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Speaker 1: What kind of a show you guys putting on here today?

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Speaker 1: You're not interested in art?

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Speaker 2: Now?

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Speaker 1: No, Look, we're going to do this thing. We're going

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Speaker 1: to have a.

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Speaker 3: Conversation from Chicago. This is Film Spotting celebrating our twentieth year.

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Speaker 3: I'm Adam Kempinar and.

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Speaker 1: In for Josh this week, I'm Michael Phillips. Your team

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Speaker 1: has been betrayed.

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Speaker 2: Oh, your secrets compromised, everything you are, everything you've done.

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Speaker 3: Let's come to this mission impossible. The Final Reckoning is

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Speaker 3: the eighth and presumably last installment of the long running franchise.

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Speaker 3: Also maybe a final statement from its long running movie star,

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Speaker 3: Tom Cruise.

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Speaker 1: Yeah, guy is never going to stop running at him.

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Speaker 3: Let's hope he doesn't. Our review of The Final Reckoning

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Speaker 3: and our top five movie stunts ahead on Film Spotting.

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Speaker 3: Welcome to Film Spotting, and welcome back Michael Phillips. I

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Speaker 3: see you've Ethan hunted in from the top of the

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Speaker 3: Willis Tower. You're in your home studio for this recording.

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Speaker 3: Well done, Actually, Tribune Tower, you've dropped in.

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Speaker 1: Well, yeah, exactly. It looks like for those who are

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Speaker 1: actually watching this, you know on the video portion the

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Speaker 1: I mean it looks like I'm in a tiny, undisclosed

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Speaker 1: room inside Langley Ites where a guy would get fired

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Speaker 1: if he doesn't happen to see Tom Cruise on the

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Speaker 1: wires coming down trying to get the floppy disc you know,

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Speaker 1: going so's this is like the firing room at Langley.

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Speaker 1: But yeah, no appropriate.

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Speaker 3: This week our review of Mission Impossible, the final Reckoning,

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Speaker 3: and listeners answer the question who is the actor or

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Speaker 3: actress of the twenty first century? A question Josh and

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Speaker 3: I attempted an answer to a couple of weeks ago.

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Speaker 3: We'll see Michael if you have an answer to that

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Speaker 3: question this week, But first, let's ride to Valhalla, Michael

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Speaker 3: with our top five movies starf This is of course

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Speaker 3: a tie in with Mission Impossible, But also we thought

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Speaker 3: the timing was right, as just a month or so ago,

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Speaker 3: the Academy announced that the Oscars are now going to

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Speaker 3: start giving an Academy Award for Achievement in Stunt Design

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Speaker 3: That is going to start with the one hundredth Academy

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Speaker 3: Awards the centennial starting in twenty twenty seven. So how

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Speaker 3: did you even begin to narrow down this just a five?

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Speaker 1: Well, first of all, can I say about dang time

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Speaker 1: to get this stunt category recognized. I mean, I mean,

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Speaker 1: Hollywood's full of trades, of subtrades that you know, really

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Speaker 1: do deserve as much Oscar consideration as the ones that

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Speaker 1: have been mystorically nominy. But yeah, getting it down to

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Speaker 1: five not easy. Not easy. And great homework, I mean

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Speaker 1: talk about fun homework because I you know, there's so

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Speaker 1: much I hadn't seen either since I was a kid

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Speaker 1: or seeing period, and that actually a lot of brand

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Speaker 1: new things to me up. Not a lot, but a

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Speaker 1: couple ended up in my top five, so so much

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Speaker 1: for you know, careful consideration.

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Speaker 3: It always some homework bias.

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Speaker 1: Yeah, I just I just met the last week saying wow, yeah,

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Speaker 1: that's excellent.

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Speaker 3: It's good when homework pays off when it's worth it.

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Speaker 1: Right.

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Speaker 3: I will note that this is maybe a bad top

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Speaker 3: five for radio, right because there's not usually a lot

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Speaker 3: of dialogue in stunt scenes. So we'll see what Magic

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Speaker 3: producer Sam can work here with this list. For me,

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Speaker 3: I did try to focus on stunts versus stunt sequences,

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Speaker 3: and I don't know if that's the right approach, Michael,

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Speaker 3: It's just the approach I took. I was thinking about

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Speaker 3: it in terms of kind of individual action. I was

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Speaker 3: thinking about individuals too. It was important to me that

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Speaker 3: we had a stunt man or stunt woman who was

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Speaker 3: involved in a physical action, and that may not be fair.

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Speaker 3: It may not be fair if we're thinking about that

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Speaker 3: upcoming Academy Award Stunt Design trains trains derailing, that is

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Speaker 3: a big thing to pull off. I'm sure we're going

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Speaker 3: to give an Oscar for that at some point. Are

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Speaker 3: there people involved in that? Necessarily No, but that is

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Speaker 3: the direction I went. There had to be for me

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Speaker 3: some sense of real danger or risk, which meant for

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Speaker 3: me that there had to be no or very limited

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Speaker 3: visual effects, and so kind of the litmus test for

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Speaker 3: me or the movie that helped me wrap my head

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Speaker 3: around it a little bit was that movie R R R,

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Speaker 3: which had incredible action sequences and no doubt had incredible

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Speaker 3: stunt design work, really intricate stunt design work. But I

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Speaker 3: watched it behind the scenes featurette that Netflix put out

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Speaker 3: about that bridge sequence where the two main characters meet

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Speaker 3: for the first time and for like two months they're

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Speaker 3: just hanging on wires and all the magic was put together,

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Speaker 3: you know, in post production. Again they did a ton

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Speaker 3: of work on it. I'm not saying it wasn't physically demanding,

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Speaker 3: or that it wasn't an achievement in stunt design, but

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Speaker 3: the magic was made in post, and so I was

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Speaker 3: really thinking about scenes and stunts where I felt like

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Speaker 3: the magic was captured in camera. If that makes.

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Speaker 1: Sense, Yeah, yeah, No, I think that's a good way

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Speaker 1: to break it down. I did that consciously for a

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Speaker 1: couple of picks, and for a couple of ones, I

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Speaker 1: just blew past that idea and I did the opposite

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Speaker 1: of what you're saying, yeah, which is basically take you know,

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Speaker 1: a whole series of action beats and things like that.

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Speaker 1: But I take your point on our film I really like,

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Speaker 1: but it's the film is also it's such a frenzied stylistic,

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Speaker 1: you know, mash up and you know kind of it's

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Speaker 1: just pure chaos and with every possible you know, practical

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Speaker 1: and digital element kind of happening at once, and it's

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Speaker 1: hard to parse. I think, what the what the real

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Speaker 1: you know, stand out the stunts are and something like that.

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Speaker 1: When when as you say, it's not meant, you know,

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Speaker 1: the whole movie is meant to not be believed as

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Speaker 1: you watch it in a way you can't you can't

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Speaker 1: believe what you're seeing. You know it's a way mostly,

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Speaker 1: But yeah, I take your point.

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Speaker 3: The point hit us with your number five movie stunt,

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Speaker 3: all right.

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Speaker 1: For example, my number five is not a moment. It

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Speaker 1: doesn't really even feature you know, particular, one particular stunt,

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Speaker 1: you know, team or driver or whatever. But it's Ronan

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Speaker 1: for nineteen ninety eight John Frankenheimer's film, which is a

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Speaker 1: film I saw once back then you saw it again

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Speaker 1: a couple of nights ago, and right now I can't

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Speaker 1: even winnow down at this is how frustrating I'm gonna

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Speaker 1: I'm gonna make you. This is gonna be very frustrated

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Speaker 1: for you. I couldn't even pick one of the two

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Speaker 1: massive car chases in that there's one set in Paris

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Speaker 1: and one set in Nice, which has an awful lot

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Speaker 1: of weaponry and it bazookas, and I think I'm less

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Speaker 1: keen on the nie chasingness. But this is just the

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Speaker 1: right director John Frankenheimer, who did Grand Prix and did

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Speaker 1: the Train with Lancaster and is very good at physical action,

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Speaker 1: and this is the moment in film history. I think

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Speaker 1: the late nineties, when you could get a medium, high

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Speaker 1: budget picture with a tremendous amount of stunt work in it,

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Speaker 1: and it could really beat up parts of Paris and nice.

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Speaker 1: But you have like Formula One drivers designing the stunts

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Speaker 1: and leading the driving team, and it's just basically a

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Speaker 1: shootout between de Niro's team, Robert de Niro's team and

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Speaker 1: the other folks. Jonathan Price with his incredible eyebrows in

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Speaker 1: the backseat of the Bad Guys car, eyebrows absolutely made

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Speaker 1: to look at these stunts, you know, in Alarm, and

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Speaker 1: it's the kind of vehicular craziness and vehicular homicide really

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Speaker 1: that I hate to say it thrilled me when I

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Speaker 1: was three, four or five years old. I couldn't you know,

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Speaker 1: you know, I couldn't get enough. I saw Grand Prix

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Speaker 1: when I was five, in the front row of the

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Speaker 1: rialto and re scene, and my folks were somewhere back there,

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Speaker 1: and that's a three hour movie with a lot of

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Speaker 1: soap opera in it, and I was just I couldn't

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Speaker 1: wait for the racing scenes and all that split screen

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Speaker 1: stuff with James Garner, all that and I had I

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Speaker 1: got such a terrible bloodshot. Reactions I got a week

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Speaker 1: off of school as a result, and that's why I

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Speaker 1: fell in love with the movies. It was a week

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Speaker 1: off from school. But that's that's the reason any exactly.

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Speaker 1: But to see how Frankenheimer his editors and and this

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Speaker 1: especially the pair of sequence, which is like driving against

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Speaker 1: traffic one way, A lot of really really close calls,

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Speaker 1: just in terms of stunt people almost getting creamed as

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Speaker 1: they walk and then suddenly have to run across the

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Speaker 1: road without a cut. You know, it's it's the kind

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Speaker 1: of thing that is not done anymore, honestly in American filmmaking.

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Speaker 1: I don't think so, not not not legally. And it's

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Speaker 1: just not there's too much concern about safety. I'm not

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Speaker 1: saying too much. There is too much, but there is

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Speaker 1: much concern about safety now rightly so for the safety

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Speaker 1: of these people. Too many people have died over the

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Speaker 1: years of Hollywood history for just this kind of thing,

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Speaker 1: but nobody died on Ronan and that scene is just thrilling,

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Speaker 1: especially the Paris car chase. If you haven't seen it

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Speaker 1: in a while, check it out. And it's it's like

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Speaker 1: it's it's peak auto start work.

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Speaker 3: I just rewatched it in anticipation of this list hadn't

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Speaker 3: seen the movie, and I haven't seen the movie in

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Speaker 3: its entirety since its release. That Paras sequence is so good,

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Speaker 3: and I love a couple of things about it. One,

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Speaker 3: I love the de Niro actually looks terrified most of

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Speaker 3: the time he's driving it, you know, like the cool

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Speaker 3: gangster type character. He actually looks really scared throughout the

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Speaker 3: whole thing. And my other favorite part is stellin Scarsguard

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Speaker 3: is in the passenger seat of the bad guy's car

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Speaker 3: or who DeNiro is chasing, and he doesn't put his

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Speaker 3: seat belt on until like the four and a half

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Speaker 3: minute mark, when they're finally going against traffic. Like he've

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Speaker 3: done so many terrifying things, he doesn't put his seat

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Speaker 3: belt on until that point. But that sequence really is

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Speaker 3: a stunner. And when you think about the all time

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Speaker 3: great car chases, and I did think about them for

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Speaker 3: this list, you go back to Bullet even more recently,

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Speaker 3: somewhat like the Borne Identity, which has the great Mini

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Speaker 3: Cooper Paris car chase, and I think at least one

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Speaker 3: other good one in the series, the French connection. Of course,

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Speaker 3: Ronan is in there in that conversation has to be.

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Speaker 1: Yeah, absolutely, and Ronan's much you know, it's a generation

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Speaker 1: after a French connection. But it's funny though the look

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Speaker 1: in de Niro's eyes and Ronin is a variation on

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Speaker 1: what Hackman's looking like behind your Wheel and fresh connection,

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Speaker 1: which is just like rage and terror. I think raced

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Speaker 1: free cons making him do this part at that moment,

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Speaker 1: and it's just like legitimate fear for risking people's lives,

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Speaker 1: you know, in a way that would never work today,

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Speaker 1: and freaking what was the first to admit that? But

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Speaker 1: this is how good that scene is. Ronan. In the

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Speaker 1: last fifteen seconds of the chase, there's a shot, it's

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Speaker 1: the only noticeable cheat. It's less than a second long,

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Speaker 1: but it's a shot of the car about to kind

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Speaker 1: of tumble off the end of the highway under construction,

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Speaker 1: and it's a it's a it's the one clear moment

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Speaker 1: of a kind of upside down car tilting, you know,

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Speaker 1: terrified actors. And it's clearly that was later in studio

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Speaker 1: or somewhere or something. But it's it's a half a second.

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Speaker 1: That's one second out of five seven minutes. I mean,

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Speaker 1: you know, so that's the kind of level of just okay,

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Speaker 1: we're just gonna do this. We're not gonna you don't

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Speaker 1: need anything, Thank god. This was just just before the

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Speaker 1: digital wave, you know, really and the effects, although I

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Speaker 1: mean Jurassic Park have been around a long you know,

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Speaker 1: a few years by then, but it's just it's just great.

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Speaker 1: It's to me now, rowing in from nineteen ninety eight

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Speaker 1: feels almost like you're watching something closer to Stagecoach in

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Speaker 1: nineteen thirty nine, do you know what I mean? Technical

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Speaker 1: sort of the Yeah, amazing.

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Speaker 3: Before I get to my number five, I do want

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Speaker 3: to acknowledge that there's a couple of movies you won't hear,

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Speaker 3: maybe more than a couple you won't hear come up

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Speaker 3: on our list because they're in the film spotting pantheon,

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Speaker 3: that that hall of fame, if you will, movies that

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Speaker 3: we put away. We say they're ineligible for top five consideration.

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Speaker 3: One of those, Michael, I know you weren't considering, but

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Speaker 3: of course I was considering the Boulder chase that begins

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Speaker 3: Steven Spielberg's Raiders of the Lost Arc.

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Speaker 1: I like that scene. You know. Yeah, I'm sorry, people.

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Speaker 3: Are We don't have to litigate it now. I just

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Speaker 3: really I just wanted to say it.

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Speaker 1: I just wanted to say it.

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Speaker 3: Okay, all right, to make my list, it's in the pantheon.

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Speaker 3: Do we consider what Donald O'Connor is doing and make

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Speaker 3: them laugh and singing in the rain a stunt? Maybe

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Speaker 3: maybe not eligible though, And there is one other titles

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Speaker 3: in the pantheon, but we're just gonna sit on that

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Speaker 3: for now. My number five is John McClain jumping off

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Speaker 3: Nakatomi Plaza in die Hard. First off, I love die Hard,

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Speaker 3: but here's why this made the cut for me. It's

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Speaker 3: maybe the first stunt I thought was cool as a kid,

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Speaker 3: and the first stunt where I was aware of it

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Speaker 3: being a stunt, you know, a big set piece with explosions.

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Speaker 3: And Bruce Willis may not have been a huge star

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Speaker 3: at the time, it's the movie that helped catapult him

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Speaker 3: to being a huge star. But I was pretty sure

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Speaker 3: that they didn't have him jump off an La skyscraper.

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Speaker 3: So how did they make me believe that he did?

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Speaker 3: And director John McTiernan builds the tension really nicely. The

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Speaker 3: terrorists are about to blow the roof. We've got one

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Speaker 3: of the all time great bad guys. Of course, they're

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Speaker 3: played by Alan Rickman. McClain is trying to get all

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Speaker 3: the hostages to go back inside, so he's shooting his

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Speaker 3: gun up in the air. The FBI then think that

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Speaker 3: he's one of the terrorists, so then they're shooting at him,

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Speaker 3: and McClain does what he's done the entire movie. He improvises.

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Speaker 3: He grabs a fire hose, he ties it around his waist.

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Speaker 3: There's really no good reason to believe that this fire

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Speaker 3: hose is going to be enough to hold him as

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Speaker 3: he jumps off this roof. But it's all he can do,

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Speaker 3: and he's human, and while he's doing it, he has

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Speaker 3: a sense of humor about it.

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Speaker 1: I promise, Oh, never even think about going up when

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Speaker 1: it's all filled. He's all having time.

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Speaker 3: Compared to Ronan, certainly compared to pretty much every other

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Speaker 3: stunt that I imagine is going to come up on

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Speaker 3: our lists, it's kind of meat and potatoes. It's pretty basic.

