watch Rosemary's Baby in Chinatown. I do,

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Speaker 1: and I do for all the reasons I stated above,

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Speaker 1: and none of those reasons is Roman Polanski. And maybe

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Speaker 1: that's a cop out. I don't know. Maybe that's me

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Speaker 1: making an excuse or being a hypocrite, but I honestly

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Speaker 1: believe that you can separate the art from the artists.

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Speaker 1: You're not co signing on the behavior or actions of

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Speaker 1: a person by enjoying or engaging with something valuable that

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Speaker 1: they helped create. And again in the medium of film,

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Speaker 1: this collaborative medium, I think that's an important part of it,

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Speaker 1: is that they helped create this thing. Real quick, I

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Speaker 1: want to mention this article, this quote from this article

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Speaker 1: that was in The New Republic back in twenty eighteen,

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Speaker 1: where two of the magazine's staff writers, Jeet here and

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Speaker 1: Joe Livingstone had a discussion about this very topic, separating

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Speaker 1: the art from the artists in the wake of the

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Speaker 1: Me Too movement. Livingstone had this to say, and this

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Speaker 1: is her quote. I consider Whatdy Allen and Roman Polanski's

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Speaker 1: movies gifts to me and to the culture, even when

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Speaker 1: they're bad, and I'm never giving them back. I don't

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Speaker 1: want Alan and Polanski to have control over their own

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Speaker 1: legacies or even over their own works. If they don't

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Speaker 1: get to dictate how I interpret their films, then they

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Speaker 1: don't get to control anything about the film industry. We

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Speaker 1: the viewers do. What do you think about all this?

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Speaker 1: Where do you fall on the great art versus artists debate?

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Speaker 1: What do you think about Roman Polanski, about his films

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Speaker 1: and his crimes? Hit me and jake up at six

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Speaker 1: one seven, nine oh, six three eight and let me

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Speaker 1: know what you think and as you think on it.

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Speaker 1: I wanted to briefly touch upon some of the developments

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Speaker 1: in this whole Polanski business here in the years since

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Speaker 1: the events depicted in our episode. First of all, in

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Speaker 1: two thousand and nine, it was revealed that back in

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Speaker 1: nineteen ninety three, Polanski and the victim of that nineteen

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Speaker 1: seventy seven assault, Samantha Geimer. I'm pronouncing that right, Geimer,

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Speaker 1: they had settled to the tune of five hundred thousand dollars,

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Speaker 1: But then court documents from three years later showed that

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Speaker 1: he still owed over six hundred thousand dollars, which included interest,

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Speaker 1: so it's unclear if he was actually repaying her what

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Speaker 1: she was owed or what. And then that same year

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Speaker 1: big news. Polanski went to the Zurich Film Festival, where

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Speaker 1: he was set to receive an award. But when he

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Speaker 1: stepped off the plane at the Zurich airport, he walked

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Speaker 1: into what's been described as a trap and he was

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Speaker 1: arrested by Swiss police. The Swiss authority said they were

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Speaker 1: acting on an extradition agreement with the United States and

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Speaker 1: that the US was requesting their help in bringing a

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Speaker 1: fugitive to justice for the crime he committed and fled

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Speaker 1: from back in nineteen seventy seven. But there were a

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Speaker 1: lot of people who were asking why now, because Polanski

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Speaker 1: visited Switzerland all the time, he even owned a chalet there,

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Speaker 1: and because of this, Upon his arrest, a number of

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Speaker 1: his peers signed a petition advocating for his release and

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Speaker 1: for his name to be cleared. Some of the directors

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Speaker 1: who'd signed this petition would not surprise you. I'm thinking

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Speaker 1: particularly of Woody Allen, But look at some of the

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Speaker 1: other names on this thing. Martin Scorsese, Wes Anderson, David Lynch,

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Speaker 1: Michael Mann, Alexander Payne, Jonathan Demi, just to name a few,

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Speaker 1: Just to reiterate these people, these great directors, American film

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Speaker 1: directors thought that Roman Polanski should have his name cleared

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Speaker 1: and signed a piece of paper saying so okay now.

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Speaker 1: According to IMDb, the Internet Movie Database, a number of

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Speaker 1: the people who originally signed the petition later either apologized

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Speaker 1: and expressed regret for signing it, or they asked for

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Speaker 1: their name to be taken off of it. In these

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Speaker 1: peer people include Natalie Portman, Emma Thompson, and Asia Argento.

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Speaker 1: Polanski was subsequently released. He was put under house arrest

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Speaker 1: at his chalet in Switzerland, and in July of the

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Speaker 1: following year, twenty ten, Swiss authorities decided not to extradite

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Speaker 1: him to the US, saying that quote, it was not

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Speaker 1: possible to exclude with the necessary certainty a fault in

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Speaker 1: the US extraditionary request unquote. And now here's the other

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Speaker 1: piece of information that may surprise you. It certainly surprised

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Speaker 1: me as far back as this two thousand nine arrest.

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Speaker 1: At that time, the victim of the nineteen seventy seven

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Speaker 1: rape sexual assault, Samantha Geimer. And I meant I should

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Speaker 1: mention here that other alleged victims of Polanski's came forward

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Speaker 1: with their own claims in lawsuits years even decades later,

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Speaker 1: so she was not alone here. But Geimer said that

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Speaker 1: even she had forgiven Polanski and that she didn't want

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Speaker 1: him to serve jail time. In twenty thirteen, she published

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Speaker 1: a memoir in which she for gay Polanski, and then afterwards,

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Speaker 1: apparently Polanski sent her this handwritten letter of apology. And

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Speaker 1: then fast forward to just a few years ago, twenty

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Speaker 1: twenty three, when Samantha Geimer gave an interview to the

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Speaker 1: Point a French magazine, specifically an interview conducted by Emmanuel Seigne,

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Speaker 1: who happens to be Roman Polanski's wife and has been

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Speaker 1: since nineteen eighty nine. In the interview, Samantha Geimer says,

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Speaker 1: and I quote, let me be very clear, what happened

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Speaker 1: with Polanski was never a big problem for me. I

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Speaker 1: didn't even know that it was illegal, that someone could

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Speaker 1: be arrested for it. I was fine. I'm still fine.

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Speaker 1: The fact that we made this thing up weighs on

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Speaker 1: me terribly. To have to constantly repeat that it wasn't

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Speaker 1: a big deal. It's a terrible burden. Unquote. Now I'm

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Speaker 1: telling you this not to excuse Polanski's behavior because I,

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Speaker 1: like I said before, I find it absolutely horrific and

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Speaker 1: I would never do so just painting the picture here

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Speaker 1: of the perspectives of other people, including people who were

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Speaker 1: involved in this, perspectives that are very surprising to me

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Speaker 1: as they've come out over the years, in which sort

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Speaker 1: of continues to sort of muddy up this whole thing,

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Speaker 1: if I'm being honest, and then meanwhile, you know, to

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Speaker 1: complicate things even further. Just last October, Polanski had been

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Speaker 1: facing another lawsuit. It was a case that was due

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Speaker 1: in civil court this coming this summer, this next month. Actually,

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Speaker 1: this is a lawsuit that was filed by a woman

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Speaker 1: who claimed that when she was sixteen years old back

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Speaker 1: in nineteen seventy three, Polanski took her to dinner, gave

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Speaker 1: her toe kuila, and when she started to feel dizzy,

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Speaker 1: he drove her back to his place and sexually assaulted her.

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Speaker 1: That lawsuit, which again was just filed, I believe in

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Speaker 1: twenty twenty three, that was settled quote to the party's

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Speaker 1: mutual satisfaction and has now been formally dismissed. Unquote. That's

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Speaker 1: a quote from Pulanski's lawyer. By the way, Polanski is

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Speaker 1: now ninety one years old. He turns ninety two next month.

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Speaker 1: He's still living in exile. He's still making movies. Movie

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Speaker 1: that he made back in twenty nineteen, called An Officer

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Speaker 1: and a Spy is finally getting a US release this year,

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Speaker 1: six years later next month, actually at a limited engagement

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Speaker 1: at New York City's Film Forum. This movie premiered six

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Speaker 1: years ago in twenty nineteen at the Fennis Film Festival,

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Speaker 1: where it won the Grand Jury Prize at the Saesar

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Speaker 1: Awards in twenty twenty, that's France's version of the Oscars. Basically,

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Speaker 1: An Officer and a Spy received the most nominations of

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Speaker 1: any film that year, twelve in total, and won four

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Speaker 1: of them, including Roman Polanski for Best Director. Okay, next

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Speaker 1: week in Hollywoodland, we go from one controversial figure to another,

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Speaker 1: although next week's subject is controversial in a very different

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Speaker 1: way from Roman Planski. Get Ready for a wild story

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Speaker 1: about Jane Fonda, who went from being one of the

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Speaker 1: most admired women in the world in the nineteen eighties

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Speaker 1: to one of the most reviled and perhaps even more insane,

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Speaker 1: how her arrest in Cleveland on trumped up drug charges

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Speaker 1: could have been orchestrated by none other than the President

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Speaker 1: of the United States, Richard Nixon. Make sure you catch

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Speaker 1: that episode and let me know what you think of it.

