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Speaker 1: Welcome to Stuff to Blow Your Mind, a production of

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Speaker 1: My Heart Radio. Hey, welcome to Weird House Cinema. This

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Speaker 1: is Rob Lamb and this is Joe McCormick. We just

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Speaker 1: finished an episode of Stuff to Blow Your Mind on

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Speaker 1: cattle mutilation phenomenon on cattle mutilation, the cattle mutilation panic

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Speaker 1: of the nineteen seventies. So I thought it made sense

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Speaker 1: to dive into a little muto exploitation cinema here. As

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Speaker 1: we discussed in the Suftable Your Mind episode, the cattle

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Speaker 1: mutilation panic hit a peak around n And while exploitation

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Speaker 1: and B cinema are generally pretty quick to get in

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Speaker 1: there and uh comment on or exploit something like this

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Speaker 1: for entertainment, uh, it seems like most of the pictures

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Speaker 1: attempting to cash in on cattle mutilation panic didn't really

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Speaker 1: come out until around nineteen eighty, which I guess maybe

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Speaker 1: makes sense given, like you, how long it takes to

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Speaker 1: get a film project together. Uh, and there may have

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Speaker 1: been some earlier ones that I just couldn't come across.

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Speaker 1: But uh, yeah, we're gonna be talking about a prime

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Speaker 1: example of cattle mutilation exploitation cinema here. We're gonna be

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Speaker 1: talking about Graden Clark's nineteen eighty film The Return. Now,

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Speaker 1: fans of Weird House Cinema may well recall that the

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Speaker 1: very first episode of Weird House Cinema was another Graden

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Speaker 1: Clark movie. It was also a Graden Clark alien movie

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Speaker 1: called Without Warning, which in many ways prefigured the plot

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Speaker 1: of Predator, except with a would you say, a less

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Speaker 1: gritty looking alien, a little more kind of a a

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Speaker 1: classic big head alien. Yeah, very outer limits the alien

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Speaker 1: in that one. That was also a film that came

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Speaker 1: out of nineteen eighty. That was also a film that

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Speaker 1: had Martin Landau and and it was also a film

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Speaker 1: that had a lot of shots that including like terror

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Speaker 1: shots and horror scenes that take place broad daylight. Some

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Speaker 1: were in the California countryside. This movie is supposed The

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Speaker 1: Return is supposed to take place in New Mexico, but

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Speaker 1: I believe they filmed everything in California, So you're looking

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Speaker 1: at California in this film. Now, I'd say there's one

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Speaker 1: major difference for me between Without Warning and The Return,

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Speaker 1: and it's that Without Warning had Dean Cundy doing cinematography,

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Speaker 1: which is always a treat for me. I you know,

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Speaker 1: I I love his style, even in rather mundane shots.

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Speaker 1: You know, you don't have to get into the real

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Speaker 1: art house framing. Dean Cundy has a really punchy way

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Speaker 1: of like establishing ambient locations and stuff, and so, uh

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Speaker 1: so that was a great thing about Without Warning. He

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Speaker 1: was not doing cinematography for the Return, but the cinematography

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Speaker 1: is still pretty good for for a cattle mutilation alien flick. Yeah,

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Speaker 1: and and it also makes sense given how successful the

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Speaker 1: cinematographer for this film will go one to be. Uh

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Speaker 1: And we'll get to that in a bit. But yeah. Oh,

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Speaker 1: the other thing about this film about the Return versus

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Speaker 1: Without Warning is Without Warning was the pilot episode and

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Speaker 1: first episode of Weird House Cinema back in October. So

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Speaker 1: this is kind of uh it makes it it's extra

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Speaker 1: special that we're doing a return to the work of

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Speaker 1: Grad and Clark bringing it all back home. Now, speaking

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Speaker 1: of the cattle mutilation subgenre of of motion pictures, I

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Speaker 1: do want to at least briefly mentioned I'll probably come

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Speaker 1: back to it a few times as well that Another

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Speaker 1: notable film in this subgenre is Alan Rudolph's film Endangered Species,

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Speaker 1: which I also watched recently. It's a pretty solid conspiracy thriller.

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Speaker 1: It starred Robert Urich in featured performances by Paul Dooley,

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Speaker 1: Peter Coyote, Hohyit Acton, and Dan Hedeia Dan. All right, Yeah,

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Speaker 1: it's not a big not a big role for Hedaya,

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Speaker 1: but but he gets in there and and does Hedaya things,

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Speaker 1: so it's, uh, it's pretty good. It's a film that

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Speaker 1: falls very much on the government conspiracy end of things

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Speaker 1: with cattle mutilation betrays it and I think it's about

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Speaker 1: as believable terms as possible for the most part, Like

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Speaker 1: it might be the most logical cattle mutilation movie you

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Speaker 1: could ask for, and I think that's a big ask. Okay,

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Speaker 1: so yeah, I can see that. So the Return, I

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Speaker 1: guess we will spoil the ending of this movie eventually,

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Speaker 1: so warning spoilers to come if if you're planning on

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Speaker 1: seeing it and haven't. But the Return ends up more

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Speaker 1: on the aliens side, and uh and that that that

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Speaker 1: other one does the government conspiracy side. So there's a

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Speaker 1: little bit of government conspiracy flare thrown into this one,

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Speaker 1: though it's only it's only a hint. You never really

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Speaker 1: know exactly how much government conspiracy there is in the

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Speaker 1: return because we have like suits showing up in the

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Speaker 1: third act and it has never explained how much they

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Speaker 1: know or what they're trying to do. They're just sort

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Speaker 1: of like there to start shooting at the protagonist. Yeah,

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Speaker 1: they're not really sewn into the fabric all that well,

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Speaker 1: but then that can be said for a number of

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Speaker 1: things in this field. Um, I will say one more

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Speaker 1: thing about Endangered Species is that it, as with Alan

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Speaker 1: Rudolph's Trouble in Mind, we also have some issues surrounding

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Speaker 1: the male protagonist, and that the lead character played by

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Speaker 1: Robert Uric is um he isn't as sketchy as the

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Speaker 1: lead character in Trouble in Mind, but there's a fair

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Speaker 1: amount of like noir esque masculine toxicity to the character

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Speaker 1: that I do not think has aged well, So be

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Speaker 1: advised to that if you check out Endangered Species. But again,

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Speaker 1: still it's a pretty solid conspiracy thriller and if you

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Speaker 1: want to watch a decent movie about cattle mutilation, it's

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Speaker 1: a pretty good one to pick up. All right. Now,

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Speaker 1: there are a couple other few other entries in the

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Speaker 1: CMP cinema subgenre, but uh, let's see that most of

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Speaker 1: them didn't really pop out at me. It looks like

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Speaker 1: there's a movie from nineteen seventy nine titled night Wing

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Speaker 1: that has David Warner and Stephen Mocked in it, so

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Speaker 1: that sounds pretty good. And there's a low budget film

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Speaker 1: called Mutilations, which looks like it has has developed sort

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Speaker 1: of a following of due to it's like low budget.

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Speaker 1: Uh you know, z grade goodness. I've not seen any

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Speaker 1: of these other movies. So the Return is my first

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Speaker 1: within this sub genre, and in a way, it's kind

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Speaker 1: of hard for me to imagine improving upon this formula

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Speaker 1: because it's just like, what if we just take a

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Speaker 1: great cast, take the premise of cattle mutilation without actually

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Speaker 1: making the movie all that Gorrian grows like this, This

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Speaker 1: is not a bloody splatterfest for the most part. Yeah. Now,

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Speaker 1: if you like movies where people walk up to a

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Speaker 1: dead cow and talk about it in and direct sunlight, uh,

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Speaker 1: this is the movie for you because we have multiple

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Speaker 1: scenes like that. I think it also sort of blunts

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Speaker 1: the squeamishness and grotesquery of the cattle mutilation when we

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Speaker 1: discover that it is basically being performed by a small lightsaber.

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Speaker 1: Oh yes, yes, essentially a small surgical lightsaber. Uh. Yeah,

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Speaker 1: it becomes clear that that is the the instrument being used,

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Speaker 1: which I think is an This is one of the

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Speaker 1: things I loved about the film, and once I realized

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Speaker 1: that was going to be an element, and I was like, oh, well,

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Speaker 1: I am in especially when you see who's wielding the lightsaber.

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Speaker 1: Uh it's pretty great and I think it's almost kind

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Speaker 1: of surprising nobody's come back and done that again, like

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Speaker 1: rural slasher film with alien surgical lightsaber. That's a great premise,

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Speaker 1: Like it is weird. I love it. Well, it is

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Speaker 1: here's something I'm psychologically curious about. Uh. I assumed that

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Speaker 1: other people would probably feel the same way, but certainly,

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Speaker 1: the way I reacted to this movie, the violence was

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Speaker 1: a lot less icky and a lot less bothersome because

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Speaker 1: it was being inflicted with a little lightsaber versus if

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Speaker 1: it had just been done with like a knife or

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Speaker 1: or you know, straightforward metal blade. Yeah, if nothing else,

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Speaker 1: the limitations of effects and the effects are pretty good

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Speaker 1: in this film, but the limitations of what you can

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Speaker 1: do or should try to do with an effect like

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Speaker 1: this in meant that you're not going to get big goopy,

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Speaker 1: prolonged gore scenes like you would get potentially get in

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Speaker 1: a slasher movie by other directors during this time period.

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Speaker 1: Like it's not even really as gory as um as

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Speaker 1: without warning. You know, we have lots of scenes of

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Speaker 1: alien um you know, sucker weapons being pulled off of

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Speaker 1: people's skin in that one. Oh yeah, alright. For so

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Speaker 1: as far as elevator pitch for this one goes, um,

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Speaker 1: I I had a hard time coming up with one

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Speaker 1: that doesn't spoil the film. I was tempted to go

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Speaker 1: with cattle mutilation the motion picture, but I also think

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Speaker 1: upon reflection, it could be um, cattle mutilation colon uh misconnections,

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Speaker 1: because ultimately it is about miss connections with cattle mutilation

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Speaker 1: thrown in there. Well wait then, Robert, we're going to

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Speaker 1: try not to spoil the film. Um. I mean I

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Speaker 1: think at this point we could we could start spoiling it. Okay, okay,

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Speaker 1: this is one that I would advise do not watch

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Speaker 1: the trailer in full for because the trailer for this

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Speaker 1: one is amusing, but it's like shows you everything, and

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Speaker 1: I feel like it does. This film does have some

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Speaker 1: twists and turns up its sleeve. Um. You know, that's

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Speaker 1: not it's not dependent upon those twists, but they are

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Speaker 1: kind of fun to to, uh to take in organically. Well,

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Speaker 1: let me turn my hand at an elevator pitch. Here

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Speaker 1: it is an unhinged alcoholic cop and an uptight city

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Speaker 1: dwelling scientist find the meaning of love when they come

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Speaker 1: together to investigate the mutilation of livestock. All right, let's

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Speaker 1: go ahead and here just part of the trailer. I

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Speaker 1: think we're only gonna play like a minute of it here,

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Speaker 1: but it'll give you a taste of what it's all about.

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Speaker 1: Who will have the right to live on Earth? The return?

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Speaker 1: I've been looking at the cattle mutilations on my own

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Speaker 1: for some time. I noticed didn't say as the precise

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Speaker 1: surgical cuts. Let's freaking everybody out, and none of the

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Speaker 1: other animals will even go near it. Hell, there's not

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Speaker 1: even any flies or ants on it. I won't be

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Speaker 1: threatened on my land to help us on these cattle mutilations,

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Speaker 1: some damn scientists. I don't know that the difference between

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Speaker 1: the tower and us stairs telling us our presidents. I

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Speaker 1: believe this trailer began with a line like who like

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Speaker 1: who will have the right to live on Earth or

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Speaker 1: something like that, which which is amazing because it has

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Speaker 1: nothing to do with the plot of the film. Um,

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Speaker 1: who will own the title deed to Planet Earth? Uh? Now,

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Speaker 1: if you want to watch this film as well, um,

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Speaker 1: it's it's actually pretty easy to come by. I feel

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Speaker 1: like when I was looking into this film months ago,

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Speaker 1: it seems nobody had it streaming or I couldn't find

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Speaker 1: it streaming. Video Drum didn't have a copy of it

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Speaker 1: to rent here in Atlanta. So I bought the Blu

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Speaker 1: ray from my believe Scorpion Entertainment. And it's a great disc,

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Speaker 1: includes some extras and including a director's commentary. Uh. Great

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Speaker 1: film quality, So it definitely looks good. But as of now, however,

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Speaker 1: you can stream in lease in the United States, you

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Speaker 1: can stream it on to b and Pluto TV. You

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Speaker 1: can rent or purchase it digitally in most places. Uh

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Speaker 1: and uh yeah. And if you do go to Video

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Speaker 1: Drum in Atlanta, I'm probably gonna donate the disc to

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Speaker 1: Video Drums so they can add it to their Grade

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Speaker 1: and Clark collection. It belongs in a museum. Well, let's

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Speaker 1: get into the people. Then let's talk briefly about Grade

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Speaker 1: and Clark. We didn't talk about him in the previous

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Speaker 1: episode of a Weird House that covered one of his films,

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Speaker 1: But director borne Um also writer and early on an actor,

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Speaker 1: best known for such films as Without Warning, The Return,

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Speaker 1: Seven's Uninvited. That's a Killer Cat movies, durring George Kennedy, Oh,

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Speaker 1: I don't think I realized that was great. And Clark,

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Speaker 1: that's the one with the killer mutant cat on a yacht. Yeah,

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Speaker 1: I haven't seen it yet, but I hear hear great

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Speaker 1: things about it. Oh, my lord, Rob whoever had the

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Speaker 1: idea to set a killer cat movie on the open

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Speaker 1: sea like with water, It's just amazing. He also directed

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Speaker 1: nineteen seventy nine Angels Revenge and Jodan Baker movie Final

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Speaker 1: Justice that a lot of MST three K fans will

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Speaker 1: be familiar with. That is not the movie Final Sacrifice,

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Speaker 1: which I always confuse it with. Not the one set

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Speaker 1: in Canada with roused Ower. It's the one set in

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Speaker 1: Malta with Joe Don. Baker is a dyspeptic sheriff. On

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Speaker 1: the acting front, you'll find Clark and Will cameos in

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Speaker 1: his own films, but he also had parts in the

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Speaker 1: I'll see the nineteen sixty nine biker film Satan Sadist

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Speaker 1: starring Russ Tamblin and nineteen seventies Hell's Bloody Devils. Uh.

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Speaker 1: He also the screenplay for Satan's Sadists. That sounds like

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Speaker 1: a joke title. They're trying to create a tongue twisters

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Speaker 1: Satan sells Sadist down by the same shore. Yeah, um,

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Speaker 1: let's see. I he He had an interesting um filmography,

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Speaker 1: working in various genres, and he directed his last film,

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Speaker 1: Star Games in His autobiography was titled On the Cheap

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Speaker 1: My Life in Low Budget Filmmaking. All right, well, I

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Speaker 1: don't think I can vouch for the quality of Final Justice,

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Speaker 1: but of his three earlier b horror movies, all three

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Speaker 1: or a Fun Time, The Uninvited Without Warning and the

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Speaker 1: Return thumbs up all around on those. Now, on the

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Speaker 1: writing side of things, um, two of the prime writers

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Speaker 1: on this we're Ken and Jim Wheat born nineteen fifty

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Speaker 1: and nineteen fifty two, respectively, brothers who also wrote and

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Speaker 1: directed five e Walks The Battle of Indoor, which we

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Speaker 1: previously covered on the show. I don't know if that's

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Speaker 1: a movie I would single out for the quality of

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Speaker 1: its writing, but Uh, I mean, how can you hate

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Speaker 1: on Battle for Indoor. Yeah, it's a it's a fun

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Speaker 1: right as now on Disney. Plus. Other screenplays of theirs

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Speaker 1: include The Fly too. Um, yeah, that's that's generally that's yeah,

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Speaker 1: that's that's an interesting film. Um and not not as

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Speaker 1: it's It's not as good as this cronenbergs The Fly obviously,

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Speaker 1: but it takes it fully embraces just being a monster movie,

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Speaker 1: being like a really goopy, gross monster movie. Uh. They

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Speaker 1: also wrote A Nightmare on Elm Street four. Oh yeah,

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Speaker 1: I remember that being the last arguably good one until

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Speaker 1: a New Nightmare. Okay. They also did The Birds Too

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Speaker 1: and two thousands Pitch Black. As such, you'll see their

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Speaker 1: name on all the various Riddeck movies that have come out,

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Speaker 1: like Chronicles of Riddeck, because they they wrote the screenplay

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Speaker 1: for Pitch Black. Characters created by Yeah. Another writer credited

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Speaker 1: on this one is Curtis birch Um, and he as

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Speaker 1: an editor and producer who worked on various Clark films.

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Speaker 1: But okay, this thriller film needs its own dashing hero.