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Speaker 3: He's not Ethan Hunt, he's not whatever superheroes the Fast

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Speaker 3: and Furious characters became. He's just a cop. He's tried

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Speaker 3: to save his marriage at Christmas. That's fine, it works

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Speaker 3: for me, and not that it really matters but is

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Speaker 3: there one overhead shot of mcclean's descent where he appears

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Speaker 3: to have a mane of hair as full and luscious

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Speaker 3: as Fabio's. And you know, not whatever wisps Willis was

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Speaker 3: hanging on to at that point, Michael, Sure, But apparently

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Speaker 3: that really was Willis jumping, not off the top of

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Speaker 3: the Fox Plaza, which was standing in for Nacotomi Plaza

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Speaker 3: where they shot it, but he was jumping off the

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Speaker 3: top of a five story parking garage. He He told

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Speaker 3: Entertainment Weekly about it for an article in two thousand

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Speaker 3: and seven. This is Willis And I'm up there on

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Speaker 3: the roof and they're strapping the fire hose around my

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Speaker 3: waist and they're slathering me up with this stuff. And

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Speaker 3: I said, what's this for? And they said, that's so

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Speaker 3: you don't catch on fire. See those big plastic bags

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Speaker 3: of gasoline over there, We're going to blow them up

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Speaker 3: when you jump. When I jumped, the force of the

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Speaker 3: explosion blew me out to the very edge of the

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Speaker 3: airbag I was supposed to land on. So here again,

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Speaker 3: these practical effects right, not going cgi here. They have

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Speaker 3: to make this work and make us believe it. In

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Speaker 3: the moment. And here's the best part they shot this.

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Speaker 3: This was Bruce Willis's first scene he shot for Diehard. Now,

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Speaker 3: why might they have done that? Well, that's a question.

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Speaker 3: Bruce Willis posed to director John McK tiernan. Why of

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Speaker 3: all scenes am I shooting this on the first day?

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Speaker 3: And he very soberly had to point out to Bruce

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Speaker 3: Willis that, well, well, if something tragic occurred, it'd be

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Speaker 3: a lot easier and cheaper to bring in a new

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Speaker 3: actor now and shoot the rest of the movie as

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Speaker 3: opposed to shooting most of the movie and then having

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Speaker 3: to replace you later.

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Speaker 1: That's great, that's good. Yeah, that's good morale for your

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Speaker 1: next thirty five days on that picture, right, my lord,

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Speaker 1: that's good. I mean, that's I I gotta know. I'm

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Speaker 1: going to revisit that now film. It's a film I like,

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Speaker 1: I don't love it like you do. I'm a little

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Speaker 1: closer to Ebert's original kind of you know. But but

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Speaker 1: but again, I haven't seen it in front to back

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Speaker 1: and too long.

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Speaker 3: And that's that's a case for it. That's a case

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Speaker 3: for us, Michael, I'll say, Josh and I, I think

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Speaker 3: we always considered ourselves fans of it, but I'm not

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Speaker 3: sure either of us had seen it since the eighties,

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Speaker 3: and we we revisited it and gave it a thorough consideration,

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Speaker 3: and we were surprised at how well it held up,

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Speaker 3: so it might be worth a revisit.

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Speaker 1: Good, I'm going to revisit it, and I'm going to check.

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Speaker 1: I'm gonna watch for that hair.

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Speaker 3: Do it. Do it because something's off. Something's off. You're

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Speaker 3: number four, but.

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Speaker 1: Number four is you can call it one of two things,

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Speaker 1: police story three or super cop. That's one word. I

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Speaker 1: believe super cop, right, super supercop. That's why. And Michelle Yo. Look,

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Speaker 1: and this was my continuing ed, my continuing education for

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Speaker 1: this week. I always knew that Michelle Yo was legit,

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Speaker 1: and her bona fides was stunt work under Jackie Chan's

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Speaker 1: work and all kinds of other things, you know, super

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Speaker 1: solid and kind of amazing, But just to actually learn

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Speaker 1: that her you know, death defiance in the name of

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Speaker 1: making a movie was right up with Chans and it

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Speaker 1: absolutely explains some of the some of the work she's

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Speaker 1: done decades later where she's not doing stunts, but she

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Speaker 1: just has to bring a certain intensity to just standing

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Speaker 1: still and there must be something about running for your

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Speaker 1: life for real on camera that makes you great in

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Speaker 1: repose and later I don't know, maybe that's that's my guess.

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Speaker 1: But there's a moment where Michelle yoh two things I

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Speaker 1: love in that film where she's it's the motorcycle jump

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Speaker 1: onto the moving train. So it's like it's a parallel

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Speaker 1: two parallel lines right over the motorcycle and then onto

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Speaker 1: the train, and that's that's pretty stunning. And then the

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Speaker 1: fall off the train, that's you know, the train cars

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Speaker 1: typically not wide, you don't have a lot of latitude

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Speaker 1: for trouble. Train's not flying by, but it's moving along,

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Speaker 1: you know, and you know there's a certain amount of

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Speaker 1: maybe there might be some fuzing with the you know

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Speaker 1: what used to be called in silent days undercranking where

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Speaker 1: you're getting you know, it's looking a little faster than

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Speaker 1: it was actually filmed, but it's a stunning moment and

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Speaker 1: you just kind of can't believe that she did that.

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Speaker 1: And then a little later there's a shot where she

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Speaker 1: has to tumble off a really pretty fast moving van

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Speaker 1: on a highway onto a sports car off the front

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Speaker 1: of the hood and then onto the street. I mean,

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Speaker 1: you just think okay, okay, you're dead, you're gonna do

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Speaker 1: You're gonna kill this actress whatever, she's never gonna win

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Speaker 1: her oscar all these decades later, and right just to

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Speaker 1: hear her kind of talk about these things in interviews later,

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Speaker 1: just about like you know, I mean, Jackie Chan knew

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Speaker 1: that that was the only one who you know, could

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Speaker 1: kind of keep up with them, and that was the

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Speaker 1: only and and I think also, uh yeah, with the

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Speaker 1: usual gender bias, I mean there was no I mean,

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Speaker 1: there was like women should not, they cannot do stunts

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Speaker 1: except for Michelle Yo. It was kind of the thinking

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Speaker 1: and Jackie Chan filmmaking universe. But she's She's fantastic, and

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Speaker 1: that those movies, if you if for those who were

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Speaker 1: still especially if they have kids at home and they

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Speaker 1: love kind of stunt working things like that, Jackie Chan

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Speaker 1: and Michelle Yo are a great gateway drug for all

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Speaker 1: kinds of cinema.

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Speaker 3: I second that, or at least it should be a gateway.

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Speaker 3: It's it's a gateway. I now want to open further

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Speaker 3: because this was homework for me as well. I've only

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Speaker 3: seen a few Jackie Chan movies. It should probably be

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Speaker 3: a film spotting marathon at some point. But this was

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Speaker 3: some homework for me and it paid off. We're gonna

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Speaker 3: have some nice synergy here at number four. Michael, I'd

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Speaker 3: say that Yo almost steals this entire movie from Chan

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Speaker 3: if Chan didn't seem so content to let her do it.

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Speaker 3: He's just such a good supportive collaborator, and she is

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Speaker 3: amazing in this entire end sequence that you're describing. But

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Speaker 3: here's the thing. Chan's incredible as well. The fact that

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Speaker 3: we have them both doing such incredible stunt work in

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Speaker 3: this end sequence is what makes super Cop so good.

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Speaker 3: And I'm gonna go with Chan's work at the end,

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Speaker 3: hanging from a helicopter, or as I like to think

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Speaker 3: of it, Jackie Chan's homage to La delce Vita. I

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Speaker 3: don't know if that's actually what he has in mind,

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Speaker 3: but that's how I like to think of it. Instead

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Speaker 3: of a statue of Christ hanging from a helicopter flying

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Speaker 3: above Rome, it's a very much alive Jackie Chan hanging

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Speaker 3: from a helicopter flying above Kuala Lumpur. And this isn't

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Speaker 3: a Sunday stroll through the sky. This is the baddie

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Speaker 3: who's getting away in the helicopter and Chan jumps and

398
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Speaker 3: grabs a hold of one of those flimsy ladders that

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Speaker 3: we've seen in so many spy movies or whatever, and

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Speaker 3: he would be trying to climb up it, except he's

401
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Speaker 3: really just hanging on for dear life. And again they're

402
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Speaker 3: not just out for a stroll at this point. He's

403
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Speaker 3: being rammed into the top of a building, a billboard.

404
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Speaker 3: They're doing circles around the city. The wind is very intense,

405
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Speaker 3: unlike my next choice, which is admittedly a bit more intense.

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Speaker 3: We'll get to that. There are no riggings. There are

407
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Speaker 3: clearly no riggings. There's no harnesses, there are no safety nets.

408
00:22:57,280 --> 00:23:01,080
Speaker 3: This is just Chan. This is just Chan and his

409
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Speaker 3: fingers and his natural strength and his agility and stamina

410
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Speaker 3: and determination. And he's just clinging to the rungs of

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Speaker 3: this flimsy ladder that's dangling, and they are hundreds of

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Speaker 3: feet in the air before he's finally deposited into a

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Speaker 3: train car. And of course, because it's a Jackie Chand film,

414
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Speaker 3: there has to be a joke, there has to be

415
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Speaker 3: a punchline at the end of all this death defying.

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Speaker 3: He's going to be deposited into a train car and

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Speaker 3: he's going to land on top of it. I'm not

418
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Speaker 3: sure what it is, but something spiky, right, And so

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Speaker 3: he's going to be injured in the process, but not

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Speaker 3: because of the helicopter act. It's going to be because

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Speaker 3: something injures is his butt in the process. Somehow. What

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Speaker 3: might be even more impressive, though, Michael, after all that,

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Speaker 3: it's the feats of balance that occur on top of

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Speaker 3: the train, right. He has to take on a couple

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Speaker 3: of the baddies, like the helicopter pilots on the moving train,

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Speaker 3: and he keeps almost being pushed off the edge of

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Speaker 3: the train, and he has to execute these kind of

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Speaker 3: ballet puroettes on the on the bar on just the

429
00:24:14,760 --> 00:24:17,160
Speaker 3: ledge of the train to keep from going over. And

430
00:24:17,560 --> 00:24:21,280
Speaker 3: you just you just sit there and marvel at that agility.

431
00:24:21,359 --> 00:24:23,240
Speaker 3: How does he how does he do it? The whole

432
00:24:23,440 --> 00:24:26,600
Speaker 3: the whole thing between him and Yo, that entire six

433
00:24:26,720 --> 00:24:29,760
Speaker 3: to seven minute sequence, you're just kind of eyes wide

434
00:24:29,760 --> 00:24:31,440
Speaker 3: open in awe of what they're doing.

435
00:24:31,520 --> 00:24:35,480
Speaker 1: Yeah, No, it's amazing, and and it's uh, it will

436
00:24:35,520 --> 00:24:38,880
Speaker 1: It'll never happen again. I mean, I mean it probably shouldn't,

437
00:24:39,040 --> 00:24:42,240
Speaker 1: you know. And ethically every which way you want to

438
00:24:42,240 --> 00:24:45,840
Speaker 1: look at it. Legally, yeah, but it's amazing and if

439
00:24:45,840 --> 00:24:47,240
Speaker 1: you look at it, if you look at a scene

440
00:24:47,800 --> 00:24:50,480
Speaker 1: as a film from the seventies, I liked at attended

441
00:24:50,560 --> 00:24:54,240
Speaker 1: Great Train Robbery with Sean Connery and down. So it's

442
00:24:54,400 --> 00:24:57,280
Speaker 1: okay really, But Michael Crichton wrote it and directed it.

443
00:24:57,320 --> 00:25:00,040
Speaker 1: But the most notable thing about it is it he

444
00:25:00,400 --> 00:25:04,239
Speaker 1: does his own top of the train stunts in that,

445
00:25:04,440 --> 00:25:08,000
Speaker 1: and they're not particularly active, but it's shot in a

446
00:25:08,040 --> 00:25:10,440
Speaker 1: way that absolutely is pointing up that we got Sean

447
00:25:10,480 --> 00:25:12,119
Speaker 1: Connery on top of the train and he's going to

448
00:25:12,160 --> 00:25:14,280
Speaker 1: be the one ducking down, you know, not in the

449
00:25:14,359 --> 00:25:17,200
Speaker 1: Nica time, but you know, trains moving pretty good. It's

450
00:25:17,240 --> 00:25:19,359
Speaker 1: hard enough to do that when you're really just hanging

451
00:25:19,359 --> 00:25:21,680
Speaker 1: on for dear life, as his character is. But to

452
00:25:21,800 --> 00:25:26,199
Speaker 1: be mobile and agile and as you say, it's like,

453
00:25:26,960 --> 00:25:29,560
Speaker 1: you know, it's like every lesson you have and balancing

454
00:25:29,600 --> 00:25:32,920
Speaker 1: coordination up there. And I think that's why I kept

455
00:25:33,400 --> 00:25:35,240
Speaker 1: kind of perking up every time I saw him moving

456
00:25:35,280 --> 00:25:37,520
Speaker 1: train and everything I was looking at these last weeks,

457
00:25:37,520 --> 00:25:42,200
Speaker 1: from Sherlock Junior to you know, to well other things.

458
00:25:42,200 --> 00:25:44,600
Speaker 1: But yeah, this is great. We're sort of in the

459
00:25:44,600 --> 00:25:46,919
Speaker 1: bag for Chan, and you know, it's we're not the

460
00:25:46,960 --> 00:25:49,080
Speaker 1: first two, you know, I think I think other people

461
00:25:49,080 --> 00:25:50,280
Speaker 1: have noticed that they're pretty good.

462
00:25:50,320 --> 00:25:54,159
Speaker 3: But maybe so maybe so keep the train going. I

463
00:25:54,160 --> 00:25:56,720
Speaker 3: think with Jackie Chan here, right, Michael, number three, my.

464
00:25:56,800 --> 00:25:59,879
Speaker 1: Number three is well again, n Jackie Chan from Police

465
00:26:00,040 --> 00:26:02,040
Speaker 1: Story one, if you want to call it that, right,

466
00:26:02,119 --> 00:26:04,800
Speaker 1: I mean, it's this police Story. So this was the

467
00:26:04,800 --> 00:26:07,920
Speaker 1: beginning of, I guess was a kind of a ramshackle

468
00:26:07,960 --> 00:26:11,159
Speaker 1: but delightful franchise. Right, And this is the scene and

469
00:26:11,720 --> 00:26:16,000
Speaker 1: for once, I'm going to narrow it to one discrete stunt. Okay,

470
00:26:16,359 --> 00:26:20,120
Speaker 1: inside Police Story from nineteen eighty five, plainly the pre

471
00:26:20,240 --> 00:26:23,400
Speaker 1: digital age, so no Fudson in that direction. For this.

472
00:26:23,400 --> 00:26:28,040
Speaker 1: This is the famous Jackie Chan pole slide down five

473
00:26:28,160 --> 00:26:32,119
Speaker 1: flights inside the mall because he sees the guy he

474
00:26:32,240 --> 00:26:36,000
Speaker 1: must apprehend way at the bottom of this atrium. He's

475
00:26:36,040 --> 00:26:39,639
Speaker 1: standing there, he's he's crouching down. He has to leap

476
00:26:39,840 --> 00:26:43,640
Speaker 1: eight feet from a railing on the fifth floor level

477
00:26:43,680 --> 00:26:47,280
Speaker 1: of the atrium onto the pole. It's a pole, the aluminum,

478
00:26:47,320 --> 00:26:49,359
Speaker 1: shiny aluminum pole sort of about out in the middle

479
00:26:49,359 --> 00:26:52,960
Speaker 1: of the atrium. He has to slide down and you know,

480
00:26:53,040 --> 00:26:59,560
Speaker 1: through all these different strong lights and then through all

481
00:26:59,560 --> 00:27:03,480
Speaker 1: the incredible sugar glass. Yes it wasn't a real glass,

482
00:27:03,520 --> 00:27:08,080
Speaker 1: but it was a tremendous amount of sugar glass. It's

483
00:27:08,119 --> 00:27:11,560
Speaker 1: all in one staggeringly good take that they kind of

484
00:27:11,560 --> 00:27:14,879
Speaker 1: repeat them quickly from different angles just because they got it.

485
00:27:14,880 --> 00:27:17,600
Speaker 1: They captured it from different angles, and it's a stunner

486
00:27:17,640 --> 00:27:19,159
Speaker 1: and they know it. And I love that kind of

487
00:27:19,200 --> 00:27:19,680
Speaker 1: showing off.

488
00:27:19,720 --> 00:27:21,680
Speaker 3: It's like, so I show it again, I show it again.

489
00:27:21,760 --> 00:27:23,720
Speaker 1: You know, it's exactly the kid, and he was like, yes,

490
00:27:23,800 --> 00:27:26,959
Speaker 1: one more time. And and of course this is this

491
00:27:27,000 --> 00:27:30,120
Speaker 1: is the truth of all the dangers of stuntwork. I mean,

492
00:27:30,119 --> 00:27:33,960
Speaker 1: what happened in that one shot that is one continuous take.