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Speaker 1: Let me know what you think about the Roman Polanski episode.

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Speaker 1: Did you learn something new? Were you more shocked than

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Speaker 1: you thought you would be? And please weigh in on

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Speaker 1: this whole art versus artist debate because it's one of

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Speaker 1: the most fascinating things to me. And I think, like

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Speaker 1: we've said before, it's very fluid conversation, very fluid argument.

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Speaker 1: Call me, text me and Jake at six one seven

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Speaker 1: nine oh six sixty six three eight and let me know.

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Speaker 1: Email us at disgracelampod at gmail dot com. Hit us

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Speaker 1: up on the socials, Facebook, Instagram, x at disgrace lam Pod.

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Speaker 1: Now dig if you will a quick break and when

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Speaker 1: we return, I'll be joined by the man with the plan,

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Speaker 1: our guy, Jake Brennan. Stay right where you are. We'll

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Speaker 1: be back in a flash. Welcome back to the Wrap party,

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Speaker 1: your favorite place to be on a Wednesday or whenever

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Speaker 1: it is that you're listening to this. I've got Jake

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Speaker 1: in the green room right now waiting for the green light.

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Speaker 1: But before we get him in here too. Quick reminders. First,

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Speaker 1: if you are an Apple podcast listener, make sure you

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Speaker 1: have auto downloads turned on for Hollywood Land. That's the

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Speaker 1: only way you can be one hundred percent sure that

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Speaker 1: you are hearing one hundred percent of the episodes that

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Speaker 1: we're releasing. Okay, and then number two, if you want

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Speaker 1: to listen to hollywood Land ad free, you can do this.

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Speaker 1: We have the technology. All you got to do is

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Speaker 1: become a member of Disgraceland All Access. What is Disgraceland

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Speaker 1: All Access? You ask, Well, for just five dollars a month,

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00:14:40,160 --> 00:14:43,320
Speaker 1: you can become a member of Disgraceland All Access, which

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00:14:43,320 --> 00:14:46,880
Speaker 1: gets you ad free listening, but not only for Hollywood

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00:14:46,960 --> 00:14:49,760
Speaker 1: Land every episode of Hollywoodland, by the way, but also

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Speaker 1: for every episode of the disgracelanm podcast. Plus you get

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00:14:54,040 --> 00:14:57,920
Speaker 1: a bonus fully scripted episode of Disgraceland every month. You

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Speaker 1: can become a member either via Apple Podcast or on

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Speaker 1: the Patreon app, the only difference being that with Patreon

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Speaker 1: you can also be part of the ongoing chat over there,

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Speaker 1: which Jake is very active in as well. If that's

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Speaker 1: something you're into, all right, If you want to know more,

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Speaker 1: just go to disgrace, lampod dot com, slash membership, and

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Speaker 1: speak of the Devil. Here's the handsomest devil of all,

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Speaker 1: Jake Brennan.

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Speaker 2: Dude, you got to get me play to my vanity always.

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Speaker 2: Oh good man, how you doing?

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Speaker 1: I'm doing all right. I messed up my foot this

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Speaker 1: weekend and I spent the last like three out of

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Speaker 1: the four nights just really not sleeping at all. So

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Speaker 1: it's been quite an experience.

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Speaker 2: How about you?

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Speaker 1: What's going on with you?

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Speaker 2: I'm excited to talk about our recommendations, and I'm excited

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Speaker 2: to hear from the good people of Hollywoodland. Which are

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Speaker 2: we doing? First this week?

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Speaker 1: We're gonna hear from the good people this week. And

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Speaker 1: first up, we've got a voicemail from Tony and the

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Speaker 1: two oh six. Take a listen, Jake, what's going on?

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Speaker 3: Brothers? Tony from the two oh six, Just listen to

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Speaker 3: the romy Plansky episode. And uh's talk about the question

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Speaker 3: you ask about, are you able to, you know, separate

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Speaker 3: the artists from their art, the creator from their art.

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Speaker 3: And honestly, it's more easier for me to do in

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Speaker 3: movies than it is, say music, for example, Like I

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Speaker 3: know a lot of people that will still watch a

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Speaker 3: John Wayne film and can totally separate that from who

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Speaker 3: John Wayne was the person, you know, Google the nineteen

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Speaker 3: seventy one Playboy article versus music. Like for me, I

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Speaker 3: can't listen to any of R. Kelly's music anymore because

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Speaker 3: a lot of his music is him telling on himself,

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Speaker 3: you know. And I guess with Roman Polanski it's kind

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Speaker 3: of like with some of his work telling on himself

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Speaker 3: in a way. I don't know, but that's just my

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Speaker 3: take on it. Man, Much love to you, much love

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Speaker 3: in the two six. I hope you're having a good summer.

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Speaker 3: Stay hydrated, brother.

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Speaker 2: Tony in the two US six. Great to hear from you.

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Speaker 2: Great way to frame this question when you're comparing the

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Speaker 2: transgressions of film directors and musicians. I think maybe put

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Speaker 2: the telling on yourself a side piece aside for a second.

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Speaker 2: But the I don't know, is music just more personal?

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Speaker 2: Is that what it is? Zeth? Is that what makes

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Speaker 2: it harder?

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Speaker 1: I think it could be. I think there's a big

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Speaker 1: part of what the music that you listen to being

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Speaker 1: such a part of your identity in a way that

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Speaker 1: the movies that you watch aren't part of your identity.

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Speaker 1: I don't have a fast, clear answer for why that

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Speaker 1: is the case. But music has always been such a

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Speaker 1: part of who you are.

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Speaker 2: Yeah, certainly for me, But but movies too to some degree,

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Speaker 2: I don't know. I mean, Woody Allen is certainly in

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Speaker 2: Manhattan telling on himself to use to use Tony's phrase,

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Speaker 2: but I can I still love that movie, and I

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Speaker 2: guess I don't know. I don't. I don't know if

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Speaker 2: it's different between musicians and directors. For me, it truly

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Speaker 2: is for me artist to artists, and it's what I

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Speaker 2: know about the story at that moment. And you know,

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Speaker 2: I mean I you know, if I'm walking by the

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Speaker 2: television my kids are watching, you know, space Jam and R.

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Speaker 2: Kelly's I believe I can fly as on in the background,

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Speaker 2: like it doesn't hit me that song right right. But

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Speaker 2: I'm sure if I got into more of the R.

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Speaker 2: Kelly catalog, it would start to feel that it would

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Speaker 2: be a little bit more prevalent. So I think it's

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Speaker 2: just really a case by case basis. That's the best

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Speaker 2: I can do. It's tough, man, I wish I could

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Speaker 2: be sort of more black and white about this. To

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Speaker 2: use another musician's phrase with a lot of rumored transgression,

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Speaker 2: but I just can't.

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Speaker 1: All right, moving on to text here. We got a

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Speaker 1: text from a listener in the six four seven and

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Speaker 1: the text says, Hi, Jake love Hollywood Land. Discovered it

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Speaker 1: through podcast ads and burned through so many episodes. Your

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Speaker 1: voice makes the pod. You are so in depth and

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Speaker 1: know your Hollywood history. The details and how you tell

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Speaker 1: the story are so entertaining and I often find myself

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Speaker 1: laughing out loud. You should do Johnny Depp from his

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Speaker 1: early nineties crazy years, to Pirates and Money Drama, to

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Speaker 1: of course the Johnny and Amber stories and Nancy two

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Speaker 1: point zero.

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Speaker 2: Well, I thank you so much for the kind words,

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Speaker 2: but you have to know what was the caller's name,

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Speaker 2: Seth or the texter's name.

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Speaker 1: I didn't get a name in here from the six

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Speaker 1: four to.

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Speaker 2: Seven, from the six four seven, six four seven, Thank

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Speaker 2: you Slash. The real authority here is Zeth, and Zeth

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Speaker 2: has driven this show and really you know, he's the

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Speaker 2: one who's putting the words into my mouth in front

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Speaker 2: of the microphone on Hollywood Land. He's written, I mean,

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Speaker 2: you've written most of these episodes, Seth. We've had some

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Speaker 2: other writers do some as well. But to answer the question,

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Speaker 2: we have a Johnny Depp episode of hollywood Land that

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Speaker 2: we've yet to put into the feed that's coming.

