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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

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Speaker 2: Lamb and this is Joe McCormick. And if you look

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Speaker 2: at the various genres that we cover here on Weird

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Speaker 2: House Cinema, obviously there's a lot of science fiction, there's

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Speaker 2: a lot of horror, there's a lot of fantasy. But

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Speaker 2: obviously weird films don't necessarily need space aliens or wizards

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Speaker 2: or ghosts. Four of our previous selections reflect this. Three

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Speaker 2: of them released in the same year of nineteen sixty eight, Head,

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Speaker 2: which you covered with Seth Danger, Diabolic and Black Lizard,

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Speaker 2: so a musical adventure and two stylized super criminal movies.

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Speaker 2: A fourth nineteen sixty five Faster Pussycat Kill Kill, is

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Speaker 2: also a crime movie, basically in the exploitation genre, but

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Speaker 2: it's also packed full of weirdness. And so we're back

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Speaker 2: with a fifth selection today that contains no true speculative element.

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Speaker 2: I mean, it's possibly set in the future, but if

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Speaker 2: so the very near future, it's you could make a

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Speaker 2: case that this is an alternate reality. There's a certain

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Speaker 2: amount of surreal substance going on with this film. But overall, yeah,

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Speaker 2: no aliens, no wizards, no ghost It concerns criminals, and

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Speaker 2: it certainly stands tall as a weird cult movie. It's

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Speaker 2: Walter Hill's The Warriors from nineteen seventy nine.

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Speaker 3: I don't know how you're saying that it contains no

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Speaker 3: speculative element when it has street gangs that are in

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Speaker 3: baseball uniforms with face paint.

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Speaker 2: I mean that could happening. There's nothing in this film

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Speaker 2: that could not technically happen or have happened. But yeah,

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Speaker 2: it makes all of these and it's not just visual

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Speaker 2: choices that are strained. It's not like they had just

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Speaker 2: like a straightforward street crime plot and then just decided

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Speaker 2: to color up and gussie up the the costumes. Like

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Speaker 2: there is we'll get into. There are other aspects of

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Speaker 2: The Warriors that make it stand out as well.

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Speaker 3: That's true, But I think it is just straightforwardly fair

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Speaker 3: to say that this movie is set in an alternate universe.

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Speaker 3: The gangs of this movie are just much more theatrical

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Speaker 3: and circus like than any gangs I'm aware of in reality,

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Speaker 3: at least in the modern world.

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Speaker 2: Yeah, and it, like I always feel like this movie

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Speaker 2: seems to occupy the same cinematic universe as the nineteen

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Speaker 2: seventy three adaptation of the musical god Spell. You know,

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Speaker 2: like it doesn't feel like it is it is actually

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Speaker 2: our reality. It's somewhere a little bit to the left,

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Speaker 2: a little bit to the right spot in a goatee territory.

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Speaker 3: Well, you know, another movie it kind of reminds me

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Speaker 3: of in this regard is another Walter Hill movie, which

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Speaker 3: is Streets of Fire, a film set that has an

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Speaker 3: urban setting. It has mostly like it doesn't really have

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Speaker 3: magic or like science fiction technology in it, but still

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Speaker 3: it feels like a fantasy. It doesn't feel like the

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Speaker 3: real world. And the gangs in it and the heroes

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Speaker 3: in it are all just kind of mythical in a way.

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Speaker 2: Yeah, yeah, I know what you're talking about. Like, similar

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Speaker 2: things are often said about I don't know, Cornt McCarthy

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Speaker 2: comes to mind. You know, so many of most of

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Speaker 2: his books are not dealing with any kind of speculative elopment.

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Speaker 2: They're like to the you know, the average eye, like

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Speaker 2: straightforward westerns, for example, But the way that he writes

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Speaker 2: them and the way that he approaches them, it ends

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Speaker 2: up taking on all of these often overt mythical connotations.

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Speaker 2: So anyway, yeah, The Warriors. I was drawn to this

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Speaker 2: one in part, I think because I was like, maybe

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Speaker 2: we need a palate cleanser. You know, we've been doing

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Speaker 2: a lot of fantasy, a lot of sci fi. It's like,

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Speaker 2: take it down a little bit. And also I realized

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Speaker 2: we hadn't covered a seventies of film in several weeks,

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Speaker 2: and like, okay, we need something from the nineteen seventies.

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Speaker 2: And then also, it's been rather hot recently. We were

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Speaker 2: kind of back into a cool spell now, but it's

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Speaker 2: been it's been kind of a hot summer of late,

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Speaker 2: and this is a movie that always screams summer in

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Speaker 2: the city. To me, it's just a very hot and

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Speaker 2: sweaty film. Most of the characters seem like they have

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Speaker 2: just been sweating for days, that patina of sweat on them,

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Speaker 2: and most of the scenes. It's a grungy seventies New

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Speaker 2: York City film. And yeah, yeah, it's just part of

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Speaker 2: the vibe. It's just this is a good summer movie

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Speaker 2: in my opinion.

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Speaker 3: I was quite surprised to hear you describe it as

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Speaker 3: a cleanser in any way, because this film is decidedly dirty.

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Speaker 3: It needs a shower, it is.

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Speaker 2: Yeah. It is also interesting in that I was kind

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Speaker 2: of looking for a quick breather from a lot of

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Speaker 2: the alien related content that I've been picking for Weird

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Speaker 2: House and for other portions of the podcast stream, and

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Speaker 2: of course this one ends up having a number of

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Speaker 2: alien and aliens connections as well, which we'll get into now.

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Speaker 2: It's interesting. I was reading a little bit about the

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Speaker 2: production and the release so the Warriors of the movie

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Speaker 2: about street gangs, and even though it deals with them

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Speaker 2: in a manner that again feels very rather removed from reality,

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Speaker 2: it's worth noting that street gangs were an issue during

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Speaker 2: the filming and the release of the movie, so gangs

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Speaker 2: obviously have been a real issue around the world throughout

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Speaker 2: time and in urban and rural settings. So you know,

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Speaker 2: the film would seem to be removed enough from reality

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Speaker 2: to avoid controversy upon release, at least from you know,

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Speaker 2: our vantage point, because, especially as the decades set in,

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Speaker 2: I think it also takes on this additional air of

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Speaker 2: otherness because we have not only like the weirdness applied

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Speaker 2: to the different gangs in the way they're dressed, but

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Speaker 2: also we're just further and further from from the late

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Speaker 2: nineteen seventies. But yeah, at the time that they released it,

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Speaker 2: apparently there were various controversies. There were like gangs allegedly

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Speaker 2: fighting in the theaters, like the street gangs loved that.

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Speaker 2: People who didn't like the street gangs were very critical

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Speaker 2: of the movie for for highlighting street gang violence.

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Speaker 3: The Warriors is going to make people join gangs?

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Speaker 2: I don't know, I mean, it was a real concern

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Speaker 2: at the time. I was reading in the Psychotronic video.

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Speaker 2: Guy Michael Weldon, who I believe at the time he

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Speaker 2: wrote this was a New Yorker before he became a

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Speaker 2: Georgian like me. He has a record store in Augusta

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Speaker 2: now Psychotronic Records, So if anyone's on a road trip

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Speaker 2: through Augusta, uh, that's an interesting place to stop. But anyway,

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Speaker 2: he pointed out that it got a lot of negative

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Speaker 2: buzz on release that he qualifies as like good negative buzz,

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Speaker 2: so like, ultimately, you know, uplifted the film and I

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Speaker 2: guess helped cement its cult status. And he does point

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Speaker 2: out that this is not a film that is true

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Speaker 2: to life regarding life in New York City. But he

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Speaker 2: does point out accurately that it makes use of a

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Speaker 2: lot of great New York City locations. I mean, this

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Speaker 2: is definitely a movie filmed in New York. Uh and

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Speaker 2: and even if you're used to today's New York City, you

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Speaker 2: feel at home in this film.

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Speaker 3: I know what you mean. There is something about the

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Speaker 3: use of New York locations in this movie. And I'm

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Speaker 3: not even in New York for myself. I've only been

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Speaker 3: there a few times. But something about it feels very

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Speaker 3: familiar and cozy to see all these shots in and

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Speaker 3: references to real places throughout New York, especially throughout the

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Speaker 3: Bronx and Manhattan and then Coney Island at the beginning

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Speaker 3: in the end, that it feels really cozy and familiar.

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Speaker 3: And at the same time, the setting, like the plot

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Speaker 3: context in which we encounter these locations, is not at

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Speaker 3: all cozy and familiar. It's hostile territory where our main

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Speaker 3: characters are in extreme danger. But it just feels like

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Speaker 3: it makes you want to settle in with a cup

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Speaker 3: of tea or something. Do you know what I'm talking about?

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Speaker 2: Yeah, yeah, yeah, it is weird how a film that

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Speaker 2: is You could I guess roughly catalog in the sort

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Speaker 2: of the hell city world, you know, you know, sort

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Speaker 2: of the like the post apocalyptic New York but without

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Speaker 2: the apocalypse, or more of like a low apocalypse, and

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Speaker 2: yet it still feels like lovingly New York City in

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Speaker 2: some strange way, even though most of the scenes are

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Speaker 2: about you know, street gang members running from cops or

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Speaker 2: karate kicking a cop, or fighting each other as they

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Speaker 2: flee in and out of different subway stops.

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Speaker 3: Yeah, if you're not familiar with the terminology we've used before,

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Speaker 3: the hell city cliche in the movies is that it

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Speaker 3: was especially common in movies of say the seventies through

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Speaker 3: the nineties early nineties, that would depict American cities, especially

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Speaker 3: New York City, as you know, it would take the

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Speaker 3: worst components of urban poverty or decay or something and

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Speaker 3: then take it to an almost fantasy level. So you

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Speaker 3: would have these cities depicted as places full of flaming

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Speaker 3: garbage cans and trash blowing in the wind and around

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Speaker 3: every corner where there was somebody with a knife.

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Speaker 2: Yeah. Escape from New York is in many ways like

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Speaker 2: the prime example of this, in which Manhattan had been

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Speaker 2: depopulated of everything but criminals and extra criminals have been

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Speaker 2: added to establish a penal colony. So this movie doesn't

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Speaker 2: inspire to that level of hell City.

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Speaker 3: New York does still feel like lived in in this.

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Speaker 2: Movie, yeah, like we have. It doesn't go to great

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Speaker 2: pains to establish this, but they did make sure that

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Speaker 2: we have the various shots where we see bystanders who

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Speaker 2: seem to be just normal folk. There is enough texture

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Speaker 2: to remind us that this is a place where normal

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Speaker 2: people live. This is just what happens in the contested

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Speaker 2: street environment, particularly at night.

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Speaker 3: Now, something that was new to me upon this revisit

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Speaker 3: of The Warriors, because I'd seen the movie years ago,

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Speaker 3: but I hadn't watched it in quite some time, so

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Speaker 3: I never noticed this before. But coming back to it now,

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Speaker 3: The Warriors is obviously based on a work of classical

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Speaker 3: Greek literature, which is the Anibosis by Xenophon, And so

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Speaker 3: I looked it up. And this is not just a

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Speaker 3: cursory kind of illusion or you know, kind of a

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Speaker 3: little bit of a match on the book on which

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Speaker 3: The Warriors was based, called The Warriors by Saul Yurik,

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Speaker 3: was explicitly based on Xenophon and apparently earlier cuts of

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Speaker 3: the movie and some versions of the screenplay just say

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Speaker 3: that this is the story told by Xenophon, but in

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Speaker 3: the modern day, So what's the deal with the Anabasis?

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Speaker 3: The Anibasis is the story of a company of ten

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Speaker 3: thousand Greek mercenaries who travel out to fight a war

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Speaker 3: but becomes stranded in Mesopotamia. So they're fighting for a

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Speaker 3: Persian prince, Cyrus, the younger Cyrus tried to challenge his

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Speaker 3: brother Arctic Serxes the second for the throne of the

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Speaker 3: Achemenid Empire, but was killed in the campaign in four

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Speaker 3: oh one BCE, sort of leaving his armies adrift. So

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Speaker 3: the Anabasis narrates the ten thousand Greek warriors attempt to

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Speaker 3: travel back from this far distant hostile territory in Mesopotamia

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Speaker 3: back to friendly lands, back to Greek cities along the

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Speaker 3: sea and Asia Minor, And so they have to travel

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Speaker 3: through Mesopotamia, through Armenia through Asia Minor, having many fascinating

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Speaker 3: and thrilling adventures along the way. And the Warriors follows

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Speaker 3: this general shape by having the gang make a perilous

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Speaker 3: journey back to home territory through strange lands full of

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Speaker 3: hostile armies and relentless pursuers. But there are also more

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Speaker 3: specific nods, like the fact that they are initially assembled

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Speaker 3: in the park by a leader named Cyrus, the name

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Speaker 3: of the Prince. The Persian prince and other characters in

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Speaker 3: the movie also have the names of famous Greek heroes.

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Speaker 3: There are characters named Ajax and Cleon and so forth.

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Speaker 3: Another thing about the Warriors that feels very ancient Greek

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Speaker 3: to me is its alien morality. It's a very very

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Speaker 3: interesting way to depict street gangs in storytelling. So the

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Speaker 3: movie is decidedly told from the gangs and the gang

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Speaker 3: member's point of view. It is not from the point

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Speaker 3: of view of like an outsider interacting with the gang,

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Speaker 3: or with a kind of sermonizing tone that you might

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Speaker 3: get in some seventies movies that deal with gangs. It's like, oh,

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Speaker 3: this is a kind of social blight. Look at the

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Speaker 3: crime and the destruction. We are with the Warriors in

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Speaker 3: the movie. We're on the ground level with them, and

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Speaker 3: we're seeing things from their point of view. So they

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Speaker 3: are structurally the protagonists of the story. And yet the

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Speaker 3: Warriors are really not good guys. Other than placing them

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Speaker 3: in a very unfair predicament where they're framed for a

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Speaker 3: crime they didn't commit. There is little effort made to

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Speaker 3: make them morally palatable or sympathetic. So the Warriors are

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Speaker 3: not Robin Hood's band of merry men. They're not nice,

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Speaker 3: they're not helpful or chivalrous. For the most part, they

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Speaker 3: do not have a heart of gold. They are a tough, violent,

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Speaker 3: self interested criminal gang, and some of the guys in

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Speaker 3: the gang come off as overtly evil. For example, the

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Speaker 3: character Ajax is portrayed as someone who just totally violent

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Speaker 3: to the core, will commit rape or murder on a whim.

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Speaker 3: And the rest of the gang, though mostly not as

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Speaker 3: bad as Ajax, they're generally just threatening and rough with

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Speaker 3: innocent people.

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Speaker 2: Yeah, even Rembrandt, the most innocent seeming member of the gang,

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Speaker 2: is just totally down to desecrate some tombstones, Like that's

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Speaker 2: his role in the gang. He's the artist. He's the

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Speaker 2: one that's supposed to, you know, throw up the tags

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Speaker 2: and all. And then you know, other members of the

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Speaker 2: gang casually use homophobic or racist terms at times. And

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Speaker 2: on one hand, you know, perhaps they're going for that

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Speaker 2: sort of hard late seventies realism and so forth. But

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Speaker 2: I think, certainly to contemporary viewers, this also serves to

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Speaker 2: remind us the yeah, these are loud mouthed, troubled youth. Yes,

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Speaker 2: some of the youth are thirty. They are not good guy.

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Speaker 3: But I think it falls in with the style of

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Speaker 3: characterization that was very popular in a lot of the

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Speaker 3: great movies of the seventies, which often focused not on like,

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Speaker 3: you know, sweet lovable characters, but on characters that were

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Speaker 3: troubled and complex and interesting in the ways that they

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Speaker 3: were very morally imperfect or flawed. And so the warriors

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Speaker 3: are They're not Luke Skywalker and Princess Leah. You know,

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Speaker 3: they're dangerous people in a dangerous situation.

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Speaker 2: I like that you mentioned like nineteen fifties style street

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Speaker 2: gang films and social problem works of previous decades, because yeah,

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Speaker 2: there's not a sense in this at all that there

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Speaker 2: is another way for these characters. We don't really know

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Speaker 2: anything about what their lives might consist, of, what their

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Speaker 2: home lives are like, like this is just like this

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Speaker 2: is who they are. What else could they possibly be?

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Speaker 2: And in fact, one thing I was struck by in

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Speaker 2: this rewatch is that really all the gang members there's

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Speaker 2: no of sense that they have like homes or belongings

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Speaker 2: of any kind. There's no sense that the warriors themselves

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Speaker 2: have anything in their pockets, like if they have pockets

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Speaker 2: on those those tight fitting pants that most of them

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Speaker 2: are wearing. You know, it's like they their only possession

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Speaker 2: is their identity as a warrior, and there's nothing else

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Speaker 2: for them in the world at all.

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Speaker 3: All they have is the perception they can create in

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Speaker 3: others that they are tough and they shouldn't be messed with.

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Speaker 2: Yeah, they don't even have weapons. They didn't be part

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Speaker 2: of it is plotting like where they've gone. It's kind

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Speaker 2: of like, I guess a weapon free zone or supposed

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Speaker 2: to be. Nobody else seems to obey this rule. But

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Speaker 2: they didn't even come like strapped or whatever. So so

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Speaker 2: they have to improvise their weapons and or use their

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Speaker 2: fists and their kicks along the way, which you know,

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Speaker 2: ultimately makes it a scrappier movie too.

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Speaker 3: Another thing I was noting is a similarity with Xenophon

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Speaker 3: is of course, Xenophon is a journey from deep within

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Speaker 3: the Persian Empire down to Mesopotamia back up to their

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Speaker 3: trying to reach the sea the Greek friendly or Greek

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Speaker 3: colony cities along the coast, and the journey of the

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Speaker 3: Warriors is much the same. They're starting up in the

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Speaker 3: Bronx and they're ending they end up back by the sea.

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Speaker 3: The return home is the return to the coastline at

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Speaker 3: Coney Island.

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Speaker 2: Yeah yeah, Like, isn't it like a rallying cry in

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Speaker 2: the original work, like the Sea of the Sea, like

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Speaker 2: the Sea?

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Speaker 3: Yeah exactly, yes, all right, Well.

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Speaker 2: My elevator pitch for this one is just street crime,

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Speaker 2: but make it weird, and I think they succeeded in

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Speaker 2: making it weird. Occasionally I'll hear talk of how they're

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Speaker 2: looking to do a remake of this or do a

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Speaker 2: TV series of it, And at one point, I forget

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Speaker 2: who was involved with they were like, yeah, this time though,

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Speaker 2: we're gonna make all the street gangs super realistic. And

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Speaker 2: I'm just instantly like like no, Like, that's not what

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Speaker 2: makes the Warriors special. I can't imagine anyone wants that

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Speaker 2: from the Warriors. If anything, make it weirder. I want

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Speaker 2: to see gangs based on I don't know any s

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Speaker 2: Jason Vorhez, you know, things like.

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Speaker 3: That, Okay, and this one we got a gang dressed

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Speaker 3: up like baseball players. What if instead we get a

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Speaker 3: gang that are all dressed up like baseball mascots?

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Speaker 2: There you go, there you go.

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Speaker 3: Well, what would be the best mascot? I know it's

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Speaker 3: not baseball, but you could have a whole gang of gritty's.

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Speaker 3: You could have a whole gang of Yeah.

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Speaker 2: Gritty gang would work. I mean anything like, uh, you know,

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Speaker 2: we could Witch of the East. Everybody's dressed like the

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Speaker 2: wicked Witch of the East. I mean, you name it.

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Speaker 2: As long as it's like uniform and and strange, it works.

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Speaker 2: Like not all the gangs and the Warriors are that strange,

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Speaker 2: but enough of them are that it pushes the pushes

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Speaker 2: us through the barrier into the sulternate dimension. All right,

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Speaker 2: let's go ahead and listen to a little trailer audio.

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Speaker 4: These are the armies of the night. Can you do that?

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Speaker 5: The Furies, the Bombers, the high Hats, the Lizzies, the

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Speaker 5: turnbull Aces, the Gramercy Rifts. And these are the Warriors.

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Speaker 4: We know about the Warriors. They're a heavy outfit. They're

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Speaker 4: from Corney Island. Warriors, you guys are the big dudes. Huh.

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Speaker 4: Now they're in the Bronx.

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Speaker 5: We're going back twenty seven miles behind enemy lines.

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Speaker 4: It's the only choice we get.

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Speaker 5: Between them in safety stand twenty thousand cops.