493
00:27:34,040 --> 00:27:36,560
Speaker 1: He goes through the glass, he clearly has a very

494
00:27:36,600 --> 00:27:39,520
Speaker 1: hard landing. He gets up in the same shot and

495
00:27:39,680 --> 00:27:41,879
Speaker 1: sort of like runs after the guy because that's the

496
00:27:41,920 --> 00:27:44,840
Speaker 1: next thing scripted, and then and then they cut, so

497
00:27:45,200 --> 00:27:48,760
Speaker 1: you know that it's all just happened in one in one,

498
00:27:48,840 --> 00:27:50,959
Speaker 1: as they say, But what happened at Chanda? I mean,

499
00:27:51,000 --> 00:27:52,600
Speaker 1: I mean the guy he messed up his back in

500
00:27:52,640 --> 00:27:55,439
Speaker 1: that shot. He dislocated his Pelvis. He got second degree

501
00:27:55,560 --> 00:27:59,280
Speaker 1: burns because because of all the electro you know, lights

502
00:27:59,280 --> 00:28:01,800
Speaker 1: smashing and all the electric lights and I mean everything

503
00:28:01,840 --> 00:28:04,400
Speaker 1: is heating up burns on his hands and I mean,

504
00:28:05,280 --> 00:28:07,320
Speaker 1: you know, and this is one of this is just

505
00:28:07,359 --> 00:28:09,680
Speaker 1: another day at the office for Tan, right, I mean,

506
00:28:09,800 --> 00:28:12,200
Speaker 1: I mean this was this was a stunter. And it's

507
00:28:12,240 --> 00:28:15,600
Speaker 1: not really the kind of stunt work that has that

508
00:28:15,680 --> 00:28:18,520
Speaker 1: open air sort of expanse and like momentum because it's

509
00:28:18,560 --> 00:28:23,199
Speaker 1: so kind of like confined in vertical. But it is

510
00:28:24,000 --> 00:28:26,920
Speaker 1: the pole slide for the ages. We'll never get another

511
00:28:26,920 --> 00:28:30,600
Speaker 1: one like it. And it's and again, I just love it.

512
00:28:30,720 --> 00:28:33,760
Speaker 1: It's it's this is not high polished film craft, but

513
00:28:33,800 --> 00:28:36,520
Speaker 1: it is. It is. It is the essence of what

514
00:28:37,160 --> 00:28:40,360
Speaker 1: makes you focus, Lets you focus on what an actor

515
00:28:40,400 --> 00:28:44,000
Speaker 1: who happens to be, you know, the king of stunts essentially,

516
00:28:44,040 --> 00:28:45,400
Speaker 1: you know it can do and did do.

517
00:28:45,600 --> 00:28:45,680
Speaker 3: So.

518
00:28:45,840 --> 00:28:46,760
Speaker 1: Yeah, that's I love it.

519
00:28:46,840 --> 00:28:49,600
Speaker 3: Yeah, it's a great way to frame it. Jackie Chan

520
00:28:49,760 --> 00:28:54,720
Speaker 3: certainly one of those actors who has suffered for his art.

521
00:28:54,840 --> 00:28:59,440
Speaker 3: And I might be moving on now to the Raining movie.

522
00:28:59,800 --> 00:28:59,960
Speaker 1: Mark.

523
00:29:01,160 --> 00:29:05,480
Speaker 3: I'm going to give Tom Cruise his due. I'm gonna

524
00:29:05,480 --> 00:29:10,560
Speaker 3: give I'm gonna give Mission Impossible that series it's due.

525
00:29:11,040 --> 00:29:16,080
Speaker 3: I certainly considered climbing the Burj Khalifa from Ghost Protocol

526
00:29:16,880 --> 00:29:19,360
Speaker 3: as my pick, because each m I film has had

527
00:29:19,400 --> 00:29:23,000
Speaker 3: that defining stunt, that centerpiece. But I'm going with Rogue

528
00:29:23,080 --> 00:29:26,880
Speaker 3: Nation and Ethan catching a plane. I think it's maybe

529
00:29:26,920 --> 00:29:30,080
Speaker 3: the platonic ideal of a cruise stunt. And here's why.

530
00:29:30,160 --> 00:29:32,520
Speaker 3: I think it goes back to something you said, Michael

531
00:29:33,280 --> 00:29:36,600
Speaker 3: in your review. I saw it in your Metacritic blurb

532
00:29:37,160 --> 00:29:40,000
Speaker 3: for your review of the New One, which we're gonna

533
00:29:40,040 --> 00:29:42,640
Speaker 3: get to here in a little bit. Your review of

534
00:29:42,720 --> 00:29:47,880
Speaker 3: The Final Reckoning. You phrased it, is it about what's

535
00:29:47,920 --> 00:29:50,920
Speaker 3: best for the film in terms of the editing and

536
00:29:51,000 --> 00:29:56,520
Speaker 3: the pacing, or is it about risk verification? And I

537
00:29:57,360 --> 00:30:04,000
Speaker 3: do think that this sequence is absolutely intended to amplify

538
00:30:04,800 --> 00:30:09,440
Speaker 3: our sense of understanding the risk that's there. Ethan is

539
00:30:09,800 --> 00:30:13,080
Speaker 3: just jumped on top of an airbus, a four hundred

540
00:30:13,280 --> 00:30:16,480
Speaker 3: that is about to scream down a runway and take off.

541
00:30:16,640 --> 00:30:19,680
Speaker 3: I'm one, open the door, get in the plane. Not

542
00:30:19,960 --> 00:30:24,800
Speaker 3: in the plane. I'm behind the planet. He's standing on

543
00:30:25,040 --> 00:30:29,280
Speaker 3: the fuselage. He's grabbed on to two circular notches and

544
00:30:29,320 --> 00:30:32,000
Speaker 3: a panel next to the door that he's hoping Simon

545
00:30:32,040 --> 00:30:35,480
Speaker 3: peggs Benji is going to be able to open sooner

546
00:30:35,840 --> 00:30:39,920
Speaker 3: rather than later. In a making of video I saw

547
00:30:40,040 --> 00:30:43,320
Speaker 3: Cruz talks about the crucial shot. He says this multiple

548
00:30:43,320 --> 00:30:46,800
Speaker 3: times that his vision for it, he kept telling all

549
00:30:46,840 --> 00:30:50,160
Speaker 3: the designers that we got to see the earth moving

550
00:30:50,200 --> 00:30:52,800
Speaker 3: away as he's hanging off the plane. We have to

551
00:30:52,880 --> 00:30:55,360
Speaker 3: see the earth the ground. We got to see his

552
00:30:55,440 --> 00:30:59,160
Speaker 3: legs flapping in the wind. So the question is is

553
00:30:59,160 --> 00:31:03,440
Speaker 3: that cruise the egomaniac wanting to make sure that audiences

554
00:31:03,520 --> 00:31:07,200
Speaker 3: get it. Look at what I did for you, Look

555
00:31:07,240 --> 00:31:09,840
Speaker 3: at how I put my life on the line for you.

556
00:31:10,120 --> 00:31:13,600
Speaker 3: That's really me hanging onto that plane as it lifts

557
00:31:13,600 --> 00:31:15,840
Speaker 3: off from the ground, higher and higher into the sky.

558
00:31:16,160 --> 00:31:19,360
Speaker 3: Or is it cruise the movie producer trying to maximize

559
00:31:19,400 --> 00:31:22,840
Speaker 3: the entertainment value, making sure audiences get it. Look what

560
00:31:22,960 --> 00:31:26,080
Speaker 3: Ethan Hunt will do to save the world. Look how

561
00:31:26,160 --> 00:31:29,320
Speaker 3: he'll put his life on the line with no safety net,

562
00:31:29,320 --> 00:31:32,120
Speaker 3: no backup plan. That's really him hanging on to that

563
00:31:32,160 --> 00:31:34,880
Speaker 3: plane as it lifts off from the ground, higher and

564
00:31:34,960 --> 00:31:37,400
Speaker 3: higher into the sky. I think the answer is always

565
00:31:37,720 --> 00:31:41,520
Speaker 3: probably some of both, but my point is that the

566
00:31:41,680 --> 00:31:45,200
Speaker 3: balance in this case is tipped more in favor for

567
00:31:45,320 --> 00:31:49,240
Speaker 3: me of Cruise the movie producer. The single shot or

568
00:31:49,360 --> 00:31:51,200
Speaker 3: kind of the long take approach, and I'm using it

569
00:31:51,240 --> 00:31:53,720
Speaker 3: in quotes here works the same way it does or

570
00:31:53,800 --> 00:31:57,720
Speaker 3: can in any movie where it heightens ver similitude. It

571
00:31:57,720 --> 00:32:01,520
Speaker 3: adds a real time sense of urgency. There's nice cross

572
00:32:01,560 --> 00:32:04,760
Speaker 3: cutting between different angles of cruise and different shots of

573
00:32:04,800 --> 00:32:09,440
Speaker 3: cruise Benji Benji's tablet, Jeremy Renner. The plane itself, it's

574
00:32:09,520 --> 00:32:14,960
Speaker 3: not just about, as you said, risk verification. The stunt serves,

575
00:32:15,000 --> 00:32:19,720
Speaker 3: the scene, serves the characters, serves the stakes of the story,

576
00:32:20,200 --> 00:32:23,280
Speaker 3: and it's not just about that stunt. And when the

577
00:32:23,400 --> 00:32:29,520
Speaker 3: plane lifts off into the air, I remember it on

578
00:32:29,640 --> 00:32:34,280
Speaker 3: a big screen, seeing his legs floating in the air

579
00:32:35,640 --> 00:32:39,000
Speaker 3: with the ground getting smaller and smaller in the background.

580
00:32:39,240 --> 00:32:41,880
Speaker 3: It did have the effect of a roller coaster ride

581
00:32:41,920 --> 00:32:44,040
Speaker 3: where it took your breath away for a second.

582
00:32:44,120 --> 00:32:46,520
Speaker 1: Yeah, it did, it did. No, it's a great, it's

583
00:32:46,560 --> 00:32:49,360
Speaker 1: a great. The whole franchise is. I think it lives

584
00:32:49,400 --> 00:32:53,280
Speaker 1: on the tightrope between those two towers that you're talking about.

585
00:32:53,360 --> 00:32:55,880
Speaker 1: You know what one is. It's pure ego mania and

586
00:32:55,960 --> 00:32:59,360
Speaker 1: a bit of mania period without even the ego. Uh

587
00:33:00,320 --> 00:33:04,080
Speaker 1: and and yes, certainly at their best, you know, they

588
00:33:04,120 --> 00:33:07,960
Speaker 1: are the thing that people just crave to watch because

589
00:33:07,960 --> 00:33:10,760
Speaker 1: they know, a he's fine, you know, he's ultimately and yes,

590
00:33:11,200 --> 00:33:13,760
Speaker 1: well they don't really know. I think consciously is that

591
00:33:13,960 --> 00:33:16,600
Speaker 1: you know, there are cables and things holding this guy

592
00:33:16,640 --> 00:33:19,760
Speaker 1: in place. So it's not as nutty as it looks,

593
00:33:20,040 --> 00:33:24,160
Speaker 1: but it's it's further than anybody else certainly will go

594
00:33:24,240 --> 00:33:26,960
Speaker 1: and has gone in his generation, you know, in terms

595
00:33:27,000 --> 00:33:28,840
Speaker 1: of a movie star is really good. All right, look

596
00:33:28,880 --> 00:33:31,440
Speaker 1: this is gonna if we're gonna, you know, this is

597
00:33:31,480 --> 00:33:33,960
Speaker 1: my way of saving the movies, you know. And I

598
00:33:33,960 --> 00:33:37,320
Speaker 1: think Cruz, you know, everything he said, every appearance he's

599
00:33:37,320 --> 00:33:41,160
Speaker 1: made when he talks about saving helping to save the

600
00:33:41,200 --> 00:33:44,320
Speaker 1: motion picture experience in troubled times, you know, I think

601
00:33:44,360 --> 00:33:47,160
Speaker 1: he's basically got the same intensity as Ethan Hunt talking

602
00:33:47,200 --> 00:33:49,200
Speaker 1: about saving the world, you know, So it's all it's

603
00:33:49,240 --> 00:33:51,240
Speaker 1: all one to him, I think. But yeah, no, it's

604
00:33:51,240 --> 00:33:54,000
Speaker 1: a great scene. That's a great shot, and and we'll

605
00:33:54,000 --> 00:33:57,040
Speaker 1: talk about it later. But there's the book end to that,

606
00:33:57,120 --> 00:33:59,440
Speaker 1: of course, is he's hanging off a different plane in

607
00:33:59,520 --> 00:34:01,800
Speaker 1: the in the latest film, and we'll talk about whether

608
00:34:01,880 --> 00:34:03,479
Speaker 1: or not that scene is as effective or not.

609
00:34:04,120 --> 00:34:07,120
Speaker 3: More memorable movie stunts to come find our top five

610
00:34:07,200 --> 00:34:09,960
Speaker 3: with clips. You can watch these stunts at film spotting

611
00:34:10,000 --> 00:34:14,160
Speaker 3: dot net slash lists. Listening is the number one thing

612
00:34:14,200 --> 00:34:16,759
Speaker 3: you can do to support an independently produced show like

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Speaker 3: Film Spotting. A couple more things you can do. Take

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Speaker 3: first time listener or have been listening for twenty years.

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619
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620
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Speaker 3: exclusive opportunities including the Film Spotting Family discord, and monthly

623
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624
00:34:49,200 --> 00:34:54,800
Speaker 3: had a draft with our Madness Bracket contest winner Ricky

625
00:34:54,920 --> 00:34:59,640
Speaker 3: Kendall in the UK. This was a draft Michael five

626
00:34:59,719 --> 00:35:03,839
Speaker 3: round of our all time favorite directors, but the hook

627
00:35:04,080 --> 00:35:07,680
Speaker 3: was they had to be dead directors dead only directors

628
00:35:07,680 --> 00:35:10,279
Speaker 3: who are no longer with us. And as I hit

629
00:35:10,360 --> 00:35:12,800
Speaker 3: refresh on the poll, who won the draft?

630
00:35:12,800 --> 00:35:12,960
Speaker 2: Oh?

631
00:35:12,960 --> 00:35:15,239
Speaker 3: What do you know? Right now they're saying I won

632
00:35:15,280 --> 00:35:19,480
Speaker 3: the poll. Listeners are saying I am in the lead currently.

633
00:35:19,520 --> 00:35:21,120
Speaker 3: I had I had a pretty good draft. When the

634
00:35:21,200 --> 00:35:25,400
Speaker 3: draft starts with Kubrick and Wilder, you know, yeah, you're

635
00:35:25,440 --> 00:35:26,799
Speaker 3: doing you're doing pretty well.

636
00:35:27,480 --> 00:35:29,520
Speaker 1: Yeah, huh okay.

637
00:35:29,920 --> 00:35:32,759
Speaker 3: But but but other people had good drafts too. There's

638
00:35:32,760 --> 00:35:34,760
Speaker 3: a lot of good dead directors who knew.

639
00:35:35,400 --> 00:35:38,000
Speaker 1: There are they? A few? A few of them. I

640
00:35:38,040 --> 00:35:40,800
Speaker 1: few of them had some promise. Yeah, yeah they did.

641
00:35:40,880 --> 00:35:42,719
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642
00:35:42,800 --> 00:35:45,240
Speaker 3: other bonus shows and be part of the film Spotting family.

643
00:35:45,280 --> 00:35:48,640
Speaker 3: You can learn more at film spotting family dot com.

644
00:35:49,080 --> 00:35:51,400
Speaker 3: This is usually the spot where we feature a member

645
00:35:51,480 --> 00:35:53,719
Speaker 3: of the film Spotting Family. This week, instead, we're going

646
00:35:53,719 --> 00:35:56,399
Speaker 3: to share a couple of messages that listeners submitted ahead

647
00:35:56,440 --> 00:35:59,400
Speaker 3: of Film Spotting Fest in March, and we'll highlight some

648
00:35:59,480 --> 00:36:02,399
Speaker 3: more of these over the course of our twentieth anniversary year.

649
00:36:02,800 --> 00:36:05,920
Speaker 3: We offered a few potential prompts. My favorite show Memory

650
00:36:06,080 --> 00:36:08,840
Speaker 3: is or the thing I really value about film Spotting

651
00:36:08,920 --> 00:36:11,239
Speaker 3: is or film Spotting kind of changed my life when

652
00:36:11,840 --> 00:36:14,759
Speaker 3: or you could say whatever you wanted to say. Here

653
00:36:14,800 --> 00:36:17,400
Speaker 3: are a couple of longtime listeners.

654
00:36:17,360 --> 00:36:20,920
Speaker 4: Hi film Sponning, Happy twentieth. This is Nigel Smith in

655
00:36:21,080 --> 00:36:24,120
Speaker 4: Toflel Park in North London. I've been listening to the

656
00:36:24,160 --> 00:36:29,360
Speaker 4: show since twenty ten and what I am most grateful

657
00:36:29,440 --> 00:36:32,880
Speaker 4: to you all for is not only introducing me to

658
00:36:33,200 --> 00:36:38,080
Speaker 4: films as diverse as hump Day and the Hearings of

659
00:36:38,160 --> 00:36:42,520
Speaker 4: Madame Duh, but also to the wider film sponding community

660
00:36:42,520 --> 00:36:45,480
Speaker 4: that has grown around the show over the years. And

661
00:36:46,040 --> 00:36:49,920
Speaker 4: thanks to meetups in Chicago, New York here in London

662
00:36:50,560 --> 00:36:55,560
Speaker 4: on Lockdown Trivia Spotting, I've met so many listeners become

663
00:36:55,600 --> 00:36:58,960
Speaker 4: good friends with a bunch of them, and I'm really

664
00:36:59,200 --> 00:37:02,680
Speaker 4: thankful to that, So thank you so much. Here is

665
00:37:02,800 --> 00:37:05,920
Speaker 4: too many, many more years of the show. I will

666
00:37:06,160 --> 00:37:11,600
Speaker 4: toast you with a Chicago themed mug of tea happy birthday, Hello.