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Speaker 1: It's coming in that September.

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Speaker 2: I believe September it will be coming, and we do

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Speaker 2: get into I believe everything that the Texter hit upon there.

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Speaker 1: If yeah, if if, if memory serves we, we certainly do.

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Speaker 2: The Texter wants a little taste. Now invite you to

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Speaker 2: check out the River Phoenix episode which we put in

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Speaker 2: the Disgraceland feed, and I believe it's still live there

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Speaker 2: and that gets into, of course, some Johnny Depp lore

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Speaker 2: in history, particularly around the death of River Phoenix outside

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Speaker 2: of Johnny Depp's club, the Viper Room, and I guess

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Speaker 2: I would also mention the Hunter S. Thompson episode of Disgraceland,

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Speaker 2: where you can also hear, you know, some more Johnny

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Speaker 2: Depp lore there as well.

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Speaker 1: Six four seven, Thanks so much. I think that's Toronto,

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Speaker 1: if I'm not mistaken, Yeah, Toronto Canadians.

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Speaker 2: Six four seven, Love you, Canadien.

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Speaker 1: You guys all right. Going over to email, we got

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Speaker 1: an email here from Sean McCarty and I just want

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Speaker 1: to Sean just on Cydebar. I want to give you

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Speaker 1: a shout out for the great Bogie Knights gift you

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Speaker 1: sent with the email. I'm not going to repeat it here,

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Speaker 1: but it was funny. I left sean email says love

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Speaker 1: the John Holmes and Wonderland Epp and yes, indeed, y'all

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00:21:04,960 --> 00:21:07,760
Speaker 1: should cover the infamous Eddie Nash though my all time

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Speaker 1: favorite app out of all that delicious Cheese, the Dennis

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Speaker 1: Hopper app and absolute banger keep them coming.

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Speaker 2: Dennis Hopper was what the second episode we did, Zeth.

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Speaker 1: Yeah, so that was the that was our prototyped episode.

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Speaker 1: It was the second episode I think that was released,

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Speaker 1: but when we were developing Hollywood Land Badlands, that was

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Speaker 1: the That was the episode that we produced first, I believe,

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Speaker 1: to sort of figure out what we were doing.

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Speaker 2: All I remember is is me being outside my studio

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Speaker 2: and talking to you on the phone. You called me

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Speaker 2: and you were like, dude, there's this thing called the

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Speaker 2: Dynamite Death Chair app. I was like, we're definitely writing

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Speaker 2: about that again. Let's get into Dennis Hopper.

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Speaker 1: I mean that's and there's video of it. And rich

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Speaker 1: I don't know if we mentioned that, but Richard linklater

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Speaker 1: was in the audience that it was. It was in

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Speaker 1: Austin or in Texas somewhere, and Richard linklater before he

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Speaker 1: became a filmmaker, was in the audience and saw that performed.

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Speaker 2: Yeah wow, I will tell you about my time at

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Speaker 2: Richard Linkletter's house outside Austin. I'll tell you someday.

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Speaker 1: I just rewatched Days and Confused. We watch it every

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Speaker 1: year on the last day of school. So we just

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Speaker 1: rewatched that. So I've gotten in my brain right now.

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Speaker 2: Nice, very cool. What an incredible movie. It's amazing Alzheimer,

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Speaker 2: one of the best. Wait, so tell me your story

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Speaker 2: about Ah wow, okay, I'll do it quickly. I'll just

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Speaker 2: stick to just the interesting parts. Somehow I ended up

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Speaker 2: and this was like two thousand three years at south

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Speaker 2: By Southwest. I ended up at Richard Linkletter's house with

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Speaker 2: a girl I was hanging out with whose friend was

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Speaker 2: trying to hang out with Matthew McConaughey. So we ended

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Speaker 2: up at Linkletter's house. There was no Matthew McConaughey. We

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Speaker 2: just missed him. And there was there was like literally

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Speaker 2: like four of us there with Linkletter and his daughter

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Speaker 2: who was very young at the time. And it was

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Speaker 2: really really really weird, and he didn't have much to say.

427
00:23:00,200 --> 00:23:02,439
Speaker 2: Didn't we did?

428
00:23:02,320 --> 00:23:02,679
Speaker 1: I did.

429
00:23:02,800 --> 00:23:05,080
Speaker 2: I didn't want to be there. It was very, very uncomfortable,

430
00:23:05,080 --> 00:23:06,440
Speaker 2: and it was the type of situation where I was

431
00:23:06,480 --> 00:23:08,880
Speaker 2: there all fucking day and he had like a rep

432
00:23:08,920 --> 00:23:12,960
Speaker 2: I remember he had a replica of the bridge from

433
00:23:13,440 --> 00:23:16,520
Speaker 2: Raiders of the Lost Arc like on his on his property,

434
00:23:16,560 --> 00:23:19,240
Speaker 2: one of the bridges or and we went and looked

435
00:23:19,240 --> 00:23:22,360
Speaker 2: at that, and I at some point, so we went

436
00:23:22,400 --> 00:23:24,720
Speaker 2: into his into his home of course, and we're going

437
00:23:24,800 --> 00:23:28,920
Speaker 2: to have dinner, and he had these massive, massive Florida

438
00:23:28,960 --> 00:23:34,120
Speaker 2: ceiling movie posters, very beautiful vintage, and I was trying

439
00:23:34,119 --> 00:23:36,639
Speaker 2: to talk about movies and trying to talk about is

440
00:23:36,680 --> 00:23:39,919
Speaker 2: like nothing, Like I just could not and I really

441
00:23:39,960 --> 00:23:43,120
Speaker 2: wanted to leave, and I had no ride out of there,

442
00:23:43,680 --> 00:23:47,880
Speaker 2: and it was super awkward. And finally somehow he found

443
00:23:47,920 --> 00:23:50,440
Speaker 2: out I was from Boston and he wanted to talk

444
00:23:50,520 --> 00:23:54,280
Speaker 2: about baseball. When he knew I knew baseball, then we

445
00:23:54,320 --> 00:23:57,560
Speaker 2: had something we could really talk about. And he talked

446
00:23:57,560 --> 00:23:59,560
Speaker 2: about I think going to high school or college, I

447
00:23:59,560 --> 00:24:02,040
Speaker 2: can't remember which. With the know Block brothers Chuck nab

448
00:24:02,040 --> 00:24:05,679
Speaker 2: Block for the Yankees. He talked about facing Clemens. He

449
00:24:05,800 --> 00:24:09,159
Speaker 2: himself faced Clemens, and it might have been college or

450
00:24:09,240 --> 00:24:11,280
Speaker 2: high school. I can't remember the details, but it was

451
00:24:11,359 --> 00:24:17,960
Speaker 2: like nothing worked to connect except baseball, and it ended

452
00:24:18,040 --> 00:24:20,960
Speaker 2: up sort of saving the day. I got out of there.

453
00:24:21,440 --> 00:24:23,480
Speaker 2: I think his brother in law gave me this insane

454
00:24:23,560 --> 00:24:25,840
Speaker 2: ride back to the town or so. I don't really

455
00:24:25,880 --> 00:24:28,560
Speaker 2: remember hazy days. I'm talking out of school here, but

456
00:24:28,600 --> 00:24:30,120
Speaker 2: I don't care. It was a long, long time ago,

457
00:24:30,320 --> 00:24:32,119
Speaker 2: in one of the weirdest days of my life.

458
00:24:32,200 --> 00:24:34,919
Speaker 1: Wow, well, Richard link later. If you're listening, you know,

459
00:24:35,440 --> 00:24:37,520
Speaker 1: give us a call and fill in some gaps and

460
00:24:37,600 --> 00:24:40,040
Speaker 1: Jake's story here and tell us, tell us what went down.

461
00:24:40,200 --> 00:24:42,280
Speaker 2: Yeah, tell me about the details I'm getting wrong. Tell

462
00:24:42,280 --> 00:24:44,560
Speaker 2: me about the raiders of the Lost Ark Bridge and

463
00:24:44,640 --> 00:24:47,920
Speaker 2: the movie posters. I mentioned those specifically in case anyone

464
00:24:47,960 --> 00:24:50,080
Speaker 2: else is listening, so they know I'm not bullshitting.