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Speaker 1: Who's going to be the cop who comes in to

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Speaker 1: save the day. Well, it is of course going to

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Speaker 1: be Jan Michael Vincent playing Wayne the Cop Jan Michael Vincent.

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Speaker 1: I'm gonna say strange casting choice. Uh something about him

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Speaker 1: felt a little too handsome to play this this character

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Speaker 1: who again is supposed to be a an out of

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Speaker 1: control alcoholic cop. But I liked him anyway. Yeah, yeah,

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Speaker 1: I think I think it's a solid performance. Um. You know,

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Speaker 1: you can see why a lot of people wanted to

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Speaker 1: be in the in the Jan Michael Vincent business, uh

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Speaker 1: for a while there. Uh he live through nineteen handsome,

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Speaker 1: very competent star actor of the seventies and eighties, known

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Speaker 1: for such films as Bite the Bullet from seventy five,

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Speaker 1: The Mechanic from seventy two, Vigilante Force from seventy six,

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Speaker 1: and for the Airwolf TV movie and series spin off.

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Speaker 1: He's a guy who who seems to have had his

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Speaker 1: share of personal problems and later in life he had

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Speaker 1: health problems as well. His last film was in two

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Speaker 1: thousand and two. But but yeah, in this one, in

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Speaker 1: some ways, it's a little the casting is a little

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Speaker 1: bit odd, but you know, you buy him in every

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Speaker 1: scene that he's in, so it uh, you know, he's

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Speaker 1: one of there are a lot of performances in this

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Speaker 1: in this movie where I would easily say, and this

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Speaker 1: is not their best work. These people did better work

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Speaker 1: outside of The Return. I haven't seen a lot of

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Speaker 1: Jen Jen Michael Vincent's filmography, but it's a solid performance here.

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Speaker 1: I can't follow him at all for the performance. I mean,

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Speaker 1: he really sells. The scene where he shoots a guy's

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Speaker 1: cassette tape player in a rage, Yeah, I mean that's

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Speaker 1: the That's a good scene to bring up, because, yeah,

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Speaker 1: this is a movie that I think presents various scenes

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Speaker 1: that are are perhaps a challenge for actors like how

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Speaker 1: do you how do you pull that scene off believably? Um?

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Speaker 1: And he does it for the most part, and not

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Speaker 1: everybody maybe is uh was able to pull off scenes

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Speaker 1: like that in The Return? Now the Uh. The The

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Speaker 1: other main character in this is Jennifer. She is the

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Speaker 1: scientist and she's played by Civil Shepherd Born. I'm torn

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Speaker 1: on what to say about this performance because on one hand,

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Speaker 1: it does not feel like she's really uh. It does

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Speaker 1: not feel like a super effortful performance like she's you know,

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Speaker 1: really reaching down to pull out every emotion to put

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Speaker 1: in this character. On the other hand, a simple. Shepherd

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Speaker 1: has a has a very easy going charm, and even

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Speaker 1: in scenes where she's not really doing much except kind

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Speaker 1: of like looking bemuse at a cop who's acting weirdly. Uh,

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Speaker 1: she she's very likable. Yeah, yeah, she's very likable. And

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Speaker 1: I guess I wanted to like her performance more. I

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Speaker 1: feel like the picture maybe just gives her fewer moments

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Speaker 1: to really allow her her talents and her her natural

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Speaker 1: charisma to shine through. I mean, there's nothing I have

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Speaker 1: nothing to about her performance in this but um, you know,

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Speaker 1: we just we know that that there are better examples

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Speaker 1: of her work out there. And I like how she

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Speaker 1: has her as you know, has her her fun Tennessee

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Speaker 1: accent out she's playing a scientist. But you know, there's

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Speaker 1: just it doesn't feel like it's like quite up there

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Speaker 1: on the level you expected to be. Well, I mean,

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Speaker 1: the way her character is written, I think she's supposed

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Speaker 1: to be somebody who never really gets ruffled, like she

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Speaker 1: she just sort of like observes everything with a raised eyebrow,

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Speaker 1: even when it's quite weird what she's observing. Yeah, So

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Speaker 1: I have to know when I when I think of

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Speaker 1: simpile Shepherd, I generally My mind goes instantly to TV's

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Speaker 1: Moonlighting from the nine eighties during Bruce Bruce Willis or

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Speaker 1: you know, I think about I think she had a

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Speaker 1: nineties TV series called Sybil, And I never watched any

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Speaker 1: of these shows, but I just remember, especially Moonlighting being on.

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Speaker 1: It was a move, was a show that came on

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Speaker 1: and I knew who was in it. But she has

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Speaker 1: has some far more impressive movies in her filmography. Her

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Speaker 1: Her first film was Peter Bogdanovich's V one movie The

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Speaker 1: Last Picture Show, alongside of great cast of actress such

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Speaker 1: as Timothy Bottoms, Jeff Bridges, Chloris Leachman, Ellen Burston, and

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Speaker 1: Randy Quaid, with a screenplay by Larry McMurtry based on

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Speaker 1: his own novel. I also either I didn't realize I

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Speaker 1: had forgotten that she was in Martin Scorsese's Taxi Driver

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Speaker 1: from Oh Yeah. She plays the campaign worker for Senator Palatine,

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Speaker 1: who Travis Pickele is is trying to romance in a

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Speaker 1: in a very awkward way. Yeah, it does not go well,

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Speaker 1: as nothing goes well? Is that movie all right? Now?

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Speaker 1: Someone who does give a great performance in this I

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Speaker 1: thought anyway, is Martin Landau, who was was also in

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Speaker 1: Without Warning, and in this he plays Niles Buchanan, the

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Speaker 1: other local law enforcement agent. I think Technico c he's

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Speaker 1: Jan Michael Vincent's boss. I think Buchanan. He goes by Buck.

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Speaker 1: So his character Niles Buchanan, I think the Buck is

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Speaker 1: the buque in Buchanan. So Buck is the marshal and

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Speaker 1: Jan Michael Vincent is the deputy marshal. Yeah. He he

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Speaker 1: seems to be having the time of his life in

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Speaker 1: this row, or at least it seems that way it was.

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Speaker 1: It's a very fun performance. In Without Warning, he plays

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Speaker 1: a like a deranged recluse. Uh and uh and and

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Speaker 1: it's fun in that picture as well. But in this

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Speaker 1: he plays a character that is um a lot more

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Speaker 1: comedic without being just to throwaway comedic character. Like there's

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Speaker 1: a lot of One thing you can say about Martin

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Speaker 1: Landau has always had a very expressive face, and he

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Speaker 1: really gets to use that face in this film. There

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Speaker 1: are a couple of funny scenes in this movie between

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Speaker 1: like Martin Landau and Jan Michael Vincent that are are

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Speaker 1: so are funny in such a naturalistic way. I wonder

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Speaker 1: if they were improvised by the actors or if they

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Speaker 1: were actually on page, I would just say that's unusually

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Speaker 1: good writing in those scenes in particular, like the the

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Speaker 1: hilarious doughnut beer monologue scene or the uh or the

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Speaker 1: you know, we're just a couple of Yahoo cops in

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Speaker 1: a jerkwater town scene like those are good. Yeah, Yeah,

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Speaker 1: there's some good little scenes between the two of them.

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Speaker 1: And and again I think I think these two actors,

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Speaker 1: jam Michael Vincent and Martin Landau are the ones that

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Speaker 1: did really come off the best in this film. Like

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Speaker 1: if this was your only example of these actors and

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Speaker 1: what they were capable of, you'd be like, well, these

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Speaker 1: guys are great. I want more buddy cop movies with

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Speaker 1: with these two. Now, we talked about Martin Landau on

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Speaker 1: the previous episode A good but of course uh. He's

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Speaker 1: perhaps best remembered for his Academy Award winning performance as

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Speaker 1: Bella Llegosti and Tim Burton's ed Wood from ninety four.

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Speaker 1: He also had memorable roles in north By Northwest from

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Speaker 1: fifty nine, Cleopatra from sixty three, and he did a

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Speaker 1: lot of TV work, including roles on the original Outer Limits,

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Speaker 1: the Twilight Zone mission, Impossible and of course space. I

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Speaker 1: love of Martin Landau. I remember there's a really great

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Speaker 1: classic Twilight Zone episode where he plays like a I think,

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Speaker 1: like a defect or in a hotel room and he's

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Speaker 1: been told that there's a secret bomb planet somewhere in

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Speaker 1: his hotel room and he has to find it. I

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Speaker 1: remember that episode really stuck out at me. But yeah,

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Speaker 1: he's also just unforgettable as Bella Legosie and Edwood. Now

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Speaker 1: playing Jennifer's dad, Dr Kramer is Raymond Burr, who lived

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Speaker 1: nineteen seventeen through. Uh yeah, he's he's her boss at

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Speaker 1: the at SSR, the Science Place. Um he is. Burr

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Speaker 1: is best known for roles in Rear Window, Godzilla, Godzilla

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Speaker 1: nine eight five, and TV's Ironside and Perry Mason. But uh,

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Speaker 1: I don't know. I would say this is probably not

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Speaker 1: his best work. It's a it's a very dry performance,

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Speaker 1: nothing bad about it. But it's uh yeah, it's it's there.

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Speaker 1: Uh it's it's it's, it's it's I don't really don't

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Speaker 1: know what to say about it. He shows up, he

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Speaker 1: lays down some plot, lays down some technobabble, and then

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Speaker 1: kind of wanders off. I found him amusing. His character

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Speaker 1: in this movie reminds me of the psychiatrist who does

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Speaker 1: the spankological protocol on ned Flanders. You know, May God

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Speaker 1: have mercy on us all. Yeah, there are some fun

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Speaker 1: scenes with him, like the scene where he gets to

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Speaker 1: go out and look at a cattle mutilation. He's like

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Speaker 1: he's taking notes in the rancher is just getting more

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Speaker 1: and more irate about everything, and he's like he's just

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Speaker 1: completely non phased by the whole thing. Well, there's a

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Speaker 1: great exchange. The rancher is like, I, I, you know

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Speaker 1: you're gonna tell me this is an attack by a scavenger.

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Speaker 1: I've seen every type of scavenger and predator in the

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Speaker 1: entire world, and I know what they do. And then

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Speaker 1: Raymond Burr is just like, it is scientifically impossible that

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Speaker 1: you have seen every attack by a predator scavenger. I

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Speaker 1: love that. Yeah, yeah, that was definitely a laughout lot

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Speaker 1: moment for me. When they're also a couple of funny

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Speaker 1: parts where he just shows up on announced, like it

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Speaker 1: cuts to him and he's in the room and I

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Speaker 1: don't know why. It was just like Raymond Burr incoming.

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Speaker 1: It was very funny. Now we also have a very noticeable,

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Speaker 1: very recognizable character actor in this U playing the deranged

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Speaker 1: prospect or that that spoiler, uh we find out is

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Speaker 1: the one utilizing a lightsaber in the in the New

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Speaker 1: Mexico Wilderness, played by Vincent Schiavelli, who lived ninety eight

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Speaker 1: through two thousand and five. You've seen this guy in

425
00:24:32,880 --> 00:24:37,200
Speaker 1: a thousand different movies. Yeah. Yeah, he's tons of work

426
00:24:37,240 --> 00:24:39,399
Speaker 1: over the over the years during his career. One of

427
00:24:39,440 --> 00:24:42,960
Speaker 1: his first big roles was that of Frederickson in One

428
00:24:42,960 --> 00:24:45,440
Speaker 1: Flew Over the Cuckoo's Nest, which of course has a

429
00:24:45,560 --> 00:24:48,919
Speaker 1: diverse cast of weird character actors who would go on

430
00:24:49,000 --> 00:24:54,240
Speaker 1: to uh to very noteworthy films, including Brad Dorriff. I

431
00:24:54,280 --> 00:24:57,359
Speaker 1: don't remember if he was exactly this character, but I

432
00:24:57,400 --> 00:25:01,119
Speaker 1: think he was associated with the with On Smallberries and

433
00:25:01,160 --> 00:25:04,520
Speaker 1: the John Smallberry scene of the Adventures of Buck Rubonds.

434
00:25:04,560 --> 00:25:09,440
Speaker 1: I yeah, yeah, he's definitely in that from four. He's

435
00:25:09,440 --> 00:25:13,160
Speaker 1: also in Amadeus from eighty four, which I forgot about. Uh,

436
00:25:13,200 --> 00:25:16,840
Speaker 1: He's in Batman Returns. He's in ninety five Lord of

437
00:25:16,880 --> 00:25:21,280
Speaker 1: Illusions from Clive Barker. He's in Ghost from nine plays

438
00:25:21,280 --> 00:25:24,080
Speaker 1: a Ghost, and I do remember this role he's in

439
00:25:25,119 --> 00:25:28,919
Speaker 1: seven's Tomorrow Never Dies, the James Bond film, he has

440
00:25:28,920 --> 00:25:30,920
Speaker 1: a brief role as a Hinchman who I think is

441
00:25:30,920 --> 00:25:34,040
Speaker 1: going to interrogate Bond but then doesn't get to. Yeah.

442
00:25:34,080 --> 00:25:36,840
Speaker 1: I think they build him up as like a master

443
00:25:37,040 --> 00:25:40,720
Speaker 1: torture guy, but then he just gets immediately dispatched by Bond.

444
00:25:42,440 --> 00:25:44,119
Speaker 1: But yeah, he's a he's a character actor who I

445
00:25:44,160 --> 00:25:47,320
Speaker 1: think was often great and small doses like that. Um.

446
00:25:47,320 --> 00:25:48,960
Speaker 1: He was in one of my favorite Tales from the

447
00:25:48,960 --> 00:25:51,760
Speaker 1: Crypt episodes, more than Mess from ninety one. But he

448
00:25:51,760 --> 00:25:54,080
Speaker 1: also showed up on shows like Highlanders, Star Trek, the

449
00:25:54,119 --> 00:25:57,720
Speaker 1: Next Generation, and a side show episode of The X Files.

450
00:25:57,880 --> 00:25:59,919
Speaker 1: Do you remember this one, Joe? This one had like

451
00:26:00,040 --> 00:26:04,000
Speaker 1: Jim Rose and the Enigma in it. Okay, Yeah, Well

452
00:26:04,040 --> 00:26:07,080
Speaker 1: I have to say that for for Vincent Chivelli, I

453
00:26:07,119 --> 00:26:10,000
Speaker 1: don't think the return is one of his better roles.

454
00:26:10,119 --> 00:26:14,520
Speaker 1: I think he's he's still physically imposing enough. He's not

455
00:26:14,680 --> 00:26:17,359
Speaker 1: unsympathetic in these in some of these areas in the

456
00:26:17,359 --> 00:26:19,919
Speaker 1: film where you're supposed to feel sympathy for him, But

457
00:26:20,000 --> 00:26:23,159
Speaker 1: I don't know, and maybe it's just not the performance itself,

458
00:26:23,160 --> 00:26:26,159
Speaker 1: but the choice is made around that performance. He is

459
00:26:26,240 --> 00:26:29,199
Speaker 1: kind of inscrutable in this movie. He doesn't talk for

460
00:26:29,280 --> 00:26:32,199
Speaker 1: most of it. Yeah, but the main thing required of

461
00:26:32,240 --> 00:26:34,480
Speaker 1: him in the film is to is to look very

462
00:26:34,560 --> 00:26:38,400
Speaker 1: threatening as he stands there with a worrying, glowing electric

463
00:26:38,440 --> 00:26:42,399
Speaker 1: toothbrush slash lightsaber when he's about to to to muto

464
00:26:42,560 --> 00:26:46,080
Speaker 1: somebody and uh, and he does that quite well. Yeah.

465
00:26:46,560 --> 00:26:48,359
Speaker 1: One thing I didn't realize about him is that he

466
00:26:48,400 --> 00:26:50,840
Speaker 1: was also a food writer. And he won the two

467
00:26:50,840 --> 00:26:53,680
Speaker 1: thousand and one James Beer Journalism Award for his article

468
00:26:53,760 --> 00:26:58,080
Speaker 1: Sicilian Summers, published in the Los Angeles Times. Yeah, you

469
00:26:58,080 --> 00:27:00,200
Speaker 1: can still pull it up. It's a it's available. It's

470
00:27:00,240 --> 00:27:02,880
Speaker 1: not behind like an ad barrier or anything. I want

471
00:27:02,880 --> 00:27:05,879
Speaker 1: to read, just an excerpt from it here. Quote. In

472
00:27:05,920 --> 00:27:08,399
Speaker 1: the center of the of the vineyard is an ancient

473
00:27:08,440 --> 00:27:11,600
Speaker 1: hazel nut tree. A collection of battered outdoor chairs is

474
00:27:11,640 --> 00:27:15,879
Speaker 1: nestled in its shade. We all settled in conversation meanders,

475
00:27:16,000 --> 00:27:19,280
Speaker 1: and our breathing slows like the balmy afternoon breeze. We

476
00:27:19,400 --> 00:27:22,879
Speaker 1: fall into our naps, content and grateful for the gifts

477
00:27:23,040 --> 00:27:26,840
Speaker 1: of this piece of earth. One last cast member we mentioned,

478
00:27:26,840 --> 00:27:31,080
Speaker 1: the rancher who's ranting about about scientists on his land

479
00:27:31,080 --> 00:27:33,720
Speaker 1: and about the cattle mutilations. This rancher the main rancher,

480
00:27:33,760 --> 00:27:36,119
Speaker 1: and this is played by Neville Brand who is also

481
00:27:36,160 --> 00:27:40,840
Speaker 1: in Without Warning. The is a you know this guy

482
00:27:41,000 --> 00:27:43,960
Speaker 1: as a face you recognize because really rugged, tough guy face.