667
00:37:11,520 --> 00:37:15,920
Speaker 5: Film Spotting, and happy twentieth anniversary. This is Fern from Wimett, Illinois.

668
00:37:16,200 --> 00:37:19,760
Speaker 5: I started listening in late twenty eleven, right before Josh

669
00:37:19,840 --> 00:37:22,960
Speaker 5: joined the show. I was happy to find folks talking

670
00:37:23,000 --> 00:37:25,319
Speaker 5: about movies in such a lively and fun way. You

671
00:37:25,360 --> 00:37:28,279
Speaker 5: all conveyed what it feels like to watch movies, the

672
00:37:28,280 --> 00:37:31,160
Speaker 5: thing we all love. Film Spotting changed my life because

673
00:37:31,160 --> 00:37:34,600
Speaker 5: I started talking about you all the time. You know

674
00:37:34,600 --> 00:37:36,960
Speaker 5: how when you meet a special someone and next thing

675
00:37:37,000 --> 00:37:40,360
Speaker 5: you know, their name is peppered into all your conversations. Well,

676
00:37:40,600 --> 00:37:43,120
Speaker 5: that's what happened when I met film Spotting. I'd be

677
00:37:43,200 --> 00:37:47,120
Speaker 5: saying the film spotter said this, or the film spotters

678
00:37:47,160 --> 00:37:50,440
Speaker 5: recommended this. I'm thinking I influenced others to listen to

679
00:37:50,480 --> 00:37:52,279
Speaker 5: film spotting, at least I hope I did.

680
00:37:53,080 --> 00:37:53,160
Speaker 2: So.

681
00:37:53,320 --> 00:37:56,000
Speaker 5: Thank you so much for bringing me weekly entertainment, for

682
00:37:56,080 --> 00:37:59,240
Speaker 5: expanding my film knowledge, for sometimes getting me to watch

683
00:37:59,320 --> 00:38:02,960
Speaker 5: a really strang movie, often a baffling one. Thank you

684
00:38:02,960 --> 00:38:05,200
Speaker 5: for letting me get to know you, and thank you

685
00:38:05,280 --> 00:38:08,200
Speaker 5: for twenty years of shared film found him. I look

686
00:38:08,239 --> 00:38:09,600
Speaker 5: forward to all that comes next.

687
00:38:10,000 --> 00:38:10,360
Speaker 1: Cheers.

688
00:38:10,840 --> 00:38:12,520
Speaker 3: Thank you so much for the kind words.

689
00:38:12,600 --> 00:38:12,920
Speaker 1: Fern.

690
00:38:12,960 --> 00:38:16,160
Speaker 3: It's been great to meet you over the years at

691
00:38:16,160 --> 00:38:21,520
Speaker 3: different events, live and virtual, and Nigel mention those meetups

692
00:38:21,600 --> 00:38:24,000
Speaker 3: that have been so important to the film spotting community

693
00:38:24,080 --> 00:38:27,040
Speaker 3: over the years. I actually met up with Nigel and

694
00:38:27,120 --> 00:38:30,040
Speaker 3: his wife recently in Rome. We just happened to be

695
00:38:30,080 --> 00:38:34,160
Speaker 3: in Rome at the same time, and when we figured

696
00:38:34,160 --> 00:38:37,279
Speaker 3: that out, we met up for lunch, had a nice

697
00:38:37,400 --> 00:38:41,279
Speaker 3: day together. And that reference to toasting us with a

698
00:38:41,400 --> 00:38:45,320
Speaker 3: Chicago theme mug of tea, which you can't see, of course,

699
00:38:45,680 --> 00:38:48,400
Speaker 3: because I saw the video. You're only hearing the audio.

700
00:38:48,920 --> 00:38:52,279
Speaker 3: He was holding a mug that had a painting of

701
00:38:52,920 --> 00:38:58,960
Speaker 3: hoppers nighthawks, which is not itself a Chicago reference, but

702
00:38:59,040 --> 00:39:02,400
Speaker 3: that painting it can see. It's hanging there at the

703
00:39:02,480 --> 00:39:07,000
Speaker 3: Art Institute of Chicago. Again, our thanks to Nigel and

704
00:39:07,040 --> 00:39:11,240
Speaker 3: Fern for being such great listeners and for supporting the show.

705
00:39:15,600 --> 00:39:16,759
Speaker 1: I need you to trust me.

706
00:39:18,440 --> 00:39:26,160
Speaker 3: One last time, one last time, Michael. Mission impossible, the

707
00:39:26,239 --> 00:39:30,400
Speaker 3: Final Reckoning. The Tom Cruise mission has expanded from saving

708
00:39:30,440 --> 00:39:33,880
Speaker 3: the world too, as you noted earlier, to saving the movies.

709
00:39:33,920 --> 00:39:37,319
Speaker 3: That is the cruise directive. How did he do here?

710
00:39:37,960 --> 00:39:41,680
Speaker 1: Yeah? I love your certainty Adam that it's the final reckoning.

711
00:39:41,719 --> 00:39:45,040
Speaker 1: I mean it's I think we're the factors, the factors

712
00:39:45,040 --> 00:39:46,640
Speaker 1: that could tip that the other way. But it's going

713
00:39:46,719 --> 00:39:48,920
Speaker 1: to be tough with this one. I mean it's a

714
00:39:48,960 --> 00:39:52,320
Speaker 1: four hundred million dollar movie, and I mean it costs

715
00:39:52,320 --> 00:39:55,279
Speaker 1: four hundred million to make. Apparently that means it has

716
00:39:55,320 --> 00:39:59,399
Speaker 1: to make pre COVID money. It has to be very

717
00:39:59,440 --> 00:40:02,799
Speaker 1: close to a bill to break even. That's a lot

718
00:40:02,800 --> 00:40:04,720
Speaker 1: of money. And it got off to a really good start.

719
00:40:05,600 --> 00:40:09,520
Speaker 1: And nonetheless it was beaten by Lilo and Stitch, you know,

720
00:40:10,239 --> 00:40:13,520
Speaker 1: in the US box office, so it's not the same

721
00:40:13,520 --> 00:40:16,800
Speaker 1: audience necessarily cognoist, But how did he do? It's good?

722
00:40:16,880 --> 00:40:20,640
Speaker 1: I think it's it's maddeningly uneven. I will say that,

723
00:40:20,760 --> 00:40:23,759
Speaker 1: you know, and I thought Dead Reckoning the previous one

724
00:40:24,280 --> 00:40:28,200
Speaker 1: was a fair bit better. But this film still has

725
00:40:28,560 --> 00:40:32,520
Speaker 1: things in it that go straight to what we've been

726
00:40:32,560 --> 00:40:35,560
Speaker 1: talking about with this top five, with the stunts throughout history.

727
00:40:35,560 --> 00:40:40,719
Speaker 1: It's got the best action really is not just throwback

728
00:40:40,760 --> 00:40:43,480
Speaker 1: sort of here's Tom Cruise risking his life again, but

729
00:40:44,360 --> 00:40:47,080
Speaker 1: there's just a lot of good kinetic action in it.

730
00:40:47,160 --> 00:40:50,719
Speaker 1: I think it's I think it's more sloppily written than

731
00:40:50,760 --> 00:40:55,360
Speaker 1: the previous film. And what I've heard talking to my

732
00:40:55,520 --> 00:40:58,560
Speaker 1: favorite sort of my vote for the MVP and this

733
00:40:58,600 --> 00:41:03,319
Speaker 1: whole ensemble of Final Reckoning, Ralph Sex and what we'll

734
00:41:03,320 --> 00:41:05,160
Speaker 1: talk about in a second. I talked to them the

735
00:41:05,160 --> 00:41:07,600
Speaker 1: other day and just have an interview up now. In fact,

736
00:41:08,080 --> 00:41:12,480
Speaker 1: that script was being rewritten constantly, constantly, and I mean

737
00:41:12,520 --> 00:41:15,799
Speaker 1: the whole ending was different, you know, six months before

738
00:41:15,800 --> 00:41:18,040
Speaker 1: they filmed and then they decided, I let's do something

739
00:41:18,160 --> 00:41:20,520
Speaker 1: entirely different. I think you can feel a little of

740
00:41:20,520 --> 00:41:23,680
Speaker 1: that stress. It's a wobbly film in a way, but

741
00:41:24,360 --> 00:41:26,640
Speaker 1: I do feel like this franchise. I don't want to

742
00:41:26,719 --> 00:41:28,880
Speaker 1: keep jumping off the film to talk about the franchise,

743
00:41:28,920 --> 00:41:32,080
Speaker 1: but the franchise has been such a good exception to

744
00:41:32,120 --> 00:41:35,719
Speaker 1: the rule for franchises. They come out in my experience,

745
00:41:36,200 --> 00:41:40,120
Speaker 1: at exactly the right pace and with just enough kind

746
00:41:40,120 --> 00:41:43,560
Speaker 1: of ambition that we're always seeing something new. So even

747
00:41:43,600 --> 00:41:46,600
Speaker 1: with the problems, you know, I basically liked it. I

748
00:41:46,640 --> 00:41:49,880
Speaker 1: hate to be kind of like that's just idiot criticism,

749
00:41:49,880 --> 00:41:52,960
Speaker 1: it's not even criticism. But the final Reckoning doesn't have

750
00:41:53,040 --> 00:41:58,560
Speaker 1: the same I think panache and storytelling, confidence and coherence

751
00:41:58,600 --> 00:42:01,640
Speaker 1: that Rogue Nation and did a decade ago. That's still

752
00:42:01,719 --> 00:42:04,440
Speaker 1: kind of a benchmark for me. Especially this is the

753
00:42:04,480 --> 00:42:09,279
Speaker 1: one that began with the elaborate Vienna Opera house, you know,

754
00:42:09,320 --> 00:42:13,640
Speaker 1: assassination attempt. This is with Rebecca Ferguson as the assassin,

755
00:42:13,760 --> 00:42:18,600
Speaker 1: the Mi six meter sharpshooter. This film is just a

756
00:42:18,640 --> 00:42:21,600
Speaker 1: lot messier, and I think Adam what weighs me down,

757
00:42:21,800 --> 00:42:23,640
Speaker 1: and it started weighing me down a bit with the

758
00:42:23,680 --> 00:42:27,040
Speaker 1: previous one. Is when the Steaks have gotten this high,

759
00:42:27,360 --> 00:42:30,239
Speaker 1: when we're dealing with an entity called the Entity, this

760
00:42:30,320 --> 00:42:35,080
Speaker 1: AI supervirus that is going to take over the world

761
00:42:35,120 --> 00:42:39,440
Speaker 1: and you know, sort of selectively wipe out most of humanity,

762
00:42:40,000 --> 00:42:43,120
Speaker 1: it's getting into Marvel movie sort of like end of

763
00:42:43,160 --> 00:42:46,000
Speaker 1: the World stakes territory, which is in turn off for me.

764
00:42:46,680 --> 00:42:48,840
Speaker 1: I think when you go back a decade, even with

765
00:42:48,920 --> 00:42:53,000
Speaker 1: the Mission Impossible franchise to Rogue Nation, we're dealing with

766
00:42:53,040 --> 00:42:57,160
Speaker 1: a less apocalyptic threat level. And I don't know if

767
00:42:57,160 --> 00:43:00,280
Speaker 1: that's the mood of the country and my mood twenty

768
00:43:00,320 --> 00:43:03,600
Speaker 1: twenty five sort of overruling other things that I just

769
00:43:03,640 --> 00:43:06,560
Speaker 1: don't feel like, you know, I got enough real world

770
00:43:06,640 --> 00:43:08,839
Speaker 1: worries about how we're going to get through the next

771
00:43:08,960 --> 00:43:12,959
Speaker 1: three years. But I don't think that's necessarily the most

772
00:43:13,000 --> 00:43:17,799
Speaker 1: creative way to up the stakes as a screenwriter or

773
00:43:17,840 --> 00:43:20,080
Speaker 1: as a director, or as a movie producer and a

774
00:43:20,120 --> 00:43:23,480
Speaker 1: movie start. But it's it's always the instinct, you know,

775
00:43:23,480 --> 00:43:25,960
Speaker 1: how do we raise the stakes and it's always it

776
00:43:26,000 --> 00:43:28,319
Speaker 1: tends to always go in this direction, and I don't

777
00:43:28,360 --> 00:43:31,320
Speaker 1: know the movie has issues with that. On the other hand,

778
00:43:31,400 --> 00:43:34,319
Speaker 1: the film is much better I think Final Reckoning in

779
00:43:34,360 --> 00:43:38,799
Speaker 1: the second half when some of the surprises are what

780
00:43:38,960 --> 00:43:41,640
Speaker 1: make it a little human you know, love I love

781
00:43:41,640 --> 00:43:44,879
Speaker 1: this d tour to Saint Matthew's Island and the Bearing Sea,

782
00:43:44,880 --> 00:43:47,560
Speaker 1: which is actually Norway where they filmed it. And you

783
00:43:47,760 --> 00:43:52,160
Speaker 1: see my favorite character callback in modern film history, where

784
00:43:52,200 --> 00:43:55,560
Speaker 1: the guy that had five lines in the first mission

785
00:43:55,560 --> 00:44:03,200
Speaker 1: Apostle the Cia semi it anonymous CIA guy, William Donald

786
00:44:03,640 --> 00:44:07,200
Speaker 1: five four lines of dialogue. He had. The actor named

787
00:44:07,280 --> 00:44:09,759
Speaker 1: Ralph Saxon plays this guy. This is the guy who

788
00:44:10,239 --> 00:44:13,839
Speaker 1: had Tom Cruise, you know, hanging by wires above him.

789
00:44:13,840 --> 00:44:15,880
Speaker 1: And the guy never quite detected that there was a

790
00:44:15,920 --> 00:44:19,040
Speaker 1: problem until you know, the information on the Knocilius was

791
00:44:19,080 --> 00:44:21,920
Speaker 1: stolen out from underum. And then he gets banished. It's

792
00:44:21,960 --> 00:44:25,520
Speaker 1: just a totally side bit this other in the first film.

793
00:44:25,520 --> 00:44:29,040
Speaker 1: But he gets banished to a radar tower in Alaska.

794
00:44:29,160 --> 00:44:31,160
Speaker 1: This is you know, this is this is the punishment.

795
00:44:31,680 --> 00:44:35,280
Speaker 1: And then the film we see brings this guy back,

796
00:44:35,960 --> 00:44:39,200
Speaker 1: and it's not just for like a joke. It could

797
00:44:39,200 --> 00:44:40,759
Speaker 1: have been it could have been just that like, hey,

798
00:44:41,120 --> 00:44:42,919
Speaker 1: what do you know they brought that guy back from

799
00:44:42,960 --> 00:44:45,719
Speaker 1: thirty twenty nine years ago. It's a big part, and

800
00:44:45,760 --> 00:44:48,759
Speaker 1: it's a very interesting part. And that whole sequence where

801
00:44:48,760 --> 00:44:51,680
Speaker 1: you have this sort of semi preposterous set up where

802
00:44:51,680 --> 00:44:54,319
Speaker 1: you know, Donald's found true love with the you know,

803
00:44:54,360 --> 00:44:57,919
Speaker 1: with his wife up there in the tundra, and that's

804
00:44:57,920 --> 00:45:01,600
Speaker 1: the kind of narrative corkscrew that I thought delightful, you know,

805
00:45:01,680 --> 00:45:03,680
Speaker 1: and also just you know, it sort of like gives

806
00:45:03,680 --> 00:45:05,440
Speaker 1: it a human touch because it's like, hey, what do

807
00:45:05,480 --> 00:45:09,399
Speaker 1: you know, a callback you know that could have been

808
00:45:09,440 --> 00:45:12,200
Speaker 1: just pure nostalgia ends up being you know, like really

809
00:45:12,200 --> 00:45:15,160
Speaker 1: helping the texture of the movie and the ensemble. But

810
00:45:15,600 --> 00:45:18,200
Speaker 1: there's things like that that I love about it. There's things,

811
00:45:18,680 --> 00:45:20,440
Speaker 1: you know that I think are just grading in it,

812
00:45:20,560 --> 00:45:24,000
Speaker 1: like if East sigh morales, you know, literally cackling like

813
00:45:24,040 --> 00:45:26,239
Speaker 1: a villain out of the Silent Films, you know, over

814
00:45:26,280 --> 00:45:28,839
Speaker 1: and over in the climax, the second climax of two.

815
00:45:29,760 --> 00:45:32,040
Speaker 1: Film's got a lot of climaxes. Some of it's just

816
00:45:32,080 --> 00:45:34,000
Speaker 1: a little cheesy in a way that I think the

817
00:45:34,040 --> 00:45:37,560
Speaker 1: previous film wasn't and the best of the franchises. But

818
00:45:37,560 --> 00:45:41,080
Speaker 1: but but but but but solid good? What did you think?

819
00:45:41,400 --> 00:45:42,080
Speaker 1: I'm sick of me?