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Speaker 4: And one hundred thousand sworn enemies. I want them all.

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Speaker 6: I want all the Warriors.

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Speaker 5: They've got one way out, They've got one chance, They've

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Speaker 5: got one night the Warriors.

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Speaker 2: Okay, So if you are looking to jump out and

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Speaker 2: watch or rewatch The Warriors for yourself before proceeding with

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Speaker 2: the rest of this episode, yeah, go ahead and do it.

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Speaker 2: This movie is widely available again. Its cult status has

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Speaker 2: been assured for many, many years. So there have been

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Speaker 2: a number of nice editions that have come out, including

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Speaker 2: the Arrow limited Blu Ray, which looks really nice. All right,

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Speaker 2: let's get into the people who made this film, starting

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Speaker 2: at the top. The director screenplay credit is Walter Hill

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Speaker 2: born nineteen forty two a writer, director, and producer with

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Speaker 2: writing credits going back to nineteen seventy two, with a

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Speaker 2: couple of films that include the excellent Sam Peckinpack crime

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Speaker 2: thriller The Getaway starring Steve McQueen. He began directing as

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Speaker 2: well with nineteen seventy five's Hard Time starring Charles Bronson,

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Speaker 2: and in nineteen seventy nine he got into producing with

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Speaker 2: a little sci fi horror film called Alien, and he's

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Speaker 2: remained a producer on every Alien film since, including the

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Speaker 2: most recent Alien Romulus as part of Brandywine Productions.

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Speaker 3: Now, Rob, you might have read about this more recently

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Speaker 3: than me, so correct me if I'm wrong about the

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Speaker 3: process here. But from what I recall, the original script

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Speaker 3: for Alien was by Dan O'Bannon, based on a story

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Speaker 3: by Ronald Schussett or shuss It, and that was the

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Speaker 3: first script by O'Bannon I think was pitched at a

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Speaker 3: more B movie level. It was sort of supposed to

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Speaker 3: be a smart but lower budget, scrappy movie made made

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Speaker 3: by somebody in the Roger Korman camp. But then somehow

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Speaker 3: Walter Hill and David Geiler got their hands on it

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Speaker 3: and did and they sort of had more ambitions for it.

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Speaker 3: They were like, this is an interesting idea. We could

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Speaker 3: make this into a bigger budget, more artful kind of movie,

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Speaker 3: and so they took a pass at the script. Is

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Speaker 3: that how you understand it?

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Speaker 2: Yeah, yeah, that's my understanding. So you know, Hill and

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Speaker 2: Guyler David Giler who lived forty three through twenty twenty.

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Speaker 2: They did what I think is ultimately an uncredited rewrite

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Speaker 2: on the script, but you can find their rewrite on

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Speaker 2: the script. You shared it with me prior to our recording,

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Speaker 2: and we were both kind of looking through it and

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Speaker 2: checking out like what their particular take on it was

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Speaker 2: and how it was written.

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Speaker 3: We can come back to that in a minute, because

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Speaker 3: I do want to talk about Walter Hill's screenwriting style now.

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Speaker 2: Outside of the Alien franchise, they also produced the Tales

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Speaker 2: from the Crypt TV series Demon Knight, the Tales from

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Speaker 2: the Crypt movie that we previously covered on Weird House Cinema,

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Speaker 2: and HBO's Deadwood. Walter Hill also scripted and directed three

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Speaker 2: different episodes of Tales from the Crypt, including the disturbingly

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Speaker 2: memorable Cutting Cards episode starring Lance Henrickson and Kevin Teege.

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Speaker 2: His other directing credits include nineteen eighty one Southern Comfort,

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Speaker 2: eighty two's forty eight Hours, eighty four Streets of Fire,

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Speaker 2: which we already mentioned, eighty five's Brewsters Millions, eighty eight's

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Speaker 2: Red Heat, ninety two Trespass, and his most recent directorial

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Speaker 2: effort was a twenty twenty two Western title Dead for

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Speaker 2: a Dollar.

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Speaker 3: Oh my god, Walter Hill did Red Heat. I didn't

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Speaker 3: know that's the one with Schwarzenegger, right, or he plays

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Speaker 3: a Soviet cop mm hmm.

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Speaker 2: Yeah. I vaguely remember seeing this one back when I

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Speaker 2: was a kid.

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Speaker 3: I've never seen the whole movie, but I've seen clips

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Speaker 3: on YouTube. There is one where Schwarzenegger infamously like pours

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Speaker 3: several pounds of cocaine out of someone's artificial leg.

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Speaker 2: Yep Arnold and James Belushi quite a screenpairing.

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Speaker 3: Wow, I can imagine the chemistry. I'll have to watch

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Speaker 3: that one someday. But yeah, I wanted to come back

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Speaker 3: to Walter Hill's screenwriting style because occasionally I look up

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Speaker 3: screenplays and read them and you know, compare what's on

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Speaker 3: the page to what's in the movie. And I have

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Speaker 3: always found Walter Hill's style to be very interesting and

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Speaker 3: something that I like a lot. So, just as one example,

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Speaker 3: I want to read some descriptive passages from opening shots

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Speaker 3: of his Alien screenplay with David Geiler. Interior engine room,

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Speaker 3: empty cavernous interior engine cubicle circular jammed with instruments, all

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Speaker 3: of them, idle console chairs for two empty interior oily

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Speaker 3: corridor sea level long dark, empty, turbose, throbbing, no other movement,

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Speaker 3: interior bridge vacant, two space helmets resting on chairs, electrical hum.

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Speaker 3: Lights on the helmets begin to signal one another. Moments

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Speaker 3: of silence. A yellow light goes on, data mind in

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Speaker 3: the background, electronic hum. A green light goes on in

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Speaker 3: front of one helmet, electronic pulsing sounds. A red light

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Speaker 3: goes on in front of other helmet. An electronic conversation ensues,

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Speaker 3: reaches a crescendo, then silence. The lights go off, save

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Speaker 3: the yellow. So maybe that'll give you a kind of idea.

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Speaker 3: But Walter Hill has a very terse, sparse, vertical screenwriting style,

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Speaker 3: and it especially comes through in physically descriptive passages where

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Speaker 3: he will sometimes describe a whole scene that he wants

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Speaker 3: to show you visually in a few words, just like

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Speaker 3: you know, a two word sentence on one line, return

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Speaker 3: next line. A three word sentence period often leaves out

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Speaker 3: the subject of the sentence in screenwriting if the subject

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Speaker 3: is the same as the previous sentence. So it's just

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Speaker 3: very tight writing that I think is extremely effective as

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Speaker 3: screenwriting because I cannot help but picture the scene in

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Speaker 3: my head. When I read it, it just leaps right

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Speaker 3: into the mind's eye, and especially having seen the movies

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Speaker 3: that are made from these scripts, you can absolutely see

431
00:25:27,080 --> 00:25:31,320
Speaker 3: exactly from these short descriptive passages on the page into

432
00:25:31,800 --> 00:25:34,040
Speaker 3: what happened in the actual film.

433
00:25:34,320 --> 00:25:36,719
Speaker 2: Yeah, and just reading through some of these examples, it

434
00:25:36,720 --> 00:25:39,720
Speaker 2: feels like it flows on the page at the exact

435
00:25:39,760 --> 00:25:42,560
Speaker 2: same pace as it will flow on the screen. You know,

436
00:25:42,800 --> 00:25:45,119
Speaker 2: it doesn't get bogged down in a bunch of descriptions.

437
00:25:45,359 --> 00:25:47,920
Speaker 3: You're right that it doesn't get bogged down in overly

438
00:25:48,000 --> 00:25:51,360
Speaker 3: wordy description. But it is very descriptive. It's like very

439
00:25:51,440 --> 00:25:55,160
Speaker 3: visually evocative. It just uses as few words as possible.

440
00:25:55,560 --> 00:25:58,280
Speaker 3: And so anyway, I found the Warrior screenplay online as well.

441
00:25:58,400 --> 00:26:00,919
Speaker 3: We'll come back to this because there's some funny things

442
00:26:00,960 --> 00:26:04,080
Speaker 3: from it that we can talk about. It is very

443
00:26:04,119 --> 00:26:06,480
Speaker 3: different from the final film, and I think there might

444
00:26:06,520 --> 00:26:09,840
Speaker 3: be different cuts of The Warriors available. I watched the

445
00:26:09,840 --> 00:26:13,040
Speaker 3: theatrical cut, so maybe some of the stuff in the

446
00:26:13,080 --> 00:26:15,960
Speaker 3: screenplay that's not in the film is restored in the

447
00:26:16,000 --> 00:26:19,680
Speaker 3: director's cut. But for example, the screenplay has a lot

448
00:26:19,720 --> 00:26:22,760
Speaker 3: of stuff in the opening that we never get in

449
00:26:22,800 --> 00:26:26,000
Speaker 3: the movie. Scenes with the Warriors on their home turf

450
00:26:26,040 --> 00:26:29,119
Speaker 3: in Coney Island before going off to the conclave and

451
00:26:29,160 --> 00:26:33,840
Speaker 3: having their dangerous adventure. And I don't know, it's kind

452
00:26:33,880 --> 00:26:38,920
Speaker 3: of interesting because I think these opening scenes really soften

453
00:26:39,080 --> 00:26:42,240
Speaker 3: the Warriors' characters and make them more relatable to see

454
00:26:42,240 --> 00:26:45,879
Speaker 3: them at home first, just kind of being themselves before

455
00:26:45,920 --> 00:26:49,800
Speaker 3: they're in danger and out of their element. And obviously

456
00:26:49,800 --> 00:26:51,800
Speaker 3: we get a very little bit of that in the movie,

457
00:26:51,800 --> 00:26:54,120
Speaker 3: but it's mostly just the scenes where they're being summoned

458
00:26:54,119 --> 00:26:59,679
Speaker 3: and then they depart. So in the script we have

459
00:26:59,760 --> 00:27:01,760
Speaker 3: them say there's like a scene where they're on the

460
00:27:01,800 --> 00:27:05,399
Speaker 3: beach and Ajax, the character played by James Ramar, who

461
00:27:05,440 --> 00:27:07,920
Speaker 3: will talk about in a minute, he's like working out

462
00:27:08,000 --> 00:27:13,200
Speaker 3: on some exercise equipment, you know, showing off his muscles,

463
00:27:13,240 --> 00:27:15,639
Speaker 3: being a total jerk to the other guys in the

464
00:27:15,680 --> 00:27:18,879
Speaker 3: in the gang. And so for example, we get this

465
00:27:18,920 --> 00:27:23,800
Speaker 3: description beach Ajax pumps twice on the bars, does a

466
00:27:23,840 --> 00:27:30,119
Speaker 3: flying dismount, smiles wall Swan holding his knife, just looking

467
00:27:30,160 --> 00:27:34,199
Speaker 3: at the blade, Coney Island, the sun visible over the

468
00:27:34,240 --> 00:27:38,000
Speaker 3: amusement park, horizon line and so again, very tight, very

469
00:27:38,040 --> 00:27:42,920
Speaker 3: evocative description, very few words, but it conjures a strong feeling,

470
00:27:43,240 --> 00:27:46,439
Speaker 3: and that feeling is eventually what's there on the screen

471
00:27:46,480 --> 00:27:47,200
Speaker 3: in the movie.

472
00:27:47,760 --> 00:27:50,320
Speaker 2: Yeah, yeah, this is This is interesting because because the

473
00:27:50,359 --> 00:27:53,720
Speaker 2: actual films we'll discuss, it has a very tight funnel

474
00:27:54,160 --> 00:27:56,280
Speaker 2: at the beginning. It really draws you in, is highly

475
00:27:56,520 --> 00:28:01,320
Speaker 2: highly effective. I wouldn't change anything, But at the same time, yeah,

476
00:28:01,320 --> 00:28:03,320
Speaker 2: we don't really go into it with a sense of

477
00:28:03,359 --> 00:28:06,240
Speaker 2: what normal life is like for these guys, or indeed

478
00:28:06,280 --> 00:28:09,000
Speaker 2: what gang life consists of. And part of that also

479
00:28:09,040 --> 00:28:11,639
Speaker 2: works very well with the structure of the plot and

480
00:28:11,680 --> 00:28:14,359
Speaker 2: the sort of the mythic qualities of it, because you know,

481
00:28:14,440 --> 00:28:18,680
Speaker 2: again they are essentially like ancient mercenaries in a strange world,

482
00:28:18,760 --> 00:28:22,160
Speaker 2: and the less you know about what actual street level

483
00:28:22,240 --> 00:28:25,080
Speaker 2: gang day to day consists of, like maybe the better

484
00:28:25,119 --> 00:28:27,560
Speaker 2: in this overall structure of the film.

485
00:28:27,560 --> 00:28:29,560
Speaker 3: But now, is it the case that Hill also had

486
00:28:29,560 --> 00:28:31,240
Speaker 3: a writing partner on this script.

487
00:28:31,840 --> 00:28:35,560
Speaker 2: Yes. David Shaber, who lived nineteen twenty nine through nineteen

488
00:28:35,640 --> 00:28:39,560
Speaker 2: ninety nine American screenwriter and theater producer. His other screenplay

489
00:28:39,560 --> 00:28:43,160
Speaker 2: credits include nineteen eighty one's Nighthawks, nineteen nineties The Hunt

490
00:28:43,200 --> 00:28:45,760
Speaker 2: for Red October, and ninety one's Flight of the Intruder,

491
00:28:46,640 --> 00:28:49,160
Speaker 2: and then, as we already mentioned, this is all based

492
00:28:49,160 --> 00:28:51,560
Speaker 2: on the novel by Saul Yurik, who lived nineteen twenty

493
00:28:51,560 --> 00:28:56,360
Speaker 2: five through twenty thirteen, American novelist who was apparently partially

494
00:28:56,400 --> 00:29:01,280
Speaker 2: inspired not only by the classics, but inspired in writing

495
00:29:01,320 --> 00:29:05,560
Speaker 2: this nineteen sixty five novel by the unrealistic romanticism of

496
00:29:05,600 --> 00:29:09,400
Speaker 2: street gangs in West Side Story. I believe he had

497
00:29:09,440 --> 00:29:11,920
Speaker 2: worked with Troubled Youth to some extent, and so like

498
00:29:11,960 --> 00:29:14,280
Speaker 2: he had a little insight into what the world consisted of,

499
00:29:14,320 --> 00:29:16,760
Speaker 2: and he's like, it's not that glamorous, I'm going to

500
00:29:16,800 --> 00:29:19,880
Speaker 2: write it. His other books include sixty eight's The Bags,

501
00:29:19,960 --> 00:29:23,680
Speaker 2: seventy five's In Island Death, and nineteen eighty one's Richard A.

502
00:29:24,240 --> 00:29:27,280
Speaker 2: The nineteen ninety nine film The Confession was an adaptation

503
00:29:27,360 --> 00:29:31,440
Speaker 2: of his nineteen sixty six novel Fertig. All right, let's

504
00:29:31,440 --> 00:29:34,520
Speaker 2: get into the cast here. So we may or may

505
00:29:34,560 --> 00:29:37,000
Speaker 2: not mention all the warriors, but a lot of them

506
00:29:37,160 --> 00:29:40,920
Speaker 2: are played by actors who, you know, first time actors

507
00:29:41,000 --> 00:29:44,040
Speaker 2: and maybe went on to great things, or maybe you know,

508
00:29:44,120 --> 00:29:47,120
Speaker 2: ended up having a career shift pretty early on, but

509
00:29:47,320 --> 00:29:51,480
Speaker 2: starting at the top. Really our central character is Swan.

510
00:29:52,320 --> 00:29:55,600
Speaker 2: Swan is played by Michael Beg This is Our Handsome

511
00:29:55,680 --> 00:29:58,360
Speaker 2: and ultimately ends up being the de facto warlord of

512
00:29:58,400 --> 00:30:01,080
Speaker 2: the Warriors after some stuff go down very early in

513
00:30:01,120 --> 00:30:04,520
Speaker 2: the plot. His Beck's TV and film credits go back

514
00:30:04,520 --> 00:30:08,080
Speaker 2: to nineteen seventy one, and apparently Hill discovered him for

515
00:30:08,160 --> 00:30:12,240
Speaker 2: this film while they were scouting an actor by the

516
00:30:12,320 --> 00:30:14,840
Speaker 2: name of Sigourney Weaver for a little science fiction film

517
00:30:14,880 --> 00:30:18,680
Speaker 2: they were involved. In. The movie they were looking at

518
00:30:18,680 --> 00:30:22,280
Speaker 2: to scout Weaver was nineteen seventy eight mad Man, which

519
00:30:22,280 --> 00:30:27,000
Speaker 2: also features Beck as well as f Marie Abraham. So

520
00:30:27,080 --> 00:30:31,280
Speaker 2: Beck's subsequent credits included nineteen eighty Xanadu, eighty two's Battle

521
00:30:31,280 --> 00:30:35,280
Speaker 2: Truck and Mega Force, the nineteen eighty three TV movie

522
00:30:35,280 --> 00:30:38,920
Speaker 2: The Last Ninja, the eighty five thriller Blackout, in various

523
00:30:38,960 --> 00:30:40,800
Speaker 2: TV and film projects.

524
00:30:40,720 --> 00:30:46,280
Speaker 3: Wow, Xanadu, Mega Force, The Last Ninja, That Is Is

525
00:30:46,280 --> 00:30:51,440
Speaker 3: Is the Warriors generally considered Beck's like peak peak performance.

526
00:30:52,040 --> 00:30:54,000
Speaker 2: I think it might be. Yeah, I think this is

527
00:30:54,760 --> 00:30:57,360
Speaker 2: the shining gem in his filmography, and I have to say, like,

528
00:30:57,440 --> 00:31:00,440
Speaker 2: I think he he There was some criticism leveled at

529
00:31:00,480 --> 00:31:02,720
Speaker 2: him for some of his performances in these, like you know,

530
00:31:02,800 --> 00:31:08,440
Speaker 2: obviously probably not good action films, But I have to say,

531
00:31:08,440 --> 00:31:10,680
Speaker 2: I think he's really good in this. I think, you know,

532
00:31:10,720 --> 00:31:12,920
Speaker 2: he has a great look, but he also is able

533
00:31:12,960 --> 00:31:16,760
Speaker 2: to bring the appropriate presence as well. Like I have

534
00:31:16,800 --> 00:31:19,760
Speaker 2: absolutely no problem with Michael Beck's performance in The Warriors.

535
00:31:20,280 --> 00:31:23,120
Speaker 2: Does he look a little too old? Well, okay maybe,

536
00:31:23,280 --> 00:31:25,760
Speaker 2: but I mean that's also kind of like a hallmark

537
00:31:26,520 --> 00:31:29,560
Speaker 2: of like troubled youth movies, So I mean even more

538
00:31:29,800 --> 00:31:33,000
Speaker 2: likely to forgive it because you know, you know, thirty

539
00:31:33,080 --> 00:31:37,480
Speaker 2: year old youths is a common occurrence in films such

540
00:31:37,480 --> 00:31:40,719
Speaker 2: as these. All right, So that's Swan. One of the

541
00:31:40,760 --> 00:31:45,080
Speaker 2: other key Warriors of note is Ajax, who have already mentioned,

542
00:31:45,080 --> 00:31:48,800
Speaker 2: played by James Ramar born nineteen fifty three. We recently

543
00:31:48,880 --> 00:31:50,760
Speaker 2: mentioned him on the show before as well, because out

544
00:31:50,800 --> 00:31:52,640
Speaker 2: of the one hundred and eighty plus roles he's played

545
00:31:52,640 --> 00:31:55,560
Speaker 2: over his i think six decades of work, one of

546
00:31:55,600 --> 00:31:58,960
Speaker 2: them is Lord Raydon from nineteen ninety seven's Mortal Kombat

547
00:31:59,000 --> 00:32:04,000
Speaker 2: Annihilation Woo. So this is the guy who's been in

548
00:32:04,040 --> 00:32:06,200
Speaker 2: tons of stuff The Warriors, however, it was only his

549
00:32:06,320 --> 00:32:09,560
Speaker 2: second film role following his debut, I think just in

550
00:32:09,600 --> 00:32:12,440
Speaker 2: a bit part the year before in the prison movie

551
00:32:12,480 --> 00:32:15,520
Speaker 2: on the Yard. Prior to this, he'd done some stage work.