465
00:24:51,480 --> 00:24:55,840
Speaker 1: Over on Instagram, Sam sent in this DM in reference

466
00:24:55,880 --> 00:24:58,880
Speaker 1: to our John Belushi episode, messaging in hopes to get

467
00:24:58,880 --> 00:25:01,359
Speaker 1: an answer on the rap part. I forget which actors

468
00:25:01,440 --> 00:25:04,560
Speaker 1: celeb the episode was about John Belushi maybe, but whoever

469
00:25:04,600 --> 00:25:06,880
Speaker 1: it was, you briefly mentioned that they had a bodyguard

470
00:25:07,000 --> 00:25:09,919
Speaker 1: named Smokey. I'm wondering if it was my dad. He

471
00:25:09,960 --> 00:25:13,240
Speaker 1: did some celeb and bodyguard security stuff back in the day.

472
00:25:13,600 --> 00:25:15,440
Speaker 1: He used to talk about Joan Jet all the time

473
00:25:15,480 --> 00:25:17,600
Speaker 1: and how he had a crush on her. Same Sam'

474
00:25:17,640 --> 00:25:20,720
Speaker 1: sad love both podcasts. They are the highlights of My

475
00:25:20,880 --> 00:25:25,280
Speaker 1: Shitty Garden State Parkway Commute. Well, Sam, we looked back

476
00:25:25,320 --> 00:25:28,360
Speaker 1: at our research on the John Belushi episode, and as

477
00:25:28,400 --> 00:25:31,639
Speaker 1: you correctly guess, yes, he had a bodyguard named Richard

478
00:25:31,720 --> 00:25:35,840
Speaker 1: Smokey Wendell, who previously worked detailed for President Nixon. Wow.

479
00:25:35,840 --> 00:25:38,760
Speaker 1: And then later on was hired by Belushi's old buddy

480
00:25:38,840 --> 00:25:41,440
Speaker 1: Joe Walsh to be his road manager and to help

481
00:25:41,480 --> 00:25:45,480
Speaker 1: him stay clean. Sadly, Smokey Wendell just passed away earlier

482
00:25:45,520 --> 00:25:47,480
Speaker 1: this year, on March second, at the age of eighty.

483
00:25:48,280 --> 00:25:51,760
Speaker 1: Sam was, Smoky, your dad is this ring guinea bells?

484
00:25:51,760 --> 00:25:52,159
Speaker 1: We want to know?

485
00:25:53,000 --> 00:25:55,440
Speaker 2: Sounds like it was. Yeah, I mean get back to us,

486
00:25:55,520 --> 00:25:56,879
Speaker 2: let us know, Sam, hit us up.

487
00:25:57,000 --> 00:25:59,080
Speaker 1: Yeah, be incredible, give us some more stories about your dad.

488
00:25:59,200 --> 00:26:02,159
Speaker 2: Yeah, call us nine oh six six six three eight.

489
00:26:02,200 --> 00:26:04,119
Speaker 2: We'll play your voicemail here totally.

490
00:26:04,560 --> 00:26:08,000
Speaker 1: Uh, everyone else, call us or email us at Disgracelampod

491
00:26:08,000 --> 00:26:10,960
Speaker 1: at gmail dot com, hit us up on Instagram, Facebook

492
00:26:11,200 --> 00:26:15,719
Speaker 1: x at Disgrace Lampod send us your recommendations movies, music.

493
00:26:16,000 --> 00:26:18,280
Speaker 1: But first, Jake and I have some recommendations for you,

494
00:26:18,480 --> 00:26:20,840
Speaker 1: which we're going to get into right after this break.

495
00:26:21,000 --> 00:26:41,600
Speaker 1: Hang tight, yes, yes, yes, we are so back. Zeth

496
00:26:41,640 --> 00:26:43,600
Speaker 1: Lundy and Jake Brennan coming at you with the part

497
00:26:43,600 --> 00:26:46,800
Speaker 1: of the rap party. We call for your consideration. This

498
00:26:46,840 --> 00:26:49,560
Speaker 1: is where Jake and I give you music and movie recommendations.

499
00:26:49,600 --> 00:26:52,600
Speaker 1: But the twist is that they are all recommendations inspired

500
00:26:52,640 --> 00:26:56,080
Speaker 1: by the subject from our full episode of Hollywood Land

501
00:26:56,080 --> 00:26:59,080
Speaker 1: this week. So with that said, Jake, this week we've

502
00:26:59,080 --> 00:27:03,320
Speaker 1: got Roman Polanski. So what music recommendations are you bringing? Well?

503
00:27:03,400 --> 00:27:04,879
Speaker 2: I mean what am I going to talk about the

504
00:27:04,880 --> 00:27:07,880
Speaker 2: score from Rosemary's Baby? Am I going to beat the

505
00:27:08,240 --> 00:27:11,000
Speaker 2: Charles Manson horse to death? Am I going to talk

506
00:27:11,040 --> 00:27:18,399
Speaker 2: about Chinatown? I can't do that. So I just I thought, okay, Roman, Rome,

507
00:27:19,400 --> 00:27:23,560
Speaker 2: Roman Empire. And whenever I think of the Roman Empire,

508
00:27:23,960 --> 00:27:28,359
Speaker 2: I think of this lyric from this obscure song by

509
00:27:28,400 --> 00:27:31,680
Speaker 2: a band called The Long Riders. And I don't know

510
00:27:31,680 --> 00:27:33,680
Speaker 2: if you've heard of these guys. They're like an eighties

511
00:27:34,080 --> 00:27:41,280
Speaker 2: sort of Petty esque Dwight Twilly Smithereens type group. And

512
00:27:41,480 --> 00:27:43,040
Speaker 2: the only song I really know by them, and I

513
00:27:43,080 --> 00:27:44,720
Speaker 2: don't even know how I got on this when I

514
00:27:44,720 --> 00:27:47,440
Speaker 2: was a kid, but it's never I've never lost sight

515
00:27:47,440 --> 00:27:49,360
Speaker 2: of this song and I listened to it every couple

516
00:27:49,400 --> 00:27:52,720
Speaker 2: of years on purpose. It's called looking for Lewis and Clark,

517
00:27:53,280 --> 00:27:56,399
Speaker 2: and it has this incredible lyric that I'm going to

518
00:27:56,440 --> 00:27:59,040
Speaker 2: read for you right now, and you'll see the Rome

519
00:27:59,200 --> 00:28:02,240
Speaker 2: connection here. So check this lyric out. I thought I

520
00:28:02,280 --> 00:28:06,000
Speaker 2: saw some diplomat hawking secret plans in the park. I

521
00:28:06,000 --> 00:28:09,440
Speaker 2: thought I saw my president walking through Harlem late after dark.

522
00:28:09,720 --> 00:28:12,520
Speaker 2: In a world of love where they burn like Nero,

523
00:28:12,880 --> 00:28:15,240
Speaker 2: you write them a check and you then add zero.

524
00:28:15,600 --> 00:28:17,679
Speaker 2: In a world of love where they burn like Nero,

525
00:28:17,800 --> 00:28:19,920
Speaker 2: you write them a check and you then add zero.

526
00:28:20,280 --> 00:28:24,120
Speaker 2: I'm looking for Lewis and Clark and that just always

527
00:28:24,240 --> 00:28:27,239
Speaker 2: crushed me that. I mean, it rocks so hard when

528
00:28:27,280 --> 00:28:30,399
Speaker 2: you hear it. So listen, long Riders looking for Lewis

529
00:28:30,440 --> 00:28:33,440
Speaker 2: and Clark go check that out. You're gonna you're gonna

530
00:28:33,560 --> 00:28:36,480
Speaker 2: drive fast, You're gonna look more attractive and you're gonna

531
00:28:36,480 --> 00:28:39,760
Speaker 2: have ten percent more confidence. It's that type of tune,

532
00:28:39,880 --> 00:28:42,520
Speaker 2: all right, And and I'll spawn from you know, the

533
00:28:42,600 --> 00:28:45,440
Speaker 2: Roman Emperor nero. Okay, So that's the connection of Roman Polansky.

534
00:28:45,800 --> 00:28:48,080
Speaker 2: The next thing I thought about regarding the Roman Empire

535
00:28:48,200 --> 00:28:50,920
Speaker 2: and Roman Roman Polanski was also the Roman Empire. And

536
00:28:50,920 --> 00:28:52,760
Speaker 2: I thought about this sort of meme that's been going

537
00:28:52,760 --> 00:28:55,400
Speaker 2: on in the last couple of years. Men are like

538
00:28:55,520 --> 00:28:58,120
Speaker 2: eighty percent of men walking through the world at any

539
00:28:58,160 --> 00:28:59,920
Speaker 2: given moment are thinking about the Roman m.

540
00:29:02,240 --> 00:29:02,440
Speaker 1: You know.