820
00:45:43,360 --> 00:45:45,560
Speaker 3: I'm with you and that I think it's solid. I

821
00:45:45,640 --> 00:45:47,879
Speaker 3: think it's good. I enjoyed it. It's not Roge Nation,

822
00:45:48,200 --> 00:45:52,120
Speaker 3: it's not Fallout, it's not Ghost Protocol. Neither was Dead Reckoning.

823
00:45:52,520 --> 00:45:56,480
Speaker 3: It's entirely possible that you're right. The Dead Reckoning is

824
00:45:56,520 --> 00:46:00,000
Speaker 3: a better film from a script standpoint, from a story

825
00:46:00,080 --> 00:46:03,120
Speaker 3: reconstruction standpoint. I don't know what to tell you or

826
00:46:03,160 --> 00:46:06,960
Speaker 3: anyone else. I was so much more invested in this story.

827
00:46:07,120 --> 00:46:10,320
Speaker 3: I cared so much more about the characters. I enjoyed

828
00:46:10,760 --> 00:46:13,719
Speaker 3: all of the characters more and just overall enjoyed this

829
00:46:13,920 --> 00:46:18,800
Speaker 3: film more than Dead Reckoning, which I was just more

830
00:46:18,840 --> 00:46:20,560
Speaker 3: than the previous alone, which I was just sort of

831
00:46:20,600 --> 00:46:25,000
Speaker 3: mild on. Despite the bloat that comes with laboring to

832
00:46:25,040 --> 00:46:27,920
Speaker 3: wrap up the series in the most cathartic way possible,

833
00:46:28,280 --> 00:46:32,040
Speaker 3: the filmmakers were wise to keep the outside story on

834
00:46:32,200 --> 00:46:36,799
Speaker 3: hunts and cruises shoulders or legs. I just felt that

835
00:46:36,840 --> 00:46:41,040
Speaker 3: all the material from other movies, in particular we'll talk

836
00:46:41,080 --> 00:46:43,879
Speaker 3: about the callbacks maybe a little bit more. But all

837
00:46:43,920 --> 00:46:47,719
Speaker 3: this material and you spoke to this right that that

838
00:46:47,800 --> 00:46:50,400
Speaker 3: it gets a little unwieldy. The stakes maybe get even

839
00:46:50,520 --> 00:46:53,759
Speaker 3: too high for the film, but they still ground it

840
00:46:53,800 --> 00:46:58,279
Speaker 3: all in the weight of the choices that Ethan is

841
00:46:58,360 --> 00:47:01,719
Speaker 3: made and the choices that he faces, and so there's

842
00:47:01,719 --> 00:47:05,479
Speaker 3: still something somehow that feels intimate about it. It all

843
00:47:05,480 --> 00:47:08,160
Speaker 3: comes down to him in a way that I thought

844
00:47:08,400 --> 00:47:10,879
Speaker 3: was effective. And I think they make a smart choice

845
00:47:10,920 --> 00:47:14,200
Speaker 3: early on too, which is they have him plug into

846
00:47:14,239 --> 00:47:19,200
Speaker 3: the entity. So when Ethan sees how it's all apparently

847
00:47:19,239 --> 00:47:23,120
Speaker 3: faded to play out, so do we Everything audacious and

848
00:47:23,200 --> 00:47:27,160
Speaker 3: follows becomes a matter of how not what, Like basically

849
00:47:27,239 --> 00:47:29,759
Speaker 3: the rest of the movie. We get a preview of

850
00:47:29,800 --> 00:47:33,200
Speaker 3: the rest of the movie, and I remember kind of thinking, Wow,

851
00:47:33,320 --> 00:47:36,000
Speaker 3: I don't see how in the next two hours and

852
00:47:36,040 --> 00:47:38,399
Speaker 3: thirty minutes or whatever they're going to pull this off.

853
00:47:38,440 --> 00:47:40,279
Speaker 3: I also don't know how the characters are going to

854
00:47:40,360 --> 00:47:42,480
Speaker 3: pull off, you know, in the movie world, I don't

855
00:47:42,480 --> 00:47:44,319
Speaker 3: know how the characters are going to pull off the

856
00:47:44,320 --> 00:47:46,560
Speaker 3: things they're being asked to do. I don't know how

857
00:47:46,560 --> 00:47:48,360
Speaker 3: the movie is going to jam it all in and

858
00:47:48,520 --> 00:47:50,520
Speaker 3: then and then they pulled it off. But it was

859
00:47:50,680 --> 00:47:52,759
Speaker 3: it was like I felt like I was I was

860
00:47:52,800 --> 00:47:55,239
Speaker 3: ahead of most of the characters in the film. I

861
00:47:55,320 --> 00:47:57,520
Speaker 3: knew where the movie was going. It's fun when you

862
00:47:57,560 --> 00:48:00,239
Speaker 3: feel like you know you're you're a line with the

863
00:48:00,280 --> 00:48:02,239
Speaker 3: main character in that way, and you kind of see

864
00:48:02,280 --> 00:48:04,160
Speaker 3: where it's all going. But then you also know that

865
00:48:04,200 --> 00:48:07,239
Speaker 3: you're gonna get You're gonna get some surprises. The key

866
00:48:07,280 --> 00:48:09,480
Speaker 3: criticism of the film that that I've seen pop up

867
00:48:09,480 --> 00:48:11,719
Speaker 3: here and there seems to be those callbacks, and that

868
00:48:12,040 --> 00:48:15,840
Speaker 3: the movie is is too concerned with itself, that it

869
00:48:15,960 --> 00:48:19,480
Speaker 3: is like the entity that it's that it's too self aware, perhaps,

870
00:48:19,520 --> 00:48:22,400
Speaker 3: which ironically is a problem I had with with the

871
00:48:22,480 --> 00:48:25,839
Speaker 3: last film. But I guess my my pushback on that

872
00:48:26,080 --> 00:48:29,280
Speaker 3: it's there. Don't get me wrong, Obviously there's callbacks galore

873
00:48:29,719 --> 00:48:33,279
Speaker 3: in this film, and there are and there and there

874
00:48:33,320 --> 00:48:37,520
Speaker 3: are that that's the bloat I'm talking about. But in

875
00:48:37,640 --> 00:48:42,200
Speaker 3: the end, you have to ask yourself what those callbacks serve, Like,

876
00:48:42,239 --> 00:48:46,479
Speaker 3: what's what's the purpose is it? Usually in these types

877
00:48:46,520 --> 00:48:50,239
Speaker 3: of series it comes down to maybe being about fan service. Well,

878
00:48:50,239 --> 00:48:53,080
Speaker 3: that this franchise has never been about fan service, and

879
00:48:53,120 --> 00:48:56,360
Speaker 3: I don't think that's what it's about here. So is

880
00:48:56,360 --> 00:49:01,000
Speaker 3: it Is it really about Macquarie and Cruise just being

881
00:49:01,040 --> 00:49:03,680
Speaker 3: interested in self aggrandizement. I don't know. I guess I

882
00:49:03,760 --> 00:49:06,640
Speaker 3: give them too much credit as storytellers at this point.

883
00:49:06,680 --> 00:49:10,120
Speaker 3: Maybe they just love these characters too much and they

884
00:49:10,120 --> 00:49:13,000
Speaker 3: love this world too much. I'll go back to Don

885
00:49:13,000 --> 00:49:15,279
Speaker 3: Low for a second. Did I groan a little bit

886
00:49:15,480 --> 00:49:19,080
Speaker 3: when he appeared on my screen? Yes, because I thought

887
00:49:19,080 --> 00:49:21,040
Speaker 3: it was going to be that type of fan service

888
00:49:21,120 --> 00:49:23,600
Speaker 3: nonsense we're used to seeing. Why did it have to

889
00:49:23,600 --> 00:49:25,439
Speaker 3: be him? Did it need to be him?

890
00:49:25,600 --> 00:49:28,920
Speaker 1: We need the movie such a minor player. That's you know,

891
00:49:28,960 --> 00:49:30,719
Speaker 1: That's that's the crazy thing about it.

892
00:49:31,040 --> 00:49:33,840
Speaker 3: That's a thing about it. But like we needed that character,

893
00:49:34,000 --> 00:49:37,839
Speaker 3: The story and the plot needed a character like that, Right,

894
00:49:38,320 --> 00:49:40,120
Speaker 3: Why did it have to be Why couldn't they have

895
00:49:40,160 --> 00:49:42,480
Speaker 3: introduced a new character? Why did they have to do

896
00:49:42,520 --> 00:49:46,200
Speaker 3: the callback? But in the end he becomes an important character.

897
00:49:46,520 --> 00:49:49,000
Speaker 3: His art fits in with the narrative about the choices

898
00:49:49,040 --> 00:49:51,839
Speaker 3: we make and the choices we don't make. And as

899
00:49:51,840 --> 00:49:55,719
Speaker 3: you said, Rolf Saxon gives a really good performance. So no,

900
00:49:55,840 --> 00:49:58,200
Speaker 3: he didn't need to be the CIA analyst from the

901
00:49:58,239 --> 00:50:01,600
Speaker 3: first movie. But it does work on a storytelling level,

902
00:50:01,800 --> 00:50:04,960
Speaker 3: and it works on a performance level, So it's not

903
00:50:05,239 --> 00:50:08,320
Speaker 3: just about the callback. I saw the callbacks as ultimately

904
00:50:08,800 --> 00:50:12,479
Speaker 3: serving those stakes more than anything, and not just being

905
00:50:12,520 --> 00:50:14,240
Speaker 3: about serving itself.

906
00:50:14,600 --> 00:50:18,040
Speaker 1: Yeah. Well, I think we agree that that particular kind

907
00:50:18,040 --> 00:50:20,239
Speaker 1: of link back or call back, whatever you want to

908
00:50:20,280 --> 00:50:22,080
Speaker 1: call it, is the effect that one. It's the one

909
00:50:22,080 --> 00:50:25,880
Speaker 1: they treat with the most screen time. It's and it

910
00:50:25,920 --> 00:50:28,680
Speaker 1: also has as you say, you know, who knew if

911
00:50:28,680 --> 00:50:30,759
Speaker 1: he was any good in the first film? Really, I mean,

912
00:50:31,080 --> 00:50:33,200
Speaker 1: you know, he's like fine, but the guy literally has

913
00:50:33,400 --> 00:50:35,800
Speaker 1: four lines and then he throws up a couple of

914
00:50:35,880 --> 00:50:38,960
Speaker 1: times and then you know, that's it. It's a purely

915
00:50:39,040 --> 00:50:41,719
Speaker 1: visual performance, really, and that great scene from the first

916
00:50:41,760 --> 00:50:45,480
Speaker 1: film with the heist and inside of Langley. But I

917
00:50:45,480 --> 00:50:50,120
Speaker 1: think my problem with the callback methods in Final Reckoning

918
00:50:50,320 --> 00:50:52,760
Speaker 1: is that it just too often becomes kind of this

919
00:50:52,760 --> 00:50:57,640
Speaker 1: this blitz of just purely visual sort of like fussing

920
00:50:57,719 --> 00:51:00,960
Speaker 1: around with like, you know, excerpts from so many of

921
00:51:00,960 --> 00:51:03,239
Speaker 1: the previous films, and to me, that just feels like

922
00:51:03,960 --> 00:51:08,400
Speaker 1: shortcut storytelling to me, not not necessarily serving the purpose

923
00:51:08,440 --> 00:51:11,319
Speaker 1: of the scene, but really just trying to juice exposition.

924
00:51:11,560 --> 00:51:15,600
Speaker 1: And that's I think a lot of Aqueri's writing in

925
00:51:16,080 --> 00:51:21,359
Speaker 1: his best am I films really elevate the art of

926
00:51:21,480 --> 00:51:24,560
Speaker 1: the necessary exposition, where you feel like, Okay, we have

927
00:51:24,600 --> 00:51:27,120
Speaker 1: to get this information across as if we care, but

928
00:51:27,440 --> 00:51:29,000
Speaker 1: you know, we'll find a way to kind of either

929
00:51:29,840 --> 00:51:32,160
Speaker 1: try to get a dynamic going visually or just make

930
00:51:32,200 --> 00:51:34,880
Speaker 1: it make make some of the writing actually worth listening

931
00:51:34,960 --> 00:51:37,400
Speaker 1: to a little less so here for me, and I

932
00:51:37,400 --> 00:51:39,360
Speaker 1: think it might just be, as you say, the stress

933
00:51:39,360 --> 00:51:41,000
Speaker 1: of kind of okay, how do we wrap this thing up?

934
00:51:41,200 --> 00:51:43,160
Speaker 1: But what people respond to it? And in the end,

935
00:51:43,800 --> 00:51:47,840
Speaker 1: I do love that Tom Cruise is such a sentimental

936
00:51:48,120 --> 00:51:50,320
Speaker 1: guy that he has to kind of you know, Okay,

937
00:51:50,360 --> 00:51:52,839
Speaker 1: we have a massive save the World ending and then

938
00:51:52,880 --> 00:51:55,120
Speaker 1: we have a much more personal one to one. I

939
00:51:55,239 --> 00:51:57,520
Speaker 1: got to hang off a biplane this time, you know,

940
00:51:58,280 --> 00:52:01,280
Speaker 1: you know, and that's like this is clearly a throwback,

941
00:52:01,360 --> 00:52:06,000
Speaker 1: you know to the most elemental, almost silent movie era

942
00:52:06,360 --> 00:52:09,960
Speaker 1: sort of appeal of like okay, one, you know, this

943
00:52:10,120 --> 00:52:13,600
Speaker 1: is this is stunt work, like we used to do

944
00:52:14,840 --> 00:52:17,480
Speaker 1: that exactly One movie star in the world still does,

945
00:52:18,239 --> 00:52:21,560
Speaker 1: and even the things that aren't great about all the

946
00:52:21,560 --> 00:52:24,880
Speaker 1: footage we see and the length of that particular sequence

947
00:52:24,880 --> 00:52:28,840
Speaker 1: where it's really you know, you know, mono Amano plus

948
00:52:28,960 --> 00:52:32,000
Speaker 1: the plane where I got the feeling a little bit

949
00:52:32,040 --> 00:52:36,040
Speaker 1: that every single second they shot of Tom Cruise in

950
00:52:36,080 --> 00:52:39,480
Speaker 1: the air, hanging in different positions, in different parts of

951
00:52:39,520 --> 00:52:42,800
Speaker 1: the hanging off this plane, every second was used and

952
00:52:43,200 --> 00:52:46,320
Speaker 1: what didn't necessarily get edited down to the most effective

953
00:52:46,360 --> 00:52:50,719
Speaker 1: and sort of like amazing minute, it's instead it's like,

954
00:52:50,719 --> 00:52:53,480
Speaker 1: we're gonna give you all three four minutes of this thing. Again,

955
00:52:53,600 --> 00:52:56,320
Speaker 1: not not necessarily the best impulse for the overall quality

956
00:52:56,320 --> 00:52:58,319
Speaker 1: of the film, but I think about that point, it's

957
00:52:58,320 --> 00:53:01,719
Speaker 1: sort of that has they've earned in their victory lap

958
00:53:01,760 --> 00:53:03,000
Speaker 1: at that point of the film.

959
00:53:02,719 --> 00:53:05,080
Speaker 3: I think, and that I agree with you on the

960
00:53:05,120 --> 00:53:10,319
Speaker 3: specific point and also the overall take. I felt that

961
00:53:10,400 --> 00:53:14,640
Speaker 3: as well in the submarine sequence, where I understand what

962
00:53:14,680 --> 00:53:16,439
Speaker 3: they're trying to do, or I think what they would

963
00:53:16,520 --> 00:53:20,480
Speaker 3: argue they're trying to do, which is build that tension,

964
00:53:21,080 --> 00:53:25,400
Speaker 3: really extend that sequence, make us understand that he is

965
00:53:25,440 --> 00:53:28,920
Speaker 3: getting deeper and deeper into the bowels of this submarine.

966
00:53:28,920 --> 00:53:32,279
Speaker 3: And also the bowels of the ocean and that this

967
00:53:32,440 --> 00:53:35,360
Speaker 3: is going to be a long way up. It's getting

968
00:53:35,360 --> 00:53:39,120
Speaker 3: more and more hazardous, more and more perilous. And I

969
00:53:39,160 --> 00:53:41,960
Speaker 3: did get that, but I also felt sort of like

970
00:53:42,280 --> 00:53:44,720
Speaker 3: it was similar to the airplane in a way where

971
00:53:45,080 --> 00:53:48,880
Speaker 3: we were very aware it was drawing attention to the

972
00:53:49,040 --> 00:53:54,480
Speaker 3: risks cruise as an actor was taking by being in

973
00:53:54,520 --> 00:53:59,280
Speaker 3: that suit and the air tank and doing this dive,

974
00:53:59,840 --> 00:54:05,200
Speaker 3: and it wasn't necessarily about what the best edited sequence

975
00:54:05,239 --> 00:54:07,640
Speaker 3: would be. I was wondering how many more times I

976
00:54:07,680 --> 00:54:11,319
Speaker 3: needed to see him go around a corner and enter

977
00:54:11,400 --> 00:54:14,719
Speaker 3: a different door in the submarine, right right right?