552
00:32:15,840 --> 00:32:18,560
Speaker 2: He followed this up with roles in nineteen eighties Cruising

553
00:32:18,880 --> 00:32:22,120
Speaker 2: the Long Riders forty eight Hours and nineteen eighty six's

554
00:32:22,200 --> 00:32:24,640
Speaker 2: Clan of the Cave Bear. He's done a ton of

555
00:32:24,680 --> 00:32:27,240
Speaker 2: TV and film work over the decades, often playing heavies

556
00:32:27,280 --> 00:32:30,360
Speaker 2: and villains. He's been in everything from two thousand's Hell

557
00:32:30,480 --> 00:32:35,160
Speaker 2: Raiser Inferno to twenty twenty three's Oppenheimer. TV viewers might

558
00:32:35,200 --> 00:32:38,800
Speaker 2: know him best from Dexter what he played Dexter's dad

559
00:32:38,840 --> 00:32:43,400
Speaker 2: on that Yeah So Yeah. Solid character actor. His stage

560
00:32:43,400 --> 00:32:46,480
Speaker 2: work includes a nineteen seventy nine Broadway production of Bent,

561
00:32:46,840 --> 00:32:49,120
Speaker 2: alongside Richard Gear and Michael Gross.

562
00:32:49,400 --> 00:32:50,880
Speaker 3: I just had to look up who he played in

563
00:32:50,920 --> 00:32:54,200
Speaker 3: Oppenheimer because I forgot, but he played Henry Stimson, the

564
00:32:54,240 --> 00:32:55,760
Speaker 3: Secretary of War under Truman.

565
00:32:56,720 --> 00:32:59,280
Speaker 2: Is it a substantial role or kind of like a

566
00:32:59,320 --> 00:32:59,880
Speaker 2: bit part.

567
00:33:00,600 --> 00:33:03,280
Speaker 3: I think it must be a fairly short appearance, but

568
00:33:03,280 --> 00:33:06,360
Speaker 3: I don't know. The cast of Oppenheimer is so huge

569
00:33:06,400 --> 00:33:09,240
Speaker 3: it's easy to forget a lot of even quite familiar

570
00:33:09,280 --> 00:33:10,280
Speaker 3: actors when they show.

571
00:33:10,160 --> 00:33:12,640
Speaker 2: Up James Ramar is one of those character actors who

572
00:33:13,200 --> 00:33:15,840
Speaker 2: can be really good in very small doses or can

573
00:33:15,880 --> 00:33:18,840
Speaker 2: have a more robust role in a picture. Like he

574
00:33:18,920 --> 00:33:22,320
Speaker 2: just has a great look, a very like stern appearance,

575
00:33:22,440 --> 00:33:25,440
Speaker 2: especially you know, as he aged and became this older actor, like,

576
00:33:25,520 --> 00:33:27,240
Speaker 2: you know, you can put him in anywhere in a

577
00:33:27,280 --> 00:33:28,280
Speaker 2: picture and he'll do well.

578
00:33:28,600 --> 00:33:29,680
Speaker 4: Yeah.

579
00:33:30,040 --> 00:33:33,400
Speaker 2: Now, interesting Aliens connection. This is one I hadn't I

580
00:33:33,440 --> 00:33:35,720
Speaker 2: wasn't familiar with, but he originally had the role of

581
00:33:35,840 --> 00:33:41,520
Speaker 2: Hicks in nineteen eighty six is Aliens. But I believe

582
00:33:41,600 --> 00:33:45,600
Speaker 2: the story is that he ended up facing some drug

583
00:33:45,680 --> 00:33:48,680
Speaker 2: charges in the UK at the time. I'm not sure

584
00:33:48,680 --> 00:33:51,440
Speaker 2: what the full details on this were. It sounds like

585
00:33:51,480 --> 00:33:54,880
Speaker 2: whatever the particulars of the situation were, it got worked out.

586
00:33:55,240 --> 00:33:57,880
Speaker 2: Things turned out out all right for James Ramar. But

587
00:33:58,880 --> 00:34:02,480
Speaker 2: due to the i'm schedule for the shooting of Aliens,

588
00:34:02,760 --> 00:34:04,960
Speaker 2: they had to pivot and cast someone else in the role.

589
00:34:05,280 --> 00:34:07,960
Speaker 2: And that is one of the reasons that the Hicks

590
00:34:07,960 --> 00:34:11,279
Speaker 2: in the movie in some scenes especially, it looks like

591
00:34:11,320 --> 00:34:13,360
Speaker 2: his armor is a little too big because he was

592
00:34:13,440 --> 00:34:16,439
Speaker 2: cut size for him. It was size for James Ramar. Oh,

593
00:34:16,480 --> 00:34:16,960
Speaker 2: that's funny.

594
00:34:17,000 --> 00:34:20,160
Speaker 3: Yeah, I think I've read that in some shots in Aliens,

595
00:34:20,600 --> 00:34:23,520
Speaker 3: when you're looking at Hicks's back, it's still James Ramar

596
00:34:23,600 --> 00:34:26,520
Speaker 3: in there, but they just didn't, you know, it's him

597
00:34:26,520 --> 00:34:27,120
Speaker 3: from behind.

598
00:34:27,520 --> 00:34:38,799
Speaker 2: Yeah, all right, let's see who else do we have here. Oh,

599
00:34:39,000 --> 00:34:43,080
Speaker 2: we mentioned that Swan becomes the de facto leader of

600
00:34:43,120 --> 00:34:45,440
Speaker 2: the Warriors, but he's not the leader the beginning. The

601
00:34:45,520 --> 00:34:49,640
Speaker 2: leader is Cleon played by Dorsey Wright born nineteen fifty seven.

602
00:34:50,239 --> 00:34:52,080
Speaker 2: Not a ton of credits for this actor, but he

603
00:34:52,160 --> 00:34:54,360
Speaker 2: was in Hair the same year and has done some

604
00:34:54,440 --> 00:34:58,800
Speaker 2: assistant directing. Yeah, he is the initial leader of the Warriors,

605
00:34:58,800 --> 00:35:00,920
Speaker 2: but he does not last very long. Then we have

606
00:35:01,040 --> 00:35:04,400
Speaker 2: Snow played by Brian Tyler born nineteen fifty three. Very

607
00:35:04,440 --> 00:35:07,080
Speaker 2: few acting credits, said to I believe have moved on

608
00:35:07,120 --> 00:35:09,760
Speaker 2: from acting to become a New York State Trooper after

609
00:35:09,800 --> 00:35:15,120
Speaker 2: this picture. But he's loyal soldier in the Warriors, all right.

610
00:35:15,160 --> 00:35:18,480
Speaker 2: Next we have Coaches played by David Harris born nineteen

611
00:35:18,560 --> 00:35:20,680
Speaker 2: fifty nine, actor and producer who went on to peer

612
00:35:20,680 --> 00:35:23,800
Speaker 2: in a number of TV in film productions, including NYPD Blue,

613
00:35:24,000 --> 00:35:28,120
Speaker 2: in which he played Officer Donnie Simons. So very deadly

614
00:35:28,280 --> 00:35:33,120
Speaker 2: serious tone by coaches here, he's often there's a lot

615
00:35:33,160 --> 00:35:35,360
Speaker 2: of dialogue back and forth between the Warriors, so they

616
00:35:35,440 --> 00:35:37,640
Speaker 2: discuss what to do and what their objective should be,

617
00:35:37,680 --> 00:35:41,120
Speaker 2: and he's generally a very serious, sort of middle of

618
00:35:41,120 --> 00:35:45,400
Speaker 2: the road voice. Then we have this character Cowboy in

619
00:35:45,440 --> 00:35:48,080
Speaker 2: the Warriors. His main thing is he wears a cowboy hat,

620
00:35:48,120 --> 00:35:49,960
Speaker 2: and he also wears a T shirt under his vest.

621
00:35:50,040 --> 00:35:53,160
Speaker 2: Most of them are wearing just the vest and a

622
00:35:53,160 --> 00:35:57,320
Speaker 2: patina of sweat. Yes, a cowboy is played by Tom

623
00:35:57,520 --> 00:36:01,000
Speaker 2: mckeerick born nineteen forty eight. This is his only film

624
00:36:01,040 --> 00:36:03,279
Speaker 2: acting credit, but he went on to have a career,

625
00:36:03,280 --> 00:36:06,200
Speaker 2: apparently as a photojournalist, and is currently a theater producer.

626
00:36:07,680 --> 00:36:10,040
Speaker 2: Somewhere I read I have no idea if there's anything

627
00:36:10,040 --> 00:36:11,480
Speaker 2: to this at all. They're also, you know, you run

628
00:36:11,560 --> 00:36:14,720
Speaker 2: a lot across a lot of facts about these films.

629
00:36:14,719 --> 00:36:16,560
Speaker 2: But I saw somewhere it was mentioned it's like, oh,

630
00:36:16,560 --> 00:36:18,560
Speaker 2: they wanted Robert de Niro for this role, and I

631
00:36:18,600 --> 00:36:21,759
Speaker 2: was thinking, really, you kind of a small role for him,

632
00:36:21,920 --> 00:36:25,640
Speaker 2: a very small role, virtually unimportant. Like the only character

633
00:36:26,080 --> 00:36:28,800
Speaker 2: attribute to this guy is again basically the cowboy hat.

634
00:36:30,080 --> 00:36:32,120
Speaker 2: I heavily doubt that, but I don't know. Maybe it's

635
00:36:32,120 --> 00:36:34,080
Speaker 2: the case. I mean, you can shoot for the stars,

636
00:36:34,080 --> 00:36:35,680
Speaker 2: why not Brando?

637
00:36:36,600 --> 00:36:42,640
Speaker 3: Yeah, yeah, in nineteen seventy nine. Yeah, you know, de

638
00:36:42,760 --> 00:36:44,440
Speaker 3: Niro would have been interesting a swan.

639
00:36:44,719 --> 00:36:48,880
Speaker 2: Yeah, all right. We mentioned rim Brandt already. He's the

640
00:36:49,000 --> 00:36:51,280
Speaker 2: artist of the crew and also the most innocent seeming.

641
00:36:51,600 --> 00:36:54,800
Speaker 2: You know, there's a boyish innocence to this character. Played

642
00:36:54,840 --> 00:36:58,400
Speaker 2: by Marcelino Sanchez, who lived nineteen fifty seven through nineteen

643
00:36:58,440 --> 00:37:02,000
Speaker 2: eighty six. This was the third film role for this actor.

644
00:37:02,040 --> 00:37:04,400
Speaker 2: He went on to appear in Chips in seventy seven,

645
00:37:04,800 --> 00:37:06,880
Speaker 2: forty eight, Hours in eighty two, in Hill Street Blues

646
00:37:06,880 --> 00:37:09,920
Speaker 2: in eighty one. Died tragically young as a result of

647
00:37:09,920 --> 00:37:14,480
Speaker 2: the AIDS epidemic. Now, if rim Brandt is there, I

648
00:37:14,480 --> 00:37:17,400
Speaker 2: guess to show us like this ounce of innocence and

649
00:37:17,480 --> 00:37:20,600
Speaker 2: youth that is still in the Warriors. The next character, Vermin,

650
00:37:21,239 --> 00:37:26,200
Speaker 2: is just there for laughs. Clearly Vermin is It's probably

651
00:37:26,239 --> 00:37:29,680
Speaker 2: like the greenest feeling actor in the bunch, has some

652
00:37:29,719 --> 00:37:33,760
Speaker 2: of the dorkiest lines, but is clearly there, leaning into

653
00:37:34,400 --> 00:37:35,640
Speaker 2: this element of comic relief.

654
00:37:36,080 --> 00:37:37,319
Speaker 3: Oh yeah, I can see that.

655
00:37:37,840 --> 00:37:41,759
Speaker 2: Yeah. Played by Terry Mikos, who was born in fifty three.

656
00:37:41,960 --> 00:37:44,759
Speaker 2: I think this was his first screen credit, following some

657
00:37:44,840 --> 00:37:46,920
Speaker 2: Broadway work, and I've read that he went on to

658
00:37:47,080 --> 00:37:51,399
Speaker 2: get into TV journalism and later politics. I don't think

659
00:37:51,400 --> 00:37:53,520
Speaker 2: as a politician, but it's like, you know, sort of

660
00:37:54,640 --> 00:37:58,480
Speaker 2: political infrastructure stuff, and then sometime as a pastor as well,

661
00:37:58,520 --> 00:38:02,640
Speaker 2: I believe, huh oh. And then we have a female

662
00:38:02,760 --> 00:38:05,319
Speaker 2: character who is not a member of the Warriors, at

663
00:38:05,400 --> 00:38:07,920
Speaker 2: least when we first encounter her, and that is Deborah

664
00:38:08,000 --> 00:38:12,080
Speaker 2: van Valkenberg born nineteen fifty two. She plays Mercy. This

665
00:38:12,239 --> 00:38:14,520
Speaker 2: was her first screen credit, followed by King of the

666
00:38:14,600 --> 00:38:17,040
Speaker 2: Mountain in eighty one, Streets of Fire in eighty four.

667
00:38:17,520 --> 00:38:20,440
Speaker 2: A lot of TV and screenwork followed these pictures, including

668
00:38:20,480 --> 00:38:25,120
Speaker 2: episodes of Monsters, Star Trek, Deep Space nine, and more.

669
00:38:25,480 --> 00:38:28,160
Speaker 2: But Joe, I was about to just go on to

670
00:38:28,239 --> 00:38:30,719
Speaker 2: the next one, but then when we were conversing back

671
00:38:30,719 --> 00:38:33,719
Speaker 2: and forth online, you mentioned another key credit, and that

672
00:38:33,880 --> 00:38:37,080
Speaker 2: is Brain Smasher, a love story written and directed by

673
00:38:37,120 --> 00:38:40,600
Speaker 2: Albert Piune, starring Andrew dice Clay and Terry Hatcher.

674
00:38:40,920 --> 00:38:43,880
Speaker 3: I can't even begin to imagine what this movie is.

675
00:38:44,440 --> 00:38:47,839
Speaker 3: It's an Andrew dice Clay movie where he fights Ninja's

676
00:38:48,040 --> 00:38:51,960
Speaker 3: and it has Terry Hatcher and Debora van Valkenberg, directed

677
00:38:52,239 --> 00:38:55,960
Speaker 3: by the director of the nineteen ninety Captain America movie

678
00:38:56,480 --> 00:39:01,879
Speaker 3: and various other B movies from the eighties, such as

679
00:39:02,000 --> 00:39:06,200
Speaker 3: Cyborg starring Jean Claude Van dam So, Brain Smasher a

680
00:39:06,200 --> 00:39:09,160
Speaker 3: love story. Just ponder that. I'm not even saying you

681
00:39:09,160 --> 00:39:13,160
Speaker 3: should necessarily see it, just consider it as an idea.

682
00:39:13,239 --> 00:39:16,520
Speaker 3: But I want to come back to Debora van Volkenberg

683
00:39:16,719 --> 00:39:20,160
Speaker 3: in The Warriors. I think she's the most interesting actor

684
00:39:20,160 --> 00:39:23,200
Speaker 3: in the movie. A lot of the performances of the

685
00:39:23,239 --> 00:39:28,040
Speaker 3: gang leaders are very good, but the kinds of characters

686
00:39:28,120 --> 00:39:33,320
Speaker 3: that they are portraying are by nature emotionally constrained on screen.

687
00:39:34,320 --> 00:39:37,680
Speaker 3: So they are guys who have to project a self

688
00:39:37,719 --> 00:39:43,360
Speaker 3: image that's strong, tough, dangerous, and uncaring, and they rarely

689
00:39:43,640 --> 00:39:47,320
Speaker 3: ever let this posture relax. So we see even in Swan,

690
00:39:47,440 --> 00:39:50,400
Speaker 3: the leader of the protagonists of the story, he's often

691
00:39:50,480 --> 00:39:52,920
Speaker 3: just he's a brick wall, and that's the way his

692
00:39:53,080 --> 00:39:56,160
Speaker 3: character is supposed to be. He's not letting anything out

693
00:39:56,200 --> 00:39:59,000
Speaker 3: and he's not letting anybody in. On the other hand,

694
00:39:59,200 --> 00:40:04,600
Speaker 3: van valkenberg character is complicated and paradoxical. There are these

695
00:40:04,600 --> 00:40:08,640
Speaker 3: interesting ways that she is both strong and weak. She

696
00:40:08,719 --> 00:40:13,160
Speaker 3: comes off as tough, experienced, almost fearless, and scenes involving

697
00:40:14,239 --> 00:40:18,720
Speaker 3: risk and physical danger, but in other scenes her character

698
00:40:18,800 --> 00:40:22,320
Speaker 3: is powerless, vulnerable and even kind of adject in scenes

699
00:40:22,400 --> 00:40:25,319
Speaker 3: like the scenes later where she wants Swan's approval and

700
00:40:25,360 --> 00:40:29,200
Speaker 3: affection and he is just totally cold and even emotionally

701
00:40:29,239 --> 00:40:33,520
Speaker 3: cruel to her. And so she's very interesting. And the

702
00:40:33,560 --> 00:40:37,520
Speaker 3: way she bonds with Swan over the course of the movie,

703
00:40:37,640 --> 00:40:41,560
Speaker 3: especially leading up to an interesting wordless scene on the

704
00:40:41,600 --> 00:40:44,960
Speaker 3: subway later on, is is very good. And I like

705
00:40:45,000 --> 00:40:45,439
Speaker 3: her a lot.

706
00:40:46,120 --> 00:40:49,600
Speaker 2: Yes, I absolutely agreat great presence. And again, like so

707
00:40:49,680 --> 00:40:52,520
Speaker 2: many of these other characters, they are cold. They are

708
00:40:52,600 --> 00:40:55,439
Speaker 2: they're putting out this macho image and that's it's key

709
00:40:55,480 --> 00:40:57,480
Speaker 2: to who they are. And in many ways, as far

710
00:40:57,480 --> 00:40:59,399
Speaker 2: as the film is concerned, that's all they are. That's

711
00:40:59,440 --> 00:41:02,080
Speaker 2: all that's gone to ever be let out. You know,

712
00:41:02,200 --> 00:41:05,360
Speaker 2: they have this huge wall up, and she is this

713
00:41:05,480 --> 00:41:07,440
Speaker 2: character where we get to see a lot more, we

714
00:41:07,480 --> 00:41:11,399
Speaker 2: get I guess, a wider sense of like what her

715
00:41:11,480 --> 00:41:15,440
Speaker 2: hopes and dreams might be and who she is underneath

716
00:41:15,480 --> 00:41:18,319
Speaker 2: all of this all right, some other characters involved in

717
00:41:18,360 --> 00:41:20,719
Speaker 2: the film. Here we have the character Cyrus, who will

718
00:41:20,800 --> 00:41:23,040
Speaker 2: largely come back to This is the man who would

719
00:41:23,040 --> 00:41:25,800
Speaker 2: be king of New York Street Gangs, played by Roger

720
00:41:25,880 --> 00:41:29,000
Speaker 2: Hill no relation, who have nineteen forty nine through twenty fourteen.

721
00:41:29,680 --> 00:41:31,960
Speaker 2: This is his most well known role, a small one

722
00:41:32,000 --> 00:41:36,920
Speaker 2: but undeniably iconic. And then we have the Pictures villain

723
00:41:37,440 --> 00:41:40,960
Speaker 2: is Luther, the leader of the Rogues, played by David

724
00:41:41,000 --> 00:41:45,720
Speaker 2: Patrick Kelly born nineteen fifty one. Just an undeniable chaos

725
00:41:45,760 --> 00:41:49,200
Speaker 2: goblin in this picture. This was Kelly's first film and

726
00:41:49,239 --> 00:41:52,759
Speaker 2: TV role, but he had a background in music and

727
00:41:52,880 --> 00:41:57,000
Speaker 2: theater and apparently mime work under Marcel Marceau. I don't

728
00:41:57,040 --> 00:41:59,880
Speaker 2: know how much we see like the mime influences in

729
00:42:00,160 --> 00:42:02,239
Speaker 2: his performance, but I mean, I guess that's the thing

730
00:42:02,239 --> 00:42:06,279
Speaker 2: about mime, like serious mime work, is that you can

731
00:42:06,400 --> 00:42:08,799
Speaker 2: use it and apply it to like actual mime work,

732
00:42:08,840 --> 00:42:12,400
Speaker 2: but you can also use it just to fuel, you know,

733
00:42:12,440 --> 00:42:13,880
Speaker 2: a traditional performance.