541
00:29:02,560 --> 00:29:04,719
Speaker 2: And then and then the female version of that was

542
00:29:04,760 --> 00:29:11,560
Speaker 2: the relationship in the TV series Fleabag between the priests. Yeah,

543
00:29:11,600 --> 00:29:16,920
Speaker 2: the hot priest and the protagonist, right, okay, So so

544
00:29:17,000 --> 00:29:20,520
Speaker 2: my wife says that's her Roman Empire, okay, which, all

545
00:29:20,600 --> 00:29:25,760
Speaker 2: right cool. That actor who plays the hot Priest, Andrew Scott,

546
00:29:26,280 --> 00:29:30,000
Speaker 2: and I look, Fleabag is fantastic. I just recommend to

547
00:29:30,000 --> 00:29:33,560
Speaker 2: anyone who hasn't seen flea Bag. I think there's two seasons. Right,

548
00:29:33,640 --> 00:29:39,080
Speaker 2: it's fucking great, literally great, not good great. But the

549
00:29:39,120 --> 00:29:43,720
Speaker 2: Hot Priest he wasn't done because his most recent effort,

550
00:29:43,840 --> 00:29:46,040
Speaker 2: which came out on Netflix about a year ago, maybe

551
00:29:46,080 --> 00:29:52,560
Speaker 2: less is his swing at Thomas Ripley and the Ripley series,

552
00:29:52,920 --> 00:29:54,800
Speaker 2: and it is fucking great.

553
00:29:55,200 --> 00:29:55,800
Speaker 1: It's awesome.

554
00:29:56,120 --> 00:29:58,800
Speaker 2: It's so good. It's such a vibe. And this got

555
00:29:58,840 --> 00:30:00,920
Speaker 2: me thinking, like, I need to re watch it. It's

556
00:30:00,960 --> 00:30:02,920
Speaker 2: one of those it hasn't even been a year and

557
00:30:02,920 --> 00:30:04,880
Speaker 2: I need to go back and get that vibe.

558
00:30:05,040 --> 00:30:06,680
Speaker 1: How do you rank that with the movie with the

559
00:30:06,680 --> 00:30:08,840
Speaker 1: talented mister Ripley movie there.

560
00:30:08,880 --> 00:30:12,600
Speaker 2: I've recently rewatched that a couple of times. Actually, right

561
00:30:12,640 --> 00:30:14,719
Speaker 2: after I finished this series, I went and I and

562
00:30:14,760 --> 00:30:16,680
Speaker 2: I rewatched it and I read the book too, all

563
00:30:16,760 --> 00:30:17,880
Speaker 2: sort of in the same I did too.

564
00:30:17,920 --> 00:30:19,560
Speaker 1: I read that book last summer, I think when you

565
00:30:19,600 --> 00:30:20,800
Speaker 1: were doing your book thing, I read that.

566
00:30:21,160 --> 00:30:25,280
Speaker 2: Yeah. Yeah, I mean they're all different things, and they're

567
00:30:25,280 --> 00:30:26,720
Speaker 2: all different interpretations.

568
00:30:26,800 --> 00:30:27,240
Speaker 1: Totally.

569
00:30:27,760 --> 00:30:30,720
Speaker 2: Well, you know, there are two different interpretations of the book.

570
00:30:31,080 --> 00:30:36,840
Speaker 2: I love. I love the movie and I love this series,

571
00:30:36,960 --> 00:30:40,200
Speaker 2: and I don't think I can actually compare them because

572
00:30:40,200 --> 00:30:43,680
Speaker 2: they're so different and they're equally great in different ways, you.

573
00:30:43,640 --> 00:30:47,080
Speaker 1: Know, Yeah, yeah, totally. Have you ever seen The American Friend.

574
00:30:47,640 --> 00:30:51,479
Speaker 1: It's a Vin Venders movie with Dennis Hopper from I

575
00:30:51,480 --> 00:30:54,600
Speaker 1: think nineteen eighty and I think it takes place in Berlin,

576
00:30:54,680 --> 00:30:57,320
Speaker 1: maybe in Germany. I could be wrong about that, but

577
00:30:57,440 --> 00:31:00,240
Speaker 1: it's it's the it's the Ripley character, and it's his

578
00:31:00,280 --> 00:31:02,000
Speaker 1: take on the Ripley character. I have not seen this.

579
00:31:02,040 --> 00:31:03,960
Speaker 1: It's on Criterion Channel, but I.

580
00:31:04,000 --> 00:31:05,960
Speaker 2: Haven't seen it either. I just I, like you, I

581
00:31:06,120 --> 00:31:07,360
Speaker 2: just found out about what. I don't know if you

582
00:31:07,400 --> 00:31:09,080
Speaker 2: just found out. I literally just found out about it

583
00:31:09,080 --> 00:31:12,160
Speaker 2: this month because the Criterion Channel is recommending all these

584
00:31:12,240 --> 00:31:15,720
Speaker 2: Ripley films. Yeah, Purple Moon or whatever it is with

585
00:31:15,800 --> 00:31:18,360
Speaker 2: that's super good looking French guy. What's that guy's name,

586
00:31:18,440 --> 00:31:21,160
Speaker 2: Elaine Deon Delon, Elaine Delane. How do you say this guy?

587
00:31:21,400 --> 00:31:24,120
Speaker 1: Yeah? Yeah, yeah, yeah, I was taking a completely different

588
00:31:24,200 --> 00:31:25,000
Speaker 1: error than you got it.

589
00:31:25,200 --> 00:31:28,360
Speaker 2: Yeah, that's the guy from from Purple Moon. I haven't

590
00:31:28,360 --> 00:31:30,959
Speaker 2: seen Purple Moon view. No, I'm not all right. We're

591
00:31:30,960 --> 00:31:33,880
Speaker 2: getting way off track here. Roman Empire, we got we

592
00:31:33,920 --> 00:31:36,600
Speaker 2: got to my Roman Empire. I guess is Ripley? Is

593
00:31:36,600 --> 00:31:38,880
Speaker 2: that what I'm saying? It's actually not. Yes, yep, but

594
00:31:38,960 --> 00:31:42,600
Speaker 2: watch that. That's my recommendation. Okay. And then third, just

595
00:31:42,880 --> 00:31:46,160
Speaker 2: I mean, just I know this is basic, bitch, but again,

596
00:31:46,480 --> 00:31:49,320
Speaker 2: Roman Polanski. Oh, it's supposed to be a music reference.

597
00:31:49,360 --> 00:31:51,400
Speaker 2: I'm supposed to be giving you the music references, aren't.

598
00:31:51,200 --> 00:31:55,520
Speaker 1: I I am, Yeah, Yeah, I am, I am fuck,

599
00:31:56,040 --> 00:31:58,600
Speaker 1: I am well pass me. I didn't even notice.

600
00:31:58,720 --> 00:32:01,120
Speaker 2: I got it. I got it, Okay, I got it,

601
00:32:01,280 --> 00:32:02,800
Speaker 2: I got it. Okay. I know how I'm gonna land

602
00:32:02,840 --> 00:32:04,800
Speaker 2: this plan then with the Okay. So, I can't recommend

603
00:32:04,840 --> 00:32:08,239
Speaker 2: Ripley because it's a TELEVISI show, but I can I

604
00:32:08,320 --> 00:32:12,280
Speaker 2: can recommend the soundtrack for Ripley Okay, which is fantastic

605
00:32:12,320 --> 00:32:14,200
Speaker 2: and you should check it out. It's by the composer

606
00:32:14,240 --> 00:32:16,960
Speaker 2: who did most of the music for the series, is

607
00:32:17,040 --> 00:32:19,640
Speaker 2: named Jeff Russo, and you can get this album on Spotify.

608
00:32:19,840 --> 00:32:22,240
Speaker 2: It is incredible. It's the Ripley soundtrack, and it's so

609
00:32:22,280 --> 00:32:26,000
Speaker 2: incredible that I ripped it off for our episode today

610
00:32:26,440 --> 00:32:29,640
Speaker 2: on Frank Sinatra two. The music you will hear in

611
00:32:29,680 --> 00:32:32,160
Speaker 2: the Frank Sinatra two episode of Disgrace sand in the

612
00:32:32,240 --> 00:32:34,440
Speaker 2: first right as we get started and then right as

613
00:32:34,440 --> 00:32:36,840
Speaker 2: we close the whole thing up at the end, is

614
00:32:36,880 --> 00:32:39,960
Speaker 2: a piece that I was directly inspired by Jeff Russo,

615
00:32:40,600 --> 00:32:43,080
Speaker 2: so much so that I called up our composer Ryan

616
00:32:43,120 --> 00:32:44,720
Speaker 2: and I said, hey, man, give me some version of

617
00:32:44,760 --> 00:32:47,800
Speaker 2: this first this episode, So there you go. I tied

618
00:32:47,840 --> 00:32:51,440
Speaker 2: it all together. I'm recommending Long Riders Lewis and Clark.