483
00:27:44,040 --> 00:27:45,960
Speaker 1: So he played a lot of cowboys and heavies in

484
00:27:46,000 --> 00:27:48,800
Speaker 1: his time, a lot of TV westerns and some classic

485
00:27:49,359 --> 00:27:53,159
Speaker 1: war movies like fifty three Stalog seventeen in nineteen seventies.

486
00:27:53,200 --> 00:27:56,920
Speaker 1: Toura Tora Tora also did his share of B movies

487
00:27:57,080 --> 00:27:59,680
Speaker 1: later in his career. Now we talked about the cinematographer

488
00:28:00,040 --> 00:28:03,119
Speaker 1: being noteworthy in this not being um Dean Cutty, but

489
00:28:03,400 --> 00:28:07,200
Speaker 1: being in this case Daniel Pearl, who was born nineteen

490
00:28:07,880 --> 00:28:11,040
Speaker 1: nineteen fifty one, depending on the source, pretty famous cinematographer

491
00:28:11,160 --> 00:28:14,199
Speaker 1: in music video circles at least, but he also had

492
00:28:14,200 --> 00:28:17,480
Speaker 1: previously worked on nineteen seventy four is the Texas Chainsaw Massacre,

493
00:28:18,119 --> 00:28:20,080
Speaker 1: and uh yeah, I went on to work mostly in

494
00:28:20,160 --> 00:28:23,520
Speaker 1: music videos and some some big name music videos. Even

495
00:28:23,560 --> 00:28:26,480
Speaker 1: as recently as like the last couple of years, he's

496
00:28:26,640 --> 00:28:30,400
Speaker 1: been the cinematographer on major music videos. So even as

497
00:28:30,440 --> 00:28:33,159
Speaker 1: like the music video world has perhaps gotten a lot

498
00:28:33,280 --> 00:28:36,200
Speaker 1: smaller since the nineteen eighties, like he still seems to

499
00:28:36,200 --> 00:28:38,880
Speaker 1: be a big part of it. He also worked on

500
00:28:38,880 --> 00:28:43,080
Speaker 1: the occasional film and concluding Aliens Versus Predator Requiem from

501
00:28:43,080 --> 00:28:46,400
Speaker 1: Twenties two thousand and seven, two thousand and nine, Friday

502
00:28:46,440 --> 00:28:49,640
Speaker 1: the Thirteenth reboot, as well as the Texas Chainsaw Massacre

503
00:28:49,720 --> 00:28:52,080
Speaker 1: remake from two thousand and three. Oh well, I'd say

504
00:28:52,120 --> 00:28:55,240
Speaker 1: both of those two thousands franchise reboots are movies I

505
00:28:55,280 --> 00:28:59,520
Speaker 1: don't really love, but the cinematography is pretty good. Yeah.

506
00:28:59,800 --> 00:29:03,280
Speaker 1: And finally, the music on this one is from Dan Wyman.

507
00:29:03,400 --> 00:29:05,280
Speaker 1: Uh Yeah, the music it's pretty good in this one.

508
00:29:05,280 --> 00:29:08,200
Speaker 1: It's it's more traditional at times to score, but gets

509
00:29:08,200 --> 00:29:10,960
Speaker 1: more synth, synthy and great and weirder and some of

510
00:29:10,960 --> 00:29:14,320
Speaker 1: the weirder moments in the film. H Wyman also scored

511
00:29:14,360 --> 00:29:17,280
Speaker 1: Without Warning and later scored the films The Dead Pit

512
00:29:17,360 --> 00:29:20,760
Speaker 1: from eight nine and The Lawnmower Man from He is

513
00:29:20,760 --> 00:29:25,000
Speaker 1: credited as the orchestrator on John Carpenter's Assault on Precinct thirteen,

514
00:29:25,360 --> 00:29:29,040
Speaker 1: Halloween and The Fog. He was also the score supervisor

515
00:29:29,120 --> 00:29:33,240
Speaker 1: on nine Apocalypse Now and get this, he literally wrote

516
00:29:33,240 --> 00:29:36,320
Speaker 1: the book on the MG Synthesizer because he wrote the

517
00:29:36,320 --> 00:29:39,680
Speaker 1: principal manual on the MG Synthesizer analog on the MOG

518
00:29:40,000 --> 00:29:44,000
Speaker 1: Modular Analog synthesizer for Robert mug and the New Orleans

519
00:29:44,040 --> 00:29:48,120
Speaker 1: Music Company. Wow, that is a truly impressive claim to fame.

520
00:29:49,080 --> 00:29:52,320
Speaker 1: There's a great image I found online and it's of

521
00:29:52,360 --> 00:29:55,720
Speaker 1: Wyman and Carpenter. Uh, black and white photo of them

522
00:29:55,720 --> 00:29:59,560
Speaker 1: in this like synth tech gear layer with you know,

523
00:29:59,600 --> 00:30:03,640
Speaker 1: just wall alls of of synthesizers and various uh you know,

524
00:30:04,280 --> 00:30:07,640
Speaker 1: by our standards, in an old fashioned recording equipment. There's

525
00:30:07,680 --> 00:30:10,560
Speaker 1: a monitor on the wall. It looks looks amazing all

526
00:30:10,600 --> 00:30:13,760
Speaker 1: these reel to reels behind them. Yeah, yeah, just jamming

527
00:30:13,960 --> 00:30:17,600
Speaker 1: do I see in a scilloscope? Be all right, let's

528
00:30:17,600 --> 00:30:20,000
Speaker 1: get into the plot of this baby, okay, doke. First

529
00:30:20,120 --> 00:30:24,600
Speaker 1: thing I have to say, uh, is about the menu,

530
00:30:24,800 --> 00:30:27,440
Speaker 1: the top menu in the Blu ray that you gave me, Rob.

531
00:30:27,640 --> 00:30:31,440
Speaker 1: It is funny. It looks like a birthday party invitation

532
00:30:32,120 --> 00:30:35,200
Speaker 1: made by a fifth grader in word perfect in nineteen

533
00:30:35,960 --> 00:30:40,479
Speaker 1: I I feel like I made things that looked like this. Uh.

534
00:30:40,600 --> 00:30:43,800
Speaker 1: The way that the characters images are are on it.

535
00:30:43,800 --> 00:30:47,240
Speaker 1: It has a very uh dragon drop click art quality,

536
00:30:47,520 --> 00:30:49,840
Speaker 1: and it's I don't know what the font for the

537
00:30:49,840 --> 00:30:52,040
Speaker 1: menu options is, but it looks almost kind of like

538
00:30:52,080 --> 00:30:57,440
Speaker 1: comic sands. Yeah, I mean having a great menu on

539
00:30:57,520 --> 00:30:59,960
Speaker 1: a on a blue ray is it's a there's a

540
00:31:00,040 --> 00:31:01,720
Speaker 1: fine art to it. You don't see it pulled off

541
00:31:01,720 --> 00:31:04,440
Speaker 1: a lot. Oh No, I'm saying this is a great menu.

542
00:31:04,560 --> 00:31:07,800
Speaker 1: I would not change a single thing, no notes whatsoever.

543
00:31:08,000 --> 00:31:11,760
Speaker 1: I like the word perfect vibe. But then you push

544
00:31:11,800 --> 00:31:14,320
Speaker 1: play on this baby, and you go into the movie

545
00:31:14,400 --> 00:31:18,200
Speaker 1: and we we run a really on a roll there

546
00:31:18,200 --> 00:31:20,640
Speaker 1: for a while with movies that started off in outer

547
00:31:20,720 --> 00:31:23,600
Speaker 1: space in the orbit of the Earth. And I think

548
00:31:23,600 --> 00:31:25,440
Speaker 1: in the last episode of Weird House you were bemoaning

549
00:31:25,480 --> 00:31:28,560
Speaker 1: the fact that we didn't get that again. Well, uh, surprise,

550
00:31:28,880 --> 00:31:31,400
Speaker 1: we're back in space. Of course, we're in space. We

551
00:31:31,440 --> 00:31:33,880
Speaker 1: get some you know, the credits are in blue starfield

552
00:31:33,880 --> 00:31:37,680
Speaker 1: in the background. The credits have a certain crulish quality

553
00:31:37,720 --> 00:31:40,520
Speaker 1: to them. Uh. And then we see a flying saucer

554
00:31:40,600 --> 00:31:42,720
Speaker 1: right at the beginning, So there's no hiding that under

555
00:31:42,760 --> 00:31:45,320
Speaker 1: a bushold it's not going to be an alien reveal.

556
00:31:45,480 --> 00:31:47,160
Speaker 1: At the end of the very first thing we see

557
00:31:47,160 --> 00:31:51,320
Speaker 1: as a spaceship. Yeah, but once the crulishness subsides, we

558
00:31:51,400 --> 00:31:54,239
Speaker 1: do go down to planet Earth. And what it's not

559
00:31:54,360 --> 00:31:57,560
Speaker 1: the planet Earth of present day nineteen eighty, it's the

560
00:31:57,600 --> 00:32:01,000
Speaker 1: planet Earth of years past. Yeah, it must be the

561
00:32:01,240 --> 00:32:03,960
Speaker 1: I guess the late nine. Yeah. So we see where

562
00:32:03,960 --> 00:32:07,320
Speaker 1: it's like a street on a you know, New Mexico town,

563
00:32:08,160 --> 00:32:10,760
Speaker 1: late at night, and we see a you know, fifties

564
00:32:10,800 --> 00:32:13,240
Speaker 1: style tank of a car pull up to the curb,

565
00:32:13,800 --> 00:32:16,240
Speaker 1: and uh, a guy and a young kid get out.

566
00:32:16,680 --> 00:32:18,760
Speaker 1: And what I thought is, so the kid is dressed

567
00:32:18,800 --> 00:32:20,840
Speaker 1: up like a cowboy, and he's got a little a

568
00:32:20,880 --> 00:32:23,200
Speaker 1: little cap gun. You remember those toy guns with the

569
00:32:23,320 --> 00:32:26,480
Speaker 1: strips of caps that had the hammer, and yeah, yeah,

570
00:32:26,520 --> 00:32:28,680
Speaker 1: I had those when I was a kid, and this

571
00:32:28,800 --> 00:32:31,640
Speaker 1: kid's got one of those. And so he's having a ball,

572
00:32:31,720 --> 00:32:33,400
Speaker 1: I guess, with this cap gun. And I don't know

573
00:32:33,440 --> 00:32:35,320
Speaker 1: if he was just like slamming those things off in

574
00:32:35,320 --> 00:32:37,480
Speaker 1: the back seat of the car while his dad was driving.

575
00:32:38,080 --> 00:32:41,480
Speaker 1: That sounds really annoying, but anyway, so in fact, maybe

576
00:32:41,520 --> 00:32:44,760
Speaker 1: this is what brought on the stop that we arrived at,

577
00:32:44,760 --> 00:32:47,400
Speaker 1: which is that they get out of the car. And

578
00:32:47,440 --> 00:32:51,120
Speaker 1: what I assumed at first was the dad was going inside,

579
00:32:51,520 --> 00:32:54,040
Speaker 1: I don't know, the tractor supply store or something to

580
00:32:54,120 --> 00:32:57,280
Speaker 1: take care of some business. But instead we find out

581
00:32:57,280 --> 00:32:59,640
Speaker 1: the building he's going into is a bar, and he's

582
00:32:59,680 --> 00:33:01,720
Speaker 1: just haveing his kid wait outside while he has a

583
00:33:01,800 --> 00:33:05,000
Speaker 1: few beers. Meanwhile, across the street, a car pulls up

584
00:33:05,000 --> 00:33:07,560
Speaker 1: to a gas station and a young girl gets out.

585
00:33:07,640 --> 00:33:09,920
Speaker 1: She's about the same age as the boy, and so

586
00:33:09,960 --> 00:33:12,680
Speaker 1: they're both standing on sidewalks on the opposite side of

587
00:33:12,720 --> 00:33:17,320
Speaker 1: the street. And then what's this? Is this a UFO

588
00:33:17,680 --> 00:33:21,080
Speaker 1: flying up in the air above them, And that's right,

589
00:33:21,160 --> 00:33:24,640
Speaker 1: it's boy meets girl. Boy meets UFO. Girl meets UFO.

590
00:33:24,920 --> 00:33:28,560
Speaker 1: UFO deeply scans them with hovering lights, and then they

591
00:33:28,600 --> 00:33:32,680
Speaker 1: stare up into this kind of uh this like red

592
00:33:32,800 --> 00:33:36,080
Speaker 1: vortex or these you know, lines that are approaching some

593
00:33:36,160 --> 00:33:40,640
Speaker 1: kind of animated horizon. And then the UFO finishes its

594
00:33:40,680 --> 00:33:43,440
Speaker 1: business and flies away. I really like the approach to

595
00:33:43,480 --> 00:33:46,320
Speaker 1: the UFO effects in this film, and they're pretty ambitious,

596
00:33:46,360 --> 00:33:49,200
Speaker 1: I think, and for the most part I love them.

597
00:33:49,480 --> 00:33:52,000
Speaker 1: We see either one of two things. It's either dazzling

598
00:33:52,080 --> 00:33:54,920
Speaker 1: lights that move in strange ways, or a glimpse in

599
00:33:55,000 --> 00:33:59,040
Speaker 1: almost kind of ethereal vessel that leaves some ambiguity regarding

600
00:33:59,080 --> 00:34:02,680
Speaker 1: its mechanical or organic nature, and when it beams people

601
00:34:02,840 --> 00:34:06,040
Speaker 1: and things, we get more dazzling lights that kind of

602
00:34:06,040 --> 00:34:09,800
Speaker 1: move around, we get red liquidity effects and uh a

603
00:34:09,880 --> 00:34:11,960
Speaker 1: sort of take on the like a two thousand one

604
00:34:12,160 --> 00:34:16,600
Speaker 1: esque stargate uh, you know, psychedelic LightScape sequence. And I

605
00:34:16,640 --> 00:34:20,080
Speaker 1: think it mostly works. It's slightly giggle inducing at times,

606
00:34:20,560 --> 00:34:24,040
Speaker 1: especially when you see the reaction shots from the humans involved,

607
00:34:24,280 --> 00:34:26,080
Speaker 1: but I admire what they were going for here. They

608
00:34:26,080 --> 00:34:28,040
Speaker 1: were going through something that was a little bit more dreamy,

609
00:34:28,080 --> 00:34:30,879
Speaker 1: a little bit more on the almost religious side of things. Yeah,

610
00:34:30,920 --> 00:34:33,560
Speaker 1: I think the dreamy stuff works. You can see it's

611
00:34:33,600 --> 00:34:36,480
Speaker 1: almost like that when we see it from when we

612
00:34:36,520 --> 00:34:39,319
Speaker 1: see the scene from the side, it's clearly a spaceship

613
00:34:39,400 --> 00:34:42,760
Speaker 1: hovering above the kids. But when you look up into

614
00:34:42,800 --> 00:34:45,080
Speaker 1: the light in the spaceship, it's like you're no longer

615
00:34:45,200 --> 00:34:48,480
Speaker 1: looking at an object. Instead you are looking through a

616
00:34:48,640 --> 00:34:53,239
Speaker 1: kind of gateway into another realm. But the ship here

617
00:34:53,320 --> 00:34:57,000
Speaker 1: is not just in town to visit this random boy

618
00:34:57,080 --> 00:35:00,399
Speaker 1: and this random girl, uh, in this random town. They

619
00:35:00,440 --> 00:35:03,359
Speaker 1: also are here to visit a random prospect or out

620
00:35:03,360 --> 00:35:06,080
Speaker 1: in the middle of nowhere. Right, this UFO has business

621
00:35:06,120 --> 00:35:10,239
Speaker 1: with Vincent Chiavelli. So Schiavelli is playing a prospector who's

622
00:35:10,280 --> 00:35:12,560
Speaker 1: in a cave and he's just knocking on the wall

623
00:35:12,600 --> 00:35:15,320
Speaker 1: of the cave with a pick axe, singing the battle

624
00:35:15,400 --> 00:35:20,360
Speaker 1: him in the Republic, and the UFO pulls up outside

625
00:35:20,360 --> 00:35:22,600
Speaker 1: the cave. His dog runs off to bark at it.