734
00:42:14,280 --> 00:42:16,520
Speaker 3: Interesting they didn't cast him as the leader of the

735
00:42:16,560 --> 00:42:19,400
Speaker 3: mimes Ganges, which yes is in the movie. One of

736
00:42:19,440 --> 00:42:20,880
Speaker 3: the gang are mimes.

737
00:42:21,239 --> 00:42:23,959
Speaker 2: We do not see anywhere near enough of the mime

738
00:42:24,040 --> 00:42:30,400
Speaker 2: Gang though. But anyway, Kelly has yet such delicious villain

739
00:42:30,520 --> 00:42:32,879
Speaker 2: energy here that it should not come as a shock

740
00:42:32,920 --> 00:42:34,880
Speaker 2: that he went on to be in tons of projects

741
00:42:34,880 --> 00:42:38,920
Speaker 2: over the years, including Forty eight Hours nineteen eighty four's Dreamscape.

742
00:42:38,920 --> 00:42:42,520
Speaker 2: He's the villain in that. As I recall nineteen eighty

743
00:42:42,520 --> 00:42:44,920
Speaker 2: five's Commando. Do you remember who he played in Commando?

744
00:42:45,200 --> 00:42:48,400
Speaker 3: He's one of the subordinate villains in Commando. He's like

745
00:42:48,440 --> 00:42:52,480
Speaker 3: a schemy, weaseley guy who's working with the bad guys

746
00:42:52,520 --> 00:42:57,960
Speaker 3: against Arnold Schwarzenegger and his family. And there's some quip

747
00:42:58,000 --> 00:43:01,000
Speaker 3: where I think his character's name is Benny or something,

748
00:43:01,080 --> 00:43:04,040
Speaker 3: and Arnold Schwarzenegger says to him like Benny, I'll kill

749
00:43:04,080 --> 00:43:08,680
Speaker 3: you last. And then not long after that, Schwarzenegger chases

750
00:43:08,760 --> 00:43:11,080
Speaker 3: him down and is like dangling him off a cliff

751
00:43:11,120 --> 00:43:14,000
Speaker 3: and says, when I said I'd kill you last, I lied.

752
00:43:14,400 --> 00:43:17,040
Speaker 2: Oh, yes, I remember. I don't remember his performance, but

753
00:43:17,120 --> 00:43:21,239
Speaker 2: remember those lines for sure. Yeah. Kelly was also in

754
00:43:21,360 --> 00:43:24,040
Speaker 2: nineteen nineties The Adventures of Ford Fairlane, getting back into

755
00:43:24,120 --> 00:43:28,400
Speaker 2: Andrew dice clay cinematic universe. He was in Twin Peaks

756
00:43:28,600 --> 00:43:32,160
Speaker 2: nineteen ninety two's Malcolm x ninety four's The Crow, twenty

757
00:43:32,239 --> 00:43:35,560
Speaker 2: fourteen's John Wick, It's twenty seventeen sequel, and he also

758
00:43:35,560 --> 00:43:36,640
Speaker 2: had a role on Secession.

759
00:43:37,040 --> 00:43:38,440
Speaker 3: Oh, who was he in Succession?

760
00:43:38,680 --> 00:43:42,880
Speaker 2: I remember that he was he a therapist. I didn't.

761
00:43:42,960 --> 00:43:45,680
Speaker 2: I've only watched like half of one episode of it. It

762
00:43:45,640 --> 00:43:50,280
Speaker 2: looked really good, but I need to press on with Succession.

763
00:43:50,320 --> 00:43:53,520
Speaker 2: But yeah, I don't know who he played. For some reason,

764
00:43:53,560 --> 00:43:55,960
Speaker 2: I'm thinking therapist is something I read, but that might

765
00:43:55,960 --> 00:43:57,839
Speaker 2: be another movie where he plays a therapist.

766
00:43:58,000 --> 00:44:00,239
Speaker 3: Well, I don't remember who he was in success but

767
00:44:00,320 --> 00:44:03,520
Speaker 3: I'm pretty sure in Twin Peaks, which you mentioned, isn't

768
00:44:03,520 --> 00:44:06,760
Speaker 3: he the guy who shows up from France with Baghett

769
00:44:06,840 --> 00:44:08,680
Speaker 3: and Brie for Audrey Horn's dad.

770
00:44:09,120 --> 00:44:11,400
Speaker 2: I looked up some stills and I have one for you.

771
00:44:11,680 --> 00:44:14,000
Speaker 2: Here he is eating some bread, so I guess that

772
00:44:14,080 --> 00:44:14,600
Speaker 2: is correct.

773
00:44:14,920 --> 00:44:17,560
Speaker 3: They're like, he shows up with the food and they're

774
00:44:17,600 --> 00:44:19,160
Speaker 3: in his office and they're going like.

775
00:44:20,080 --> 00:44:25,400
Speaker 2: Brie, Yeah, So this is a great role. We'll get

776
00:44:25,440 --> 00:44:27,600
Speaker 2: into a little bit of it later. But if you

777
00:44:27,680 --> 00:44:30,360
Speaker 2: don't remember much else from the film, you might remember

778
00:44:30,480 --> 00:44:34,279
Speaker 2: warriors come out to play a This is that guy.

779
00:44:34,680 --> 00:44:36,360
Speaker 2: Let's see who else is in this while we have

780
00:44:36,440 --> 00:44:39,319
Speaker 2: Mercedes Rule playing a character we'll come back to because

781
00:44:39,320 --> 00:44:42,160
Speaker 2: I don't want to spoil anything. Born nineteen forty eight,

782
00:44:42,200 --> 00:44:44,839
Speaker 2: Academy Award winning actress for her role in nineteen ninety

783
00:44:44,880 --> 00:44:47,640
Speaker 2: two is the Fisher King. Her other credits include nineteen

784
00:44:47,640 --> 00:44:49,799
Speaker 2: eighty eight, s Big and Married to the Mob, but

785
00:44:49,880 --> 00:44:52,759
Speaker 2: this was only her second film credit. Now. Also of

786
00:44:52,880 --> 00:44:56,319
Speaker 2: note Lynn thigpenn Is in this she lived nineteen forty

787
00:44:56,360 --> 00:44:58,399
Speaker 2: eight through two thousand and three. Do we ever see

788
00:44:58,400 --> 00:45:00,520
Speaker 2: her whole face or all her lips?

789
00:45:00,640 --> 00:45:00,719
Speaker 5: No?

790
00:45:00,880 --> 00:45:03,760
Speaker 3: She plays the radio DJ in the movie, who plays

791
00:45:03,760 --> 00:45:07,120
Speaker 3: an important role in the plot because somehow she is

792
00:45:07,400 --> 00:45:11,200
Speaker 3: receiving information to coordinate all of the gangs who are

793
00:45:11,239 --> 00:45:13,759
Speaker 3: trying to hunt down the Warriors. So I don't know

794
00:45:13,800 --> 00:45:16,640
Speaker 3: why a radio DJ is sort of on the payroll

795
00:45:16,800 --> 00:45:21,120
Speaker 3: of the Grammercy Riffs, but I guess she is. And

796
00:45:21,160 --> 00:45:26,160
Speaker 3: she like queues up songs that are thematically appropriate. So

797
00:45:26,200 --> 00:45:28,800
Speaker 3: she's like, hey, Warriors, if you're listening, and then puts

798
00:45:28,840 --> 00:45:29,920
Speaker 3: on Nowhere to Run.

799
00:45:30,440 --> 00:45:32,959
Speaker 2: Yeah, Yeah, it's a great way to incorporate the music.

800
00:45:33,000 --> 00:45:35,320
Speaker 2: And I guess this is just part of the riffs

801
00:45:35,719 --> 00:45:39,000
Speaker 2: like mass communication system, like they're very organized and this

802
00:45:39,040 --> 00:45:40,640
Speaker 2: is part of their organization.

803
00:45:40,280 --> 00:45:44,480
Speaker 3: So like they communicate through commercial radio, which is great.

804
00:45:45,200 --> 00:45:48,560
Speaker 3: But as soon as I heard her voice, I was like,

805
00:45:48,600 --> 00:45:52,360
Speaker 3: wait a minute, I recognize her voice. Now She's actually

806
00:45:52,440 --> 00:45:54,080
Speaker 3: done a lot of things, so I think I recognized

807
00:45:54,120 --> 00:45:56,319
Speaker 3: her from multiple places. But I know the main thing

808
00:45:56,360 --> 00:45:59,040
Speaker 3: because it took me to childhood. There was a childhood

809
00:45:59,080 --> 00:46:02,480
Speaker 3: tie in for me, and I realized, like, oh, she's

810
00:46:02,600 --> 00:46:05,760
Speaker 3: the chief on where in the world is Carmen san Diego?

811
00:46:06,080 --> 00:46:12,040
Speaker 3: The geography trivia game show? I remember from when I

812
00:46:12,080 --> 00:46:14,839
Speaker 3: was a kid. She's the chief who likes all right,

813
00:46:14,880 --> 00:46:17,040
Speaker 3: gum shoes. You know, you got to chase Carmen san

814
00:46:17,080 --> 00:46:20,120
Speaker 3: Diego to wherever she is this time Uruguay or whatever.

815
00:46:21,719 --> 00:46:24,800
Speaker 2: Oh that's awesome. I don't think I ever watched Carmen

816
00:46:24,840 --> 00:46:28,839
Speaker 2: san Diego, but just looking over her filmography, yeh. She's

817
00:46:28,840 --> 00:46:31,080
Speaker 2: been in tons She was in Godspell in seventy three.

818
00:46:31,120 --> 00:46:33,080
Speaker 2: I think she was also in the stage adaptation, but

819
00:46:33,120 --> 00:46:35,640
Speaker 2: she was having the original stage version. But then she

820
00:46:35,680 --> 00:46:38,040
Speaker 2: was also in the film adaptation, so that's pretty cool.

821
00:46:38,840 --> 00:46:42,600
Speaker 2: But she's been in tons of stuff like Tutsie back

822
00:46:42,640 --> 00:46:45,040
Speaker 2: in eighty two, you know, on up through far more

823
00:46:45,560 --> 00:46:49,040
Speaker 2: I mean eighty nine's Lean on Me, and then far

824
00:46:49,120 --> 00:46:51,040
Speaker 2: more recently, towards the end of her career. You know,

825
00:46:51,080 --> 00:46:54,720
Speaker 2: she was popping up on things like the District on TV.

826
00:46:55,880 --> 00:46:58,680
Speaker 2: She was in The Bicentennial Man in nineteen ninety nine,

827
00:46:58,719 --> 00:47:01,879
Speaker 2: So a load of credit it's here, you know, great

828
00:47:01,960 --> 00:47:02,720
Speaker 2: voice obviously.

829
00:47:03,160 --> 00:47:06,360
Speaker 3: Yeah, And because she's just a voice, a voice going

830
00:47:06,400 --> 00:47:09,480
Speaker 3: through the airwaves in the story, we'd never actually see

831
00:47:09,520 --> 00:47:12,239
Speaker 3: her full face. It's just a tight shot on her

832
00:47:12,280 --> 00:47:16,520
Speaker 3: mouth while she's talking and saying kind of ominous things

833
00:47:16,760 --> 00:47:20,239
Speaker 3: to the Warriors. In fact, strange tie in. She almost

834
00:47:20,640 --> 00:47:24,640
Speaker 3: speaks the way Walter Hill writes screenplays. You know, it's

835
00:47:24,840 --> 00:47:28,760
Speaker 3: very like short sentences with a period and then a pause.

836
00:47:30,719 --> 00:47:33,040
Speaker 2: All right, let's see what one last mentioned as far

837
00:47:33,080 --> 00:47:35,719
Speaker 2: as the cast goes, because he's not even credited cast,

838
00:47:35,760 --> 00:47:39,080
Speaker 2: but apparently future director Robert Townsend is in this as

839
00:47:39,120 --> 00:47:41,960
Speaker 2: one of the Baseball Furies. That's one of the Baseball

840
00:47:42,000 --> 00:47:44,840
Speaker 2: Gang members that we'll get to later. I didn't eyeball

841
00:47:44,960 --> 00:47:49,399
Speaker 2: him personally, but he's supposedly in there. And let's see,

842
00:47:49,440 --> 00:47:52,440
Speaker 2: I'm gonna just mention in passing that Bobby Mannix has

843
00:47:52,520 --> 00:47:55,720
Speaker 2: costume designer credit on this, and then Mary Ellen Winston

844
00:47:55,880 --> 00:48:00,560
Speaker 2: also uncredited for costume work because again, the costumes for

845
00:48:00,600 --> 00:48:04,920
Speaker 2: these gang members are so amazing, So the people who

846
00:48:04,960 --> 00:48:08,840
Speaker 2: made this happen deserve to be called out. Oh yeah, Also,

847
00:48:09,000 --> 00:48:14,400
Speaker 2: Anthony Pagan has fight choreography credit on this. This is

848
00:48:14,760 --> 00:48:16,759
Speaker 2: a guy who I think his only other fight choreography

849
00:48:16,760 --> 00:48:19,560
Speaker 2: credit in film or TV is ninety six is Vertical City.

850
00:48:20,520 --> 00:48:24,960
Speaker 2: Tons of various credits and roles related to other projects.

851
00:48:25,280 --> 00:48:27,920
Speaker 2: I think he had a background in stage combat. I

852
00:48:28,000 --> 00:48:30,080
Speaker 2: was able to uncover, but at any rate want to

853
00:48:30,120 --> 00:48:33,320
Speaker 2: call him out because the action in Warriors is pretty wild.

854
00:48:33,719 --> 00:48:37,960
Speaker 2: It's convincing, like it feels brutal, but also has that

855
00:48:38,120 --> 00:48:40,480
Speaker 2: flare you know you're going to see occasionally like the

856
00:48:40,520 --> 00:48:43,040
Speaker 2: Warriors will like gorilla press somebody and throw them or

857
00:48:43,520 --> 00:48:46,960
Speaker 2: back body drop somebody through a bathroom stall door, that

858
00:48:47,000 --> 00:48:48,080
Speaker 2: sort of thing. You know.

859
00:48:48,360 --> 00:48:55,520
Speaker 3: This movie's mixture of gritty realism and fantasy really comes

860
00:48:55,560 --> 00:48:59,400
Speaker 3: through in the violence, because sometimes the violence is shockingly hard,

861
00:48:59,719 --> 00:49:03,239
Speaker 3: it's brutal and it hurts, and yet at other times, yeah,

862
00:49:03,280 --> 00:49:05,080
Speaker 3: it's like pro wrestling.

863
00:49:05,719 --> 00:49:09,440
Speaker 2: Yeah, so yeah, I like how it kind of goes

864
00:49:09,480 --> 00:49:12,560
Speaker 2: back and forth there, and then finally the music here.

865
00:49:12,719 --> 00:49:15,879
Speaker 2: The score is by Barry Devores And born nineteen thirty four,

866
00:49:16,000 --> 00:49:18,560
Speaker 2: six time Grammy and one time Emmy Award winning composer.

867
00:49:18,840 --> 00:49:21,279
Speaker 2: He was also nominated for an Oscar in seventy two

868
00:49:21,320 --> 00:49:23,960
Speaker 2: for the track Blessed the Beasts and Children performed by

869
00:49:23,960 --> 00:49:27,120
Speaker 2: the Carpenters for the movie of the same name. Other

870
00:49:27,160 --> 00:49:32,040
Speaker 2: scores include seventy seven's Rolling Thunder, seventy eight's The Ninth Configuration, Xanadu,

871
00:49:32,440 --> 00:49:35,160
Speaker 2: eighty six is Night of the Creeps, and nineteen nineties

872
00:49:35,200 --> 00:49:36,439
Speaker 2: The Exorcist Part three.

873
00:49:36,719 --> 00:49:39,800
Speaker 3: Wow, the same person did Xanadu and Night of the Creeps.

874
00:49:40,239 --> 00:49:43,920
Speaker 2: A number of Xanadu connections here between this movie and

875
00:49:43,960 --> 00:49:45,520
Speaker 2: then yeah, Night of the Creeps as well.

876
00:49:46,040 --> 00:49:47,920
Speaker 3: Should we do Xanadu on Weird House.

877
00:49:49,280 --> 00:49:51,960
Speaker 2: I've never seen it. I'm only familiar with it by reputation.

878
00:49:52,040 --> 00:49:55,040
Speaker 2: I think my wife likes it as a cheesy flake,

879
00:49:55,480 --> 00:49:57,120
Speaker 2: so I'd be open to looking at it.

880
00:49:57,600 --> 00:49:59,640
Speaker 3: I've seen it, I remember it being a good.

881
00:49:59,440 --> 00:50:03,320
Speaker 2: Time, okay, But as far as the score goes, I

882
00:50:04,200 --> 00:50:07,880
Speaker 2: love Divorce and score here. It's an absolute synth rock jam.

883
00:50:08,440 --> 00:50:12,480
Speaker 2: I've heard I've heard it thrown into mixes before, and

884
00:50:12,800 --> 00:50:14,760
Speaker 2: I think along with the cult status of the film,

885
00:50:14,760 --> 00:50:18,200
Speaker 2: this is a very well regarded score. Waxwortz Records put

886
00:50:18,200 --> 00:50:21,280
Speaker 2: This Baby out remastered on crimson and leather colored vinyl

887
00:50:21,400 --> 00:50:23,880
Speaker 2: several years back, and of course you can stream it

888
00:50:23,920 --> 00:50:27,520
Speaker 2: along with this with soundtrack selections wherever you stream your music.

889
00:50:28,560 --> 00:50:31,360
Speaker 2: But by and large, yeah, there's strong rock vibes to

890
00:50:31,480 --> 00:50:34,320
Speaker 2: this picture. Synth rock for the score, and then a

891
00:50:34,400 --> 00:50:38,520
Speaker 2: number a number of rock tracks as well, and it

892
00:50:38,520 --> 00:50:41,120
Speaker 2: gets into some other territory as well, but very synth

893
00:50:41,239 --> 00:50:48,440
Speaker 2: rock heavy.

894
00:50:50,360 --> 00:50:51,960
Speaker 3: All right, you want to talk about the plot, now,

895
00:50:52,280 --> 00:50:54,160
Speaker 3: let's do it. So we're not going to do a

896
00:50:54,320 --> 00:50:57,960
Speaker 3: detailed chronological plot recap this time like we do in

897
00:50:58,000 --> 00:51:01,080
Speaker 3: some cases. I think we should do a broad and

898
00:51:01,120 --> 00:51:03,759
Speaker 3: then pause it places throughout the film to focus on

899
00:51:04,120 --> 00:51:06,759
Speaker 3: things we want to talk about. But we'll set up

900
00:51:06,800 --> 00:51:10,120
Speaker 3: the basic premise. The premise is that the Warriors are

901
00:51:10,200 --> 00:51:14,120
Speaker 3: one of many gangs in New York City, specifically hailing

902
00:51:14,160 --> 00:51:18,560
Speaker 3: from Coney Island in Brooklyn, and in this movie, all

903
00:51:18,640 --> 00:51:22,320
Speaker 3: of the gangs have specific home turf defined as a

904
00:51:22,360 --> 00:51:26,240
Speaker 3: neighborhood in New York, mostly in Brooklyn, Manhattan, and the Bronx,

905
00:51:26,400 --> 00:51:29,719
Speaker 3: and they all have a specific gang costume, so not

906
00:51:29,840 --> 00:51:33,640
Speaker 3: just colors or like a bandana or specific marker, but

907
00:51:33,800 --> 00:51:37,560
Speaker 3: full costumes. So, as we've said, one gang is mimes,

908
00:51:37,920 --> 00:51:42,719
Speaker 3: one gang is overalls, striped shirts and roller skates, one

909
00:51:42,760 --> 00:51:48,840
Speaker 3: gang is baseball. The Warriors have comparatively normal looking outfits.

910
00:51:48,920 --> 00:51:52,080
Speaker 3: They have leather vests with a large patch on the back,

911
00:51:52,920 --> 00:51:55,920
Speaker 3: and this can be worn with or without a shirt underneath.

912
00:51:56,840 --> 00:52:01,520
Speaker 2: Yeah, certain sort of like I don't know, like Native

913
00:52:01,560 --> 00:52:06,480
Speaker 2: American vaguely Native American tribal aspects to their guard but

914
00:52:06,560 --> 00:52:11,520
Speaker 2: it's not overt. But they are all matching. They're very coordinated,

915
00:52:12,239 --> 00:52:13,839
Speaker 2: so they have a solid look going on.