619
00:32:51,480 --> 00:32:55,360
Speaker 2: I'm recommending Jeff Russo from Ripley his soundtrack, and I'm

620
00:32:55,400 --> 00:32:58,880
Speaker 2: recommending our own fucking score for Frank Sinatra Part two

621
00:32:58,920 --> 00:33:00,800
Speaker 2: and The Disgrace sand Feed this Street. There we go.

622
00:33:01,600 --> 00:33:04,880
Speaker 1: Incredible, incredible save. I love that. That was great. Let

623
00:33:04,880 --> 00:33:08,600
Speaker 1: me pivot to movie res. I did things a little

624
00:33:08,600 --> 00:33:11,040
Speaker 1: bit differently than you this week. I decided to choose

625
00:33:11,680 --> 00:33:14,840
Speaker 1: three recommendations of movies made by directors who are working

626
00:33:14,960 --> 00:33:18,920
Speaker 1: in exile. But I'm going to exclude Polanski from this list.

627
00:33:19,120 --> 00:33:22,840
Speaker 2: Wow ah the hell? Okay, I'm dialed in, all right,

628
00:33:22,880 --> 00:33:24,720
Speaker 2: I gotta know who are we talking about here?

629
00:33:24,760 --> 00:33:27,760
Speaker 1: Okay, So first one, if you like heist movies, which

630
00:33:27,760 --> 00:33:30,920
Speaker 1: for me, if it's a heist movie, if it's a Western,

631
00:33:31,080 --> 00:33:33,080
Speaker 1: like I'm fully in, I'm there right.

632
00:33:33,360 --> 00:33:35,400
Speaker 2: Yeah, you are the Ricky J of podcasters, So.

633
00:33:39,600 --> 00:33:42,440
Speaker 1: Thank you very much. I don't know. Yeah, I'm hoping

634
00:33:42,440 --> 00:33:44,200
Speaker 1: that's a compliment, but you know who Ricky J is,

635
00:33:44,800 --> 00:33:48,600
Speaker 1: Ricky Jay Hes come on, So yeah, Heist the Town

636
00:33:49,320 --> 00:33:52,280
Speaker 1: Inside Man, Friends, Ready, Coyle, Bottle Rocket doc Date Like.

637
00:33:52,360 --> 00:33:55,360
Speaker 1: Whatever heist movies are, they're right up my alley. One

638
00:33:55,400 --> 00:33:58,000
Speaker 1: of the best of all time is called Raffifi. It's

639
00:33:58,040 --> 00:34:03,320
Speaker 1: from nineteen fifty five. The director is Jules Dassin or Dasin, who,

640
00:34:03,400 --> 00:34:06,640
Speaker 1: despite his name, was actually an American filmmaker, and in

641
00:34:06,680 --> 00:34:09,200
Speaker 1: the fifties he was labeled a communist and blacklisted, so

642
00:34:09,239 --> 00:34:11,520
Speaker 1: we had to go to France to find work, and

643
00:34:11,560 --> 00:34:13,400
Speaker 1: when he went there, he ends up making one of

644
00:34:13,400 --> 00:34:16,319
Speaker 1: the greatest heist films of all time, certainly has one

645
00:34:16,320 --> 00:34:18,600
Speaker 1: of the greatest heist sequences of all time, which is

646
00:34:18,600 --> 00:34:22,200
Speaker 1: what the film is sort of, you know, staged around

647
00:34:22,560 --> 00:34:27,759
Speaker 1: incredible black and white photography, incredible vibe, and he won

648
00:34:27,800 --> 00:34:30,520
Speaker 1: Best Director at can that year for this movie. But

649
00:34:30,600 --> 00:34:33,240
Speaker 1: if you love heist movies and you have not seen Raffife,

650
00:34:34,040 --> 00:34:34,359
Speaker 1: do that.

651
00:34:34,680 --> 00:34:37,520
Speaker 2: Wow, I never heard of it. Okay, great, keep going Raffife,

652
00:34:37,560 --> 00:34:39,280
Speaker 2: Rofife rough for fee. I'm not going to forget.

653
00:34:39,400 --> 00:34:42,680
Speaker 1: My second one is a movie called The Trial from

654
00:34:42,760 --> 00:34:45,200
Speaker 1: nineteen sixty two. Also, I'm in a black and white

655
00:34:45,239 --> 00:34:48,120
Speaker 1: mood right now. Apparently this is in nineteen sixty two

656
00:34:48,239 --> 00:34:53,120
Speaker 1: when the great Orson Wells had been effectively exiled from Hollywood.

657
00:34:53,480 --> 00:34:56,560
Speaker 1: He was the one time wonder kin of cinema, and

658
00:34:57,160 --> 00:34:59,719
Speaker 1: over the years things fell apart, as we all know,

659
00:35:00,640 --> 00:35:03,880
Speaker 1: and he had a lot of troubles creatively professionally. He

660
00:35:04,000 --> 00:35:07,239
Speaker 1: took this creative death sentence, along with the pall of

661
00:35:07,280 --> 00:35:10,520
Speaker 1: the Blacklist, which is still remaining, and turned it into

662
00:35:10,560 --> 00:35:13,239
Speaker 1: one of his most underrated and wild movies. I think

663
00:35:13,400 --> 00:35:16,319
Speaker 1: this adaptation of the Kofka novel The Trial Wow, which

664
00:35:16,360 --> 00:35:19,040
Speaker 1: is a total cinematic representation of the word Kofka esque.

665
00:35:19,040 --> 00:35:21,840
Speaker 1: By the way, it was funded by German, French and

666
00:35:21,880 --> 00:35:26,400
Speaker 1: Italian investors. It was shot abroad in Yugoslavia, Rome, Paris, Milan.

667
00:35:26,840 --> 00:35:30,560
Speaker 1: Has a great central performance by Anthony Perkins, who most

668
00:35:30,600 --> 00:35:33,640
Speaker 1: of you know is Norman Base from Psycho Again. If

669
00:35:33,680 --> 00:35:37,920
Speaker 1: you're looking for a great paranoid, strange, black and white

670
00:35:37,920 --> 00:35:42,440
Speaker 1: film from one of our greatest directors, The Trial.

671
00:35:42,520 --> 00:35:45,600
Speaker 2: The Trial orson wells, all right, cool, love it.

672
00:35:45,680 --> 00:35:47,799
Speaker 1: And then my third one, I'm guessing out of the

673
00:35:47,800 --> 00:35:50,880
Speaker 1: three maybe you've seen this is Sam Peckinpaus Bring Me

674
00:35:50,920 --> 00:35:52,400
Speaker 1: the Head of Alfredo Garcia.

675
00:35:52,640 --> 00:35:58,279
Speaker 2: Yes of course, yeah, all right, yes, nineteen seventy four, yes, ye,

676
00:35:58,600 --> 00:36:01,480
Speaker 2: now I actually I came very close to starting a

677
00:36:01,480 --> 00:36:07,160
Speaker 2: band called war and Oh, very close, but it never happened. Anyways,

678
00:36:07,200 --> 00:36:07,960
Speaker 2: go on, Peck.

679
00:36:07,800 --> 00:36:09,520
Speaker 1: And Pa had to make this movie in Mexico with

680
00:36:09,520 --> 00:36:12,759
Speaker 1: a mostly Mexican crew because this came right after pack

681
00:36:12,840 --> 00:36:15,800
Speaker 1: Errett and Billy a Kid, which bombed, and his reputation

682
00:36:15,960 --> 00:36:17,640
Speaker 1: was getting worse and worse. He was having a harder

683
00:36:17,680 --> 00:36:20,759
Speaker 1: time making movies in Hollywood. This movie bombed when it

684
00:36:20,800 --> 00:36:23,760
Speaker 1: came out. It was savage by critics, although Roger Ebert

685
00:36:24,040 --> 00:36:25,960
Speaker 1: gave it four stars and called it some kind of

686
00:36:26,000 --> 00:36:29,239
Speaker 1: bizarre masterpiece, which I think he's on the right track there.