978
00:54:14,760 --> 00:54:17,160
Speaker 1: You know, something I shooting it has been the true

979
00:54:17,520 --> 00:54:21,759
Speaker 1: throughout film history. There's always something about the difficulty of

980
00:54:21,880 --> 00:54:26,560
Speaker 1: filming on or underwater, and the difficulty in pacing a

981
00:54:26,680 --> 00:54:31,200
Speaker 1: scene that has any quasi reality to it. Of underwater

982
00:54:31,320 --> 00:54:34,840
Speaker 1: peril is necessarily slower than any other kind of action,

983
00:54:35,320 --> 00:54:37,200
Speaker 1: and it has a way of just sort of sludging

984
00:54:37,280 --> 00:54:39,520
Speaker 1: things up a little bit in terms of the overall momentum.

985
00:54:39,560 --> 00:54:42,040
Speaker 1: And you can't you can't fight that, you know, but yeah,

986
00:54:42,040 --> 00:54:44,280
Speaker 1: I agree, it just becomes kind of a breath holding contest.

987
00:54:44,360 --> 00:54:46,520
Speaker 1: You know, was he's already won because he didn't hold it.

988
00:54:46,520 --> 00:54:51,279
Speaker 1: He held for six minutes. I think it's another film, right, yeah, yeah,

989
00:54:51,320 --> 00:54:54,400
Speaker 1: but anyway, yeah, but you know, I look, I like that.

990
00:54:54,480 --> 00:54:56,520
Speaker 1: It's a It's not just that I like that people

991
00:54:56,520 --> 00:54:58,359
Speaker 1: are going to the movies. I like that people are

992
00:54:58,360 --> 00:55:01,399
Speaker 1: going to the movies. But I you like that even

993
00:55:01,480 --> 00:55:05,560
Speaker 1: kind of a wobbly, somewhat rickety final episode is still

994
00:55:06,120 --> 00:55:08,480
Speaker 1: worth seeing. Yeah, for a lot of reasons. And it's

995
00:55:08,600 --> 00:55:11,920
Speaker 1: interestingly wildly uneven this film rather than sort of an

996
00:55:12,000 --> 00:55:16,240
Speaker 1: even tone, smooth, really carefully engineered thing. It's well made,

997
00:55:16,239 --> 00:55:18,480
Speaker 1: god knows, you know. But it's a different kind of

998
00:55:18,520 --> 00:55:21,880
Speaker 1: good movie because it's good with a lot of asterisks,

999
00:55:21,920 --> 00:55:24,239
Speaker 1: but most of us were pretty happy to kind of

1000
00:55:24,320 --> 00:55:26,680
Speaker 1: ignore those and just, you know, take it for what

1001
00:55:26,719 --> 00:55:29,040
Speaker 1: it's worth, which is he saved the world for God's sake.

1002
00:55:29,080 --> 00:55:30,200
Speaker 1: We own that, you know.

1003
00:55:30,640 --> 00:55:32,360
Speaker 3: And I said, I like some of the faces, so

1004
00:55:32,400 --> 00:55:35,440
Speaker 3: I just want to acknowledge. I like seeing PM Clement

1005
00:55:35,480 --> 00:55:38,359
Speaker 3: Tiefe again. I like seeing Holt mclaney pop up, Nick

1006
00:55:38,400 --> 00:55:41,880
Speaker 3: Offerman pop up, Hannah Wattingham, even though it seems like

1007
00:55:41,920 --> 00:55:44,719
Speaker 3: she's holding her jaw a certain way clenched the entire

1008
00:55:44,760 --> 00:55:47,080
Speaker 3: time to speak with an American accent. She's a really

1009
00:55:47,080 --> 00:55:50,440
Speaker 3: talented actress. I like seeing her as Admiral Neely, Angela

1010
00:55:50,520 --> 00:55:54,400
Speaker 3: Bassett as the President, Katie O'Brien showing up here in

1011
00:55:54,440 --> 00:55:55,919
Speaker 3: this film, and Trammel.

1012
00:55:55,680 --> 00:55:57,960
Speaker 1: Under mused, Hold on, Katie.

1013
00:55:57,840 --> 00:55:59,320
Speaker 3: Yeah, Katy O'Brian underused.

1014
00:55:59,680 --> 00:56:02,600
Speaker 1: I mean to talk about an action star in the making.

1015
00:56:03,200 --> 00:56:06,320
Speaker 1: White gotten, never quite gotten the screen time she deserves

1016
00:56:06,360 --> 00:56:09,360
Speaker 1: in almost anything except for love Life pleating right, But

1017
00:56:09,400 --> 00:56:10,919
Speaker 1: she's really good.

1018
00:56:10,960 --> 00:56:13,480
Speaker 3: I think two action films in a row, this and Twisters,

1019
00:56:13,480 --> 00:56:16,400
Speaker 3: she's been under used, but I still like seeing her.

1020
00:56:16,920 --> 00:56:21,359
Speaker 3: Trammel Tillman, who some people probably know from Severance and Sweethearts,

1021
00:56:21,400 --> 00:56:23,520
Speaker 3: but it's the first time I've seen him on screen.

1022
00:56:23,520 --> 00:56:28,160
Speaker 3: Captain Bledsoe, the submarine commander, the submarine captain. What a

1023
00:56:28,239 --> 00:56:30,640
Speaker 3: presence he is on screen. It was a delight every

1024
00:56:30,640 --> 00:56:32,000
Speaker 3: time he He's really good.

1025
00:56:32,040 --> 00:56:33,000
Speaker 1: Yeah, very good.

1026
00:56:33,000 --> 00:56:36,480
Speaker 3: With Ethan so those are some of the faces I enjoyed,

1027
00:56:36,520 --> 00:56:39,560
Speaker 3: and I did overall enjoy Mission Impossible, The Final Reckoning.

1028
00:56:39,600 --> 00:56:43,160
Speaker 1: I don't know why. Ralph Saxon, you know, for me,

1029
00:56:43,200 --> 00:56:46,400
Speaker 1: it's like Ralph Saxon, Cole and Superstar. I mean that

1030
00:56:46,920 --> 00:56:48,960
Speaker 1: to me, to see I have that. I love it

1031
00:56:49,000 --> 00:56:52,480
Speaker 1: that a guy like this, this tiny, little dinky little

1032
00:56:52,480 --> 00:56:56,399
Speaker 1: bit part. It's just like Rosencrans and Guildenstern are dead

1033
00:56:56,480 --> 00:57:00,160
Speaker 1: the Stoppward play. It's like, you know this, this basic nobody.

1034
00:57:00,000 --> 00:57:03,080
Speaker 1: He finally gets his own play, even if he's has it,

1035
00:57:03,320 --> 00:57:07,000
Speaker 1: and unlike Rosser, they figure out. He figures out his

1036
00:57:07,080 --> 00:57:10,239
Speaker 1: purpose in the in the overall scheme of things, and

1037
00:57:10,320 --> 00:57:12,719
Speaker 1: it's very satisfying this scene. So yeah, I mean, any

1038
00:57:12,719 --> 00:57:14,360
Speaker 1: film that takes a chance like that and has a

1039
00:57:14,400 --> 00:57:16,400
Speaker 1: payoffice is doing something right.

1040
00:57:16,960 --> 00:57:19,840
Speaker 3: The Final Reckoning is currently out in wide release. If

1041
00:57:19,840 --> 00:57:21,880
Speaker 3: you see it and agree or disagree with our thoughts,

1042
00:57:21,920 --> 00:57:27,800
Speaker 3: email us feedback at film spotting dot NETI Next week

1043
00:57:27,800 --> 00:57:30,960
Speaker 3: on the show, Josh will still be overseas, So my

1044
00:57:31,080 --> 00:57:34,400
Speaker 3: guest is going to be Aisha Harris from NPR's Pop

1045
00:57:34,440 --> 00:57:37,160
Speaker 3: Culture Happy Hour. That's going to be a fun one. Yeah,

1046
00:57:37,200 --> 00:57:40,120
Speaker 3: we're going to take a look at Amy Heckerlean's Clueless

1047
00:57:40,160 --> 00:57:44,880
Speaker 3: for its thirtieth anniversary, and as if, we'll totally share

1048
00:57:45,080 --> 00:57:49,360
Speaker 3: our top five movie quotes in our lexicon. Michael, you

1049
00:57:49,520 --> 00:57:52,400
Speaker 3: know I would put it's a pip in my top five.

1050
00:57:52,440 --> 00:57:54,280
Speaker 3: If you would just tell me what movie it's from.

1051
00:57:54,440 --> 00:57:55,920
Speaker 1: It's not like it's not from a movie.

1052
00:57:56,440 --> 00:57:58,920
Speaker 3: It's people talking.

1053
00:57:59,280 --> 00:57:59,480
Speaker 1: You know.

1054
00:57:59,520 --> 00:58:02,280
Speaker 3: What's so fun about it too. I don't remember what

1055
00:58:02,320 --> 00:58:04,880
Speaker 3: movie it was, but I do have a guess it's

1056
00:58:04,960 --> 00:58:09,120
Speaker 3: it's something in my top five. I was looking up

1057
00:58:09,160 --> 00:58:12,200
Speaker 3: some details about a film for my movie Stunts, an

1058
00:58:12,200 --> 00:58:17,200
Speaker 3: old timey movie, and and on Wikipedia in the you know,

1059
00:58:17,560 --> 00:58:22,360
Speaker 3: review section or the responses Variety, it was like Variety

1060
00:58:22,920 --> 00:58:27,200
Speaker 3: called it a pip. It was so great. I was like,

1061
00:58:27,240 --> 00:58:29,800
Speaker 3: people really did say that Michael's not making it up.

1062
00:58:30,200 --> 00:58:31,920
Speaker 1: This is the problem I was, you know, when I

1063
00:58:31,960 --> 00:58:33,720
Speaker 1: was when I was just I was still in college.

1064
00:58:33,760 --> 00:58:36,120
Speaker 1: I was of a stringer for Variety in the Twin

1065
00:58:36,200 --> 00:58:38,520
Speaker 1: Cities back in the eighties. And that was when they

1066
00:58:38,600 --> 00:58:42,440
Speaker 1: used to collect all the grosses for every every single

1067
00:58:42,520 --> 00:58:45,520
Speaker 1: theater in every market, and then they would post in

1068
00:58:45,560 --> 00:58:49,120
Speaker 1: the Variety how much the film made at the amc

1069
00:58:49,280 --> 00:58:51,760
Speaker 1: this and and you had to come up with the

1070
00:58:52,320 --> 00:58:55,520
Speaker 1: right adjective for the figure. In other words, if it's like,

1071
00:58:56,000 --> 00:58:58,439
Speaker 1: you know, tall tourer in forty seven g's or whatever.

1072
00:58:58,600 --> 00:59:00,760
Speaker 1: You know, but you know, and you always had to

1073
00:59:00,760 --> 00:59:03,640
Speaker 1: be cute about this. And the greatest one, which I

1074
00:59:03,720 --> 00:59:06,080
Speaker 1: totally stole from a friend of mine because we were

1075
00:59:06,120 --> 00:59:09,160
Speaker 1: just spitballing one night, Alma Dais comes out and it

1076
00:59:09,200 --> 00:59:11,560
Speaker 1: was like, oh great, okay, finally it did really well.

1077
00:59:11,680 --> 00:59:17,240
Speaker 1: Wolfgang Busters eighty seven g's you know, wolfgang Busters come on. Now,

1078
00:59:17,280 --> 00:59:20,880
Speaker 1: that's a one time. You can't use that. You can't,

1079
00:59:21,160 --> 00:59:23,520
Speaker 1: but I you know, you can say. You can say

1080
00:59:23,520 --> 00:59:25,880
Speaker 1: something's a pip, you can say it's a card, and

1081
00:59:25,920 --> 00:59:28,080
Speaker 1: it's a caution that all means the same thing. It's

1082
00:59:28,120 --> 00:59:30,240
Speaker 1: all yeah, there you go.

1083
00:59:30,560 --> 00:59:32,680
Speaker 3: You can see what's coming up on future film Spotting

1084
00:59:32,720 --> 00:59:36,760
Speaker 3: episodes by visiting Filmspotting dot net and clicking on episodes

1085
00:59:37,080 --> 00:59:40,000
Speaker 3: this week on our sister podcast, The Next Picture Show,

1086
00:59:40,040 --> 00:59:43,680
Speaker 3: looking at Cinemas Present via It's Past, their new pairing

1087
00:59:43,880 --> 00:59:48,080
Speaker 3: is Friendship with Paul Rudd and Tim Robinson and inspired

1088
00:59:48,120 --> 00:59:52,440
Speaker 3: pairing here as they almost always are, PTA's the master.

1089
00:59:52,720 --> 00:59:55,680
Speaker 3: New episodes of The Next Picture Show drop every Tuesday

1090
00:59:55,880 --> 00:59:59,160
Speaker 3: wherever you get your podcasts. You come in here out

1091
00:59:59,160 --> 01:00:00,680
Speaker 3: of the blue and telling me you leave me just

1092
01:00:00,760 --> 01:00:03,720
Speaker 3: like that, And you have the nerve to expect graciousness.

1093
01:00:04,120 --> 01:00:06,080
Speaker 1: I expect a little maturity.

1094
01:00:06,280 --> 01:00:08,960
Speaker 3: I expect you to face the situation like an adult

1095
01:00:09,080 --> 01:00:13,040
Speaker 3: who talk down to me. Don't you ever talk down

1096
01:00:13,080 --> 01:00:16,200
Speaker 3: to me? You are a movie star, nothing more. A

1097
01:00:16,240 --> 01:00:19,800
Speaker 3: couple of bona fide movie stars there, Leonardo DiCaprio and

1098
01:00:19,880 --> 01:00:23,920
Speaker 3: Kate Blanchette in Martin Scorcese's The Aviator from two thousand

1099
01:00:23,960 --> 01:00:27,120
Speaker 3: and four. Kate and Leo movie stars who are also

1100
01:00:27,200 --> 01:00:30,560
Speaker 3: among the best performers of the last twenty five years.

1101
01:00:30,840 --> 01:00:33,160
Speaker 3: A couple of weeks ago, Josh and I did our

1102
01:00:33,280 --> 01:00:37,480
Speaker 3: Actors of the twenty first Century draft. Blanchett was Josh's

1103
01:00:37,600 --> 01:00:42,320
Speaker 3: number two pick, DiCaprio my number five. They were also

1104
01:00:42,400 --> 01:00:45,400
Speaker 3: among the options we gave you in the Film Spotting poll,

1105
01:00:45,960 --> 01:00:49,360
Speaker 3: which asked who is the actor or actress of the

1106
01:00:49,440 --> 01:00:52,880
Speaker 3: twenty first century? You only get one. The options in

1107
01:00:52,880 --> 01:00:55,640
Speaker 3: addition to Kate and Leo, all of whom were selected

1108
01:00:56,320 --> 01:01:04,240
Speaker 3: were Daniel day Lewis, Philip sim Hoffman, Scarlett Johansson, Joaquin

1109
01:01:04,400 --> 01:01:08,919
Speaker 3: Phoenix or. If you didn't like those options, you could

1110
01:01:08,960 --> 01:01:12,320
Speaker 3: go other and write in the candidates. So, Michael, you

1111
01:01:12,360 --> 01:01:15,160
Speaker 3: have the results in front of you. We start at

1112
01:01:15,160 --> 01:01:19,000
Speaker 3: the bottom and go down the list. All the way

1113
01:01:19,080 --> 01:01:21,240
Speaker 3: up to the top to the winner. Would you care

1114
01:01:21,360 --> 01:01:22,400
Speaker 3: to do the honors?

1115
01:01:22,680 --> 01:01:23,600
Speaker 1: Yes? Are you ready?

1116
01:01:23,920 --> 01:01:24,240
Speaker 3: Yes?

1117
01:01:24,440 --> 01:01:28,320
Speaker 1: All right, here we go. Scarlett Johansson three percent, other

1118
01:01:28,880 --> 01:01:34,560
Speaker 1: seven percent, Joaquin Phoenix eight percent, Leonardo DiCaprio thirteen percent,

1119
01:01:35,640 --> 01:01:39,600
Speaker 1: Daniel D. Lewis eighteen percent. Got a problem with that,

1120
01:01:39,680 --> 01:01:43,320
Speaker 1: right there, Cap Lanchett twenty percent, and then by a

1121
01:01:43,320 --> 01:01:47,040
Speaker 1: pretty good margin, the winner, Philip Seymour Hoffman at thirty

1122
01:01:47,040 --> 01:01:47,600
Speaker 1: one percent.

1123
01:01:48,000 --> 01:01:51,120
Speaker 3: Okay, here's Colton Butcher. He says it makes sense. The

1124
01:01:51,200 --> 01:01:53,480
Speaker 3: Cape Blanchette and Philip Seymour Hoffman are at the top

1125
01:01:53,480 --> 01:01:55,920
Speaker 3: of this pole. It was incredibly hard to vote between

1126
01:01:55,960 --> 01:01:58,520
Speaker 3: the two. They are both inspiring for those wanting to

1127
01:01:58,520 --> 01:02:01,000
Speaker 3: pursue the craft of acting, both elevate films it would

1128
01:02:01,040 --> 01:02:03,720
Speaker 3: otherwise be lost to time, and both have great range.