916
00:52:14,440 --> 00:52:18,080
Speaker 3: At the outset of the story, a conclave of street

917
00:52:18,120 --> 00:52:21,160
Speaker 3: gangs has been called by the most powerful crew in

918
00:52:21,200 --> 00:52:25,239
Speaker 3: the city, the grammercy Riffs, and the charismatic leader of

919
00:52:25,280 --> 00:52:28,520
Speaker 3: the Rifts, Cyrus, has asked every gang in New York

920
00:52:28,600 --> 00:52:33,120
Speaker 3: to send a delegation of nine members to appear unarmed

921
00:52:33,560 --> 00:52:36,760
Speaker 3: at a meeting in Van Cortland Park in the Bronx

922
00:52:36,880 --> 00:52:40,120
Speaker 3: at midnight. What for, we don't know at first. They're

923
00:52:40,120 --> 00:52:42,000
Speaker 3: going to find out when they get there. So if

924
00:52:42,000 --> 00:52:44,719
Speaker 3: you're not super familiar with the geography of New York

925
00:52:44,800 --> 00:52:46,960
Speaker 3: to put this together for the Warriors, it's going to

926
00:52:46,960 --> 00:52:50,000
Speaker 3: be a long trip. Coney Island is all the way

927
00:52:50,239 --> 00:52:53,680
Speaker 3: at the south end of Brooklyn, and the meeting place

928
00:52:53,760 --> 00:52:55,960
Speaker 3: is way up north at the other end of the

929
00:52:56,000 --> 00:52:58,960
Speaker 3: city in the Bronx. I did a Google Maps measurement

930
00:52:59,320 --> 00:53:01,960
Speaker 3: and by by road it's about thirty miles.

931
00:53:02,440 --> 00:53:04,759
Speaker 2: Yeah. Yeah, there's a lot of city up there if

932
00:53:04,760 --> 00:53:06,960
Speaker 2: you've ever had to jump around from one location to

933
00:53:07,040 --> 00:53:11,799
Speaker 2: the next, So it's quite quite an odyssey. By the way,

934
00:53:11,800 --> 00:53:14,839
Speaker 2: I'm sure folks have done like a warrior's pilgrimage where

935
00:53:14,840 --> 00:53:19,239
Speaker 2: they start at Van Cortland Park and make the appropriate

936
00:53:19,280 --> 00:53:21,640
Speaker 2: trip down through the Burroughs and all the way out

937
00:53:21,680 --> 00:53:23,120
Speaker 2: to Coney Island. Yeah.

938
00:53:23,160 --> 00:53:26,960
Speaker 3: Of course, Coney Island is famous for the Coney Island. Oh,

939
00:53:27,080 --> 00:53:28,720
Speaker 3: I don't actually know the name of it, the Coney

940
00:53:28,719 --> 00:53:32,880
Speaker 3: Island amusement park that's on the shore with the Wonder Wheel. Yeah,

941
00:53:32,920 --> 00:53:35,880
Speaker 3: the Wonder Wheel, big ferris wheel. And that's the opening

942
00:53:35,880 --> 00:53:37,880
Speaker 3: shot of the movie, as we see the Wonder Wheel

943
00:53:37,920 --> 00:53:40,319
Speaker 3: lit up at night with the neon lights as it

944
00:53:40,360 --> 00:53:41,040
Speaker 3: goes around.

945
00:53:41,760 --> 00:53:42,359
Speaker 2: And so the.

946
00:53:42,280 --> 00:53:47,040
Speaker 3: Warriors are departing for the conclave, where all all the

947
00:53:47,080 --> 00:53:49,440
Speaker 3: delegations from all the major gangs in New York are

948
00:53:49,480 --> 00:53:52,320
Speaker 3: gathered in a sort of outdoor amphitheater, and we see

949
00:53:52,600 --> 00:53:55,680
Speaker 3: the different gangs heading out, getting onto the subway or

950
00:53:55,800 --> 00:53:58,600
Speaker 3: walking down the streets in order to make it to

951
00:53:58,800 --> 00:54:03,120
Speaker 3: the assembly. Now, one thing that was quite hilarious was that,

952
00:54:03,440 --> 00:54:06,239
Speaker 3: apart from the gangs we actually meet and know of

953
00:54:06,480 --> 00:54:10,440
Speaker 3: in the movie, in the Walter Hill screenplay, there was

954
00:54:10,800 --> 00:54:13,600
Speaker 3: there there was a list of all the gangs, and

955
00:54:13,680 --> 00:54:16,160
Speaker 3: so Robb I pasted this list here for you to

956
00:54:16,200 --> 00:54:18,600
Speaker 3: look at. There are many things we could call out,

957
00:54:18,640 --> 00:54:20,400
Speaker 3: but I just wanted to mention. So some of them

958
00:54:20,520 --> 00:54:24,399
Speaker 3: have very normal sounding gang names, you know, they're called

959
00:54:24,440 --> 00:54:27,720
Speaker 3: things like the Alley Kats or the Blackjacks or whatever.

960
00:54:28,280 --> 00:54:32,480
Speaker 3: But then we also have here, are you ready, the Jesters,

961
00:54:32,960 --> 00:54:39,000
Speaker 3: the Imps, the Big Trains, the Dingoes, the go Hards,

962
00:54:39,360 --> 00:54:46,480
Speaker 3: the Magicians, the Terriers, the Queensbridge Mutilators, the Xylophones, and

963
00:54:46,520 --> 00:54:49,600
Speaker 3: the yo yo's. What is that? What is the initiation

964
00:54:49,760 --> 00:54:51,240
Speaker 3: to get into the xylophones?

965
00:54:52,440 --> 00:54:55,040
Speaker 2: Oh man? And is it there signature weapon?

966
00:54:55,280 --> 00:54:55,360
Speaker 5: Like?

967
00:54:55,520 --> 00:54:57,640
Speaker 2: Yeah, the design work on these.

968
00:54:57,719 --> 00:54:59,960
Speaker 3: Oh yeah, they've each got two mallet.

969
00:55:01,040 --> 00:55:03,600
Speaker 2: Yeah, there's so many, you know, I want to know, like,

970
00:55:03,760 --> 00:55:06,000
Speaker 2: who about the nickel steaks? What's there of the.

971
00:55:06,080 --> 00:55:07,680
Speaker 3: Old I don't know where that is.

972
00:55:08,080 --> 00:55:12,919
Speaker 2: Yeah, yeah, yeah, the Shanghai Sultans, I mean, yeah, there's

973
00:55:12,920 --> 00:55:14,680
Speaker 2: so many of them. Well, some of these, and of

974
00:55:14,680 --> 00:55:17,440
Speaker 2: course we have some some very weird sounding ones that

975
00:55:17,480 --> 00:55:19,440
Speaker 2: we see only a little bit, like sort of like

976
00:55:19,760 --> 00:55:23,120
Speaker 2: you know, blink and you miss it. Like the moon

977
00:55:23,200 --> 00:55:25,600
Speaker 2: Runners are in there, and they have this weird logo

978
00:55:25,680 --> 00:55:26,960
Speaker 2: that you can look up online.

979
00:55:27,480 --> 00:55:31,120
Speaker 3: It's the Moonpie logo stabbing a sword through its own stomach.

980
00:55:31,560 --> 00:55:33,920
Speaker 2: Yeah, and then there's a what is it? The is

981
00:55:33,920 --> 00:55:35,600
Speaker 2: it the Satan's Mother's.

982
00:55:35,560 --> 00:55:38,520
Speaker 3: The Satan's mothers. So they're like a motorcycle gang, an

983
00:55:38,520 --> 00:55:39,760
Speaker 3: outlaw motorcycle group.

984
00:55:39,960 --> 00:55:41,880
Speaker 2: Yeah, they're the only gang that seems to be an

985
00:55:41,960 --> 00:55:45,000
Speaker 2: mc uh and we don't really see much of them,

986
00:55:45,000 --> 00:55:46,400
Speaker 2: but they're in there. They're in the movie.

987
00:55:46,600 --> 00:55:49,160
Speaker 3: Also, this list has doubles in it because it includes

988
00:55:49,200 --> 00:55:53,080
Speaker 3: both the Grammercy Rifts and just the Rifts. That those

989
00:55:53,120 --> 00:55:55,000
Speaker 3: can't be different gangs.

990
00:55:54,840 --> 00:55:58,280
Speaker 2: Hmmm, or it was due to a rift in the Rifts. Well,

991
00:55:58,440 --> 00:56:00,360
Speaker 2: I guess the Winter organization.

992
00:56:00,280 --> 00:56:03,160
Speaker 3: That never comes up in the movie, but just.

993
00:56:03,080 --> 00:56:07,239
Speaker 2: A glimpse into the wider imagined world of all these

994
00:56:07,320 --> 00:56:12,680
Speaker 2: various street gangs and their various costuming choices, the yo yos,

995
00:56:13,160 --> 00:56:16,480
Speaker 2: and Cyrus is going to unite all of them. That's

996
00:56:16,520 --> 00:56:19,080
Speaker 2: the revision here, that's the point. So we get to

997
00:56:19,120 --> 00:56:23,520
Speaker 2: this conclave and Cyrus, the leader of the grammercy refs

998
00:56:23,520 --> 00:56:26,160
Speaker 2: again the biggest, most powerful gang in the city, addresses

999
00:56:26,200 --> 00:56:30,680
Speaker 2: the crowd to make a very interesting case. So instead

1000
00:56:31,000 --> 00:56:34,520
Speaker 2: of fighting against one another all the time, the gangs

1001
00:56:34,560 --> 00:56:38,359
Speaker 2: should agree to a truce. And in fact, Cyrus lays

1002
00:56:38,360 --> 00:56:41,280
Speaker 2: out a logical case for this. I think the direct

1003
00:56:41,360 --> 00:56:43,000
Speaker 2: quote is can you count?

1004
00:56:43,080 --> 00:56:43,600
Speaker 4: Suckers?

1005
00:56:44,360 --> 00:56:48,440
Speaker 3: He yells, can you count? The idea is the city

1006
00:56:48,480 --> 00:56:53,399
Speaker 3: is gang members together massively outnumber the city's police by

1007
00:56:53,400 --> 00:56:56,839
Speaker 3: more than two or three times. The only thing that

1008
00:56:56,920 --> 00:56:59,480
Speaker 3: holds them back is that they are not united and

1009
00:56:59,480 --> 00:57:03,800
Speaker 3: they're fighting each other. But if they form an alliance together,

1010
00:57:04,480 --> 00:57:08,960
Speaker 3: the gangs can overpower the police, overpower everyone, and rule

1011
00:57:09,000 --> 00:57:13,280
Speaker 3: the city. And so he again he insists can you count?

1012
00:57:13,360 --> 00:57:15,800
Speaker 3: He says, the future is ours if you can count.

1013
00:57:16,520 --> 00:57:19,000
Speaker 2: Yeah. Like he eludes to the fact too that It's

1014
00:57:19,000 --> 00:57:23,120
Speaker 2: like even organized crime will bow before the might of

1015
00:57:23,560 --> 00:57:29,160
Speaker 2: their ascended power because they control the streets. And already

1016
00:57:29,200 --> 00:57:32,280
Speaker 2: he's achieved seemingly the impossible by getting a truce in

1017
00:57:32,360 --> 00:57:36,080
Speaker 2: place where all these participating gangs have ceased fighting each

1018
00:57:36,120 --> 00:57:38,000
Speaker 2: other at least for the time being. And if we

1019
00:57:38,000 --> 00:57:41,040
Speaker 2: can go the extra step and unite them under one

1020
00:57:41,120 --> 00:57:47,000
Speaker 2: charismatic ruler, under one highly organized gang's organizational system, then

1021
00:57:47,240 --> 00:57:50,000
Speaker 2: nothing can stop them. It'll be a new era, new

1022
00:57:50,000 --> 00:57:52,560
Speaker 2: golden age of crime in New York City.

1023
00:57:52,720 --> 00:57:57,080
Speaker 3: Yeah, exactly so. Cyrus, I would say, is presented almost

1024
00:57:57,080 --> 00:58:01,000
Speaker 3: as a prophetic or christ like figure. There is an

1025
00:58:01,080 --> 00:58:06,560
Speaker 3: aura of an aura of holiness to him, except the

1026
00:58:06,680 --> 00:58:09,640
Speaker 3: kind of Christ figure he is is one dedicated to

1027
00:58:09,880 --> 00:58:12,200
Speaker 3: a utopia of gang power.

1028
00:58:12,720 --> 00:58:15,720
Speaker 2: Yeah. And of course, the iconic line from all of

1029
00:58:15,720 --> 00:58:18,160
Speaker 2: this is that he asks them if they can count,

1030
00:58:18,160 --> 00:58:21,560
Speaker 2: but he's also says can you dig it? Can you

1031
00:58:21,640 --> 00:58:24,960
Speaker 2: dig it? And they can dig it. Everyone can dig it.

1032
00:58:25,000 --> 00:58:27,800
Speaker 2: Everyone loves Cyrus and they are on board for this plan.

1033
00:58:28,280 --> 00:58:31,080
Speaker 3: Exactly right. The crowd likes what they are hearing, and

1034
00:58:31,120 --> 00:58:34,880
Speaker 3: they give Cyrus a very warm reception. But it is

1035
00:58:34,920 --> 00:58:38,080
Speaker 3: not to be. Nothing good can last nothing Gold can

1036
00:58:38,120 --> 00:58:42,840
Speaker 3: stay because while everyone is cheering and applauding and excited

1037
00:58:42,840 --> 00:58:45,520
Speaker 3: about the idea of a criminal conspiracy to overthrow the

1038
00:58:45,560 --> 00:58:48,400
Speaker 3: civil government and replace it with gang power, in the

1039
00:58:48,440 --> 00:58:53,760
Speaker 3: midst of all this euphoria, suddenly someone shoots Cyrus from

1040
00:58:53,760 --> 00:58:58,520
Speaker 3: the crowd and Cyrus falls down dead. Now we the audience,

1041
00:58:58,800 --> 00:59:02,360
Speaker 3: get to see who did it. It was Luther, the

1042
00:59:02,480 --> 00:59:05,800
Speaker 3: leader of the rogues. The skin is what's it David

1043
00:59:05,840 --> 00:59:07,200
Speaker 3: Patrick Kelly? Is that his name?

1044
00:59:07,400 --> 00:59:07,640
Speaker 2: Yep?

1045
00:59:08,240 --> 00:59:10,840
Speaker 3: Though most people in the crowd apparently have no idea

1046
00:59:10,880 --> 00:59:13,480
Speaker 3: who fired the shot, so the audience knows, but almost

1047
00:59:13,520 --> 00:59:18,360
Speaker 3: nobody in the scene knows. I'm kind of maybe we

1048
00:59:18,360 --> 00:59:22,960
Speaker 3: should do an aside on Luther here, because my read

1049
00:59:23,040 --> 00:59:25,439
Speaker 3: on Luther he's kind of hard to figure out. Luther,

1050
00:59:25,640 --> 00:59:28,680
Speaker 3: to me, does not seem stable enough to be a

1051
00:59:28,800 --> 00:59:33,200
Speaker 3: leader of anything, even a violent criminal enterprise. He is

1052
00:59:33,320 --> 00:59:35,360
Speaker 3: just as you said, He's like a chaos goblin.

1053
00:59:35,440 --> 00:59:35,959
Speaker 4: He is a.

1054
00:59:35,960 --> 00:59:42,120
Speaker 3: Greasy, wide eyed, screaming ball of trouble and chaos. I

1055
00:59:42,160 --> 00:59:47,240
Speaker 3: don't know how anybody is following him, if that makes sense,

1056
00:59:47,280 --> 00:59:49,800
Speaker 3: Like you could imagine him just kind of acting on

1057
00:59:49,920 --> 00:59:54,840
Speaker 3: his own to cause chaos and destruction but it's strange

1058
00:59:54,880 --> 00:59:57,000
Speaker 3: to me that he is portrayed as the leader of

1059
00:59:57,040 --> 00:59:57,680
Speaker 3: the rogues.

1060
00:59:58,520 --> 01:00:01,000
Speaker 2: I need a similar issue with the Yore, especially as

1061
01:00:01,040 --> 01:00:04,400
Speaker 2: portrayed like by Heath Ledger. You know, great, great joker,

1062
01:00:04,800 --> 01:00:07,160
Speaker 2: but you also have to wonder, like, why are people

1063
01:00:07,200 --> 01:00:13,720
Speaker 2: following this just obviously unhinged, chaotic individual. He just wants

1064
01:00:13,720 --> 01:00:15,560
Speaker 2: to burn a bunch of money and so forth. Like

1065
01:00:16,280 --> 01:00:19,400
Speaker 2: you know, Luther seems like a similar character. He just

1066
01:00:19,440 --> 01:00:22,680
Speaker 2: wants to watch the world burn, and I guess his

1067
01:00:22,880 --> 01:00:25,160
Speaker 2: entire crew is on board with that, but also takes

1068
01:00:25,240 --> 01:00:29,240
Speaker 2: orders from him. I don't know how you know your

1069
01:00:29,360 --> 01:00:31,520
Speaker 2: anarchist gang works in this respect.

1070
01:00:32,880 --> 01:00:34,960
Speaker 3: Well, maybe at the end of the movie they will

1071
01:00:35,000 --> 01:00:41,160
Speaker 3: explain a coherent reason why Luther did what he did so,

1072
01:00:41,480 --> 01:00:44,440
Speaker 3: but he so this is the twist, right, So Cyrus

1073
01:00:44,520 --> 01:00:47,919
Speaker 3: is shot at the same moment police arrived to break

1074
01:00:48,000 --> 01:00:52,040
Speaker 3: up the gathering and everybody begins to scatter. The Riffs

1075
01:00:52,440 --> 01:00:57,040
Speaker 3: surround their fallen leader and Cleon, the leader of the Warriors,

1076
01:00:57,040 --> 01:01:02,080
Speaker 3: who is portrayed as I think Cleon is portrayed as

1077
01:01:02,160 --> 01:01:10,760
Speaker 3: a very smart, rational, level headed, uniting force like he

1078
01:01:10,920 --> 01:01:13,120
Speaker 3: is what keeps the gang of the Warriors together. And

1079
01:01:13,160 --> 01:01:15,880
Speaker 3: he is a strategic thinker. Did you get the same feeling.

1080
01:01:16,200 --> 01:01:17,920
Speaker 2: Yeah? Yeah. We don't see much from him, but he

1081
01:01:17,960 --> 01:01:21,000
Speaker 2: seems to be well respected by everyone, even the ones

1082
01:01:21,040 --> 01:01:22,760
Speaker 2: that don't get along within the warriors ranks.

1083
01:01:23,080 --> 01:01:26,560
Speaker 3: Right, So, but he goes up to see Cyrus's body.

1084
01:01:26,600 --> 01:01:29,280
Speaker 3: He approaches to see what's going on, while the rest

1085
01:01:29,320 --> 01:01:31,920
Speaker 3: of the Warriors start booking they're getting out of there.

1086
01:01:32,440 --> 01:01:36,920
Speaker 3: But here's another tragic moment. Looking I guess to cause

1087
01:01:36,960 --> 01:01:41,040
Speaker 3: more chaos and escape blame the murderer of Cyrus. Luther

1088
01:01:41,680 --> 01:01:45,080
Speaker 3: pipes up and starts screaming to the rifts. He says,

1089
01:01:45,160 --> 01:01:48,560
Speaker 3: the warriors did it, that warrior, I saw it. They

1090
01:01:48,680 --> 01:01:52,880
Speaker 3: killed Cyrus, and Cleon's standing there like what no, But

1091
01:01:53,200 --> 01:01:56,400
Speaker 3: Cleon is quickly surrounded by the Rifts and attacked, and

1092
01:01:56,440 --> 01:01:57,720
Speaker 3: I presume he has killed.

1093
01:01:58,160 --> 01:01:59,720
Speaker 2: I like the way that the Riffs come in on

1094
01:01:59,840 --> 01:02:02,400
Speaker 2: him and they begin using what I was thinking of

1095
01:02:02,480 --> 01:02:04,920
Speaker 2: as the elbow machine, like they're all kind of like

1096
01:02:04,960 --> 01:02:07,760
Speaker 2: pounding their elbows down in unison, which also reminded me,

1097
01:02:07,920 --> 01:02:10,760
Speaker 2: like it made me think of and maybe I'm overthinking

1098
01:02:10,800 --> 01:02:13,280
Speaker 2: this because I, you know, went into it expecting these

1099
01:02:13,880 --> 01:02:17,080
Speaker 2: you know, the the Greek saga to be underneath it all.