626
00:35:22,880 --> 00:35:25,439
Speaker 1: He goes off and stares into it. He also gets

627
00:35:25,440 --> 00:35:29,319
Speaker 1: sort of hypnotized by the by the converging red horizons

628
00:35:29,360 --> 00:35:32,640
Speaker 1: of light, and then he collapses on the floor. And

629
00:35:32,680 --> 00:35:35,960
Speaker 1: you're like, what's going on? Did Vincentivelli die? I mean,

630
00:35:36,000 --> 00:35:39,279
Speaker 1: his dog doesn't seem harmed by it, but he I

631
00:35:39,280 --> 00:35:41,720
Speaker 1: don't know, something happened to him. Yeah, the dog seems

632
00:35:41,760 --> 00:35:44,160
Speaker 1: concerned though. The dogs like, what what happened? There was

633
00:35:44,239 --> 00:35:47,160
Speaker 1: there were lights and then he fell over. Yeah. Then hey,

634
00:35:47,239 --> 00:35:49,920
Speaker 1: let's skip ahead about twenty five years. Yeah. Yeah, we

635
00:35:50,000 --> 00:35:53,680
Speaker 1: skipped forward to the modern day, late nineteen seventies or

636
00:35:53,719 --> 00:35:57,080
Speaker 1: perhaps nineteen eighty itself here in America to find out

637
00:35:57,120 --> 00:36:00,160
Speaker 1: what all these characters have gotten up to since that

638
00:36:00,239 --> 00:36:03,120
Speaker 1: fateful day back in the late fifties. That's right. So

639
00:36:03,200 --> 00:36:05,839
Speaker 1: the two kids who saw the UFO are all grown up.

640
00:36:06,239 --> 00:36:08,560
Speaker 1: And we also see Vincent Chiavelli again who and he

641
00:36:08,680 --> 00:36:11,440
Speaker 1: is approximately three point five years younger than in the

642
00:36:11,480 --> 00:36:16,080
Speaker 1: opening scene. But so we meet Sybil Shepherd and she

643
00:36:16,239 --> 00:36:19,640
Speaker 1: is playing Jennifer who. I think this is supposed to

644
00:36:19,680 --> 00:36:23,160
Speaker 1: be not clear in the movie, but it is clear.

645
00:36:23,200 --> 00:36:26,160
Speaker 1: It's just obvious who these characters are. So it's clear

646
00:36:26,280 --> 00:36:28,600
Speaker 1: she's the girl from the opening scene. Yeah, they make

647
00:36:28,640 --> 00:36:30,440
Speaker 1: a point in this movie. They kind of like build

648
00:36:30,520 --> 00:36:33,440
Speaker 1: up to the reveal that these adults were the you know,

649
00:36:33,440 --> 00:36:36,360
Speaker 1: in their realization obviously their realization that they are the

650
00:36:36,440 --> 00:36:38,600
Speaker 1: kids from earlier in the film, but you know it

651
00:36:38,719 --> 00:36:40,920
Speaker 1: the whole time. There's no mystery in the in the

652
00:36:40,960 --> 00:36:44,440
Speaker 1: way the film instructured, absolutely zero mystery. It's totally obvious.

653
00:36:44,480 --> 00:36:46,200
Speaker 1: So this is the girl from the opening and now

654
00:36:46,239 --> 00:36:49,919
Speaker 1: she's working for some kind of shadowy company. We see

655
00:36:50,239 --> 00:36:52,080
Speaker 1: a modern shot of a city. She's up in a

656
00:36:52,120 --> 00:36:55,880
Speaker 1: skyscraper and she is a scientist now and she's working

657
00:36:55,880 --> 00:36:59,279
Speaker 1: for some kind of technical company that has something to

658
00:36:59,320 --> 00:37:02,560
Speaker 1: do with saddle lights that is managed by her father,

659
00:37:02,680 --> 00:37:07,640
Speaker 1: who is Raymond Burr, the Spancological protocol guy. And she's

660
00:37:07,640 --> 00:37:12,960
Speaker 1: been analyzing aerial photos of someplace near Alama Gordo, New Mexico,

661
00:37:13,360 --> 00:37:17,680
Speaker 1: and she has found anomalies in these photographs and she

662
00:37:17,760 --> 00:37:21,200
Speaker 1: wants to go investigate the anomalies to figure out what's

663
00:37:21,239 --> 00:37:23,719
Speaker 1: going on there. I don't know if I was being

664
00:37:23,800 --> 00:37:26,360
Speaker 1: dense or if the movie just really is not clear

665
00:37:26,400 --> 00:37:29,400
Speaker 1: about exactly what it is she's investigating, like what the

666
00:37:29,440 --> 00:37:34,440
Speaker 1: anomaly represents. It's just like these readings are off the charts. Yeah,

667
00:37:34,640 --> 00:37:36,200
Speaker 1: I thought it was. It was kind of vague to

668
00:37:36,320 --> 00:37:39,880
Speaker 1: something to do with also like interference in the creation

669
00:37:39,920 --> 00:37:43,080
Speaker 1: of photographs. Oh. And then also for some reason, there's

670
00:37:43,120 --> 00:37:45,279
Speaker 1: some creep in the office who keeps hitting on her

671
00:37:45,360 --> 00:37:48,120
Speaker 1: and she just kind of keeps pushing him away. Um,

672
00:37:48,160 --> 00:37:50,200
Speaker 1: and he's like, why don't you go on a date

673
00:37:50,239 --> 00:37:52,960
Speaker 1: with me? Yeah, And he's like, you can't send her

674
00:37:52,960 --> 00:37:54,480
Speaker 1: out in the field alone. I should go with her.

675
00:37:54,480 --> 00:37:56,920
Speaker 1: And Dad's like, you learn how to be in the

676
00:37:56,960 --> 00:37:58,520
Speaker 1: field by being in the field. She can take it,

677
00:37:58,560 --> 00:38:00,440
Speaker 1: she can handle it. So that the end of the

678
00:38:00,480 --> 00:38:03,160
Speaker 1: story and we don't think we ever see the creep again.

679
00:38:03,360 --> 00:38:05,400
Speaker 1: I think we see the creep later, but he doesn't

680
00:38:05,480 --> 00:38:07,640
Speaker 1: become not significant to the plot. So I don't know

681
00:38:07,680 --> 00:38:10,319
Speaker 1: what the point of the creep was, all right, So

682
00:38:10,360 --> 00:38:12,960
Speaker 1: that's our girl, our little girl, all grown up now

683
00:38:13,040 --> 00:38:16,160
Speaker 1: a science woman. But then we also find out what

684
00:38:16,200 --> 00:38:18,760
Speaker 1: has become of the boy, right, the boy has become

685
00:38:18,880 --> 00:38:22,439
Speaker 1: Jane Michael Vincent. He is now a beer chugging cop.

686
00:38:22,680 --> 00:38:25,400
Speaker 1: It's early in the morning, but he is clearly several

687
00:38:25,440 --> 00:38:28,239
Speaker 1: bottles in he's sitting in his squad car. He is.

688
00:38:28,400 --> 00:38:31,320
Speaker 1: When he finishes a glass bottle of beer, he throws

689
00:38:31,400 --> 00:38:34,239
Speaker 1: it at a pile of glass bottles that he has made.

690
00:38:34,400 --> 00:38:37,840
Speaker 1: This cop loves littering, by the way, he never stops

691
00:38:37,920 --> 00:38:42,560
Speaker 1: throwing containers into the bushes. But so, yeah, he's he's

692
00:38:43,120 --> 00:38:46,480
Speaker 1: obviously just been sitting in his police car drinking. And

693
00:38:46,520 --> 00:38:50,240
Speaker 1: then suddenly a chase sequence kicks up because somebody else's

694
00:38:50,320 --> 00:38:54,719
Speaker 1: joy riding, and it's some ranch guys and and a

695
00:38:54,840 --> 00:38:58,560
Speaker 1: ranch lady, and they're driving around really fast, also drinking,

696
00:38:59,120 --> 00:39:02,000
Speaker 1: and so he peels off after them, and there's a

697
00:39:02,080 --> 00:39:05,520
Speaker 1: chase scene and he eventually runs them down in a

698
00:39:06,719 --> 00:39:08,879
Speaker 1: like the driveway of a ranch. I think they drive

699
00:39:08,920 --> 00:39:11,799
Speaker 1: straight through a gate, like a wooden gate and destroy it.

700
00:39:12,239 --> 00:39:13,920
Speaker 1: He goes up to the car and tries to give

701
00:39:13,960 --> 00:39:15,680
Speaker 1: him what for, but the the guy in the car

702
00:39:15,800 --> 00:39:18,520
Speaker 1: is like, my daddy owns this ranch. You can't do

703
00:39:18,560 --> 00:39:22,040
Speaker 1: anything to me because of my daddy, to which Jane

704
00:39:22,080 --> 00:39:25,440
Speaker 1: Michael Vincent responds by shooting out the car radio. This

705
00:39:25,560 --> 00:39:27,279
Speaker 1: is the scene where he gets mad and he just

706
00:39:27,440 --> 00:39:31,279
Speaker 1: blasts the cassette player and and that's basically when Buck

707
00:39:31,360 --> 00:39:34,839
Speaker 1: shows up. Martin Landau pulls up as Buck, and at

708
00:39:34,880 --> 00:39:38,279
Speaker 1: first you you think, Okay, he's gonna be the sensible one,

709
00:39:38,280 --> 00:39:42,600
Speaker 1: and he is the sensible one comparatively, but uh yeah,

710
00:39:42,680 --> 00:39:45,279
Speaker 1: he's he shows up to sort of chill things out

711
00:39:45,280 --> 00:39:47,879
Speaker 1: a little bit and get everybody to back down from

712
00:39:47,880 --> 00:39:50,360
Speaker 1: their stance, or to try to with his outfit and

713
00:39:50,400 --> 00:39:52,520
Speaker 1: the way he's got everything, like his facial hair and

714
00:39:52,520 --> 00:39:54,560
Speaker 1: everything in this movie, do you think they were going

715
00:39:54,640 --> 00:39:57,160
Speaker 1: for a little bit of a Levan Cliff as angel

716
00:39:57,239 --> 00:40:00,279
Speaker 1: ized look with Martin Landau here? I don't know. Maybe

717
00:40:00,560 --> 00:40:03,319
Speaker 1: in some scenes, but like but clearly he's playing in

718
00:40:03,360 --> 00:40:06,120
Speaker 1: the character out for laughs in others. But again it

719
00:40:06,200 --> 00:40:08,200
Speaker 1: does you could wonder, like how much of that was

720
00:40:08,320 --> 00:40:12,120
Speaker 1: organic these scenes where they're shooting the bold about donuts

721
00:40:12,120 --> 00:40:14,640
Speaker 1: and beer, did they just add those in because you know,

722
00:40:14,680 --> 00:40:16,760
Speaker 1: there was a good chemistry and they had some funny

723
00:40:16,760 --> 00:40:19,120
Speaker 1: stuff to say. And if so, does that end up

724
00:40:19,200 --> 00:40:22,160
Speaker 1: changing the calibration of this character. But then again, Buck

725
00:40:22,239 --> 00:40:24,440
Speaker 1: does have a lot of goofy lines later on the film,

726
00:40:24,480 --> 00:40:27,879
Speaker 1: so maybe it was just always part of the characterization.

727
00:40:28,480 --> 00:40:31,280
Speaker 1: I think there are multiple scenes where Jane Michael Vincent

728
00:40:31,440 --> 00:40:35,759
Speaker 1: is really behaving in an inappropriate way and Martin Landau's

729
00:40:35,800 --> 00:40:39,960
Speaker 1: character defuses the situation by enticing him to come to

730
00:40:40,000 --> 00:40:43,399
Speaker 1: a bar with him. Yeah, so he's not like, let's

731
00:40:43,400 --> 00:40:46,640
Speaker 1: shut down all the destructive behavior. Let's just shut down

732
00:40:46,680 --> 00:40:49,439
Speaker 1: this particular destructive behavior and maybe put that energy into

733
00:40:49,440 --> 00:41:01,080
Speaker 1: this other form of behavior. Is right around here where

734
00:41:01,080 --> 00:41:03,760
Speaker 1: we get the scene with Vincent Chiavelli where he's sitting

735
00:41:03,840 --> 00:41:06,600
Speaker 1: on a hill and then he just starts yelling why

736
00:41:06,600 --> 00:41:09,880
Speaker 1: are you doing this? Why? We get a little little

737
00:41:09,920 --> 00:41:12,319
Speaker 1: flashes of him and what he's up to. Okay, Well,

738
00:41:12,400 --> 00:41:14,480
Speaker 1: here I think we start getting a little more flavor

739
00:41:14,520 --> 00:41:17,680
Speaker 1: of life. We just see like Jim Michael Vincent and

740
00:41:17,719 --> 00:41:21,160
Speaker 1: Martin Landau hanging out in a diner, where I think

741
00:41:21,200 --> 00:41:23,759
Speaker 1: that's just that that is the local hangout. It's the

742
00:41:23,800 --> 00:41:26,040
Speaker 1: watering hole. It's where everybody has a little bit of

743
00:41:26,760 --> 00:41:32,200
Speaker 1: a little bit of colorful character interaction, joking around and stuff. There.

744
00:41:32,200 --> 00:41:36,080
Speaker 1: Martin Landau gives a great speech somewhere in here about

745
00:41:36,160 --> 00:41:38,360
Speaker 1: strips of bacon. Do you remember that this is the

746
00:41:38,400 --> 00:41:40,480
Speaker 1: scene that should have earned him an oscar before he

747
00:41:40,520 --> 00:41:44,080
Speaker 1: did the bell lego? See that. He has a monologue

748
00:41:44,080 --> 00:41:47,240
Speaker 1: about how he was at the restaurant and he ordered

749
00:41:47,280 --> 00:41:49,239
Speaker 1: the breakfast plate, and they were supposed to bring him

750
00:41:49,280 --> 00:41:51,839
Speaker 1: three strips of bacon, but there were only two when

751
00:41:51,840 --> 00:41:53,719
Speaker 1: he gets in a big fight with the cook and

752
00:41:53,760 --> 00:41:56,880
Speaker 1: then eventually discovers that two strips of bacon are stuck

753
00:41:56,920 --> 00:41:59,920
Speaker 1: together as if they were one strip. It's such a

754
00:42:00,040 --> 00:42:02,200
Speaker 1: boring story, and you would be bored out of your

755
00:42:02,200 --> 00:42:04,680
Speaker 1: mind if anyone in your own life told you this story,

756
00:42:04,680 --> 00:42:06,799
Speaker 1: no matter how much you loved them. And yet Martin

757
00:42:06,880 --> 00:42:09,080
Speaker 1: Lantop makes it amusing in this picture. I don't know,

758
00:42:09,440 --> 00:42:11,640
Speaker 1: it's it's a it's a real gym. Also a thing

759
00:42:11,719 --> 00:42:14,920
Speaker 1: that I noticed, Jane Michael Vincent's police car is a

760
00:42:14,960 --> 00:42:17,239
Speaker 1: station wagon. I mean, I guess there is such a

761
00:42:17,280 --> 00:42:19,760
Speaker 1: thing as a police station wagon, but it looked funny

762
00:42:19,800 --> 00:42:22,200
Speaker 1: to me. Uh and I tried to figure out what

763
00:42:22,360 --> 00:42:24,520
Speaker 1: design it was. I think I nailed it down. I

764
00:42:24,520 --> 00:42:28,440
Speaker 1: believe he's driving an AMC Eagle, which I will admit

765
00:42:28,520 --> 00:42:31,719
Speaker 1: is one of the more aggressive station wagon designs. But

766
00:42:31,840 --> 00:42:34,160
Speaker 1: I still found it funny. I didn't really notice the

767
00:42:34,200 --> 00:42:36,680
Speaker 1: car all that much, not when they're sitting still. Anyway.

768
00:42:36,719 --> 00:42:40,120
Speaker 1: There's some some vehicular stuff that happens later on, that's right. Oh,

769
00:42:40,200 --> 00:42:43,920
Speaker 1: and so Simbil Shepherd, she is out in the field, uh,

770
00:42:44,239 --> 00:42:49,440
Speaker 1: researching the anomalies that she discovered from aerial photographs, and

771
00:42:49,560 --> 00:42:52,919
Speaker 1: she is driving down the highway coming into town. And

772
00:42:53,040 --> 00:42:55,400
Speaker 1: oh the town is I think it's supposed to be

773
00:42:55,480 --> 00:42:58,080
Speaker 1: near Alama Gordo, but it's not Alma Gordo. It is

774
00:42:58,120 --> 00:43:01,719
Speaker 1: a town called what is it Little Creek? Is that right? Yeah?