687
00:36:29,680 --> 00:36:31,359
Speaker 1: If you don't know who Sam Peck and Pie is,

688
00:36:32,200 --> 00:36:33,759
Speaker 1: this is probably as good of a place to start

689
00:36:33,800 --> 00:36:37,759
Speaker 1: as any. He's this uncompromising, wild bloody they called him

690
00:36:37,760 --> 00:36:42,200
Speaker 1: Bloody Sam, very violent filmmaker from the seventies, and this

691
00:36:42,280 --> 00:36:45,040
Speaker 1: is sort of like a neo Western. There's a bounty

692
00:36:45,040 --> 00:36:47,279
Speaker 1: put on someone's head and Warren Oates is one of

693
00:36:47,320 --> 00:36:48,840
Speaker 1: the guys who's out trying to find him.

694
00:36:49,719 --> 00:36:52,600
Speaker 2: Yeah, it's not as it's good. I don't think it's

695
00:36:52,600 --> 00:36:55,319
Speaker 2: great not to shit on an your recommendation, but you

696
00:36:55,360 --> 00:36:57,480
Speaker 2: bring up pack Billion the Kid. And you know, I

697
00:36:57,520 --> 00:36:59,960
Speaker 2: never really spent any time thinking about the fact that

698
00:37:00,040 --> 00:37:02,880
Speaker 2: pack Areton Billy the Kid bombed, which of course I

699
00:37:03,360 --> 00:37:06,359
Speaker 2: know that, but it's it's literally, it's literally a top

700
00:37:06,480 --> 00:37:09,560
Speaker 2: ten movie for me. It is that great, I believe.

701
00:37:10,640 --> 00:37:13,920
Speaker 2: And it's funny. I've been spending a lot of time

702
00:37:14,120 --> 00:37:17,960
Speaker 2: the last couple of days thinking about great works of

703
00:37:18,080 --> 00:37:23,239
Speaker 2: art that bomb. I didn't realize this, I because until

704
00:37:23,280 --> 00:37:27,279
Speaker 2: now because I'm I'm researching Brian Wilson. I'm writing it

705
00:37:27,360 --> 00:37:30,320
Speaker 2: this week, but I was researching it last week. Dude,

706
00:37:30,800 --> 00:37:36,200
Speaker 2: Pet Sounds didn't go gold until the early two thousands,

707
00:37:36,719 --> 00:37:41,040
Speaker 2: at least that's what was listed at the end of

708
00:37:41,239 --> 00:37:44,719
Speaker 2: the whatever documentary I watched. I think it was the

709
00:37:44,760 --> 00:37:49,400
Speaker 2: Disney documentary on the Beach Boys. That is shocking that

710
00:37:49,680 --> 00:37:52,560
Speaker 2: like gold is only a million, No, gold is five

711
00:37:52,640 --> 00:37:55,080
Speaker 2: hundred thousand records, right.

712
00:37:55,239 --> 00:37:58,000
Speaker 1: Yeah, five hundred thousand units. That's a gold record. Pet

713
00:37:58,040 --> 00:38:01,200
Speaker 1: Sounds didn't go gold until two thousand, early two thousands.

714
00:38:01,200 --> 00:38:02,759
Speaker 1: I think it said two thousand and three. I mean,

715
00:38:02,800 --> 00:38:05,160
Speaker 1: I know that it was. It was very polarizing when

716
00:38:05,160 --> 00:38:07,800
Speaker 1: it came out because it was not what the public

717
00:38:07,840 --> 00:38:09,400
Speaker 1: had come to expect from them right.

718
00:38:09,600 --> 00:38:13,719
Speaker 2: It wasn't well, yes, that's what we've always understood. My

719
00:38:13,920 --> 00:38:17,680
Speaker 2: understanding and doing more research on this, was that, yeah,

720
00:38:17,719 --> 00:38:19,680
Speaker 2: it was polarizing, is one way to put it, but

721
00:38:19,680 --> 00:38:22,560
Speaker 2: it just really was kind of like a nothing burger.

722
00:38:23,200 --> 00:38:25,839
Speaker 2: I mean, it was like they went from that. They

723
00:38:25,920 --> 00:38:29,520
Speaker 2: kind of erased the failure of that pretty quickly afterward.

724
00:38:29,600 --> 00:38:32,960
Speaker 2: If I'm to fully understand this, with the Good Vibration single,

725
00:38:33,800 --> 00:38:37,360
Speaker 2: which in retrospect, Good Vibration sounds like it could be

726
00:38:37,440 --> 00:38:40,760
Speaker 2: on Pet Sounds, and you know, right after Pet Sounds,

727
00:38:40,760 --> 00:38:43,400
Speaker 2: they spent like seven months just working on that song

728
00:38:44,000 --> 00:38:47,839
Speaker 2: and it was a huge fucking hit, and it kind

729
00:38:47,840 --> 00:38:50,520
Speaker 2: of like was like, Okay, we got Pet Sounds out

730
00:38:50,520 --> 00:38:54,759
Speaker 2: of the way. I mean, I get why people didn't

731
00:38:54,800 --> 00:38:57,640
Speaker 2: gravitate towards Pet Sounds and watching Pac Rrett and Billy

732
00:38:57,640 --> 00:39:00,960
Speaker 2: the Kid, I get why. I guess they didn't get

733
00:39:01,000 --> 00:39:03,520
Speaker 2: to it. Now and are we've seen everything since, but

734
00:39:03,560 --> 00:39:05,319
Speaker 2: it was so ahead of both those things are so

735
00:39:05,360 --> 00:39:07,440
Speaker 2: ahead of its time. It's hard for our brains. I

736
00:39:07,440 --> 00:39:09,480
Speaker 2: think this is the larger point I'm trying to make.

737
00:39:09,480 --> 00:39:11,719
Speaker 2: It's hard for our brains to accept these things when

738
00:39:11,719 --> 00:39:14,920
Speaker 2: we have no comp Why when they're breaking the mold,

739
00:39:15,080 --> 00:39:18,279
Speaker 2: so to speak. We're just it's just like, what, what

740
00:39:18,360 --> 00:39:20,840
Speaker 2: the fuck even is all this blood in pac Garrett

741
00:39:20,840 --> 00:39:22,560
Speaker 2: and building? What am I looking at here? Right?

742
00:39:22,719 --> 00:39:22,879
Speaker 1: Right?

743
00:39:22,920 --> 00:39:24,959
Speaker 2: You know what I mean? Like, wait, the bad guy

744
00:39:25,239 --> 00:39:25,880
Speaker 2: is a cop?

745
00:39:26,440 --> 00:39:27,439
Speaker 1: How does that make sense?

746
00:39:27,840 --> 00:39:29,279
Speaker 2: And the good guy isn't out?

747
00:39:29,320 --> 00:39:29,520
Speaker 3: Look?

748
00:39:29,560 --> 00:39:31,880
Speaker 1: Wait what is that? They're friends? I don't understand.

749
00:39:31,960 --> 00:39:34,640
Speaker 2: Man. But it's about hippies, but it's set in the

750
00:39:34,640 --> 00:39:37,360
Speaker 2: eighteen hundreds, you know what I mean? Like, yeah, yeah,

751
00:39:37,600 --> 00:39:41,880
Speaker 2: but it's it's truly beautiful. And the Dylan soundtrack and

752
00:39:41,960 --> 00:39:45,000
Speaker 2: the role Dylan plays in it is he just crushes it.

753
00:39:45,000 --> 00:39:45,719
Speaker 2: It's incredible.

754
00:39:45,960 --> 00:39:48,279
Speaker 1: Yeah, you're not wrong. If I was if someone was

755
00:39:48,320 --> 00:39:50,279
Speaker 1: going to watch a peck'pop movie, I would go with

756
00:39:50,320 --> 00:39:52,520
Speaker 1: that over alfredil Garcia for sure.

757
00:39:52,640 --> 00:39:55,080
Speaker 2: Yeah. But that's a nice follow up. That's a nice

758
00:39:55,200 --> 00:39:57,719
Speaker 2: like I'm into some shit that some other people aren't into.

759
00:39:57,800 --> 00:40:00,000
Speaker 2: Now this is me and Warren. Oh, it's getting fucked

760
00:40:00,160 --> 00:40:03,160
Speaker 2: up in Mexico. Hell, yeah, you know what I mean?

761
00:40:04,360 --> 00:40:04,640
Speaker 3: Oh?

762
00:40:04,719 --> 00:40:07,640
Speaker 1: Man, Well, listen, we want to know what all your

763
00:40:07,680 --> 00:40:10,399
Speaker 1: thoughts are on all of this and your own recommendations.