1100
01:02:17,280 --> 01:02:20,200
Speaker 2: But I was thinking of, like, you know, soldiers in

1101
01:02:20,240 --> 01:02:22,680
Speaker 2: a tight formation doing something in unison here.

1102
01:02:22,840 --> 01:02:25,600
Speaker 3: Oh interesting. That may not be exactly what they're going

1103
01:02:25,600 --> 01:02:27,920
Speaker 3: for here, but there absolutely are scenes in the movies

1104
01:02:27,920 --> 01:02:30,920
Speaker 3: where the gang members appear like in a phalanx, so

1105
01:02:31,280 --> 01:02:33,720
Speaker 3: you know they're in they're in an almost kind of

1106
01:02:33,760 --> 01:02:34,920
Speaker 3: classical formation.

1107
01:02:35,480 --> 01:02:38,160
Speaker 2: Yeah, the Riffs especially, we get scenes later where they're

1108
01:02:38,160 --> 01:02:42,760
Speaker 2: all in formation. They're very stoic, very organized in control.

1109
01:02:43,160 --> 01:02:47,120
Speaker 3: Now if the scene is very scary and chaotic and effective,

1110
01:02:47,160 --> 01:02:50,160
Speaker 3: but it if I could issue one more criticism of it,

1111
01:02:50,160 --> 01:02:53,160
Speaker 3: it's the same thing with Luthor. I mentioned the second ago,

1112
01:02:53,240 --> 01:02:57,360
Speaker 3: like this obvious, like this guy's just shrieking and pointing

1113
01:02:57,360 --> 01:03:00,440
Speaker 3: at Cleon And there's nothing about Luthor that's just you

1114
01:03:00,480 --> 01:03:03,880
Speaker 3: should listen to or believe him. But they do or.

1115
01:03:03,800 --> 01:03:05,360
Speaker 2: That he's tight with the Riffs at all.

1116
01:03:05,760 --> 01:03:05,840
Speaker 3: Ye.

1117
01:03:06,360 --> 01:03:09,080
Speaker 2: Yeah, but they're like Luther said it, I believe it.

1118
01:03:09,120 --> 01:03:10,560
Speaker 2: That's all there is to it. Yep.

1119
01:03:10,680 --> 01:03:15,200
Speaker 3: Yep. So meanwhile, the rest of the warriors, now without

1120
01:03:15,280 --> 01:03:19,160
Speaker 3: their strategic and uniting leader figure, they don't understand what's

1121
01:03:19,200 --> 01:03:21,560
Speaker 3: going on. They're just running away from the park and

1122
01:03:21,760 --> 01:03:25,560
Speaker 3: through an adjoining graveyard is the police flood in, and

1123
01:03:25,600 --> 01:03:28,919
Speaker 3: so this provides the setup for the return journey, which

1124
01:03:28,920 --> 01:03:30,920
Speaker 3: will take up most of the rest of the movie.

1125
01:03:31,000 --> 01:03:34,760
Speaker 3: The setup is that stranded and leaderless, the remaining Warriors

1126
01:03:34,800 --> 01:03:37,840
Speaker 3: have to make it back home to Coney Island, traveling

1127
01:03:37,880 --> 01:03:41,160
Speaker 3: along the way through through the territory of all the

1128
01:03:41,320 --> 01:03:46,320
Speaker 3: rival gangs. And not only are they traveling through baseline

1129
01:03:46,440 --> 01:03:50,560
Speaker 3: unfriendly territory, which is their initial understanding. Unknown to them

1130
01:03:50,600 --> 01:03:53,080
Speaker 3: is the fact that they have been blamed for the

1131
01:03:53,120 --> 01:03:56,120
Speaker 3: death of Cyrus, and now the Rifts have a bounty

1132
01:03:56,160 --> 01:03:59,520
Speaker 3: on their heads. The Riffs enlist all of the other

1133
01:03:59,600 --> 01:04:03,680
Speaker 3: gangs within Cyrus's truce to bring them the Warriors dead

1134
01:04:03,800 --> 01:04:04,600
Speaker 3: or alive.

1135
01:04:04,880 --> 01:04:07,280
Speaker 2: So they have to deal with every gang in the city,

1136
01:04:07,840 --> 01:04:10,640
Speaker 2: plus the police as they try to make it back

1137
01:04:10,720 --> 01:04:13,560
Speaker 2: through New York City to get back to Coney Island,

1138
01:04:13,560 --> 01:04:16,120
Speaker 2: where they'll presumably be safe or have at least more

1139
01:04:16,160 --> 01:04:18,800
Speaker 2: resources for safety than they have anywhere else in the city.

1140
01:04:19,040 --> 01:04:22,760
Speaker 3: Yeah. Also just a note that Rembrandt literally tags a

1141
01:04:22,800 --> 01:04:25,760
Speaker 3: grave stone as they're leaving the cemetery in Big w

1142
01:04:26,160 --> 01:04:27,080
Speaker 3: On a headstone.

1143
01:04:27,320 --> 01:04:30,280
Speaker 2: Yep, that's his role he's the artist.

1144
01:04:30,640 --> 01:04:32,800
Speaker 3: So let's mention a few of the encounters they have

1145
01:04:32,920 --> 01:04:36,760
Speaker 3: along the way. One of them is that they are

1146
01:04:36,800 --> 01:04:39,400
Speaker 3: trying to get on the train. They're trying to get

1147
01:04:39,400 --> 01:04:41,800
Speaker 3: on the elevated train in the Bronx to get back

1148
01:04:41,920 --> 01:04:44,960
Speaker 3: downtown so they can I think they need to change

1149
01:04:45,280 --> 01:04:49,400
Speaker 3: trains at Union Station to get back to Brooklyn. So

1150
01:04:49,440 --> 01:04:52,080
Speaker 3: they arrive at the train station, but then they want

1151
01:04:52,120 --> 01:04:55,080
Speaker 3: to get up on the platform, but blocking their way

1152
01:04:55,480 --> 01:04:59,720
Speaker 3: is a skinhead school bus from Hell. Now, I think

1153
01:05:00,840 --> 01:05:02,960
Speaker 3: maybe you understand the culture here better than I do.

1154
01:05:03,080 --> 01:05:03,280
Speaker 4: Rob.

1155
01:05:03,320 --> 01:05:06,680
Speaker 3: I think the turnbull Acs or the gang here. And

1156
01:05:06,800 --> 01:05:10,120
Speaker 3: they are skinheads, but not the kind of skinheads we

1157
01:05:10,200 --> 01:05:12,560
Speaker 3: usually think of today. There's no indication as far as

1158
01:05:12,600 --> 01:05:15,160
Speaker 3: I can tell, that they're actually Nazis. They're just like

1159
01:05:15,240 --> 01:05:16,360
Speaker 3: they've got shaved heads.

1160
01:05:16,920 --> 01:05:19,040
Speaker 2: That's what I was getting from it, because it seems

1161
01:05:19,040 --> 01:05:23,080
Speaker 2: to be a multi racial group. They have shaved heads,

1162
01:05:23,320 --> 01:05:25,880
Speaker 2: but they don't have any otherwise. They don't have any

1163
01:05:25,920 --> 01:05:27,160
Speaker 2: identifying iconography.

1164
01:05:27,520 --> 01:05:31,160
Speaker 3: They do have a bus that says dudes on the

1165
01:05:31,240 --> 01:05:34,640
Speaker 3: back yep. And so there's a very tense scene where

1166
01:05:34,680 --> 01:05:37,160
Speaker 3: the warriors are hiding in the shadows and they're trying

1167
01:05:37,200 --> 01:05:38,840
Speaker 3: to work out should we try to get up on

1168
01:05:38,840 --> 01:05:42,400
Speaker 3: the platform or not, And as the train is arriving,

1169
01:05:42,440 --> 01:05:44,320
Speaker 3: they make a break for it. The bus tries to

1170
01:05:44,400 --> 01:05:46,960
Speaker 3: run them down. The bus is just full of these

1171
01:05:47,040 --> 01:05:51,280
Speaker 3: creeps with these bats and stuff, and they're they're actually,

1172
01:05:51,280 --> 01:05:53,320
Speaker 3: we're not to the bats yet. They've just got clubs

1173
01:05:53,360 --> 01:05:56,000
Speaker 3: and chains and things, and they're threatening the Warriors. But

1174
01:05:56,040 --> 01:05:58,200
Speaker 3: the Warriors just barely make it. They make it onto

1175
01:05:58,240 --> 01:05:59,600
Speaker 3: the train and the train leaves.

1176
01:06:00,080 --> 01:06:04,360
Speaker 2: Yeah. It's a great sequence, Yeah, very terrifying, well shot,

1177
01:06:04,640 --> 01:06:06,000
Speaker 2: very apocalyptic feeling.

1178
01:06:06,600 --> 01:06:09,880
Speaker 3: However, they're not going to make it all the way

1179
01:06:09,920 --> 01:06:12,480
Speaker 3: back because there is a fire on the tracks and

1180
01:06:12,520 --> 01:06:16,200
Speaker 3: they have to disembark. So after this they're on foot

1181
01:06:16,280 --> 01:06:18,880
Speaker 3: yet again, forced back onto the ground, and they have

1182
01:06:18,960 --> 01:06:22,000
Speaker 3: to make their way through an unfamiliar neighborhood, this time

1183
01:06:22,120 --> 01:06:26,320
Speaker 3: the neighborhood that is controlled by a gang called the Orphans,

1184
01:06:26,800 --> 01:06:31,160
Speaker 3: who were not at the meeting. They were not invited

1185
01:06:31,200 --> 01:06:34,520
Speaker 3: to the conclave in the Bronx, apparently because they are

1186
01:06:34,560 --> 01:06:38,760
Speaker 3: not well known or respected enough to even receive an invitation.

1187
01:06:39,440 --> 01:06:41,680
Speaker 3: So this scene I think is very interesting because as

1188
01:06:41,760 --> 01:06:46,120
Speaker 3: the Warriors are outnumbered by the Orphans, but the orphans

1189
01:06:46,280 --> 01:06:52,560
Speaker 3: are clearly a there's a danger extending from the orphans

1190
01:06:52,720 --> 01:06:56,400
Speaker 3: low esteem among their peers and their low self esteem.

1191
01:06:56,520 --> 01:07:00,760
Speaker 3: So these the orphans are kind of unsure of themselves,

1192
01:07:00,920 --> 01:07:04,600
Speaker 3: unsure of where they fit into the hierarchy and maybe

1193
01:07:04,640 --> 01:07:08,040
Speaker 3: have something to prove. And I think all that uncertainty

1194
01:07:08,240 --> 01:07:11,160
Speaker 3: creates this extra sense of danger there.

1195
01:07:12,240 --> 01:07:15,320
Speaker 2: Yeah. Yeah, like they're they're pretty low on the pecking order,

1196
01:07:15,520 --> 01:07:18,760
Speaker 2: but they have the numbers. This is their territory, so

1197
01:07:18,840 --> 01:07:20,560
Speaker 2: they have to they have to play it just right.

1198
01:07:20,600 --> 01:07:23,320
Speaker 2: They like Swan is telling everybody it's like, no mouth

1199
01:07:23,320 --> 01:07:26,720
Speaker 2: and off, We're just gonna go through this without ruffling

1200
01:07:26,800 --> 01:07:29,640
Speaker 2: any feathers and we're gonna be just fine. But but

1201
01:07:29,680 --> 01:07:31,680
Speaker 2: we end up getting a lot of great tension because

1202
01:07:31,720 --> 01:07:35,760
Speaker 2: this is where Mercy uh interjects herself and just starts

1203
01:07:35,840 --> 01:07:40,040
Speaker 2: basically like stirring the whole situation up and telling the

1204
01:07:40,360 --> 01:07:42,400
Speaker 2: leader of the orphans here, who I didn't get the

1205
01:07:42,480 --> 01:07:44,360
Speaker 2: name of this actor He wasn't in a ton of stuff,

1206
01:07:44,360 --> 01:07:48,640
Speaker 2: but we actually, yeah, I believe that's it. He's great

1207
01:07:48,680 --> 01:07:50,920
Speaker 2: in this as the leader of the orphans because, like

1208
01:07:51,040 --> 01:07:53,280
Speaker 2: you know, clearly he has authority over them. He also

1209
01:07:53,400 --> 01:07:57,160
Speaker 2: is not really looking for some sort of a violent encounter,

1210
01:07:57,640 --> 01:08:01,160
Speaker 2: but if pushed, it's absolutely going to go that. That's right.

1211
01:08:01,280 --> 01:08:04,360
Speaker 3: You can tell he's afraid and he doesn't want to fight.

1212
01:08:04,520 --> 01:08:08,080
Speaker 3: But then Mercy pushes him, and his own gang starts

1213
01:08:08,160 --> 01:08:10,000
Speaker 3: kind of pushing him, and he feels like he can't

1214
01:08:10,000 --> 01:08:12,600
Speaker 3: lose his face, so he's got to escalate, and now

1215
01:08:12,680 --> 01:08:16,840
Speaker 3: everybody's escalating and uh, and it ends up leading to

1216
01:08:17,120 --> 01:08:22,599
Speaker 3: a violent encounter where the warriors. Well, first Mercy follows

1217
01:08:22,640 --> 01:08:24,720
Speaker 3: them as they're making their way through the territory.

1218
01:08:25,280 --> 01:08:25,479
Speaker 2: Uh.

1219
01:08:25,600 --> 01:08:28,160
Speaker 3: She she sort of I think she wants one of

1220
01:08:28,200 --> 01:08:30,360
Speaker 3: their their gang insignia.

1221
01:08:30,840 --> 01:08:33,280
Speaker 2: Yeah, that was her whole thing to to the leader

1222
01:08:33,280 --> 01:08:35,400
Speaker 2: of the orphans. She's she's like, you can't just let

1223
01:08:35,479 --> 01:08:36,800
Speaker 2: them walk through. You've got to make them give up

1224
01:08:36,800 --> 01:08:39,800
Speaker 2: one of their their their vests. I want one of

1225
01:08:39,800 --> 01:08:44,120
Speaker 2: those vests. And and that kind of begins the the

1226
01:08:44,280 --> 01:08:48,200
Speaker 2: the escalation right there, because Swan is like, now we're

1227
01:08:48,240 --> 01:08:51,080
Speaker 2: not doing that. We're marching through like soldiers through a farnland.

1228
01:08:51,400 --> 01:08:55,200
Speaker 3: Yeah, so Mercy ends up following the warriors. She's kind

1229
01:08:55,240 --> 01:08:58,240
Speaker 3: of she's clearly interested in them and would probably rather

1230
01:08:59,280 --> 01:09:02,280
Speaker 3: follow them. Then stay with the Orphans, so Mercy ends

1231
01:09:02,360 --> 01:09:05,639
Speaker 3: up following the warriors through the territory. This leads to

1232
01:09:05,840 --> 01:09:10,759
Speaker 3: a scary confrontation where I think Ajax especially is treating

1233
01:09:10,800 --> 01:09:14,360
Speaker 3: her abusively and then threatening her with sexual violence. And

1234
01:09:14,439 --> 01:09:18,599
Speaker 3: then they have another confrontation with the with the Orphans,

1235
01:09:18,880 --> 01:09:22,799
Speaker 3: which is ultimately resolved because somebody throws a Molotov cocktail

1236
01:09:22,920 --> 01:09:26,320
Speaker 3: which is a twist. Uh. And they end up having

1237
01:09:26,320 --> 01:09:28,760
Speaker 3: to run out of the territory and Mercy follows them.

1238
01:09:29,560 --> 01:09:29,800
Speaker 5: Uh.

1239
01:09:29,840 --> 01:09:32,920
Speaker 3: And after this, shortly after this, they end up chased

1240
01:09:32,960 --> 01:09:36,479
Speaker 3: by the police and separated. So different parts of the

1241
01:09:36,479 --> 01:09:40,400
Speaker 3: gang are scattered in different directions. Uh. And there is

1242
01:09:40,760 --> 01:09:42,720
Speaker 3: one one member of the gang, is it the Is

1243
01:09:42,760 --> 01:09:45,960
Speaker 3: it the scout Fox, the one who witnessed Luther as

1244
01:09:46,000 --> 01:09:49,679
Speaker 3: the murderer in the in the assembly who is killed

1245
01:09:49,720 --> 01:09:50,599
Speaker 3: in the subway station?

1246
01:09:51,680 --> 01:09:54,400
Speaker 2: Yeah? Is this this in the altercation with the police, Yeah. Yeah,

1247
01:09:54,840 --> 01:09:57,160
Speaker 2: he gets.

1248
01:09:56,120 --> 01:09:58,240
Speaker 3: Fighting with a police officer and he gets thrown onto

1249
01:09:58,280 --> 01:09:59,559
Speaker 3: the tracks in front of a train.

1250
01:10:00,160 --> 01:10:03,200
Speaker 2: Yeah. There was a frightening sequence there. And then I

1251
01:10:03,240 --> 01:10:06,240
Speaker 2: believe what Swan and Mercy end up like jumping down

1252
01:10:06,240 --> 01:10:09,760
Speaker 2: onto the tracks and escaping through the subway tunnel. So

1253
01:10:09,960 --> 01:10:12,840
Speaker 2: that might be later.

1254
01:10:12,240 --> 01:10:15,599
Speaker 3: Because I think they're separated from Mercy, but then Swan

1255
01:10:15,680 --> 01:10:17,240
Speaker 3: meets up again with Mercy later.

1256
01:10:17,640 --> 01:10:18,559
Speaker 2: Okay, there you go.

1257
01:10:19,120 --> 01:10:22,000
Speaker 3: But another one of the encounters along the way is

1258
01:10:22,120 --> 01:10:25,640
Speaker 3: the Baseball Furies. This is the baseball gang. When the

1259
01:10:25,640 --> 01:10:29,519
Speaker 3: gang splits up, half of them encounter the Baseball Furies

1260
01:10:29,560 --> 01:10:32,559
Speaker 3: and it plays these are the guys in full like

1261
01:10:32,840 --> 01:10:35,920
Speaker 3: are they Yankees uniforms or just generic baseball uniform I

1262
01:10:35,920 --> 01:10:39,680
Speaker 3: don't know, their baseball uniforms with like war paint on

1263
01:10:39,720 --> 01:10:43,240
Speaker 3: their faces, and they're carrying bats and when they meet them,

1264
01:10:43,640 --> 01:10:47,640
Speaker 3: it it this sounds funny, and it is funny, but

1265
01:10:47,720 --> 01:10:50,840
Speaker 3: it's also actually a little bit scary, especially because of

1266
01:10:50,880 --> 01:10:53,360
Speaker 3: the music that sounds like the music from Dawn of

1267
01:10:53,400 --> 01:10:53,800
Speaker 3: the Dead.

1268
01:10:54,320 --> 01:10:58,000
Speaker 2: Yeah, Devorzone is really on point here. Great portion of

1269
01:10:58,040 --> 01:10:58,439
Speaker 2: the score.

1270
01:10:58,720 --> 01:11:02,400
Speaker 3: So half of the gangs Swan, Ajax, Snow, and Cowboy

1271
01:11:02,520 --> 01:11:06,639
Speaker 3: are chased by baseball and they're chased through the park

1272
01:11:06,800 --> 01:11:10,000
Speaker 3: and they're running for a while until ultimately they decide

1273
01:11:10,040 --> 01:11:12,759
Speaker 3: to stand and fight and they fight the baseball guys

1274
01:11:12,800 --> 01:11:13,799
Speaker 3: and they win the brawl.

1275
01:11:14,320 --> 01:11:17,559
Speaker 2: Yeah. Great sequence with lots of baseball sword fights that

1276
01:11:17,680 --> 01:11:21,960
Speaker 2: again are both goofy and terrifying, like it's very brutal

1277
01:11:23,600 --> 01:11:27,960
Speaker 2: fight that happens here. And yeah, the Baseball Furies are

1278
01:11:28,000 --> 01:11:30,439
Speaker 2: just so delightfully weird. Like I just I look at them.