775
00:43:01,760 --> 00:43:04,520
Speaker 1: I think so. So she's driving into Little Creek and

776
00:43:05,000 --> 00:43:11,480
Speaker 1: she her car gets attacked in the dark by Vincentiavelli's dog. Yeah.

777
00:43:11,520 --> 00:43:14,560
Speaker 1: This this dog is very inconsistent throughout the film because

778
00:43:14,560 --> 00:43:16,799
Speaker 1: there are some scenes where the dog is like just

779
00:43:16,840 --> 00:43:19,200
Speaker 1: super attack mode, like I'm gonna jump on a car

780
00:43:19,239 --> 00:43:21,719
Speaker 1: and attack it. I'm gonna attack this person, But other

781
00:43:21,760 --> 00:43:25,279
Speaker 1: times just sitting around like this, like a sweet good boy, uh,

782
00:43:26,080 --> 00:43:29,160
Speaker 1: just watching things occur. So it's it's really unclear exactly

783
00:43:29,200 --> 00:43:31,200
Speaker 1: how we're supposed to take this dog. But yeah, the

784
00:43:31,239 --> 00:43:33,480
Speaker 1: dog attack causes her to wreck her car, and this

785
00:43:33,520 --> 00:43:36,760
Speaker 1: is her first meeting with adult Jan Michael Vincent, So, uh,

786
00:43:36,840 --> 00:43:39,920
Speaker 1: what's the actual character's named? Wayne? Was Wayne and Jennifer.

787
00:43:39,960 --> 00:43:43,600
Speaker 1: So Wayne hears her crash her car and so he

788
00:43:43,680 --> 00:43:49,120
Speaker 1: leaves the bar and goes to investigate, and he what

789
00:43:49,200 --> 00:43:50,960
Speaker 1: does he do in the scene, He for some reason,

790
00:43:50,960 --> 00:43:53,080
Speaker 1: he gets in her car and he's like, let's see

791
00:43:53,080 --> 00:43:55,200
Speaker 1: if it's working all right, and then he like peels

792
00:43:55,280 --> 00:43:57,680
Speaker 1: out in it and does some donuts or something. Here

793
00:43:57,719 --> 00:44:00,960
Speaker 1: he drives in reverse really fast and then uh, and

794
00:44:01,000 --> 00:44:03,120
Speaker 1: then he drives it back to her and he's like, yeah,

795
00:44:03,120 --> 00:44:05,520
Speaker 1: it's okay, And she's like, what am I supposed to applaud?

796
00:44:06,560 --> 00:44:07,880
Speaker 1: And these are some of the scenes where I think

797
00:44:07,920 --> 00:44:11,600
Speaker 1: Sybil Shepherd's uh vibe is good. Here she she's very

798
00:44:11,680 --> 00:44:17,480
Speaker 1: unimpressed with the local local deputy Marshal Jan Michael Vincent. Yeah. Yeah,

799
00:44:18,560 --> 00:44:20,600
Speaker 1: obviously they're gonna fall in love later, you know that

800
00:44:20,640 --> 00:44:22,560
Speaker 1: from the get go, that's just a movie like this

801
00:44:22,600 --> 00:44:25,120
Speaker 1: is gonna work but at this point they are from

802
00:44:25,120 --> 00:44:27,200
Speaker 1: different worlds and they do not see eye to eye

803
00:44:27,200 --> 00:44:30,239
Speaker 1: and what is quote unquote cool. But anyway, she's there

804
00:44:30,239 --> 00:44:34,919
Speaker 1: in town to plant some meters, like she's these little

805
00:44:35,160 --> 00:44:39,040
Speaker 1: boxes that measure something measure I think they say radiation

806
00:44:39,520 --> 00:44:42,759
Speaker 1: and uh, I don't know, something else. Just they take

807
00:44:42,840 --> 00:44:46,120
Speaker 1: some readings. And then she's also going around taking photos

808
00:44:46,160 --> 00:44:49,200
Speaker 1: of things, and she takes some photos of a rock

809
00:44:49,440 --> 00:44:52,520
Speaker 1: that has weird markings on it, and then she facses

810
00:44:52,600 --> 00:44:54,880
Speaker 1: that photo back to the home office where all the

811
00:44:54,920 --> 00:44:58,440
Speaker 1: scientists are hanging out with Raymond Burr, and they're like, Oh,

812
00:44:58,480 --> 00:45:00,640
Speaker 1: what's going on with the weird marking on this rock.

813
00:45:00,680 --> 00:45:03,359
Speaker 1: We're gonna have to analyze this. Yeah, in a scene

814
00:45:03,360 --> 00:45:05,719
Speaker 1: where she's on the phone with them whilst faxing at

815
00:45:05,760 --> 00:45:09,040
Speaker 1: the same time. Yes, I don't know. It's not the

816
00:45:09,040 --> 00:45:11,960
Speaker 1: way fax machines worked when I used them several years ago.

817
00:45:12,000 --> 00:45:14,680
Speaker 1: But maybe they worked like this in some cases. Uh

818
00:45:14,760 --> 00:45:17,719
Speaker 1: in n Well, it seems like the phone is attached

819
00:45:17,760 --> 00:45:20,120
Speaker 1: to the fax machine she's used. I don't know how

820
00:45:20,160 --> 00:45:22,279
Speaker 1: that works, so I'm not gonna try to comment on it.

821
00:45:22,320 --> 00:45:24,200
Speaker 1: I don't know. Maybe it's a feature of fax machines

822
00:45:24,200 --> 00:45:26,040
Speaker 1: that I just did not know existed, and I could

823
00:45:26,040 --> 00:45:28,120
Speaker 1: have been doing that the whole time. But the scientists,

824
00:45:28,120 --> 00:45:31,080
Speaker 1: by the way that they're acting shady about these pictures,

825
00:45:31,160 --> 00:45:34,239
Speaker 1: they seem to be up to no good. We get

826
00:45:34,239 --> 00:45:39,080
Speaker 1: a scene where I think Wayne and Jennifer are sort

827
00:45:39,160 --> 00:45:44,040
Speaker 1: of remembering that maybe they met when they were kids,

828
00:45:44,120 --> 00:45:46,480
Speaker 1: but they're not sure yet, and that maybe maybe it

829
00:45:46,560 --> 00:45:49,240
Speaker 1: was here, because there's a part where Jennifer like stands

830
00:45:49,280 --> 00:45:51,400
Speaker 1: at the gas station where she was when she was

831
00:45:51,400 --> 00:45:54,520
Speaker 1: a kid and saw the UFO and Jane Michael Vincent

832
00:45:54,680 --> 00:45:57,760
Speaker 1: is across the street, and then she just says to herself,

833
00:45:57,800 --> 00:46:00,680
Speaker 1: she goes, it can't be possible, and then she calls

834
00:46:00,760 --> 00:46:02,880
Speaker 1: up her dad on the phone and she's like, Daddy,

835
00:46:02,960 --> 00:46:05,480
Speaker 1: remember those wonderful lights I saw in the sky when

836
00:46:05,480 --> 00:46:08,120
Speaker 1: I was a child? It was here? And he's like, oh,

837
00:46:08,200 --> 00:46:11,560
Speaker 1: maybe it's just a coincidence. Now. Next, there is a

838
00:46:11,640 --> 00:46:16,240
Speaker 1: breakfast scene at the diner where where Wayne is ordering

839
00:46:16,280 --> 00:46:18,879
Speaker 1: a couple of breakfast rolls and a six pack to go.

840
00:46:19,480 --> 00:46:23,160
Speaker 1: But before that happens, we see a cowboy sitting at

841
00:46:23,200 --> 00:46:26,240
Speaker 1: a table eating his breakfast and he puts about six

842
00:46:26,320 --> 00:46:30,160
Speaker 1: quarts of Ketchup on two fried eggs. I nearly gagged. Yeah,

843
00:46:30,239 --> 00:46:32,839
Speaker 1: and he eats the first egg just hole. So if

844
00:46:32,840 --> 00:46:35,320
Speaker 1: you if if you have an aversion to uh scenes

845
00:46:35,360 --> 00:46:38,480
Speaker 1: of Friday egg eating in motion pictures, Uh, this is

846
00:46:38,560 --> 00:46:41,160
Speaker 1: this is one to to skip over. This is one

847
00:46:41,200 --> 00:46:43,200
Speaker 1: too fast forward through for sure. I don't know why

848
00:46:43,239 --> 00:46:45,880
Speaker 1: I like Ketchup and I like eggs, but watching Ketchup

849
00:46:45,920 --> 00:46:51,319
Speaker 1: go on eggs gives me intense dysphoria. Oh oh oh,

850
00:46:51,440 --> 00:46:53,799
Speaker 1: but this is the first part. This scene is the

851
00:46:53,840 --> 00:46:55,839
Speaker 1: first time in the movie we actually hear anything about

852
00:46:55,880 --> 00:46:59,520
Speaker 1: cattle mutilation, despite it being such a big part of

853
00:46:59,520 --> 00:47:01,440
Speaker 1: the film him here on out. I mean, they let

854
00:47:01,480 --> 00:47:04,560
Speaker 1: you get a solid twenty thirty minutes in before it

855
00:47:04,560 --> 00:47:06,880
Speaker 1: comes up at all. Yeah, and it just kind of

856
00:47:06,880 --> 00:47:09,399
Speaker 1: comes up casually, right, It's like, Hey, they're also cattle

857
00:47:09,440 --> 00:47:12,680
Speaker 1: mutilations going on. How about that? Well, the waitress at

858
00:47:12,719 --> 00:47:15,160
Speaker 1: the diner brings it up, but she's like flirting with

859
00:47:15,239 --> 00:47:17,719
Speaker 1: Jane Michael Vincent when she does. She you know, she's

860
00:47:17,719 --> 00:47:19,799
Speaker 1: being kind of cute see at him, and she's like, hey,

861
00:47:19,840 --> 00:47:23,400
Speaker 1: what do you think about that cattle mutilation? But anyway,

862
00:47:23,440 --> 00:47:26,040
Speaker 1: this leads to to Wayne and Jennifer meeting up at

863
00:47:26,040 --> 00:47:29,560
Speaker 1: the diner h and they talk about the investigations that

864
00:47:29,680 --> 00:47:32,200
Speaker 1: she's doing, and he says something like he's like, I'm

865
00:47:32,200 --> 00:47:34,680
Speaker 1: not used to lady scientists running through the streets of

866
00:47:34,719 --> 00:47:38,880
Speaker 1: my town and uh so, okay whatever. But then the

867
00:47:39,760 --> 00:47:42,320
Speaker 1: what I have in my notes after this is Daddy incoming.

868
00:47:42,640 --> 00:47:46,120
Speaker 1: Raymond Daddy Burr drops into the diner like an orbital

869
00:47:46,200 --> 00:47:50,120
Speaker 1: kinetic weapon. He's just suddenly standing there. I think he's

870
00:47:50,160 --> 00:47:54,720
Speaker 1: even shot from below, so he's like this imposing figure

871
00:47:54,760 --> 00:47:58,360
Speaker 1: blocking the sunlight. We had no indication that he was coming.

872
00:47:58,719 --> 00:48:02,560
Speaker 1: He's just here now, yeah, yeah, looming large. And so

873
00:48:02,719 --> 00:48:05,920
Speaker 1: this goes straight to the cattle mutilation scene. Like they

874
00:48:05,960 --> 00:48:09,680
Speaker 1: they go to a some ranch land where there's a

875
00:48:09,719 --> 00:48:12,319
Speaker 1: creek and there's a dead cow, and one of the

876
00:48:12,320 --> 00:48:18,160
Speaker 1: deputies is investigating the carcass, and Raymond Burr is very

877
00:48:18,200 --> 00:48:20,839
Speaker 1: interested in the subject of cattle muto, so he's sitting

878
00:48:20,840 --> 00:48:24,799
Speaker 1: there taking notes in his notebook. Meanwhile, the deputy who's

879
00:48:24,840 --> 00:48:28,880
Speaker 1: trying to take photos of the of the situation, the

880
00:48:28,920 --> 00:48:31,279
Speaker 1: photos won't come out right there, like blurred in the middle,

881
00:48:31,360 --> 00:48:33,920
Speaker 1: or they've got these big white smudges on them. And

882
00:48:34,000 --> 00:48:37,000
Speaker 1: in fact, that's much like the photos taken of this

883
00:48:37,080 --> 00:48:40,440
Speaker 1: location from orbit that Sybil Shepherd had earlier were So

884
00:48:40,480 --> 00:48:43,080
Speaker 1: what's going on here? And this is where we have

885
00:48:43,160 --> 00:48:47,160
Speaker 1: that argument between Raymond Burr and the rancher where he's like,

886
00:48:47,200 --> 00:48:49,399
Speaker 1: I've seen every kind of attack there is. You're gonna

887
00:48:49,400 --> 00:48:51,920
Speaker 1: come up here and tell me my business, and Raymond

888
00:48:51,960 --> 00:48:54,239
Speaker 1: Burr is like, it is impossible. You've seen every kind

889
00:48:54,280 --> 00:48:58,799
Speaker 1: of attack. Oh, and then David Crosby rides up and

890
00:48:58,800 --> 00:49:01,040
Speaker 1: tells them there's been more. You know, it's not really him,

891
00:49:01,040 --> 00:49:03,239
Speaker 1: but it is a guy who looks remarkably like him

892
00:49:03,440 --> 00:49:05,200
Speaker 1: and his nevill brand show up at this point to

893
00:49:05,520 --> 00:49:09,480
Speaker 1: gripe at them. Oh no, he's already here. Yeah, he's

894
00:49:09,480 --> 00:49:12,960
Speaker 1: the rancher. He's mad. Now here's where we're starting some

895
00:49:13,080 --> 00:49:16,240
Speaker 1: slasher stuff that hasn't really happened so far in the movie.

896
00:49:16,600 --> 00:49:19,520
Speaker 1: We get a shoe salesman and his wife and they're

897
00:49:19,560 --> 00:49:22,520
Speaker 1: doing dude ranch stuff. They're out riding horses on the

898
00:49:22,560 --> 00:49:27,080
Speaker 1: trail and the shoe salesman guy is trying to pretend

899
00:49:27,080 --> 00:49:29,920
Speaker 1: to be a macho cowboy in front of his wife.

900
00:49:29,960 --> 00:49:32,200
Speaker 1: He's like, I know things about cows. Look at those

901
00:49:32,200 --> 00:49:34,480
Speaker 1: cows down there. I'm going to go up to them,

902
00:49:34,560 --> 00:49:37,200
Speaker 1: and she's like, oh, maybe you better not, and he's like,

903
00:49:37,520 --> 00:49:40,880
Speaker 1: don't be silly, Cow's head grass. They are not carnivorous.