1129
01:02:03,840 --> 01:02:07,240
Speaker 3: It came down to Lydiatar versus Lancaster Dodd. For me,

1130
01:02:07,600 --> 01:02:10,400
Speaker 3: these performances are masterclasses in acting that you could break

1131
01:02:10,440 --> 01:02:13,120
Speaker 3: down during a cinema interrupt us and still have more

1132
01:02:13,160 --> 01:02:16,640
Speaker 3: to find. I genuinely couldn't decide, so I did a

1133
01:02:16,680 --> 01:02:21,760
Speaker 3: coin flip and Kate got it as good a system as.

1134
01:02:22,240 --> 01:02:26,680
Speaker 1: Does Yeah Tory Lightcap says thank you for fifteen minutes

1135
01:02:26,720 --> 01:02:31,360
Speaker 1: of excruciating decision paralysis. Each of these possible choices is

1136
01:02:31,400 --> 01:02:33,919
Speaker 1: a deserving bright light of this generation, but only one

1137
01:02:33,960 --> 01:02:37,800
Speaker 1: is correct, Daniel day Lewis. He invests each role with

1138
01:02:37,880 --> 01:02:41,640
Speaker 1: an almost incandescent intensity that can only be realized by

1139
01:02:41,720 --> 01:02:45,200
Speaker 1: utterly inhabiting the world, life and mind of the part.

1140
01:02:45,320 --> 01:02:49,120
Speaker 3: Very well put, Yes, Bob McHugh. Daniel day Lewis's talent

1141
01:02:49,200 --> 01:02:52,040
Speaker 3: and selectivity made every film of his a must see event.

1142
01:02:52,320 --> 01:02:54,920
Speaker 3: But he was so selective his entire portfolio of this

1143
01:02:55,000 --> 01:02:58,600
Speaker 3: century can be watched comfortably in a day. Philip Seymore

1144
01:02:58,640 --> 01:03:01,480
Speaker 3: Hoffman and Kate Lynchet crafted performances at the same level,

1145
01:03:01,560 --> 01:03:04,560
Speaker 3: but at a higher volume. But Scarjo and Phoenix juggled

1146
01:03:04,600 --> 01:03:08,200
Speaker 3: interesting art house work with blockbuster juggernauts. Hmm, if only

1147
01:03:08,240 --> 01:03:10,880
Speaker 3: there was an actor with a list commercial appeal but

1148
01:03:10,960 --> 01:03:14,680
Speaker 3: also critical acclaim who worked with interesting directors but was

1149
01:03:14,720 --> 01:03:17,520
Speaker 3: also selective enough to make every single movie he filmed

1150
01:03:17,560 --> 01:03:20,600
Speaker 3: a noteworthy event. I see where you're going, Bob, It's

1151
01:03:20,600 --> 01:03:21,280
Speaker 3: got to be Leo.

1152
01:03:21,800 --> 01:03:26,080
Speaker 1: Uh hah okay, Darren disagrees. He says it's Joaquin Phoenix.

1153
01:03:26,120 --> 01:03:28,920
Speaker 1: He started the sentry with Gladiator, giving him an Oscar

1154
01:03:28,960 --> 01:03:31,240
Speaker 1: nomination at a box office hit, and he did it

1155
01:03:31,280 --> 01:03:34,360
Speaker 1: again twenty years later with Joker. In between, he gave

1156
01:03:34,400 --> 01:03:40,120
Speaker 1: performances that were dark, you will never really hear, funny signs, ambitious,

1157
01:03:40,200 --> 01:03:44,200
Speaker 1: bo was afraid, heartwarming, come On, Come On, and unforgettable

1158
01:03:44,360 --> 01:03:47,800
Speaker 1: The Master. He even starred in the most twenty first

1159
01:03:47,840 --> 01:03:51,600
Speaker 1: century movie of all, Spike Jones's Her Also, even though

1160
01:03:51,640 --> 01:03:54,040
Speaker 1: he was in a handful of great movies before two thousand,

1161
01:03:54,600 --> 01:03:57,640
Speaker 1: he is almost exclusively known for his work this century.

1162
01:03:57,840 --> 01:04:00,640
Speaker 3: All great cases so far a couple more. Mitche McGonagall

1163
01:04:00,680 --> 01:04:04,760
Speaker 3: says Michelle Williams going other from her all time collaborations

1164
01:04:04,760 --> 01:04:07,960
Speaker 3: with Kelly Reiker to her tour to Force eleven minutes

1165
01:04:07,960 --> 01:04:10,280
Speaker 3: of screen time in Manchester by the Sea, there are

1166
01:04:10,320 --> 01:04:13,520
Speaker 3: a few working actors as heartbreaking and sneakily funny. She

1167
01:04:13,600 --> 01:04:16,000
Speaker 3: also has excellent taste, having worked with many of the

1168
01:04:16,040 --> 01:04:20,920
Speaker 3: greats Spielberg, Scorsese, Venom. What more could you want from

1169
01:04:20,960 --> 01:04:21,440
Speaker 3: an actor?

1170
01:04:22,520 --> 01:04:25,360
Speaker 1: And Jeremy Camis says, top notch list for sure, and

1171
01:04:25,400 --> 01:04:27,480
Speaker 1: I think I should probably go with Cate Blanchett, But

1172
01:04:27,760 --> 01:04:30,880
Speaker 1: years ago I made a mental promise that Denzel would

1173
01:04:30,880 --> 01:04:34,520
Speaker 1: be my answer to any question about best actors. Denzel Washington,

1174
01:04:34,600 --> 01:04:37,960
Speaker 1: even King Kong doesn't have shit on him.

1175
01:04:38,320 --> 01:04:42,280
Speaker 3: No, he does not. As we all know, Denzel did

1176
01:04:42,360 --> 01:04:46,080
Speaker 3: make my draft list so real quick. I do have

1177
01:04:46,120 --> 01:04:48,680
Speaker 3: to say I had the chance. I had the chance

1178
01:04:48,680 --> 01:04:51,520
Speaker 3: of a lifetime. I could not miss the opportunity to

1179
01:04:51,520 --> 01:04:55,600
Speaker 3: see Denzel Washington on stage on Broadway. At helped that

1180
01:04:55,680 --> 01:05:00,920
Speaker 3: Jake Gillenhall was also acting opposite him in Off And

1181
01:05:01,920 --> 01:05:03,680
Speaker 3: I don't know. I had some people who had seen

1182
01:05:03,720 --> 01:05:06,160
Speaker 3: it tell me to lower my expectations. I guess they

1183
01:05:06,160 --> 01:05:10,000
Speaker 3: were sufficiently lowered. I don't know. Guess what Michael Othello

1184
01:05:10,440 --> 01:05:14,200
Speaker 3: pretty good play Shakespeare, what he was doing solid like

1185
01:05:14,680 --> 01:05:18,280
Speaker 3: one I had not read since I was in high school,

1186
01:05:18,960 --> 01:05:23,080
Speaker 3: and one somehow I had never seen produced. I've never

1187
01:05:23,120 --> 01:05:27,120
Speaker 3: seen it. When I studied Shakespeare in college, I studied

1188
01:05:27,120 --> 01:05:30,959
Speaker 3: abroad in London. We only studied plays that we could

1189
01:05:30,960 --> 01:05:37,160
Speaker 3: see performances of, and that fall nobody was performing Othello

1190
01:05:37,280 --> 01:05:40,000
Speaker 3: in London, so I had never seen it, and it

1191
01:05:40,080 --> 01:05:44,800
Speaker 3: felt like I was completely discovering it. Anew and what

1192
01:05:45,680 --> 01:05:49,600
Speaker 3: Shakespeare gets right about the nature of jealousy and so

1193
01:05:49,680 --> 01:05:53,640
Speaker 3: many other things ambition. It was so striking. The humor.

1194
01:05:54,040 --> 01:05:57,000
Speaker 3: There's a lot of humor there as well, amidst what

1195
01:05:57,200 --> 01:06:01,400
Speaker 3: is very much a tragedy. And I thought, I thought

1196
01:06:01,400 --> 01:06:05,760
Speaker 3: that the bravado, that inherent bravado that we expect from

1197
01:06:05,800 --> 01:06:12,840
Speaker 3: Denzel played so well because he's this confident general. It

1198
01:06:12,920 --> 01:06:17,920
Speaker 3: makes that fall even more tragic, and actually it helps

1199
01:06:17,920 --> 01:06:24,200
Speaker 3: you understand how precipitous it is. It makes you believe

1200
01:06:24,240 --> 01:06:27,480
Speaker 3: it even more in a way because you see how

1201
01:06:27,520 --> 01:06:30,960
Speaker 3: he can kind of go from zero to sixty as

1202
01:06:31,040 --> 01:06:35,920
Speaker 3: quickly as he does. That quality that Denzel Washington brings

1203
01:06:35,960 --> 01:06:39,480
Speaker 3: to the character. And with Yago, Gillenhall is such a

1204
01:06:39,560 --> 01:06:42,000
Speaker 3: naturally you know, we've seen him be a little slimy

1205
01:06:42,080 --> 01:06:45,640
Speaker 3: with a character like Nightcrawler, but he's such a naturally

1206
01:06:45,840 --> 01:06:50,440
Speaker 3: charming presence. Yago has to be a charming character. I think,

1207
01:06:50,440 --> 01:06:52,800
Speaker 3: if you play him right, he has to be a

1208
01:06:52,840 --> 01:06:55,960
Speaker 3: bit of a charmer because he seduces everyone. He gets

1209
01:06:55,960 --> 01:07:01,080
Speaker 3: away with it so easily you almost find yourself rooting

1210
01:07:01,120 --> 01:07:04,240
Speaker 3: for him. He's so ingenious that you find yourself rooting

1211
01:07:04,280 --> 01:07:06,440
Speaker 3: for him. And that's what Jillen Hall brought to it.

1212
01:07:06,840 --> 01:07:10,240
Speaker 1: Well, yeah, I didn't see that production. That is a

1213
01:07:10,280 --> 01:07:12,440
Speaker 1: tough for some reason, that is a tough play to

1214
01:07:12,480 --> 01:07:16,520
Speaker 1: activate on stage. In my experience as a theater critic,

1215
01:07:16,760 --> 01:07:19,120
Speaker 1: I haven't seen that many productions over the years, but

1216
01:07:20,200 --> 01:07:23,440
Speaker 1: I think Iago just has the tendency to just overwhelm

1217
01:07:23,560 --> 01:07:28,480
Speaker 1: everybody's interest, you know, watching it's just he's you can't

1218
01:07:28,520 --> 01:07:30,440
Speaker 1: lose with that part in a way, and it's very

1219
01:07:30,440 --> 01:07:33,040
Speaker 1: hard to win with the fellow because he is sort

1220
01:07:33,040 --> 01:07:35,640
Speaker 1: of the past, you know, in a really pathetic, painful way.

1221
01:07:35,680 --> 01:07:38,000
Speaker 1: He's a he's a victim and a pantsy of this

1222
01:07:38,200 --> 01:07:39,640
Speaker 1: master manipulator. Right.

1223
01:07:39,840 --> 01:07:41,400
Speaker 3: Yeah, that's an interesting, tough thing.

1224
01:07:41,480 --> 01:07:44,640
Speaker 1: Yeah, but it's I'm glad you liked it. I know

1225
01:07:44,760 --> 01:07:46,880
Speaker 1: it wasn't cheap, you know, plays around Broadway.

1226
01:07:47,120 --> 01:07:49,640
Speaker 3: That's why I went on a Wednesday night. That was

1227
01:07:49,680 --> 01:07:51,640
Speaker 3: the only way I could go. I was not going

1228
01:07:51,640 --> 01:07:53,880
Speaker 3: to get a weekend ticket. But you know, you wouldn't

1229
01:07:53,920 --> 01:07:56,760
Speaker 3: think I'll just throw this in real quick. You wouldn't

1230
01:07:56,800 --> 01:08:01,800
Speaker 3: think that Denzel and Jake Gillenhall could possibly be overshadowed

1231
01:08:02,000 --> 01:08:05,160
Speaker 3: on that night. But I got so lucky. When I'm

1232
01:08:05,200 --> 01:08:06,680
Speaker 3: in New York, I always tried to go to the

1233
01:08:06,680 --> 01:08:11,480
Speaker 3: Comedy Cellar and I've probably been there five times previously.

1234
01:08:12,880 --> 01:08:16,040
Speaker 3: Usually when I go, I haven't had any big surprises.

1235
01:08:16,280 --> 01:08:19,160
Speaker 3: It's always just a great group of comics. You know,

1236
01:08:19,439 --> 01:08:22,760
Speaker 3: up in commerce. It's always a great night. But I

1237
01:08:22,800 --> 01:08:26,559
Speaker 3: haven't had like the big stars usually drop in, which happens.

1238
01:08:26,720 --> 01:08:28,200
Speaker 3: It can happen at the cellar, and that's one of

1239
01:08:28,240 --> 01:08:31,360
Speaker 3: the reasons you go is sometimes someone will just drop

1240
01:08:31,400 --> 01:08:34,280
Speaker 3: in for a spot, and you know that that's part

1241
01:08:34,320 --> 01:08:37,519
Speaker 3: of the allure. It can happen. So Sarah's with me

1242
01:08:37,600 --> 01:08:39,439
Speaker 3: and we go to the cellar and we're having a

1243
01:08:39,439 --> 01:08:43,720
Speaker 3: great time. Three comics come up. They're hilarious, and then

1244
01:08:43,760 --> 01:08:47,439
Speaker 3: the MC comes to the stage and says, ladies and gentlemen,

1245
01:08:47,439 --> 01:08:51,080
Speaker 3: our next comic coming to the stage Dave Chappelle. Wow,

1246
01:08:51,120 --> 01:08:54,559
Speaker 3: And nobody nobody clapped really, and we all just kind

1247
01:08:54,560 --> 01:08:56,800
Speaker 3: of looked at each other like he's joking, right, And

1248
01:08:56,840 --> 01:09:00,160
Speaker 3: then the next thing we knew, Dave Chappelle emerged from

1249
01:09:00,160 --> 01:09:02,479
Speaker 3: the doorway and came up to the stage. He was

1250
01:09:02,520 --> 01:09:05,120
Speaker 3: at the Knicks game and decided to pop in for

1251
01:09:05,160 --> 01:09:07,400
Speaker 3: a set, and he came up to the stage and

1252
01:09:07,479 --> 01:09:11,000
Speaker 3: did over an hour just for think. It was insane.

1253
01:09:11,320 --> 01:09:12,880
Speaker 3: It was It's just one of those things where you know,

1254
01:09:13,040 --> 01:09:16,439
Speaker 3: like you're never going to see this set again. No one,

1255
01:09:16,520 --> 01:09:19,400
Speaker 3: He's never going to do this comedy ever again. This

1256
01:09:19,600 --> 01:09:22,720
Speaker 3: was a one off thing and we were here for it,

1257
01:09:22,760 --> 01:09:24,880
Speaker 3: and so it was a great night. We got very

1258
01:09:24,960 --> 01:09:26,200
Speaker 3: lucky all around night.

1259
01:09:26,280 --> 01:09:29,960
Speaker 1: Charlie Park the Village Van exactly. That's exactly what it is.

1260
01:09:30,560 --> 01:09:32,880
Speaker 3: Yeah, can I can I play a few tunes? That's

1261
01:09:32,920 --> 01:09:34,559
Speaker 3: exactly what it was. So let's get back to more

1262
01:09:34,560 --> 01:09:37,599
Speaker 3: important matters though, Michael, you've had maybe a little bit

1263
01:09:37,600 --> 01:09:39,720
Speaker 3: of time to think about this. If you were going

1264
01:09:39,720 --> 01:09:43,479
Speaker 3: to think about the best, the definitive or just your

1265
01:09:43,560 --> 01:09:47,080
Speaker 3: favorite actor or actress of the last twenty five years,

1266
01:09:48,000 --> 01:09:50,400
Speaker 3: does the name come from any of the ones we've

1267
01:09:50,400 --> 01:09:52,439
Speaker 3: mentioned so far, or are you going to go off

1268
01:09:52,439 --> 01:09:52,920
Speaker 3: the list?

1269
01:09:53,200 --> 01:09:56,240
Speaker 1: I would say I feel very partial to the one

1270
01:09:56,280 --> 01:09:58,360
Speaker 1: that actually won by a good margining, just because it

1271
01:09:58,439 --> 01:10:01,040
Speaker 1: really is. Also it's tinged with loss, you know, in

1272
01:10:01,120 --> 01:10:04,439
Speaker 1: Philip Seymour Hoffen and that was hard. But I mean

1273
01:10:05,120 --> 01:10:09,400
Speaker 1: I think the best we've seen Daniel day Lewis do

1274
01:10:09,600 --> 01:10:13,200
Speaker 1: on screen is very hard to beat. There will be

1275
01:10:13,240 --> 01:10:19,000
Speaker 1: blood and somewhat more problematic, but still love it. Phantom Thread.

1276
01:10:19,720 --> 01:10:24,719
Speaker 1: That work is not really it's too good for this world.

1277
01:10:25,800 --> 01:10:29,240
Speaker 1: I think it's okay. It's just such a at once

1278
01:10:29,800 --> 01:10:37,160
Speaker 1: classically formidable, you know, just a beautifully detailed everything working.