1279
01:11:30,479 --> 01:11:32,960
Speaker 2: We don't know much about them. We see them emerging

1280
01:11:33,000 --> 01:11:36,320
Speaker 2: from some sort of a basement, like ceremonially grabbing their

1281
01:11:36,720 --> 01:11:39,400
Speaker 2: their their baseball bats and the way out. But yeah,

1282
01:11:39,439 --> 01:11:41,640
Speaker 2: I just can't help but wonder, like what is their ideology,

1283
01:11:41,760 --> 01:11:45,120
Speaker 2: Like what are their sacred rights and observations? You know,

1284
01:11:45,160 --> 01:11:46,800
Speaker 2: they show us only a little bit, and then our

1285
01:11:46,840 --> 01:11:50,519
Speaker 2: imagination fills in the rest and and they're to be

1286
01:11:50,560 --> 01:11:53,120
Speaker 2: clear a late film encounter that held up is a

1287
01:11:53,200 --> 01:11:56,080
Speaker 2: legit threat, Like they're not just a novelty act, Like

1288
01:11:56,120 --> 01:11:58,080
Speaker 2: these are guys you don't want to mess with. But

1289
01:11:58,160 --> 01:12:00,800
Speaker 2: I'm like, what do they believe the Like do they

1290
01:12:00,880 --> 01:12:03,840
Speaker 2: have sacred rituals that involve big league chew? I want

1291
01:12:03,840 --> 01:12:04,640
Speaker 2: to know all about it.

1292
01:12:13,320 --> 01:12:16,120
Speaker 3: Let's see. So what happens after this? After the fight,

1293
01:12:16,640 --> 01:12:19,439
Speaker 3: Swan ends up meeting back up with Mercy somehow in

1294
01:12:19,520 --> 01:12:22,000
Speaker 3: the train station and they have to run away from police.

1295
01:12:22,000 --> 01:12:24,720
Speaker 3: So yeah, they run down into the tunnels ahead of

1296
01:12:24,720 --> 01:12:27,800
Speaker 3: the train and they're they don't get hit by the train.

1297
01:12:27,800 --> 01:12:30,000
Speaker 3: They're dodging it. But they're just traveling through the tunnels

1298
01:12:30,000 --> 01:12:34,840
Speaker 3: on foot. And Mercy clearly likes Swan like she she

1299
01:12:35,160 --> 01:12:38,000
Speaker 3: is attracted to him, she's interested in him, she wants

1300
01:12:38,080 --> 01:12:43,519
Speaker 3: his approval and Swan, it's it's a fascinating dynamic here.

1301
01:12:43,560 --> 01:12:46,479
Speaker 3: Swan is just cold to her. He rebuffs her, He

1302
01:12:47,320 --> 01:12:50,320
Speaker 3: tells her that he sees her as promiscuous, he's mean

1303
01:12:50,360 --> 01:12:53,360
Speaker 3: to her. Underneath it all, he does seem to be

1304
01:12:54,080 --> 01:12:57,360
Speaker 3: interested in her, and so they sort of, you know,

1305
01:12:57,400 --> 01:12:59,880
Speaker 3: the kiss for a moment, but then he's like no,

1306
01:13:00,080 --> 01:13:02,640
Speaker 3: basically no time for love, and tonight we're back on

1307
01:13:02,680 --> 01:13:03,280
Speaker 3: the journey.

1308
01:13:03,439 --> 01:13:06,320
Speaker 2: Yeah. They spend a lot of time with this relationship,

1309
01:13:06,680 --> 01:13:09,439
Speaker 2: a relationship that in a lesser movie would probably be

1310
01:13:09,479 --> 01:13:11,519
Speaker 2: one of those like why are these two people in love? Like,

1311
01:13:11,720 --> 01:13:14,439
Speaker 2: you know, why of these two people attracted to each other.

1312
01:13:16,560 --> 01:13:19,840
Speaker 2: The screenplay, in the direction here seems to, you know,

1313
01:13:19,880 --> 01:13:23,920
Speaker 2: recognize that whatever is bringing these two characters together in

1314
01:13:23,960 --> 01:13:26,920
Speaker 2: this chaotic time, this chaotic setting, and at this chaotic

1315
01:13:26,960 --> 01:13:30,280
Speaker 2: point in both of their lives, like there needs to

1316
01:13:30,280 --> 01:13:33,639
Speaker 2: be something there, and the film does explore that, and

1317
01:13:33,680 --> 01:13:35,760
Speaker 2: you see it come out in their performances. I think

1318
01:13:35,840 --> 01:13:37,919
Speaker 2: both of them. I think they have some great chemistry

1319
01:13:37,960 --> 01:13:41,720
Speaker 2: together playing these characters who are like clearly going through

1320
01:13:41,760 --> 01:13:43,680
Speaker 2: a very trying and traumatic situation.

1321
01:13:44,040 --> 01:13:45,880
Speaker 3: Now, maybe we should mention a few of the other

1322
01:13:45,960 --> 01:13:49,479
Speaker 3: things that recur as interludes, you know, little scenes we

1323
01:13:49,520 --> 01:13:52,160
Speaker 3: get throughout the runtime. We get a few scenes of

1324
01:13:52,200 --> 01:13:55,840
Speaker 3: the Riffs, like organizing and searching for the warriors. We

1325
01:13:55,880 --> 01:13:58,599
Speaker 3: get these scenes of them all these guys like standing

1326
01:13:58,640 --> 01:14:02,559
Speaker 3: at attention and in an abandoned building. They have a

1327
01:14:02,720 --> 01:14:05,400
Speaker 3: they have an almost marine style call where they call

1328
01:14:05,439 --> 01:14:06,960
Speaker 3: out yeah right, m.

1329
01:14:07,200 --> 01:14:10,960
Speaker 2: M yeah, and we and the guy who has stepped

1330
01:14:11,000 --> 01:14:15,280
Speaker 2: in as leader of the Riffs. He has these really

1331
01:14:15,360 --> 01:14:19,040
Speaker 2: killer silver shades, so he has like Darth Vader energy,

1332
01:14:19,160 --> 01:14:22,120
Speaker 2: if Darth Vader's whole thing was just having really cool sunglasses.

1333
01:14:22,479 --> 01:14:26,200
Speaker 3: Yes, of course, we get several scenes of length thick

1334
01:14:26,240 --> 01:14:31,120
Speaker 3: Pin on the radio making announcements about places to hunt

1335
01:14:31,160 --> 01:14:36,200
Speaker 3: for the warriors and putting on music that's thematically appropriate.

1336
01:14:36,640 --> 01:14:39,799
Speaker 3: We also get scenes with the rogues just running around

1337
01:14:39,840 --> 01:14:42,439
Speaker 3: and causing trouble, like they're driving a car that is

1338
01:14:42,520 --> 01:14:46,439
Speaker 3: sort of like a graffiti hearse, and they just go

1339
01:14:46,560 --> 01:14:49,000
Speaker 3: up to I don't know, vendors on the street and

1340
01:14:49,560 --> 01:14:50,960
Speaker 3: threaten them and cause trouble.

1341
01:14:51,320 --> 01:14:53,880
Speaker 2: Now, one thing we should mention is that Luther, I think,

1342
01:14:53,920 --> 01:14:57,519
Speaker 2: on two different occasions, calls in and checks with somebody.

1343
01:14:57,600 --> 01:15:00,479
Speaker 3: Yeah, what's going on there. I thought that what this

1344
01:15:00,680 --> 01:15:02,920
Speaker 3: was leading up to was that lou it would be

1345
01:15:03,000 --> 01:15:06,200
Speaker 3: revealed because I didn't remember what would happen at the end, Yeah,

1346
01:15:06,200 --> 01:15:09,599
Speaker 3: saying I thought it would be revealed at the end,

1347
01:15:09,600 --> 01:15:12,120
Speaker 3: that Luther was like checking in with someone who he

1348
01:15:12,240 --> 01:15:14,639
Speaker 3: was in a conspiracy with, like you know, the second

1349
01:15:14,680 --> 01:15:16,639
Speaker 3: in command of the riffs or something like that.

1350
01:15:16,960 --> 01:15:21,960
Speaker 2: Yeah, or perhaps the police even or organized crime or

1351
01:15:22,000 --> 01:15:26,720
Speaker 2: you know, somebody like you know, he's somebody's stooge, Like

1352
01:15:26,800 --> 01:15:29,640
Speaker 2: he's somebody's you know, like hired an anarchist.

1353
01:15:29,920 --> 01:15:32,320
Speaker 3: Yeah, he is on the phone with somebody. But who

1354
01:15:32,400 --> 01:15:34,599
Speaker 3: is it. Maybe it's revealed and I just missed it,

1355
01:15:34,680 --> 01:15:35,559
Speaker 3: but I don't.

1356
01:15:35,320 --> 01:15:37,400
Speaker 2: Know, Or maybe it's something that Yeah, it's in the

1357
01:15:37,439 --> 01:15:41,400
Speaker 2: screenplay or some earlier version of the earlier cut or

1358
01:15:41,439 --> 01:15:44,240
Speaker 2: of the film or earlier script. Who knows, But yeah,

1359
01:15:44,400 --> 01:15:47,360
Speaker 2: we'll get to we'll get to the fallout in a bit.

1360
01:15:47,680 --> 01:15:50,040
Speaker 3: Oh, there's also a scene where after their encounter with

1361
01:15:50,120 --> 01:15:52,960
Speaker 3: the Baseball Furies, the the the Warriors are trying to

1362
01:15:53,040 --> 01:15:56,599
Speaker 3: leave the park and the Ajax decides to stay behind

1363
01:15:56,680 --> 01:15:58,800
Speaker 3: to sexually assault a woman in the park, but it

1364
01:15:58,880 --> 01:16:01,080
Speaker 3: turns out to be a police stakeout and he gets

1365
01:16:01,080 --> 01:16:03,400
Speaker 3: caught and arrested. So Ajax is out of the picture.

1366
01:16:03,439 --> 01:16:06,280
Speaker 2: Now. Yeah, this is the scene with Mercedes Rule and

1367
01:16:06,880 --> 01:16:09,320
Speaker 2: it's a really well done scene. It's a very uncomfortable

1368
01:16:09,360 --> 01:16:13,040
Speaker 2: scene to watch, and I guess we get what we

1369
01:16:13,080 --> 01:16:17,680
Speaker 2: want because Ajax is arrested and defeated and Ajax is

1370
01:16:17,720 --> 01:16:20,360
Speaker 2: not a character I think we ever were really supposed

1371
01:16:20,360 --> 01:16:23,320
Speaker 2: to root for, like he was the worst of the Warriors,

1372
01:16:23,360 --> 01:16:27,080
Speaker 2: So I assume I am vindicated him being relieved that

1373
01:16:27,120 --> 01:16:28,040
Speaker 2: he has been arrested.

1374
01:16:28,439 --> 01:16:31,800
Speaker 3: Yeah, though the movie doesn't really celebrate his capture in

1375
01:16:31,840 --> 01:16:34,599
Speaker 3: a way. It's just it's a very matter of fact, like, oh,

1376
01:16:34,720 --> 01:16:36,559
Speaker 3: well they got Ajax. Now there he is.

1377
01:16:36,840 --> 01:16:40,000
Speaker 2: It's his character flaws that bring about his own downfall. Yeah,

1378
01:16:40,040 --> 01:16:41,720
Speaker 2: and we don't miss him, but I guess at the

1379
01:16:41,800 --> 01:16:43,479
Speaker 2: end of the day, it is another thing that has

1380
01:16:43,520 --> 01:16:46,519
Speaker 2: diminished the numbers of the Warriors here, and the more

1381
01:16:46,560 --> 01:16:49,000
Speaker 2: diminished they are, the less likely they are to survive

1382
01:16:49,120 --> 01:16:50,160
Speaker 2: to reach their destination.

1383
01:16:50,560 --> 01:16:51,320
Speaker 3: Yeah, that's right.

1384
01:16:51,760 --> 01:16:51,960
Speaker 2: Now.

1385
01:16:52,040 --> 01:16:55,599
Speaker 3: Another one of the encounters is that again the gang

1386
01:16:55,600 --> 01:16:59,640
Speaker 3: has been separated. So three of the warriors, including Rembrandt,

1387
01:17:00,320 --> 01:17:03,760
Speaker 3: the sort of most sensitive, the nicest seeming of them,

1388
01:17:03,800 --> 01:17:07,600
Speaker 3: who was tagging the gravestone, they get invited to a

1389
01:17:07,640 --> 01:17:11,160
Speaker 3: party by some women they meet in the subway station

1390
01:17:11,280 --> 01:17:15,440
Speaker 3: at Union Square. This turns out to be the Lizzies,

1391
01:17:15,600 --> 01:17:19,479
Speaker 3: which are an all woman gang, and they're like having

1392
01:17:19,560 --> 01:17:21,519
Speaker 3: a party, and at first they make it like, oh,

1393
01:17:21,600 --> 01:17:24,400
Speaker 3: you know, come over, hang out, we can party. But

1394
01:17:24,479 --> 01:17:27,080
Speaker 3: of course this turns into an ambush where they're also

1395
01:17:27,160 --> 01:17:30,759
Speaker 3: trying to kill the warriors on the order of the Riffs.

1396
01:17:31,520 --> 01:17:34,320
Speaker 3: So the guys here get ambushed and nearly killed, but

1397
01:17:34,479 --> 01:17:35,200
Speaker 3: they escape.

1398
01:17:35,880 --> 01:17:39,559
Speaker 2: Both the Lizzies and the female undercover cop. They seem

1399
01:17:39,560 --> 01:17:42,479
Speaker 2: to occupy the space of a mythic siren or a

1400
01:17:42,520 --> 01:17:46,240
Speaker 2: Circe like feminine threat to our warriors as they think

1401
01:17:46,280 --> 01:17:48,760
Speaker 2: their journey across the enemy territory.

1402
01:17:49,120 --> 01:17:51,800
Speaker 3: Now, eventually the warriors are all reunited. I think this

1403
01:17:51,920 --> 01:17:56,000
Speaker 3: is still in the Union Union Square station. I don't

1404
01:17:56,000 --> 01:17:57,800
Speaker 3: know if I'm saying that right. The Union station or

1405
01:17:57,920 --> 01:18:02,599
Speaker 3: Union Square station, and in along this area they have

1406
01:18:02,680 --> 01:18:06,200
Speaker 3: to fight another gang that is pursuing them. This is

1407
01:18:06,760 --> 01:18:12,960
Speaker 3: the punks overall's striped shirt, butt cut on the hair,

1408
01:18:13,160 --> 01:18:14,320
Speaker 3: and roller skates.

1409
01:18:14,720 --> 01:18:16,680
Speaker 2: Yeah yeah, and one of them is super tall. I

1410
01:18:16,680 --> 01:18:18,880
Speaker 2: couldn't help but notice that he's one really tall, like

1411
01:18:18,920 --> 01:18:21,800
Speaker 2: blonde guy in the group. All these gangs, even the

1412
01:18:21,800 --> 01:18:25,960
Speaker 2: goofy ones, come off as legitimately intimidating within the context

1413
01:18:26,000 --> 01:18:26,720
Speaker 2: of the film.

1414
01:18:26,840 --> 01:18:31,000
Speaker 3: Much like with the baseball theories. The costumes are funny

1415
01:18:31,920 --> 01:18:35,640
Speaker 3: and so it necessarily is funny at one level, but

1416
01:18:35,840 --> 01:18:41,080
Speaker 3: the staging in the cinematography is actually quite intimidating and scary.

1417
01:18:41,160 --> 01:18:41,640
Speaker 1: That ye.

1418
01:18:42,000 --> 01:18:45,640
Speaker 3: Like the way that the one of the punks, like

1419
01:18:45,680 --> 01:18:49,000
Speaker 3: the scout of the punks, is just lazily following them

1420
01:18:49,040 --> 01:18:51,799
Speaker 3: through the subway station on roller skates, kind of weaving

1421
01:18:51,880 --> 01:18:55,200
Speaker 3: back and forth. The fact that he's on roller skates

1422
01:18:55,320 --> 01:18:58,360
Speaker 3: is funny, but it's framed in such a way that

1423
01:18:58,400 --> 01:19:00,640
Speaker 3: it actually does work. It's very threatening.

1424
01:19:01,240 --> 01:19:03,920
Speaker 2: Yeah, yeah, absolutely, And of course this leads to this

1425
01:19:04,520 --> 01:19:07,840
Speaker 2: huge fight in a subway station bathroom. I don't think

1426
01:19:07,840 --> 01:19:10,840
Speaker 2: I've ever been in a subway station bathroom this big, But.

1427
01:19:10,960 --> 01:19:13,920
Speaker 3: I can't be this big by way.

1428
01:19:13,760 --> 01:19:16,960
Speaker 2: It looks like a legit location, so maybe they downsize

1429
01:19:17,000 --> 01:19:19,759
Speaker 2: them after this. They're like, we can't have this, you can't.

1430
01:19:20,000 --> 01:19:23,840
Speaker 2: We can't have bathrooms that are this spacious and susceptible

1431
01:19:23,880 --> 01:19:26,720
Speaker 2: to gang warfare. Uh, so we got to downsize them.

1432
01:19:26,760 --> 01:19:30,160
Speaker 2: I don't know, but they have a robust battle in here.

1433
01:19:30,240 --> 01:19:33,760
Speaker 2: This is one with backdrops through a stall door, a

1434
01:19:33,760 --> 01:19:37,679
Speaker 2: lot of cool fight choreography, and just feels like an

1435
01:19:37,680 --> 01:19:42,639
Speaker 2: equal mix of unrealistic and maybe even a little you know, fun,

1436
01:19:43,040 --> 01:19:45,080
Speaker 2: but also brutal and also high stakes.

1437
01:19:45,439 --> 01:19:48,920
Speaker 3: The warriors stage and ambush by They go into the

1438
01:19:48,960 --> 01:19:51,400
Speaker 3: bathroom and they know the punks are going to follow them,

1439
01:19:51,479 --> 01:19:54,439
Speaker 3: and they all go into the stalls and then the

1440
01:19:54,479 --> 01:19:57,519
Speaker 3: punks like go in and the warriors all burst out

1441
01:19:57,560 --> 01:20:00,160
Speaker 3: of the stalls at the same time to attack. And

1442
01:20:00,200 --> 01:20:01,840
Speaker 3: I'm like, I don't know if that gives you any

1443
01:20:01,880 --> 01:20:02,599
Speaker 3: advantage at.

1444
01:20:02,479 --> 01:20:07,560
Speaker 2: All, Yeah, but it works. They seem to know what

1445
01:20:07,600 --> 01:20:10,479
Speaker 2: they're doing. They defeat the punks and it's time to

1446
01:20:10,520 --> 01:20:12,360
Speaker 2: move on towards their destination.

1447
01:20:12,760 --> 01:20:16,200
Speaker 3: Also in this scene, I think Mercy proves herself to

1448
01:20:16,240 --> 01:20:18,400
Speaker 3: Swan in a way the way that she sticks with

1449
01:20:18,479 --> 01:20:21,880
Speaker 3: the gang and holds her own, and she's sort of

1450
01:20:21,920 --> 01:20:27,320
Speaker 3: showing and emerging loyalty and dependability to her newfound friends.

1451
01:20:27,880 --> 01:20:32,559
Speaker 3: And so I think there's whereas Swan was cruel to

1452
01:20:32,600 --> 01:20:35,799
Speaker 3: her emotionally cruel to her in the scene before, something

1453
01:20:35,880 --> 01:20:38,240
Speaker 3: is kind of different with them after this when they're

1454
01:20:38,280 --> 01:20:39,240
Speaker 3: on the subway together.

1455
01:20:39,760 --> 01:20:42,960
Speaker 2: Yeah, and this next subway scene really stood out to

1456
01:20:43,000 --> 01:20:46,120
Speaker 2: me on this viewing of the picture. So, you know,

1457
01:20:46,160 --> 01:20:48,680
Speaker 2: it's pretty late in the film at this point. The

1458
01:20:48,760 --> 01:20:50,840
Speaker 2: remains of the warriors here are all in the train.