904
00:49:41,880 --> 00:49:46,640
Speaker 1: But when he approaches them, oh, Vincentiavelli's down there, what's

905
00:49:46,640 --> 00:49:49,120
Speaker 1: he getting up to? There's like a worrying noise. He's

906
00:49:49,120 --> 00:49:51,920
Speaker 1: trying to investigate what that could be. And and it

907
00:49:51,960 --> 00:49:55,680
Speaker 1: turns out Vincent Giavelli is hiding behind a cow holding

908
00:49:55,680 --> 00:49:59,160
Speaker 1: a device that looks like a glowing purple electric toothbrush,

909
00:49:59,800 --> 00:50:02,040
Speaker 1: h kind of a dagger sized version of the mace

910
00:50:02,120 --> 00:50:06,360
Speaker 1: window lightsaber. It's making the buzzing noise. Vincent is clearly

911
00:50:06,440 --> 00:50:10,560
Speaker 1: doing some cattle mutilation for some reason. And then oh,

912
00:50:10,600 --> 00:50:13,600
Speaker 1: he attacks the dude ranch guy and he breaks over

913
00:50:13,719 --> 00:50:17,399
Speaker 1: the barrier into human muto. Yeah, though the dude ranch

914
00:50:17,440 --> 00:50:19,320
Speaker 1: guy at first it is like, oh, sorry to disturb

915
00:50:19,400 --> 00:50:24,160
Speaker 1: you carry on with your obvious cowboys stuff here, but yeah,

916
00:50:24,160 --> 00:50:27,080
Speaker 1: then he is, um, he's lightsabered. So after this there's

917
00:50:27,120 --> 00:50:30,239
Speaker 1: a chase scene where he's chasing Mrs Dude Ranch and

918
00:50:30,280 --> 00:50:32,759
Speaker 1: then she does a really impressive stunt fall where she

919
00:50:32,880 --> 00:50:35,360
Speaker 1: rolls down a hill there are a couple of pretty

920
00:50:35,360 --> 00:50:39,040
Speaker 1: impressive stunt falls in this movie. Somebody's rolling down an

921
00:50:39,080 --> 00:50:42,640
Speaker 1: actual hill in slow motion. But this gives way to

922
00:50:43,040 --> 00:50:46,880
Speaker 1: the scene with Buck and Wayne driving in the police

923
00:50:46,920 --> 00:50:50,640
Speaker 1: car and the discourse on beer can holes and donuts. Rob,

924
00:50:50,680 --> 00:50:53,040
Speaker 1: would you like to explain, I was just this scene

925
00:50:53,080 --> 00:50:57,880
Speaker 1: where Jay Michael Vincent is driving and uh, Martin Landau's

926
00:50:57,920 --> 00:51:01,040
Speaker 1: character Buck has a don't on in one hand and

927
00:51:01,120 --> 00:51:03,479
Speaker 1: a cannabier in the other, and he's bemoaning the fact

928
00:51:03,520 --> 00:51:05,680
Speaker 1: that you can't the hole in the opening in the

929
00:51:05,680 --> 00:51:07,680
Speaker 1: top of the beer can. He's not large enough to

930
00:51:07,719 --> 00:51:11,759
Speaker 1: permit the dunking of the donut, but he demonstrates that

931
00:51:11,760 --> 00:51:14,360
Speaker 1: he's still able to cope by like dribbling some of

932
00:51:14,400 --> 00:51:17,359
Speaker 1: the beer onto the donut before he eats it. And

933
00:51:17,400 --> 00:51:21,239
Speaker 1: it's just another ridiculous food based monologue in this film

934
00:51:21,280 --> 00:51:24,280
Speaker 1: for Martin Landau. He has chocolate icing on his face

935
00:51:24,360 --> 00:51:27,879
Speaker 1: the entire time he's doing this. By the way, yeah, oh,

936
00:51:27,920 --> 00:51:30,000
Speaker 1: but so they're driving along and they just happened to

937
00:51:30,040 --> 00:51:32,680
Speaker 1: come across the dude ranch people. They find the dead

938
00:51:32,680 --> 00:51:38,400
Speaker 1: shoe salesman guy, and this scene is so funny. Martin

939
00:51:38,440 --> 00:51:40,640
Speaker 1: Landau goes and looks at the guy, and then I

940
00:51:40,680 --> 00:51:43,680
Speaker 1: wrote down his quote. He says, well, it's a mute,

941
00:51:44,160 --> 00:51:47,600
Speaker 1: but this time it ain't cattle mute. It's humans. There's

942
00:51:47,800 --> 00:51:52,480
Speaker 1: human mutilations now, just like it's like, not only does

943
00:51:52,520 --> 00:51:55,040
Speaker 1: he point out that the body they're looking at as

944
00:51:55,080 --> 00:51:58,359
Speaker 1: a human, but he says it twice. Uh. And then

945
00:51:58,400 --> 00:52:00,960
Speaker 1: he says, we're gonna get into this. We're going to

946
00:52:01,040 --> 00:52:04,680
Speaker 1: find out who or what's doing it, if it's Satanists

947
00:52:04,800 --> 00:52:07,480
Speaker 1: or even aliens. We're going to get to the bottom

948
00:52:07,520 --> 00:52:10,040
Speaker 1: of this. Yeah, and he's excited too. It's not like

949
00:52:10,200 --> 00:52:12,480
Speaker 1: something terrible is happening in our community and we need

950
00:52:12,520 --> 00:52:15,360
Speaker 1: to stop it before it gets worse. It's like, let's go,

951
00:52:15,440 --> 00:52:18,840
Speaker 1: let's get into it. I'm ready. Oh, he's so excited,

952
00:52:18,880 --> 00:52:22,920
Speaker 1: but Jen Michael Vincent comes back with some some humbling reality.

953
00:52:23,000 --> 00:52:25,640
Speaker 1: He says, hey, we're just a couple of Yahoo cops

954
00:52:25,680 --> 00:52:28,000
Speaker 1: from a jerkwater town. We are not about to have

955
00:52:28,080 --> 00:52:31,319
Speaker 1: the means to investigate something like this. And then Buck says,

956
00:52:31,400 --> 00:52:33,760
Speaker 1: come on way, you know, I I want to prove my theory,

957
00:52:35,200 --> 00:52:37,360
Speaker 1: Like what which one was his theory? He just cast

958
00:52:37,400 --> 00:52:41,640
Speaker 1: out too drastically different ideas about what this could be, right,

959
00:52:41,800 --> 00:52:44,319
Speaker 1: is that the theory maybe his theory is that it's

960
00:52:44,360 --> 00:52:48,080
Speaker 1: aliens or Satanists. Yeah, I don't know. It's at least

961
00:52:48,080 --> 00:52:52,319
Speaker 1: still at the hypothesis stage at this point. Now, there's

962
00:52:52,360 --> 00:52:55,640
Speaker 1: some stuff that goes on with the ranchers don't like

963
00:52:55,719 --> 00:52:59,840
Speaker 1: Sybil Shephard. They think that her scientific instruments are causing

964
00:53:00,040 --> 00:53:03,560
Speaker 1: cattle mutilations, so they like attack her. Later that night,

965
00:53:04,200 --> 00:53:07,279
Speaker 1: the hothead cattle creeps are trying to assault her in

966
00:53:07,320 --> 00:53:09,960
Speaker 1: the rain to say like, we don't know what you're doing,

967
00:53:10,040 --> 00:53:13,520
Speaker 1: but it's killing our cattle, and she's like no, and

968
00:53:13,800 --> 00:53:15,799
Speaker 1: one of them, I think literally says to her, you

969
00:53:15,840 --> 00:53:19,839
Speaker 1: can't get away from us, lady scientist. But then just

970
00:53:19,920 --> 00:53:21,960
Speaker 1: when they're about to I don't know, beat her up

971
00:53:22,040 --> 00:53:25,480
Speaker 1: or something, Jane Michael Vincent arrives and he beats them up,

972
00:53:25,960 --> 00:53:29,120
Speaker 1: and then the ranch daddy arrives and then he's like,

973
00:53:29,360 --> 00:53:32,440
Speaker 1: I never raised my sons to hit women. And so

974
00:53:32,520 --> 00:53:35,680
Speaker 1: the situation is diffused, but clearly the ranch daddy is

975
00:53:35,680 --> 00:53:38,000
Speaker 1: still mad at civil Shepherd because he does think that

976
00:53:38,040 --> 00:53:41,399
Speaker 1: her wicked science must be causing the cattle deaths. Yeah,

977
00:53:41,480 --> 00:53:43,640
Speaker 1: he's not backing down from that, he's like, he's like,

978
00:53:44,120 --> 00:53:47,080
Speaker 1: I apologize for my son attacking Yeah, but now you

979
00:53:47,120 --> 00:53:50,680
Speaker 1: need to apologize for muting my cows and and so

980
00:53:50,960 --> 00:53:53,799
Speaker 1: we don't. Actually we're not really able to diffuse the

981
00:53:53,840 --> 00:53:56,359
Speaker 1: situation all that much. But hey, so we've been waiting

982
00:53:56,360 --> 00:53:59,000
Speaker 1: the whole movie. It's like when our civil Shepherd and

983
00:53:59,080 --> 00:54:01,359
Speaker 1: Jane Michael Vincent to fall in love. Well, here's where

984
00:54:01,400 --> 00:54:03,879
Speaker 1: we get it. So they go home together. She's really

985
00:54:03,880 --> 00:54:06,440
Speaker 1: impressed by looking at all the books on his shelf.

986
00:54:06,640 --> 00:54:10,240
Speaker 1: It's full of like Arthur C. Clark science, science fiction

987
00:54:10,280 --> 00:54:14,799
Speaker 1: and astronomy books, but also crank UFO literature. And he's like, oh,

988
00:54:14,840 --> 00:54:17,760
Speaker 1: are you impressed that this this dumb cop is actually

989
00:54:17,840 --> 00:54:22,920
Speaker 1: so smart? And she's essentially like yeah, kind of. And

990
00:54:23,000 --> 00:54:24,880
Speaker 1: here's the scene where we find out that, you know,

991
00:54:24,880 --> 00:54:26,799
Speaker 1: Wayne's been into this stuff ever since he was a

992
00:54:26,800 --> 00:54:30,239
Speaker 1: little kid, and uh, could could it be that he

993
00:54:30,400 --> 00:54:32,640
Speaker 1: was the cap gun cowboys she saw out in the

994
00:54:32,640 --> 00:54:35,719
Speaker 1: street that night with the UFO you know what it is?

995
00:54:35,800 --> 00:54:38,040
Speaker 1: They discover it in this scene. Oh, but not not

996
00:54:38,120 --> 00:54:41,279
Speaker 1: before she says that she would like a beer and

997
00:54:41,360 --> 00:54:44,080
Speaker 1: he goes it's in the refrigerator. And then she's like,

998
00:54:44,080 --> 00:54:45,719
Speaker 1: you're not going to get it for me? And then

999
00:54:45,760 --> 00:54:49,840
Speaker 1: he's like light or real. I was slightly disappointed we

1000
00:54:49,880 --> 00:54:53,000
Speaker 1: didn't get to see in the refrigerator. Those are often

1001
00:54:53,719 --> 00:54:55,520
Speaker 1: fun where it was like, how are they going to

1002
00:54:55,560 --> 00:54:59,240
Speaker 1: represent the the current life status of a particular character

1003
00:54:59,280 --> 00:55:01,239
Speaker 1: by showing me the on dense of the fridge. I

1004
00:55:01,239 --> 00:55:04,440
Speaker 1: would say the Bachelor refrigerator is one of my favorite

1005
00:55:04,440 --> 00:55:08,439
Speaker 1: film cliches. I think this one would have had um,

1006
00:55:08,880 --> 00:55:12,120
Speaker 1: mostly beer. Um, I guess mostly quote unquote real beer

1007
00:55:12,160 --> 00:55:15,479
Speaker 1: with a few light beer sprinkled in there. Um, gotta

1008
00:55:15,520 --> 00:55:19,480
Speaker 1: be some sort of gross leftovers of some sort, like maybe, oh,

1009
00:55:19,520 --> 00:55:22,759
Speaker 1: I don't know if this town would have pizza, but

1010
00:55:22,760 --> 00:55:25,439
Speaker 1: it's something some sort of fast food that's that's maybe

1011
00:55:25,440 --> 00:55:27,520
Speaker 1: not even in a container, but just setting in there

1012
00:55:27,560 --> 00:55:29,560
Speaker 1: on on one of the grills. Well, i'd say the

1013
00:55:29,600 --> 00:55:35,160
Speaker 1: biggest movie Bachelor refrigerator content cliche is the old Chinese

1014
00:55:35,160 --> 00:55:38,120
Speaker 1: food takeout boxes. But I don't think they have Chinese

1015
00:55:38,160 --> 00:55:42,040
Speaker 1: restaurants in Little Creek. Yeah, sometimes in there like a

1016
00:55:42,120 --> 00:55:44,799
Speaker 1: single apple or something where it's kind of like, oh,

1017
00:55:44,920 --> 00:55:46,440
Speaker 1: that he was going to turn his life around that

1018
00:55:46,480 --> 00:55:48,560
Speaker 1: week and he bought that apple, but he still hasn't

1019
00:55:48,560 --> 00:55:51,480
Speaker 1: gotten around to eating it. Yeah, well, in any case,

1020
00:55:51,520 --> 00:55:54,399
Speaker 1: we don't see it. Instead, we see them honcky talk

1021
00:55:54,480 --> 00:55:56,960
Speaker 1: dancing together. There is a honkey talk dancing scene that

1022
00:55:57,000 --> 00:56:00,319
Speaker 1: will take your breath away. But somehow this give way

1023
00:56:00,360 --> 00:56:03,879
Speaker 1: to them establishing firmly the UFO connection. They're like, it

1024
00:56:03,960 --> 00:56:06,280
Speaker 1: was you. Yeah, it was you. I saw him too.

1025
00:56:06,440 --> 00:56:09,439
Speaker 1: We we saw the UFO together. So now they're they're

1026
00:56:09,480 --> 00:56:20,920
Speaker 1: just bonded for life. Meanwhile, there's some more kind of

1027
00:56:20,960 --> 00:56:26,280
Speaker 1: perfunctory just uh cattle mudo violence, like the ranch boys

1028
00:56:26,320 --> 00:56:29,400
Speaker 1: go out hunting for the measuring instruments on their land

1029
00:56:29,560 --> 00:56:32,520
Speaker 1: and they get attacked by the prospector of Vincent Chiavelli

1030
00:56:32,600 --> 00:56:38,120
Speaker 1: who lightsabers them, and so there's more human muto and uh, meanwhile,

1031
00:56:38,239 --> 00:56:40,279
Speaker 1: Raymond Burr back in the home office. I guess he

1032
00:56:40,320 --> 00:56:43,680
Speaker 1: has left Little Creek and gone back to the big city,

1033
00:56:43,680 --> 00:56:47,359
Speaker 1: wherever that is, And we get a terrifically out of

1034
00:56:47,480 --> 00:56:51,920
Speaker 1: nowhere techno battles. I remember thinking that, like, they have

1035
00:56:52,040 --> 00:56:54,640
Speaker 1: not laid the groundwork for him to suddenly be talking

1036
00:56:54,640 --> 00:56:57,600
Speaker 1: about how the crystal structure of this rock is an

1037
00:56:57,600 --> 00:57:00,880
Speaker 1: exact map of our solar system and all this stuff,

1038
00:57:00,920 --> 00:57:03,080
Speaker 1: and I'm not going to try to reproduce the whole thing,

1039
00:57:03,120 --> 00:57:05,680
Speaker 1: but he says, a bunch of stuff. There's a scene

1040
00:57:05,719 --> 00:57:09,080
Speaker 1: after this where Wayne and Jennifer are investigating one of

1041
00:57:09,120 --> 00:57:14,000
Speaker 1: her measuring devices and they see a mutilated cow nearby

1042
00:57:14,120 --> 00:57:15,880
Speaker 1: and they go to check that out, but end up

1043
00:57:15,880 --> 00:57:19,560
Speaker 1: in a shootout with a ranch hand, and the ranch

1044
00:57:19,640 --> 00:57:22,720
Speaker 1: hand ends up tumbling down a hill. Another tumble stunt,

1045
00:57:23,160 --> 00:57:26,560
Speaker 1: but this one ends with a head plunge straight into

1046
00:57:26,600 --> 00:57:29,440
Speaker 1: an open cow torso, so he straight up does the

1047
00:57:29,480 --> 00:57:33,240
Speaker 1: tauntons sleeping bag, but by accident. Yeah, because there's a

1048
00:57:33,320 --> 00:57:35,520
Speaker 1: mutilated cat cow at the bottom of the hill and

1049
00:57:35,600 --> 00:57:39,000
Speaker 1: just like tumble tumble PLoP. I think we don't quite

1050
00:57:39,000 --> 00:57:41,960
Speaker 1: see it. It's not as gross as it sounds, but

1051
00:57:42,080 --> 00:57:44,280
Speaker 1: it is pretty funny, and he's not dead. He gets

1052
00:57:44,280 --> 00:57:46,200
Speaker 1: out of the cow and he's like he's all covered

1053
00:57:46,280 --> 00:57:50,080
Speaker 1: with with semi believable cow blood. Now we're building up

1054
00:57:50,080 --> 00:57:53,560
Speaker 1: to the big reveal, which is that at some point

1055
00:57:53,680 --> 00:57:57,600
Speaker 1: Buck Martin Landau ends up heading up into the mountains

1056
00:57:57,720 --> 00:58:00,440
Speaker 1: to the prospector's shack to pick up one of the

1057
00:58:00,560 --> 00:58:04,680
Speaker 1: metering units for Sybil Shepherd and so he goes up

1058
00:58:04,680 --> 00:58:06,840
Speaker 1: to the shack and he knocks on the door and

1059
00:58:06,880 --> 00:58:11,240
Speaker 1: there's nobody home. So he looks around inside and discovers

1060
00:58:11,280 --> 00:58:15,560
Speaker 1: inside the shack there is a secret passage going into

1061
00:58:15,600 --> 00:58:19,040
Speaker 1: a cave full of burning torches. He picks up a

1062
00:58:19,080 --> 00:58:23,560
Speaker 1: torch and he explores down the cavern and it ends

1063
00:58:23,640 --> 00:58:28,360
Speaker 1: in a purple portal. There's like an animated vortex that

1064
00:58:28,520 --> 00:58:32,720
Speaker 1: is swirling into nothingness and and and a dancing display

1065
00:58:32,720 --> 00:58:36,400
Speaker 1: of colors. And he's looking at it, like what's going on?

1066
00:58:37,120 --> 00:58:39,680
Speaker 1: But then he hears something. Somebody's coming in. So Buck

1067
00:58:39,760 --> 00:58:43,160
Speaker 1: hides and Vincent Chiavelli walks in and he walks up

1068
00:58:43,200 --> 00:58:45,760
Speaker 1: to the vortex and because he says, here you go,

1069
00:58:46,040 --> 00:58:49,440
Speaker 1: and he chucks a cow organ into the vortex. I

1070
00:58:49,480 --> 00:58:52,280
Speaker 1: read that the vortex here was created with practical effects,

1071
00:58:52,320 --> 00:58:55,240
Speaker 1: by the way, and it looks it looks pretty darn good. Yeah, yeah,

1072
00:58:55,240 --> 00:58:58,880
Speaker 1: I like it. So Buck confronts the prospector with a gun.