764
00:40:10,400 --> 00:40:12,920
Speaker 1: We want to hear your recommendations for what we should

765
00:40:12,920 --> 00:40:15,160
Speaker 1: be listening to and watching, whether or not it has

766
00:40:15,200 --> 00:40:17,239
Speaker 1: anything to do with this week's episode or not. Let

767
00:40:17,360 --> 00:40:19,960
Speaker 1: us know text us or call us at six one

768
00:40:20,000 --> 00:40:23,319
Speaker 1: seven nine oh six six six three eight. All right, Jake,

769
00:40:23,480 --> 00:40:25,040
Speaker 1: it's been real dude. I know you got stuff to

770
00:40:25,080 --> 00:40:28,680
Speaker 1: get into. Episodes are right, episodes of record, meatball subs

771
00:40:28,719 --> 00:40:30,920
Speaker 1: to eat. I gotta go, all right, man, later, talk

772
00:40:30,920 --> 00:40:33,799
Speaker 1: to you soon. Bye bye, Okay, everybody else stay put.

773
00:40:33,880 --> 00:40:36,560
Speaker 1: I'll be back with some final thoughts right after this.

774
00:41:00,080 --> 00:41:01,880
Speaker 1: What's up, guys. We're back, and I hope you've got

775
00:41:01,920 --> 00:41:04,440
Speaker 1: some great stuff to watch lined up in your queue.

776
00:41:04,760 --> 00:41:06,200
Speaker 1: I told you last week that I was going to

777
00:41:06,239 --> 00:41:09,160
Speaker 1: go see twenty eight Years Later with my son. Well

778
00:41:09,160 --> 00:41:12,600
Speaker 1: we did, and holy shit, that was a scary movie

779
00:41:12,640 --> 00:41:15,520
Speaker 1: that It was a great, great movie, Just when I

780
00:41:15,560 --> 00:41:19,160
Speaker 1: thought I'd had enough of my fill with zombie films.

781
00:41:20,040 --> 00:41:22,919
Speaker 1: Danny Boyle, the director and Alex Garland, the writer who

782
00:41:22,920 --> 00:41:26,799
Speaker 1: wrote the original twenty eight Days Later, really put a

783
00:41:26,840 --> 00:41:29,480
Speaker 1: new twist on the whole genre, as well as a

784
00:41:29,520 --> 00:41:31,400
Speaker 1: new twist on making movies.

785
00:41:31,440 --> 00:41:31,520
Speaker 2: This.

786
00:41:31,640 --> 00:41:33,279
Speaker 1: I don't know if you know this, but the movie

787
00:41:33,400 --> 00:41:37,719
Speaker 1: is shot entirely I believe, or almost entirely on iPhones,

788
00:41:37,760 --> 00:41:43,319
Speaker 1: on iPhone sixteen Max pro Promax, whatever it's called. And

789
00:41:43,360 --> 00:41:45,800
Speaker 1: in a lot of instances they sort of strung together,

790
00:41:45,960 --> 00:41:49,120
Speaker 1: you know, like twenty of these iPhones to get these

791
00:41:49,200 --> 00:41:52,960
Speaker 1: crazy shots. And if you see the movie you'll understand

792
00:41:52,960 --> 00:41:55,040
Speaker 1: what I'm talking about. It really does not look like

793
00:41:55,080 --> 00:41:58,480
Speaker 1: anything I've ever seen before. There's this one particular move

794
00:41:58,560 --> 00:42:01,480
Speaker 1: they do where the camera's moving and then it sort

795
00:42:01,520 --> 00:42:04,480
Speaker 1: of stops and spins around and almost like takes the snapshot.

796
00:42:04,520 --> 00:42:06,359
Speaker 1: And I think this is a product of this this

797
00:42:06,520 --> 00:42:10,879
Speaker 1: sort of like Frankenstein's contraption of iPhone cameras that they made.

798
00:42:10,960 --> 00:42:14,480
Speaker 1: But it's it's really something, and it's also just a

799
00:42:14,520 --> 00:42:17,120
Speaker 1: great time at the movies. I watched half of it

800
00:42:17,200 --> 00:42:20,600
Speaker 1: through my fingers, which my son laughed at the entire

801
00:42:20,680 --> 00:42:22,879
Speaker 1: time because he eats that shit up. But if you're

802
00:42:22,880 --> 00:42:25,680
Speaker 1: looking for something scary to go see at the movie

803
00:42:25,760 --> 00:42:29,120
Speaker 1: theaters this summer, totally recommend that. Twenty eight years later,

804
00:42:29,200 --> 00:42:32,080
Speaker 1: check it out. What are you watching? Send of your recommendations,

805
00:42:32,160 --> 00:42:34,120
Speaker 1: let me know you know how to get at US

806
00:42:34,160 --> 00:42:36,600
Speaker 1: six one seven nine oh six sixty six three eight

807
00:42:37,280 --> 00:42:39,759
Speaker 1: and we'll be back next week, but until then, a

808
00:42:39,760 --> 00:42:41,920
Speaker 1: couple of things for you to remember. Number one, available

809
00:42:42,000 --> 00:42:44,440
Speaker 1: right now in your Hollywood Land feed, our episode on

810
00:42:44,560 --> 00:42:47,799
Speaker 1: Roman Polanski. Number two coming next week on Monday, Our

811
00:42:47,840 --> 00:42:51,480
Speaker 1: episode on Jane Fonda. Number three. Don't forget the scripted

812
00:42:51,520 --> 00:42:54,680
Speaker 1: episodes that you're hearing in your feed every Monday are

813
00:42:54,719 --> 00:42:56,400
Speaker 1: new to you. If you're new to this podcast, and

814
00:42:56,440 --> 00:42:58,920
Speaker 1: that is awesome, welcome, glad to have you here. But

815
00:42:59,000 --> 00:43:00,680
Speaker 1: to those who have been listening for a while and

816
00:43:00,719 --> 00:43:03,000
Speaker 1: who listened to these these shows back on their previous

817
00:43:03,080 --> 00:43:05,840
Speaker 1: incarnation as episodes of a show called bad Lands, and

818
00:43:05,880 --> 00:43:08,080
Speaker 1: you're wondering when you're gonna hear, honest to goodness, new

819
00:43:08,120 --> 00:43:10,560
Speaker 1: episodes of the show Hanging in there? Good buddy, all right,

820
00:43:10,920 --> 00:43:13,560
Speaker 1: enjoy re listening to these classic episodes and get ready

821
00:43:13,600 --> 00:43:16,760
Speaker 1: for new episodes coming soon, coming we hope this fall,

822
00:43:17,040 --> 00:43:19,759
Speaker 1: so stay tuned for that. Number four. Do you listen

823
00:43:19,840 --> 00:43:22,680
Speaker 1: to Disgraceland, Jake's other award winning show made four and

824
00:43:22,719 --> 00:43:25,279
Speaker 1: about rock and roll animals, The og Music and True

825
00:43:25,280 --> 00:43:28,960
Speaker 1: Crime Pod with wild stories about Bruce Springsteen, Britney Spears,

826
00:43:29,040 --> 00:43:32,000
Speaker 1: Van Halen, Prince, the Go Gos, Marilyn Manson, the bec Boys,

827
00:43:32,120 --> 00:43:34,840
Speaker 1: and hundreds more. If you're not, you're missing out. Just

828
00:43:34,880 --> 00:43:38,000
Speaker 1: go search up Disgraceland wherever you get podcasts and now.

829
00:43:38,400 --> 00:43:41,520
Speaker 1: Number five, in honor of this week's episode me Reading You,

830
00:43:41,840 --> 00:43:44,600
Speaker 1: the list of the top movies from nineteen seventy eight,

831
00:43:44,960 --> 00:43:48,239
Speaker 1: the year that Roman Polanski evateed justice and fled the

832
00:43:48,360 --> 00:43:56,840
Speaker 1: United States. Number one Grease, directed by Randall Kleisner. Number

833
00:43:56,840 --> 00:44:01,239
Speaker 1: two National Lampoon's Animal House direct directed by It Was

834
00:44:01,440 --> 00:44:05,840
Speaker 1: John orlandis directed by Number three Spielberg, Close Encounters of

835
00:44:05,880 --> 00:44:10,440
Speaker 1: the Third Kind directed directed by Jays Steven Spielberg. Numbers

836
00:44:10,560 --> 00:44:15,120
Speaker 1: A four every which Way but Loose five John, directed

837
00:44:15,120 --> 00:44:19,080
Speaker 1: by James Farg, directed by War Based. Number five directed

838
00:44:19,080 --> 00:44:21,960
Speaker 1: by Having Him Wait In six is directed by Want

839
00:44:21,960 --> 00:44:27,800
Speaker 1: Basic and.

840
00:44:26,200 --> 00:44:28,680
Speaker 3: Quit Talking and Start Mixing.

841
00:44:28,960 --> 00:44:29,160
Speaker 1: Could