1459
01:20:50,920 --> 01:20:53,880
Speaker 2: They're exhausted, they're beat up. You know, they got cuts

1460
01:20:53,880 --> 01:20:56,600
Speaker 2: and scratches and bruises from this most recent battle and

1461
01:20:56,640 --> 01:20:59,160
Speaker 2: all the previous battles. So you know, they're just hanging

1462
01:20:59,160 --> 01:21:01,560
Speaker 2: on by a thread there on the train. Some of

1463
01:21:01,640 --> 01:21:04,280
Speaker 2: them are I think like Rembrandts, like laying down on

1464
01:21:04,320 --> 01:21:07,839
Speaker 2: the seats like he's just fallen asleep. But the Swan

1465
01:21:08,120 --> 01:21:11,760
Speaker 2: is conscious, Mercy's conscious setting up. And then we see

1466
01:21:11,840 --> 01:21:14,639
Speaker 2: a few civilians on the train. But then for youth

1467
01:21:14,720 --> 01:21:17,840
Speaker 2: board the train, and these are not gang members. Given

1468
01:21:17,880 --> 01:21:20,240
Speaker 2: their dress, we're to assume they're rich kids coming home

1469
01:21:20,280 --> 01:21:22,920
Speaker 2: from a night on the town. And they PLoP down

1470
01:21:22,960 --> 01:21:26,800
Speaker 2: opposite Swan and Mercy, and we get this long and

1471
01:21:26,920 --> 01:21:30,240
Speaker 2: fascinating I guess ultimately kind of a stare down between

1472
01:21:30,560 --> 01:21:34,640
Speaker 2: the warriors and these rich kids, and it was just

1473
01:21:34,720 --> 01:21:38,559
Speaker 2: it's just nic. It's like drawn out. It's minimalist and

1474
01:21:38,640 --> 01:21:41,160
Speaker 2: really impressive. I think another film might have played this

1475
01:21:41,240 --> 01:21:43,880
Speaker 2: for a quick laugh, or escalated it to some form

1476
01:21:43,880 --> 01:21:47,600
Speaker 2: of physical confrontation, or indulged it with a lot of dialogue.

1477
01:21:47,720 --> 01:21:51,240
Speaker 2: But instead there's no dialogue in this sequence. Instead, he'll

1478
01:21:51,240 --> 01:21:53,559
Speaker 2: give us just what ends up being an intense stare

1479
01:21:53,560 --> 01:21:58,240
Speaker 2: down from Swan, and he nonverbally stresses that Mercy shouldn't

1480
01:21:58,280 --> 01:22:00,800
Speaker 2: flinch either, like she tries to sort of look away

1481
01:22:00,800 --> 01:22:03,040
Speaker 2: and touch your hair and he like nudges her, you know,

1482
01:22:03,080 --> 01:22:05,640
Speaker 2: and it's like, no, like, don't flinch. You've got to

1483
01:22:05,680 --> 01:22:07,600
Speaker 2: you got to stare them down. You've got to like

1484
01:22:07,800 --> 01:22:12,000
Speaker 2: remain strong to who you are, and eventually they will

1485
01:22:12,040 --> 01:22:13,000
Speaker 2: be the ones to flinch.

1486
01:22:13,479 --> 01:22:16,120
Speaker 3: Yeah, exactly right. So, Yeah, I was wondering, what's what's

1487
01:22:16,160 --> 01:22:18,080
Speaker 3: gonna happen here? Is they're gonna be fight but no,

1488
01:22:18,320 --> 01:22:23,639
Speaker 3: instead they just sit there and Swan it's his sort

1489
01:22:23,680 --> 01:22:26,040
Speaker 3: of his first real show of tenderness to Mercy that

1490
01:22:26,120 --> 01:22:30,360
Speaker 3: he's like asking her to be a brick wall with him. Yeah,

1491
01:22:30,400 --> 01:22:33,519
Speaker 3: and so they're a brick wall together now, and the

1492
01:22:33,840 --> 01:22:36,280
Speaker 3: kids who look like they just came from prom or something,

1493
01:22:36,560 --> 01:22:40,919
Speaker 3: all dressed up and tuxedos and fancy dresses. They eventually

1494
01:22:40,960 --> 01:22:43,439
Speaker 3: they get they get creeped out, and they get off

1495
01:22:43,479 --> 01:22:44,759
Speaker 3: the train at the next stop.

1496
01:22:45,080 --> 01:22:47,280
Speaker 2: Yeah. So just a really powerful scene and I think

1497
01:22:47,400 --> 01:22:50,800
Speaker 2: just great acting from Beck and Van Valkenberg here. So yeah,

1498
01:22:50,880 --> 01:22:52,599
Speaker 2: it was really impressed with this secret This is one

1499
01:22:52,640 --> 01:22:55,680
Speaker 2: that I did not remember from my initial viewing of

1500
01:22:55,720 --> 01:22:58,519
Speaker 2: the film many years ago. But it's it's great, I agree.

1501
01:22:58,600 --> 01:23:01,960
Speaker 3: Yeah, very strong, but there's still a final fight left

1502
01:23:01,960 --> 01:23:06,200
Speaker 3: to be had. So the warriors, the Warriors and Mercy

1503
01:23:06,240 --> 01:23:08,799
Speaker 3: do arrive back home in Coney Island. Dawn is breaking,

1504
01:23:08,840 --> 01:23:12,080
Speaker 3: it's morning now, and as they go on to the beach,

1505
01:23:12,160 --> 01:23:15,160
Speaker 3: we start to hear a sound, a clinking sound, a

1506
01:23:15,280 --> 01:23:20,439
Speaker 3: rhythmic clinking of glass against glass, and it's coming from

1507
01:23:20,439 --> 01:23:23,640
Speaker 3: a car. Oh no, it is that tombstone hearst that

1508
01:23:23,680 --> 01:23:26,040
Speaker 3: we've seen rolling around with the rogues in it all day.

1509
01:23:26,640 --> 01:23:29,679
Speaker 3: And this is a famous moment from the movie where

1510
01:23:30,360 --> 01:23:33,759
Speaker 3: David Patrick Kelly Luther, the leader of the rogues, is cling.

1511
01:23:33,800 --> 01:23:37,800
Speaker 3: He has glass bottles on three of his fingers and

1512
01:23:37,840 --> 01:23:41,519
Speaker 3: he is rhythmically clinking them together like a drum, and

1513
01:23:41,600 --> 01:23:47,120
Speaker 3: he says, warriors come out to play, over and over.

1514
01:23:48,280 --> 01:23:51,640
Speaker 3: Very creepy. It's iconic for a reason. I don't know

1515
01:23:51,680 --> 01:23:54,680
Speaker 3: who had the idea of him to clink the bottles

1516
01:23:54,720 --> 01:23:55,839
Speaker 3: like that, but it's brilliant.

1517
01:23:56,120 --> 01:23:58,120
Speaker 2: Yeah, I think I've read that. It's kind of a

1518
01:23:58,680 --> 01:24:01,080
Speaker 2: Kelly brought a lot to this, basing it on some

1519
01:24:01,240 --> 01:24:04,360
Speaker 2: characters he'd encountered in life before. But yeah, through some

1520
01:24:04,439 --> 01:24:08,360
Speaker 2: combination of performer and writer and director, yeah, we get

1521
01:24:08,360 --> 01:24:10,959
Speaker 2: this just super iconic and creepy sequence.

1522
01:24:11,560 --> 01:24:15,719
Speaker 3: So the warriors quickly armed themselves with pipes and scraps

1523
01:24:15,760 --> 01:24:17,840
Speaker 3: of wood and stuff they find under a I think

1524
01:24:17,880 --> 01:24:20,680
Speaker 3: under a set of bleachers out on the beach, and

1525
01:24:20,720 --> 01:24:23,200
Speaker 3: they go out onto the sand and the rogues pursue them,

1526
01:24:23,720 --> 01:24:26,559
Speaker 3: and the two gangs come face to face on the

1527
01:24:26,600 --> 01:24:32,280
Speaker 3: beach as dawn is breaking, and they ask Luther why

1528
01:24:32,320 --> 01:24:37,720
Speaker 3: he killed Cyrus and he says, quote, no reason. I

1529
01:24:38,000 --> 01:24:40,400
Speaker 3: just like doing things like that.

1530
01:24:42,360 --> 01:24:44,880
Speaker 2: Oh man, it's a real head scratcher.

1531
01:24:45,160 --> 01:24:47,160
Speaker 3: Yeah, I thought we were going to get an explanation

1532
01:24:47,400 --> 01:24:49,439
Speaker 3: from like who he was on the phone with and

1533
01:24:49,479 --> 01:24:50,040
Speaker 3: so forth.

1534
01:24:50,520 --> 01:24:52,439
Speaker 2: Yeah, I mean, because on one level, it seems like

1535
01:24:52,520 --> 01:24:55,000
Speaker 2: Luther would be the sort to gloat at this point

1536
01:24:55,080 --> 01:24:59,800
Speaker 2: about his powerful connections to certainly to some other gang

1537
01:25:00,200 --> 01:25:03,479
Speaker 2: organized crime. But he doesn't. He's just like, nope, I

1538
01:25:03,640 --> 01:25:05,920
Speaker 2: just like cause and trouble and that's what I did.

1539
01:25:06,120 --> 01:25:06,960
Speaker 2: This is who I am.

1540
01:25:07,360 --> 01:25:10,559
Speaker 3: So it seems that Luther and Swan are setting up

1541
01:25:10,560 --> 01:25:12,360
Speaker 3: for a duel, but it's not going to be a

1542
01:25:12,360 --> 01:25:15,960
Speaker 3: fair one because Luther has a gun and Swan does not.

1543
01:25:16,160 --> 01:25:19,599
Speaker 3: But Swan does have a switchblade knife, and so it's

1544
01:25:19,840 --> 01:25:22,760
Speaker 3: actually it just came up on the show recently that

1545
01:25:23,320 --> 01:25:26,519
Speaker 3: scene in The Magnificent Seven where James Coburn has a

1546
01:25:26,600 --> 01:25:28,680
Speaker 3: knife and the other guy has a gun, and there,

1547
01:25:28,760 --> 01:25:31,040
Speaker 3: you know, he brings a knife to a gunfight and

1548
01:25:31,080 --> 01:25:35,880
Speaker 3: he wins. The same thing happens here, actually, except Swan

1549
01:25:35,920 --> 01:25:39,240
Speaker 3: does not kill Luther. Swan throws the knife into Luther's

1550
01:25:39,280 --> 01:25:42,160
Speaker 3: hand and makes him drop the gun. And then right

1551
01:25:42,200 --> 01:25:46,320
Speaker 3: then the riffs arrive. They apparently know the truth because

1552
01:25:46,680 --> 01:25:49,400
Speaker 3: a biker I think one of the Satan's mothers maybe

1553
01:25:50,040 --> 01:25:53,240
Speaker 3: showed up and told them that, hey, it was not

1554
01:25:53,640 --> 01:25:57,200
Speaker 3: the Warriors, it was it was Luther who shot Cyrus.

1555
01:25:57,960 --> 01:26:00,479
Speaker 3: So now that they know the truth, they tell the

1556
01:26:00,479 --> 01:26:04,759
Speaker 3: Warriors were cool. You guys are good. But they surround

1557
01:26:04,840 --> 01:26:07,320
Speaker 3: Luther and the rogues. We don't see what happens, but

1558
01:26:07,360 --> 01:26:11,439
Speaker 3: it's presumably to kill them, and Luther is whining and

1559
01:26:11,520 --> 01:26:14,880
Speaker 3: protesting the whole time. He keeps saying, no, it was

1560
01:26:14,960 --> 01:26:16,080
Speaker 3: the Warriors.

1561
01:26:17,080 --> 01:26:19,880
Speaker 2: Yeah, this would be another moment where if Luther could

1562
01:26:20,040 --> 01:26:23,080
Speaker 2: roll on anybody, it seems like he would have, even

1563
01:26:23,120 --> 01:26:25,240
Speaker 2: if it was the police, Like, this would be the

1564
01:26:25,320 --> 01:26:27,680
Speaker 2: time to be like, let me tell you about the

1565
01:26:27,680 --> 01:26:29,439
Speaker 2: person that I was talking on the phone with. They

1566
01:26:29,520 --> 01:26:31,280
Speaker 2: set all this up, but it didn't happen, so maybe

1567
01:26:31,280 --> 01:26:33,320
Speaker 2: there was nothing to it. Maybe he really just did

1568
01:26:33,320 --> 01:26:37,720
Speaker 2: this because he likes chaos and it's just who he is. Yeah,

1569
01:26:37,760 --> 01:26:40,439
Speaker 2: but yeah, I presumably they kill him. They're probably not

1570
01:26:40,439 --> 01:26:42,000
Speaker 2: going to let him off with a string warning.

1571
01:26:42,439 --> 01:26:45,799
Speaker 3: So we watched the Warriors and Mercy. I guess Mercy

1572
01:26:45,840 --> 01:26:47,839
Speaker 3: is kind of part of the Warriors now in a way.

1573
01:26:47,920 --> 01:26:51,080
Speaker 3: They make their way happily down the beach and then

1574
01:26:51,080 --> 01:26:54,799
Speaker 3: we get autro music. Oh my lord, I was laughing

1575
01:26:54,840 --> 01:26:57,759
Speaker 3: at the Joe Walsh that comes in here. It's amazing.

1576
01:26:58,120 --> 01:27:00,920
Speaker 2: Yeah, this is the track in the City, co written

1577
01:27:00,920 --> 01:27:04,439
Speaker 2: by Divorce and and later re recorded by the Eagles.

1578
01:27:04,439 --> 01:27:06,360
Speaker 2: So yeah, strong Eagles vibe.

1579
01:27:06,600 --> 01:27:06,680
Speaker 5: Uh.

1580
01:27:07,240 --> 01:27:08,920
Speaker 2: I think in the City is a great track. I've

1581
01:27:08,920 --> 01:27:11,439
Speaker 2: heard it many times before, you know, but I guess

1582
01:27:11,520 --> 01:27:14,840
Speaker 2: watching watching the movie here, it does feel from our

1583
01:27:14,920 --> 01:27:19,639
Speaker 2: modern perspective as being awfully yacht rocky. For the sequence

1584
01:27:19,680 --> 01:27:21,360
Speaker 2: we're greeted with here, it is.

1585
01:27:21,280 --> 01:27:24,600
Speaker 3: A weird fit for the Warriors. It's like, can you

1586
01:27:24,640 --> 01:27:27,200
Speaker 3: imagine if they'd played life in the fast Lane and

1587
01:27:27,400 --> 01:27:29,800
Speaker 3: the scene where the turnbull aces are trying to run

1588
01:27:29,840 --> 01:27:31,160
Speaker 3: them down with the hell bus?

1589
01:27:31,560 --> 01:27:35,720
Speaker 2: Yeah? Yeah, yeah, So I don't know it. I mean,

1590
01:27:35,760 --> 01:27:38,439
Speaker 2: it's it's iconic. It's here, it's part of the Warriors.

1591
01:27:38,439 --> 01:27:41,720
Speaker 2: You can't take it away, but it's it's an interesting.

1592
01:27:41,400 --> 01:27:43,719
Speaker 3: Choice, sure to make you lose your mind.

1593
01:27:45,640 --> 01:27:49,320
Speaker 2: All right. Well, there you have it. The Warriors a classic.

1594
01:27:50,600 --> 01:27:53,839
Speaker 2: We didn't even mention this, but there's like, it's interesting

1595
01:27:53,880 --> 01:27:57,120
Speaker 2: because we have like the Warriors cannon. Uh, you know

1596
01:27:57,160 --> 01:27:59,360
Speaker 2: what what we see in the film, like the gangs

1597
01:27:59,360 --> 01:28:01,160
Speaker 2: that are present and that are mentioned in the film

1598
01:28:01,680 --> 01:28:03,120
Speaker 2: and then there are the gangs that are mentioned in

1599
01:28:03,120 --> 01:28:05,960
Speaker 2: the screenplay that didn't make it into the picture. And

1600
01:28:06,000 --> 01:28:08,479
Speaker 2: then there is this added layer that I don't know

1601
01:28:08,560 --> 01:28:10,920
Speaker 2: much about, but I know that Rockstar Games came along

1602
01:28:10,960 --> 01:28:14,679
Speaker 2: at some point much later on and made a Warrior's

1603
01:28:14,760 --> 01:28:17,320
Speaker 2: video game, brought back a number of the actors from

1604
01:28:17,400 --> 01:28:20,360
Speaker 2: the picture, And I don't know to what extent they

1605
01:28:20,400 --> 01:28:23,400
Speaker 2: expanded the universe of the Warriors, or brought in, like

1606
01:28:23,880 --> 01:28:26,000
Speaker 2: you know, expanded different gangs, or brought in any of

1607
01:28:26,040 --> 01:28:28,639
Speaker 2: the games from the screenplay. But I know just from

1608
01:28:28,680 --> 01:28:32,599
Speaker 2: searching around for Warriors information, I kept running across stuff

1609
01:28:32,640 --> 01:28:33,519
Speaker 2: tied to this game.

1610
01:28:34,040 --> 01:28:37,759
Speaker 3: A Warriors video game made in two thousand and five.

1611
01:28:38,000 --> 01:28:39,560
Speaker 3: That is so strange.

1612
01:28:39,960 --> 01:28:41,559
Speaker 2: Yeah, this was I don't think this was the time

1613
01:28:41,640 --> 01:28:43,479
Speaker 2: in which I was playing a lot of video games,

1614
01:28:43,520 --> 01:28:45,840
Speaker 2: so I don't have any experience with this one. So

1615
01:28:45,960 --> 01:28:49,840
Speaker 2: if there any big time Warrior fans out there, or

1616
01:28:50,000 --> 01:28:52,000
Speaker 2: just folks who played this video game, perhaps you can

1617
01:28:52,080 --> 01:28:54,240
Speaker 2: ride in and let us know what it consisted of

1618
01:28:54,320 --> 01:28:55,719
Speaker 2: and how it matches up with the film.

1619
01:28:56,120 --> 01:28:58,639
Speaker 3: Can you think of another example where in the two

1620
01:28:58,760 --> 01:29:01,600
Speaker 3: thousands there was a VID video game adaptation of a

1621
01:29:01,640 --> 01:29:03,240
Speaker 3: movie from the seventies.

1622
01:29:03,720 --> 01:29:06,040
Speaker 2: I mean, I'm assuming there was some sort of an

1623
01:29:06,040 --> 01:29:08,360
Speaker 2: alien game, but most of those would have probably been

1624
01:29:08,439 --> 01:29:11,720
Speaker 2: more based on aliens as opposed to alien.

1625
01:29:11,560 --> 01:29:14,920
Speaker 3: Yeah, anyway, it'd be interesting to hear about. Yeah, Okay,

1626
01:29:14,960 --> 01:29:17,200
Speaker 3: that's all the warriors I got in me for today.

1627
01:29:17,560 --> 01:29:18,960
Speaker 2: All Right, we'll go ahead and close this one up.

1628
01:29:18,960 --> 01:29:20,880
Speaker 2: But yeah, we'll just remind everyone that Stuff to Blew

1629
01:29:20,920 --> 01:29:23,240
Speaker 2: Your Mind is primarily a science and culture podcast, with

1630
01:29:23,280 --> 01:29:26,599
Speaker 2: core episodes on Tuesdays and Thursdays, short form episode on Wednesdays,

1631
01:29:26,640 --> 01:29:29,200
Speaker 2: and then on Fridays. We set aside most serious concerns

1632
01:29:29,280 --> 01:29:31,880
Speaker 2: to just talk about a weird film on Weird House Cinema.

1633
01:29:32,320 --> 01:29:37,280
Speaker 2: You can follow the podcast feed on Instagram at STBYM podcast,

1634
01:29:37,680 --> 01:29:40,760
Speaker 2: and if you want to follow Weird House Cinema exclusively,

1635
01:29:40,920 --> 01:29:42,720
Speaker 2: go to letterbox dot com. It's l E T T

1636
01:29:42,840 --> 01:29:45,280
Speaker 2: E R B O x D dot com. Our username

1637
01:29:45,360 --> 01:29:46,640
Speaker 2: is weird house and we have a list of all

1638
01:29:46,640 --> 01:29:48,760
Speaker 2: the movies we've covered so far, and sometimes there's a

1639
01:29:48,800 --> 01:29:50,679
Speaker 2: peek ahead at what's coming out next.

1640
01:29:51,240 --> 01:29:54,759
Speaker 3: Huge things. As always to our excellent audio producer JJ Posway.

1641
01:29:55,160 --> 01:29:56,680
Speaker 3: If you would like to get in touch with us

1642
01:29:56,680 --> 01:29:59,120
Speaker 3: with feedback, on this episode or any other. To suggest

1643
01:29:59,120 --> 01:30:01,040
Speaker 3: a topic for the future, or just to say hello,

1644
01:30:01,200 --> 01:30:03,679
Speaker 3: you can email us at contact at stuff to Blow

1645
01:30:03,720 --> 01:30:11,400
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1646
01:30:11,520 --> 01:30:14,479
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1647
01:30:14,560 --> 01:30:17,360
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1648
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