1073
00:58:59,360 --> 00:59:02,240
Speaker 1: He says, know what you're doing. You're taking organs from

1074
00:59:02,280 --> 00:59:07,000
Speaker 1: cattle are most important food supply, that's what he says,

1075
00:59:07,080 --> 00:59:10,520
Speaker 1: and sending them back to your masters. But then he

1076
00:59:10,560 --> 00:59:13,800
Speaker 1: looks down at the Bucket that the Prospector has brought

1077
00:59:13,840 --> 00:59:17,880
Speaker 1: in and he says, that's not a cow organ, that's

1078
00:59:17,880 --> 00:59:22,520
Speaker 1: a human hand. You're using human organs. You're under arrest.

1079
00:59:25,280 --> 00:59:27,160
Speaker 1: But then you know what's going to happen at this point,

1080
00:59:27,160 --> 00:59:30,320
Speaker 1: and it's heartbreaking for such a fun character. But no,

1081
00:59:30,400 --> 00:59:32,760
Speaker 1: big nobody has been able to get the drop on

1082
00:59:32,840 --> 00:59:37,880
Speaker 1: our our lightsaber wielding rural slasher prospector here, because he

1083
00:59:37,920 --> 00:59:42,800
Speaker 1: instantly whips out that lightsaber weapon and disarms Martin landaut

1084
00:59:42,840 --> 00:59:45,280
Speaker 1: like literally cuts his arm off Star Wars style and

1085
00:59:45,280 --> 00:59:48,400
Speaker 1: throws it into the vortex. Yeah, fed to whatever is

1086
00:59:48,440 --> 00:59:51,680
Speaker 1: on the other side. For whatever reasons, this is happening.

1087
00:59:51,760 --> 00:59:56,320
Speaker 1: It's happening again, right, So buck unfortunately succumbs to death

1088
00:59:56,320 --> 01:00:00,440
Speaker 1: by Muto. Now, meanwhile, I mentioned earlier that there's this

1089
01:00:00,520 --> 01:00:05,640
Speaker 1: stuff about the FEDS there, their government agents there, and

1090
01:00:05,800 --> 01:00:09,000
Speaker 1: I could not tell what they actually knew or what

1091
01:00:09,080 --> 01:00:11,400
Speaker 1: they were up to. We just see these suits in

1092
01:00:11,480 --> 01:00:14,080
Speaker 1: town and we've been warned by another character that they've

1093
01:00:14,120 --> 01:00:19,680
Speaker 1: been asking around about Wayne and Jennifer and the Feds.

1094
01:00:19,800 --> 01:00:22,480
Speaker 1: Uh say, the Feds are like on the phone with

1095
01:00:22,520 --> 01:00:24,560
Speaker 1: somebody and they're like, well, sir, the deputy and the

1096
01:00:24,560 --> 01:00:28,240
Speaker 1: scientists have come across information that could be misinterpreted by

1097
01:00:28,240 --> 01:00:31,360
Speaker 1: the media, Yes, sir, right away. And then they hang up,

1098
01:00:31,400 --> 01:00:33,840
Speaker 1: and we don't know who they're talking to or what

1099
01:00:33,880 --> 01:00:36,200
Speaker 1: they're gonna do. They basically just seem to exist to

1100
01:00:36,320 --> 01:00:40,080
Speaker 1: chase our heroes around a little bit before the final confrontation, right,

1101
01:00:40,480 --> 01:00:42,920
Speaker 1: and I guess we're basically at the final confrontation or

1102
01:00:42,960 --> 01:00:46,280
Speaker 1: in the final stretch. So, like the prospect Or suddenly

1103
01:00:46,320 --> 01:00:50,880
Speaker 1: confronts Wayne and Jennifer at a motel and he seems

1104
01:00:51,040 --> 01:00:53,960
Speaker 1: very anguished. Actually, he's like, I tried to scare you away,

1105
01:00:54,000 --> 01:00:56,440
Speaker 1: but you wouldn't go. I just want to be left alone.

1106
01:00:57,000 --> 01:00:59,880
Speaker 1: But it ends with well, first of all, I would say,

1107
01:00:59,880 --> 01:01:02,120
Speaker 1: I don't understand what this was about, but this scene

1108
01:01:02,160 --> 01:01:07,120
Speaker 1: had extremely jarring cuts between like full daylight shots and

1109
01:01:07,240 --> 01:01:10,640
Speaker 1: really dark shots. Did you understand what this was about?

1110
01:01:11,520 --> 01:01:14,200
Speaker 1: Not at all? Well, for whatever reason, they end up fighting,

1111
01:01:14,320 --> 01:01:16,720
Speaker 1: and so it's like jan Michael Vincent with a two

1112
01:01:16,720 --> 01:01:21,560
Speaker 1: by four versus Vincent Chiavelli with a toothbrush sized lightsaber,

1113
01:01:21,920 --> 01:01:24,840
Speaker 1: and they're fighting it out. At one point, Sheavelli like

1114
01:01:24,920 --> 01:01:28,600
Speaker 1: knocks down a pillar of a lattice roof and that

1115
01:01:28,640 --> 01:01:32,920
Speaker 1: falls on Jan Michael Vincent. Uh. And then the scene

1116
01:01:33,040 --> 01:01:36,120
Speaker 1: ends with a frame that had hilarious composition. So I

1117
01:01:36,120 --> 01:01:38,640
Speaker 1: actually took a picture of my TV screen and added

1118
01:01:38,680 --> 01:01:41,640
Speaker 1: it to the document. Here where the Feds run up

1119
01:01:41,680 --> 01:01:44,200
Speaker 1: and point a gun at Jan Michael Vincent, but there's

1120
01:01:44,240 --> 01:01:48,360
Speaker 1: also another deputy standing there, and he's wearing a like

1121
01:01:48,400 --> 01:01:53,840
Speaker 1: a red uh Kentucky Fried Chicken colonel style bow tie

1122
01:01:53,920 --> 01:01:55,880
Speaker 1: with the like dangles on it. I don't know what

1123
01:01:55,920 --> 01:01:58,960
Speaker 1: you call that style of tie. It's it's very funny.

1124
01:01:59,120 --> 01:02:01,480
Speaker 1: This gives way to a big chase sequence where the

1125
01:02:01,480 --> 01:02:05,520
Speaker 1: Feds are trying to kill Jan Michael Vincent. One point. Uh.

1126
01:02:05,680 --> 01:02:08,840
Speaker 1: He he gets a I think he steals a motorcycle

1127
01:02:08,920 --> 01:02:11,840
Speaker 1: from a motorcycle store and jumps it through a plate

1128
01:02:11,840 --> 01:02:16,560
Speaker 1: glass window. Yeah. Yeah, a lot of motorcycle stunts started

1129
01:02:16,760 --> 01:02:19,040
Speaker 1: happening in the later part of this film, you know,

1130
01:02:19,080 --> 01:02:20,720
Speaker 1: going through the window here, and he'll go through something

1131
01:02:20,720 --> 01:02:24,240
Speaker 1: else in a bit. Yeah. And meanwhile, Vincent Sheavelli ta

1132
01:02:24,800 --> 01:02:28,320
Speaker 1: take Sybil Shephard back to the portal with the vortex,

1133
01:02:28,920 --> 01:02:31,040
Speaker 1: and he's got her there and he says, he does

1134
01:02:31,080 --> 01:02:33,919
Speaker 1: a monologue, He's like I've done everything they wanted. All

1135
01:02:34,000 --> 01:02:36,920
Speaker 1: of these years, they were supposed to keep track of us,

1136
01:02:36,960 --> 01:02:39,800
Speaker 1: and they needed me. It ain't fair. But now that

1137
01:02:39,920 --> 01:02:43,560
Speaker 1: she's here, they won't need me anymore. And I think

1138
01:02:43,640 --> 01:02:48,479
Speaker 1: the idea is he like he for many years, has

1139
01:02:48,520 --> 01:02:54,439
Speaker 1: truly actually not aged at all because the vortex has

1140
01:02:54,520 --> 01:02:59,840
Speaker 1: given him anti aging properties to aid in his alien servitude.

1141
01:03:00,480 --> 01:03:04,400
Speaker 1: And now he's afraid that the aliens are sort of

1142
01:03:04,440 --> 01:03:09,400
Speaker 1: retiring him and they're going to use Sybil Shepherd to

1143
01:03:09,720 --> 01:03:15,200
Speaker 1: do his job. Now did you understand it that way? Um? Roughly,

1144
01:03:15,440 --> 01:03:18,760
Speaker 1: But this is the part where the movie really gets confusing.

1145
01:03:18,960 --> 01:03:21,640
Speaker 1: And I'm normally pretty quick to be able to sort

1146
01:03:21,640 --> 01:03:24,040
Speaker 1: of form a theory or a little headcannon about what's

1147
01:03:24,040 --> 01:03:27,000
Speaker 1: going on in a movie like this, but it's kind

1148
01:03:27,000 --> 01:03:28,960
Speaker 1: of all over the place. I mean at this point,

1149
01:03:29,280 --> 01:03:31,840
Speaker 1: not counting anything that comes after. I guess we're supposed

1150
01:03:31,880 --> 01:03:35,760
Speaker 1: to think the aliens came to him in the late

1151
01:03:35,800 --> 01:03:39,240
Speaker 1: fifties and said, hey, you're the chosen one. Now here

1152
01:03:39,320 --> 01:03:42,680
Speaker 1: is a tiny lightsaber. We want cow parts, not the

1153
01:03:42,720 --> 01:03:45,440
Speaker 1: good parts, just the weird parts. Bring them to this

1154
01:03:45,520 --> 01:03:48,840
Speaker 1: cave and throw them into this portal in regular intervals.

1155
01:03:49,240 --> 01:03:52,440
Speaker 1: And if you do that then we'll grant you like

1156
01:03:52,800 --> 01:03:54,880
Speaker 1: eternal youth. And I guess he's like, this is a

1157
01:03:54,880 --> 01:03:57,240
Speaker 1: sweet gig, and now he's afraid that gig is about

1158
01:03:57,240 --> 01:04:00,200
Speaker 1: to be passed on to someone who is I don't don't.

1159
01:04:00,200 --> 01:04:01,560
Speaker 1: I mean, I can't imagine she's going to do a

1160
01:04:01,600 --> 01:04:03,440
Speaker 1: better job at this. I mean he has experience at

1161
01:04:03,440 --> 01:04:06,080
Speaker 1: this point. Yeah, he's been doing a great job from

1162
01:04:06,080 --> 01:04:09,480
Speaker 1: what I can tell. Yeah, but so for some reason

1163
01:04:09,520 --> 01:04:12,680
Speaker 1: he's mad at her, and so he tries to use

1164
01:04:12,760 --> 01:04:16,440
Speaker 1: the lightsaber to kill her, but for some reason it

1165
01:04:16,600 --> 01:04:19,120
Speaker 1: is unable to harm her. He like stabs her with it,

1166
01:04:19,160 --> 01:04:21,840
Speaker 1: but it does not harm her at all. Yes, yeah,

1167
01:04:22,040 --> 01:04:25,600
Speaker 1: she is special. She has chosen. Uh what does it mean?

1168
01:04:26,120 --> 01:04:28,040
Speaker 1: We'll continue to have to try and make sense of that.

1169
01:04:29,440 --> 01:04:33,960
Speaker 1: So there's more Moto stunts. Jane Michael Vincent does the stunts,

1170
01:04:34,000 --> 01:04:36,400
Speaker 1: and then he ends up up in the cave and

1171
01:04:36,680 --> 01:04:40,080
Speaker 1: unfortunately he has to fight Vincent Savelli's dog. I don't

1172
01:04:40,440 --> 01:04:42,320
Speaker 1: I don't want seems where he human has to punch

1173
01:04:42,360 --> 01:04:45,280
Speaker 1: a dog. Come on, Yeah, yeah, and the dog doesn't die.

1174
01:04:45,720 --> 01:04:47,560
Speaker 1: It has that going for it at least, But but

1175
01:04:47,600 --> 01:04:49,720
Speaker 1: it's yeah, it's very inconsistent with this dog. Sometimes this

1176
01:04:49,800 --> 01:04:51,920
Speaker 1: dog is attacking people. Other times the dogs just like

1177
01:04:51,960 --> 01:04:56,040
Speaker 1: sheepishly watching things from underneath the table. So um, it's

1178
01:04:56,120 --> 01:04:58,480
Speaker 1: it's all over the place. But okay, So here's where

1179
01:04:58,480 --> 01:05:01,120
Speaker 1: things get even more convincing. We like a new layer

1180
01:05:01,120 --> 01:05:04,120
Speaker 1: of interpretation. Uh j m V makes it up there

1181
01:05:04,200 --> 01:05:07,720
Speaker 1: and he reunites with the Sibyl Shepherd, and Sybil Shepherd

1182
01:05:07,800 --> 01:05:11,840
Speaker 1: says to him, we were chosen, all of us, even him,

1183
01:05:12,120 --> 01:05:15,800
Speaker 1: I think, referring to the Prospector. But he wasn't supposed

1184
01:05:15,840 --> 01:05:20,560
Speaker 1: to kill anyone. It wasn't meant for evil. I know that, okay,

1185
01:05:20,840 --> 01:05:23,960
Speaker 1: but she doesn't explain how she knows this or what

1186
01:05:24,160 --> 01:05:27,320
Speaker 1: this exactly means. So this is where we started getting

1187
01:05:27,360 --> 01:05:31,960
Speaker 1: this idea that the Prospector has just been misinterpreting alien

1188
01:05:32,000 --> 01:05:35,440
Speaker 1: directives this whole time, which I mean, I've got to

1189
01:05:35,480 --> 01:05:38,080
Speaker 1: sympathize with him at this point, like he's devoted last

1190
01:05:38,080 --> 01:05:41,080
Speaker 1: twenty years of his life or so to mutilating cattle

1191
01:05:41,120 --> 01:05:43,960
Speaker 1: and feeding a vortex underground. Um, you know, at the

1192
01:05:44,000 --> 01:05:48,040
Speaker 1: expense of his career, and but for what, Just because

1193
01:05:48,320 --> 01:05:50,920
Speaker 1: the aliens didn't get the verbage right in the signal

1194
01:05:50,960 --> 01:05:52,800
Speaker 1: they were being beaming into his brain. And if they

1195
01:05:52,800 --> 01:05:54,800
Speaker 1: didn't want him to do this, what's he supposed to

1196
01:05:54,880 --> 01:05:56,600
Speaker 1: been doing this whole time? And why hasn't there been

1197
01:05:56,640 --> 01:05:59,720
Speaker 1: any course correction on the part of the aliens? And

1198
01:05:59,760 --> 01:06:02,200
Speaker 1: what is there? Just a big pile of of cow

1199
01:06:02,240 --> 01:06:04,320
Speaker 1: parts building up on the other end of this portal

1200
01:06:04,400 --> 01:06:06,440
Speaker 1: on some alien world and they're like, should we do

1201
01:06:06,520 --> 01:06:08,200
Speaker 1: something about this? And they're like, well, it would be

1202
01:06:08,240 --> 01:06:10,960
Speaker 1: rude to do something now. We should just well let

1203
01:06:11,040 --> 01:06:13,240
Speaker 1: him keep doing it. And you know, in another twenty

1204
01:06:13,320 --> 01:06:15,560
Speaker 1: years that girl that we looked at will do something

1205
01:06:15,560 --> 01:06:18,160
Speaker 1: about it. I you know, I could see this really

1206
01:06:18,160 --> 01:06:22,080
Speaker 1: working as a plot where there are aliens and they've

1207
01:06:22,080 --> 01:06:26,320
Speaker 1: given humans instructions, but the humans don't understand the instructions correctly,

1208
01:06:26,440 --> 01:06:30,080
Speaker 1: so they're just doing absolutely useless stuff because they think

1209
01:06:30,120 --> 01:06:33,720
Speaker 1: incorrectly it's what the aliens want. That doesn't really come

1210
01:06:33,760 --> 01:06:37,000
Speaker 1: through except in this possible interpretation of what to make

1211
01:06:37,000 --> 01:06:39,680
Speaker 1: of the ending here. But if you if you promised

1212
01:06:39,680 --> 01:06:43,120
Speaker 1: a movie more thoroughly on that, I think that could

1213
01:06:43,120 --> 01:06:45,360
Speaker 1: be great. Yeah, I can see that working. Like if

1214
01:06:45,360 --> 01:06:47,920
Speaker 1: you had a movie where somebody has been given alien

1215
01:06:48,600 --> 01:06:51,840
Speaker 1: signals to build something and the aliens really want them

1216
01:06:51,840 --> 01:06:54,480
Speaker 1: to build a communicator, but instead the person receiving the

1217
01:06:54,480 --> 01:06:57,880
Speaker 1: signals is just making weird art. Um you know that

1218
01:06:58,040 --> 01:07:00,280
Speaker 1: are are not even weird art, but just like add

1219
01:07:00,400 --> 01:07:04,080
Speaker 1: art instead. But they feel like it's divinely inspired because

1220
01:07:04,080 --> 01:07:05,640
Speaker 1: the aliens are giving it to them. Like, I can

1221
01:07:05,680 --> 01:07:08,080
Speaker 1: see that working, okay, but the ending gets even more

1222
01:07:08,120 --> 01:07:12,600
Speaker 1: confusing after that, Jay Michael Vincent Sibil Shepherd gets sucked

1223
01:07:12,600 --> 01:07:15,680
Speaker 1: into the portal together, and then we see them in

1224
01:07:16,080 --> 01:07:19,880
Speaker 1: a padded white room together as if they are in

1225
01:07:20,160 --> 01:07:24,840
Speaker 1: a mental hospital like that was. It's a weird flash

1226
01:07:24,880 --> 01:07:27,760
Speaker 1: scene because it does look like a mental hospital, except

1227
01:07:27,760 --> 01:07:29,919
Speaker 1: they're in the same room to each with each other,

1228
01:07:30,000 --> 01:07:32,360
Speaker 1: like holding each other, which I think is generally not

1229
01:07:32,800 --> 01:07:35,680
Speaker 1: what you see in scenes like this that are depicting

1230
01:07:35,800 --> 01:07:40,080
Speaker 1: mental institutions. And also it's clearly a human room. It's

1231
01:07:40,120 --> 01:07:42,840
Speaker 1: not like a white alien room like you might expect,

1232
01:07:42,920 --> 01:07:45,640
Speaker 1: like the White Room and Phantasm for example. Yeah, so

1233
01:07:45,720 --> 01:07:47,200
Speaker 1: I don't know what to deal with that is. But

1234
01:07:47,240 --> 01:07:50,440
Speaker 1: then they don't stay there. After that, there are more

1235
01:07:50,560 --> 01:07:53,080
Speaker 1: lights in the sky and then we see Raymond Burr.

1236
01:07:53,120 --> 01:07:55,280
Speaker 1: I guess oh, I think I forgot to mention Raymond

1237
01:07:55,320 --> 01:07:57,680
Speaker 1: Burr and all his scientists buddies like flew into town

1238
01:07:57,840 --> 01:08:00,520
Speaker 1: because of the readings they were getting out of computer

1239
01:08:01,480 --> 01:08:03,840
Speaker 1: and they fly in to town. So then you're seeing

1240
01:08:03,920 --> 01:08:06,320
Speaker 1: Raymond Burr standing there and he's like looking up at

1241
01:08:06,320 --> 01:08:09,520
Speaker 1: the sky watching passing UFOs and he's got tears in

1242
01:08:09,600 --> 01:08:13,600
Speaker 1: his eyes. Yeah, that was that reminds me of of

1243
01:08:13,640 --> 01:08:15,720
Speaker 1: a previous weird scene though, where they were they were

1244
01:08:15,720 --> 01:08:18,400
Speaker 1: crunching the numbers and then he's like, get the chopp already,

1245
01:08:18,680 --> 01:08:21,720
Speaker 1: we're going to New Mexico. But he was just in

1246
01:08:21,800 --> 01:08:23,800
Speaker 1: New Mexico. So it's like he kind of expected his

1247
01:08:23,840 --> 01:08:25,720
Speaker 1: underlings to be like, so you mean we just want

1248
01:08:25,720 --> 01:08:29,720
Speaker 1: to go back like you were there yesterday? We do, yeah,

1249
01:08:29,760 --> 01:08:32,559
Speaker 1: where you were a few scenes ago. Yeah. Something feels

1250
01:08:32,680 --> 01:08:36,559
Speaker 1: very out of order about that, Like it almost feels

1251
01:08:36,560 --> 01:08:39,040
Speaker 1: like maybe he wasn't supposed to be in those scenes

1252
01:08:39,040 --> 01:08:42,000
Speaker 1: in New Mexico earlier on, but they I don't know.

1253
01:08:42,280 --> 01:08:46,280
Speaker 1: So the portal has eaten the prospector at this point, right, Yes, Oh,

1254
01:08:46,360 --> 01:08:47,960
Speaker 1: I forgot what happened to him? Yeah, I guess I

1255
01:08:48,240 --> 01:08:52,080
Speaker 1: think she like sabers him in the face. He says

1256
01:08:52,160 --> 01:08:55,760
Speaker 1: some more stuff, you know, more sort of sympathetic, like

1257
01:08:55,840 --> 01:08:59,320
Speaker 1: I had it wrong things, but then he gets sucked

1258
01:08:59,360 --> 01:09:02,519
Speaker 1: into the portal. Uh they get white roomed back via

1259
01:09:02,560 --> 01:09:05,920
Speaker 1: the UFO deposited back on the earth. That's right. Yes,

1260
01:09:06,040 --> 01:09:08,559
Speaker 1: Then they're standing back on the earth. So we don't

1261
01:09:08,600 --> 01:09:10,960
Speaker 1: know how long they were gone, but they've been like

1262
01:09:11,040 --> 01:09:14,479
Speaker 1: beamed down and they're back in their original clothes, just

1263
01:09:14,560 --> 01:09:17,519
Speaker 1: standing by the prospect or. Shack. I think they're just

1264
01:09:17,560 --> 01:09:21,479
Speaker 1: standing out on the mountain. Uh. So I don't know.

1265
01:09:21,840 --> 01:09:24,600
Speaker 1: I don't know what to make of that at all. Yeah,

1266
01:09:24,760 --> 01:09:27,920
Speaker 1: Like why were these three individuals chosen? Why was the

1267
01:09:27,920 --> 01:09:30,960
Speaker 1: prospect or feeding animal parts to a portal in a cave?

1268
01:09:31,000 --> 01:09:34,960
Speaker 1: How exactly did he get the surgical lightsaber? Um? You know,

1269
01:09:34,960 --> 01:09:37,559
Speaker 1: what was his What was the actual alien intent if

1270
01:09:37,560 --> 01:09:39,439
Speaker 1: they didn't want him to do those things he was doing?

1271
01:09:39,760 --> 01:09:42,240
Speaker 1: And why did they choose them? Were they chosen to

1272
01:09:42,400 --> 01:09:45,280
Speaker 1: stop the prospector from doing the things that the aliens

1273
01:09:45,280 --> 01:09:49,040
Speaker 1: accidentally told him to do. I just don't get it,

1274
01:09:49,160 --> 01:09:52,400
Speaker 1: or I feel like it's only one big trope away

1275
01:09:52,479 --> 01:09:55,720
Speaker 1: from making sense, Like you need like a like a

1276
01:09:56,280 --> 01:09:59,559
Speaker 1: like a fateful space baby, like these two are supposed

1277
01:09:59,600 --> 01:10:01,800
Speaker 1: to be the parents of the future messiah that the

1278
01:10:01,840 --> 01:10:04,479
Speaker 1: Aliens send to bring peace to the planet, you know,

1279
01:10:04,640 --> 01:10:07,439
Speaker 1: trot something out like that, because as it stands, I

1280
01:10:07,479 --> 01:10:10,320
Speaker 1: just have no idea what the Aliens wanted out of this,

1281
01:10:10,800 --> 01:10:13,080
Speaker 1: what they got out of it. In the end um

1282
01:10:13,240 --> 01:10:15,800
Speaker 1: though our heroes do save the day. I guess though,

1283
01:10:15,800 --> 01:10:19,360
Speaker 1: if you want to do a completely incomprehensible freak out ending,

1284
01:10:19,400 --> 01:10:22,400
Speaker 1: you could do an ending like, uh, like the Phase

1285
01:10:22,439 --> 01:10:27,440
Speaker 1: four one where it's like human viewers cannot even comprehend

1286
01:10:27,600 --> 01:10:30,040
Speaker 1: what the new ant civilization is going to be like,

1287
01:10:30,120 --> 01:10:34,040
Speaker 1: so we just get abstract art. Uh. You know, I'm

1288
01:10:34,360 --> 01:10:38,920
Speaker 1: down with that, but this one, it feels it doesn't

1289
01:10:39,000 --> 01:10:43,759
Speaker 1: lean hard enough into just like incomprehensible freak out for

1290
01:10:43,760 --> 01:10:46,559
Speaker 1: for that to make sense as an ending, because they

1291
01:10:46,600 --> 01:10:48,599
Speaker 1: just end up being beamed back to Earth and it's

1292
01:10:48,600 --> 01:10:52,519
Speaker 1: happily ever after. Yeah. Yeah, so I'm not I'm not

1293
01:10:52,560 --> 01:10:55,880
Speaker 1: really sure how to tell. It feels confusing and uh

1294
01:10:55,880 --> 01:10:58,640
Speaker 1: and hard to stitch together at the end um and

1295
01:10:58,880 --> 01:11:00,760
Speaker 1: and I'm not even sure what I change about it,

1296
01:11:00,800 --> 01:11:03,040
Speaker 1: because if I would, if you were to change something

1297
01:11:03,040 --> 01:11:05,760
Speaker 1: about it, you would have to make definite decisions that

1298
01:11:05,800 --> 01:11:08,800
Speaker 1: the movie didn't seem to make so I'm not sure.

1299
01:11:09,720 --> 01:11:11,960
Speaker 1: I feel like one thing that would have helped it

1300
01:11:12,000 --> 01:11:16,599
Speaker 1: is if you definitely go clearer on the idea that

1301
01:11:16,680 --> 01:11:20,640
Speaker 1: Vincent Chiavelli misunderstood the instructions he was given by the aliens,

1302
01:11:21,000 --> 01:11:22,880
Speaker 1: and if there were you wouldn't have to be super

1303
01:11:22,920 --> 01:11:25,080
Speaker 1: explicit about it. But if there was even some kind

1304
01:11:25,160 --> 01:11:29,320
Speaker 1: of hint as to what their actual intentions had been,

1305
01:11:29,520 --> 01:11:32,360
Speaker 1: what did he misunderstand, I feel like that could have

1306
01:11:32,400 --> 01:11:34,679
Speaker 1: made it all kind of work better. Yeah, Like even

1307
01:11:34,680 --> 01:11:36,320
Speaker 1: if it was even if you didn't reveal it, if

1308
01:11:36,320 --> 01:11:38,839
Speaker 1: you just had a scene where like civil Shepherd hands

1309
01:11:38,920 --> 01:11:43,599
Speaker 1: the lightsaber item to jam Michael Vincent character and they're like,

1310
01:11:43,800 --> 01:11:46,320
Speaker 1: now we have the real together, we have the true

1311
01:11:46,800 --> 01:11:49,040
Speaker 1: uh signal. Now we know what to do. Let's go

1312
01:11:49,080 --> 01:11:50,479
Speaker 1: out into the world and do it. You don't even

1313
01:11:50,520 --> 01:11:52,120
Speaker 1: have to say what it's going to be, but at

1314
01:11:52,160 --> 01:11:54,360
Speaker 1: least that gives us the idea. It's like, Okay, this

1315
01:11:54,400 --> 01:11:57,080
Speaker 1: is this is true course correction here and now we're

1316
01:11:57,080 --> 01:11:59,599
Speaker 1: on the right track. Oh. Like they get the lightsaber

1317
01:11:59,600 --> 01:12:01,760
Speaker 1: and they're like, oh, we were supposed to use this

1318
01:12:01,960 --> 01:12:07,280
Speaker 1: on the on seattle, not on cattle. That I understand

1319
01:12:07,520 --> 01:12:09,519
Speaker 1: we were supposed to use this to make cows, not

1320
01:12:09,640 --> 01:12:14,040
Speaker 1: take cows apart. This was alien plan. I don't know, right, Yeah,

1321
01:12:14,080 --> 01:12:18,640
Speaker 1: it's a cow synthesis device. Again, it's just hard to

1322
01:12:18,680 --> 01:12:22,080
Speaker 1: have like what was the original instruction and then how

1323
01:12:22,080 --> 01:12:25,920
Speaker 1: did it get so garbled that this was the end result? Uh?

1324
01:12:25,920 --> 01:12:28,280
Speaker 1: Where the It's like, we want you to wander around

1325
01:12:28,280 --> 01:12:32,000
Speaker 1: the countryside, uh, cutting open cattle and bringing us um

1326
01:12:32,520 --> 01:12:35,120
Speaker 1: some of the more useless parts. Throw it into the portal.

1327
01:12:35,760 --> 01:12:37,439
Speaker 1: Where does the portal go? So? I guess to the

1328
01:12:37,680 --> 01:12:40,400
Speaker 1: home planet, but we we just don't know. Second film

1329
01:12:40,400 --> 01:12:42,360
Speaker 1: in a row with an alien portal though, so we

1330
01:12:43,240 --> 01:12:46,519
Speaker 1: have that going for us. Oh well, baffling ending aside.

1331
01:12:46,640 --> 01:12:49,320
Speaker 1: I I did really enjoy the return, and I enjoyed

1332
01:12:49,360 --> 01:12:51,639
Speaker 1: talking about it. Yeah, yeah, this is a fun one,

1333
01:12:51,800 --> 01:12:54,080
Speaker 1: and I think, yeah, if you're if you're a fan

1334
01:12:54,120 --> 01:12:56,840
Speaker 1: of movies of this caliber, it's definitely worth worth picking

1335
01:12:56,880 --> 01:12:59,240
Speaker 1: up taking a look at. And it it ties in nicely.

1336
01:12:59,280 --> 01:13:01,599
Speaker 1: This was a nice, nice example of a we don't

1337
01:13:01,600 --> 01:13:04,160
Speaker 1: do this a lot, but having a subject on stuff

1338
01:13:04,160 --> 01:13:06,280
Speaker 1: to blow your mind. That also ties into the film

1339
01:13:06,280 --> 01:13:09,160
Speaker 1: we're talking about in a weird house. Yeah, and uh, yeah.

1340
01:13:09,200 --> 01:13:11,160
Speaker 1: On that note, I'll go ahead and remind everybody that

1341
01:13:11,280 --> 01:13:14,479
Speaker 1: we are primarily a science podcast. Here it's Stuff to

1342
01:13:14,479 --> 01:13:16,800
Speaker 1: Blow your Mind, But on Fridays we put aside most

1343
01:13:16,800 --> 01:13:19,160
Speaker 1: serious concerns and we just talk about a weird film

1344
01:13:19,200 --> 01:13:21,519
Speaker 1: with Weird House Cinema. If you want to follow the

1345
01:13:21,560 --> 01:13:23,519
Speaker 1: movies that we talk about on Weird House Cinema, you

1346
01:13:23,560 --> 01:13:26,559
Speaker 1: can go to one of two places. There is the

1347
01:13:26,840 --> 01:13:30,360
Speaker 1: Samuda Music Blog, where I do blogs posts about the

1348
01:13:30,400 --> 01:13:33,599
Speaker 1: movies we cover. But also if you use letterbox, that's

1349
01:13:33,720 --> 01:13:35,280
Speaker 1: L E T T E R B O x D

1350
01:13:35,680 --> 01:13:38,720
Speaker 1: dot com. We have a profile there. Our profile is

1351
01:13:38,760 --> 01:13:41,120
Speaker 1: weird House and we have a list of all the

1352
01:13:41,160 --> 01:13:44,280
Speaker 1: films that we've covered on Weird House Cinema, and sometimes

1353
01:13:44,320 --> 01:13:46,600
Speaker 1: we'll also go ahead and include a listing of the

1354
01:13:46,640 --> 01:13:49,120
Speaker 1: next film in case you want to watch ahead huge

1355
01:13:49,160 --> 01:13:53,160
Speaker 1: thanks as always to our excellent audio producer Seth Nicholas Johnson.

1356
01:13:53,520 --> 01:13:55,240
Speaker 1: If you would like to get in touch with us

1357
01:13:55,240 --> 01:13:58,000
Speaker 1: with feedback on this episode or any other, to suggest

1358
01:13:58,000 --> 01:13:59,920
Speaker 1: a topic for the future, or just to say hell,

1359
01:14:00,200 --> 01:14:02,840
Speaker 1: you can email us at contact at stuff to Blow

1360
01:14:02,880 --> 01:14:12,360
Speaker 1: your Mind dot com. Stuff to Blow Your Mind is

1361
01:14:12,400 --> 01:14:15,040
Speaker 1: production of I Heart Radio. For more podcasts for my

1362
01:14:15,120 --> 01:14:18,080
Speaker 1: heart Radio, visit the i heart Radio app, Apple podcasts,

1363
01:14:18,120 --> 01:14:19,920
Speaker 1: or wherever you listen to your favorite shows.