1279
01:10:37,320 --> 01:10:40,160
Speaker 1: It's just great. On the other hand, the performances that

1280
01:10:40,360 --> 01:10:43,280
Speaker 1: the performers that I really love in this century tend

1281
01:10:43,360 --> 01:10:47,479
Speaker 1: to be folks who are not as stars on that level.

1282
01:10:47,720 --> 01:10:50,200
Speaker 1: But just I mean the you know three, I mean,

1283
01:10:50,320 --> 01:10:52,720
Speaker 1: just off the top of my head, I thought, Jeffrey Wright,

1284
01:10:52,760 --> 01:10:56,400
Speaker 1: there's a guy I just can't imagine living without as

1285
01:10:56,439 --> 01:10:59,880
Speaker 1: a movie goer. Lapita and Neon gave Lapita and Neong,

1286
01:11:00,000 --> 01:11:03,720
Speaker 1: so it's still in my view, the best performance of

1287
01:11:03,720 --> 01:11:06,600
Speaker 1: the century is her work in US. I mean, that

1288
01:11:06,840 --> 01:11:11,040
Speaker 1: is just staggering. It's the best performance to never get

1289
01:11:11,080 --> 01:11:14,640
Speaker 1: an Oscar nomination, I think, one of them. I mean,

1290
01:11:14,680 --> 01:11:16,839
Speaker 1: you name it. There's so many people that sort of available.

1291
01:11:16,880 --> 01:11:19,879
Speaker 1: So I guess it's a good reminder that the industry

1292
01:11:19,880 --> 01:11:21,400
Speaker 1: doesn't really know where it is right now. But the

1293
01:11:21,439 --> 01:11:23,040
Speaker 1: boy the actors are still holding.

1294
01:11:22,880 --> 01:11:26,760
Speaker 3: Up their end, so less weighty matters we're dealing with.

1295
01:11:26,960 --> 01:11:29,840
Speaker 3: In our next poll question, we thank everyone who voted

1296
01:11:30,080 --> 01:11:33,240
Speaker 3: and left a comment there. Our new pole. If you

1297
01:11:33,320 --> 01:11:35,280
Speaker 3: choose to vote and it ask you to pick one

1298
01:11:35,360 --> 01:11:39,639
Speaker 3: and only one mission impossible film here again your favorite,

1299
01:11:39,800 --> 01:11:43,680
Speaker 3: the best one, the definitive m I film. We're just

1300
01:11:43,880 --> 01:11:47,360
Speaker 3: listing all of them. I have such a hard time

1301
01:11:47,680 --> 01:11:51,599
Speaker 3: keeping all of these films together, Michael. I don't know

1302
01:11:51,640 --> 01:11:56,880
Speaker 3: which title refers to which number, or what events took place.

1303
01:11:56,920 --> 01:11:59,280
Speaker 3: I don't know how to separate them in my mind anymore.

1304
01:11:59,280 --> 01:12:02,760
Speaker 3: In this might just be a matter of, you know,

1305
01:12:03,120 --> 01:12:06,000
Speaker 3: reaching a certain age and we're no longer able to

1306
01:12:06,040 --> 01:12:10,600
Speaker 3: compartmentalize these types of things. When Dead Reckoning came out,

1307
01:12:10,960 --> 01:12:16,040
Speaker 3: Josh and I did go to letterboxed and create a list,

1308
01:12:16,400 --> 01:12:19,800
Speaker 3: create a ranking. Now, I didn't revisit all of these

1309
01:12:19,840 --> 01:12:22,519
Speaker 3: other films, so it's kind of meaningless. It's not like

1310
01:12:22,560 --> 01:12:25,599
Speaker 3: I've I've watched them all recently. I've thought about them

1311
01:12:26,160 --> 01:12:29,080
Speaker 3: anew and really considered them closely. I'm just going off

1312
01:12:29,120 --> 01:12:33,519
Speaker 3: my recollection of them and my rating or ratings of

1313
01:12:33,560 --> 01:12:37,599
Speaker 3: them at the time. I have Fallout as my number one.

1314
01:12:37,760 --> 01:12:41,559
Speaker 3: That is the sixth entry one of them Macquaries, followed

1315
01:12:41,560 --> 01:12:44,439
Speaker 3: by Rogue Nation the fifth entry, and it's very close.

1316
01:12:44,760 --> 01:12:47,040
Speaker 3: Do you know where you stand? Do you have a

1317
01:12:47,040 --> 01:12:49,960
Speaker 3: favorite Mission Impossible film.

1318
01:12:50,640 --> 01:12:55,639
Speaker 1: Yeah, you know, I think I would probably go Rogue Nation.

1319
01:12:56,040 --> 01:12:58,599
Speaker 1: I think for reasons I talked about a little bit earlier.

1320
01:12:58,640 --> 01:13:01,960
Speaker 1: But you know, I revisiting the diploma launched to this thing,

1321
01:13:02,040 --> 01:13:06,719
Speaker 1: this sort of cynical swipe, the idea of a team, loyalty,

1322
01:13:06,760 --> 01:13:09,960
Speaker 1: and all the rest of this re orienting. The whole

1323
01:13:10,240 --> 01:13:13,040
Speaker 1: storyline is a sort of like, yeah, you can't really

1324
01:13:13,080 --> 01:13:17,000
Speaker 1: trust anybody. And I sort of loved revisiting just just

1325
01:13:17,080 --> 01:13:19,920
Speaker 1: what Dipama brought to it. A guy who doesn't care

1326
01:13:19,960 --> 01:13:23,920
Speaker 1: about the mythology at all, a total cynic directing it,

1327
01:13:23,960 --> 01:13:27,760
Speaker 1: but a guy was such an eye and I mean

1328
01:13:27,960 --> 01:13:30,759
Speaker 1: enough Dutch angles where I actually had I had actually

1329
01:13:30,760 --> 01:13:34,479
Speaker 1: acquired Dutch citizenship at the end of the review, I

1330
01:13:34,479 --> 01:13:37,000
Speaker 1: mean I which is handy for me. I think I

1331
01:13:37,080 --> 01:13:40,840
Speaker 1: like it in two passports. Yeah, but that's Rode Nation

1332
01:13:40,880 --> 01:13:43,040
Speaker 1: of Mission I Possible for very different reasons. I think,

1333
01:13:43,040 --> 01:13:44,640
Speaker 1: in order to just as you say, you know, you

1334
01:13:44,640 --> 01:13:46,400
Speaker 1: get older, you just can't even keep these things straight.

1335
01:13:46,439 --> 01:13:48,519
Speaker 1: But I like to kind of break these all these

1336
01:13:48,520 --> 01:13:50,800
Speaker 1: movies down, and just in terms of the degree of

1337
01:13:50,880 --> 01:13:55,679
Speaker 1: reckoning involved. I mean, the first Mission Impossible colon modest reckoning,

1338
01:13:56,080 --> 01:13:59,720
Speaker 1: you know, am I too? John Wu reckoning Comma with

1339
01:14:00,720 --> 01:14:02,599
Speaker 1: you know, things like that. So it's all about the reckoning,

1340
01:14:02,640 --> 01:14:04,679
Speaker 1: you know. But now that we're at the final reckoning,

1341
01:14:05,320 --> 01:14:08,280
Speaker 1: if we get one more, I don't know what would

1342
01:14:08,320 --> 01:14:12,320
Speaker 1: it be? A mission impossible? Nine colon we reckon there's

1343
01:14:12,360 --> 01:14:20,120
Speaker 1: more reckoning reconsidered reckoning with a little two above this. Yeah,

1344
01:14:20,120 --> 01:14:21,680
Speaker 1: I guess yeah. All right, so there you.

1345
01:14:21,640 --> 01:14:26,280
Speaker 3: Go that those are might love to get your vote

1346
01:14:26,320 --> 01:14:28,760
Speaker 3: and your thoughts. Leave a comment and vote in that

1347
01:14:28,760 --> 01:14:30,599
Speaker 3: poll at film spotting dot net.

1348
01:14:32,000 --> 01:14:37,040
Speaker 1: All right, I'll jump first. No, then you jump first?

1349
01:14:37,040 --> 01:14:38,559
Speaker 3: Oh, I said, what's the matter with you?

1350
01:14:38,840 --> 01:14:47,120
Speaker 1: I can't swim?

1351
01:14:47,120 --> 01:14:50,080
Speaker 3: Why are you crazy? The fall will probably kill you

1352
01:14:51,200 --> 01:14:53,880
Speaker 3: a little. Butch Cassidy and the sun Dance Kid. There

1353
01:14:54,000 --> 01:14:59,040
Speaker 3: a good stunt. Sure, definitely a great scene. We're going

1354
01:14:59,080 --> 01:15:03,519
Speaker 3: to get to some great stunts as we jump back

1355
01:15:03,560 --> 01:15:08,840
Speaker 3: into our top five all time movie stunts. I might

1356
01:15:09,000 --> 01:15:12,000
Speaker 3: just have a jump here, Michael at number two.

1357
01:15:12,600 --> 01:15:15,880
Speaker 1: What do you have number two? Well, so my number

1358
01:15:15,880 --> 01:15:18,519
Speaker 1: two I gotta go back a little further for my

1359
01:15:18,600 --> 01:15:21,920
Speaker 1: final two here. But my number two is from Stage

1360
01:15:21,920 --> 01:15:25,320
Speaker 1: Coach nineteen thirty nine and it's really just paying tribute

1361
01:15:25,640 --> 01:15:31,160
Speaker 1: to the incredible skill of the stunt coordinator and stuntman

1362
01:15:31,560 --> 01:15:35,559
Speaker 1: Yakima Canut. He was born in enosknut from Washington State.

1363
01:15:36,080 --> 01:15:40,960
Speaker 1: The amazing work he does in Stagecoach two very quick,

1364
01:15:41,680 --> 01:15:46,479
Speaker 1: remarkable horse jumps where he's doubling for John Wayne, and

1365
01:15:46,720 --> 01:15:49,599
Speaker 1: in one scene he's has to do it's a three

1366
01:15:49,680 --> 01:15:52,800
Speaker 1: horse jump to get to the front of the runaway

1367
01:15:53,320 --> 01:15:56,840
Speaker 1: sort of Tino horses where he just sort of can't

1368
01:15:56,880 --> 01:16:01,559
Speaker 1: believe that what you're seeing is again happening without any trickery.

1369
01:16:02,120 --> 01:16:04,400
Speaker 1: And then and there's another leap from one horse to

1370
01:16:04,439 --> 01:16:07,280
Speaker 1: another at a really fast clip where he's where you

1371
01:16:07,439 --> 01:16:12,639
Speaker 1: just it's it's it's the most old fashioned, elemental, very

1372
01:16:12,680 --> 01:16:17,360
Speaker 1: simple work. You know, one one man, several horses. This

1373
01:16:17,400 --> 01:16:19,880
Speaker 1: is at a time in movie making when horses were

1374
01:16:20,000 --> 01:16:23,960
Speaker 1: killed right and left filming westerns, which gives a kind

1375
01:16:23,960 --> 01:16:26,679
Speaker 1: of a different air of danger if you just can't

1376
01:16:26,680 --> 01:16:29,280
Speaker 1: get that fact out of your head. But you know,

1377
01:16:29,360 --> 01:16:32,400
Speaker 1: this guy was, you know, a rodeo star first. He

1378
01:16:32,479 --> 01:16:37,320
Speaker 1: got his nickname Yakima from the town of the Yakima, Washington,

1379
01:16:37,360 --> 01:16:41,200
Speaker 1: which he was misidentified in some newspaper article as the

1380
01:16:41,320 --> 01:16:44,960
Speaker 1: Yakima Canut and it stuck and he went to Hollywood.

1381
01:16:45,000 --> 01:16:47,080
Speaker 1: He met Tom Mix, He did a couple of Western

1382
01:16:47,120 --> 01:16:50,280
Speaker 1: stunt work as a silent film. And then this is

1383
01:16:50,439 --> 01:16:55,000
Speaker 1: trivia that I loved learning Canut perfected the Crupper Mount.

1384
01:16:55,600 --> 01:16:59,800
Speaker 1: You know what the Crupper Mount trick is crupper cru

1385
01:17:00,080 --> 01:17:03,479
Speaker 1: ppe er amount. It's the leap frog over the horses,

1386
01:17:03,640 --> 01:17:07,000
Speaker 1: rump into the saddle. Now, how famous is that? It's

1387
01:17:07,120 --> 01:17:10,000
Speaker 1: fantastic right when you see that, you know, actually pulled

1388
01:17:10,000 --> 01:17:14,200
Speaker 1: off by people. Douglas Fairbanks, you know did it too,

1389
01:17:14,400 --> 01:17:17,680
Speaker 1: you know. And the great thing about Cannut is that

1390
01:17:17,760 --> 01:17:21,920
Speaker 1: he taught John Wayne how to actually walk into a shot.

1391
01:17:22,720 --> 01:17:27,240
Speaker 1: He's because he Wayne took everything from Canut, and he's

1392
01:17:27,560 --> 01:17:30,559
Speaker 1: Wayne credited it. He says, the drawing, you know, speech,

1393
01:17:30,640 --> 01:17:33,679
Speaker 1: the hesitant, the hip rolling walk, he says, I spent

1394
01:17:33,840 --> 01:17:37,760
Speaker 1: weeks studying the way Yakima Cannut walked and talked. So

1395
01:17:37,840 --> 01:17:41,439
Speaker 1: we have a lot to thank Knut for and that

1396
01:17:41,520 --> 01:17:44,040
Speaker 1: working stage coach A film. I love a john Ford film,

1397
01:17:44,120 --> 01:17:48,040
Speaker 1: I really love. And that film was so influential in

1398
01:17:48,160 --> 01:17:53,560
Speaker 1: directors as far flung and completely disparate as orson Wells

1399
01:17:54,160 --> 01:17:58,080
Speaker 1: and Vincent Manelli, both coming to Hollywood around the same time, said,

1400
01:17:58,120 --> 01:18:01,599
Speaker 1: you know, that's the film I learned the most about cutting, pacing,

1401
01:18:02,080 --> 01:18:05,800
Speaker 1: framing a shot, staging action. And god knows, you don't

1402
01:18:05,800 --> 01:18:09,320
Speaker 1: associate Wells or Manelli with Westerns or anything else john

1403
01:18:09,360 --> 01:18:13,479
Speaker 1: Ford would do. But anyway that cannuts roll in that

1404
01:18:14,040 --> 01:18:16,840
Speaker 1: just absolutely key. And then's I love I love the

1405
01:18:16,840 --> 01:18:18,400
Speaker 1: simplicity of these moments.

1406
01:18:18,479 --> 01:18:23,080
Speaker 3: So yeah, yeah, though, yeah, the Manelli part of that

1407
01:18:23,200 --> 01:18:26,280
Speaker 3: is interesting. The precision of it, though, The precision of

1408
01:18:26,320 --> 01:18:31,240
Speaker 3: the choreography of those action sequences and the speed of

1409
01:18:31,280 --> 01:18:35,759
Speaker 3: those horses in that scene and those jumps, it's something.

1410
01:18:36,160 --> 01:18:36,719
Speaker 1: It's something.

1411
01:18:37,320 --> 01:18:41,479
Speaker 3: Yeah. My number two the first email we got when

1412
01:18:41,520 --> 01:18:44,799
Speaker 3: we announced this topic was this one. And having watched

1413
01:18:45,120 --> 01:18:48,640
Speaker 3: this movie just for the first time a couple of

1414
01:18:48,680 --> 01:18:51,720
Speaker 3: years ago as part of some homework in preparation for

1415
01:18:51,800 --> 01:18:53,880
Speaker 3: No Time to Die, I knew this had to be

1416
01:18:54,000 --> 01:18:56,880
Speaker 3: on my list. I'm gonna let Bruce can't well and

1417
01:18:56,960 --> 01:19:01,040
Speaker 3: producer Sam take it away. Bruce says, I remember sitting

1418
01:19:01,040 --> 01:19:04,679
Speaker 3: in a theater back in nineteen seventy seven watching a cheesy,

1419
01:19:05,080 --> 01:19:09,240
Speaker 3: unbelievable ski chase with an aging Roger Moore, as James Bond,

1420
01:19:10,000 --> 01:19:16,160
Speaker 3: and then the score cuts out. He skis off a cliff,

1421
01:19:17,000 --> 01:19:20,400
Speaker 3: dead silence in the theater. He goes into free fall,

1422
01:19:23,520 --> 01:19:33,240
Speaker 3: he kicks off his skis and then that's right, I'm

1423
01:19:33,240 --> 01:19:37,080
Speaker 3: going back to the super Spy. Well, the pre title

1424
01:19:37,160 --> 01:19:40,639
Speaker 3: sequence Michael to the Spy who Loved Me? It's one

1425
01:19:40,680 --> 01:19:43,760
Speaker 3: of the one, it's one of the more beloved. Yeah,

1426
01:19:43,760 --> 01:19:46,160
Speaker 3: it's one of the more beloved Roger Moore bonds. It's

1427
01:19:46,200 --> 01:19:49,679
Speaker 3: one of the more beloved and rightfully so, pre titled

1428
01:19:49,760 --> 01:19:53,840
Speaker 3: Bond sequences leading into one of the more beloved themes

1429
01:19:53,920 --> 01:19:58,400
Speaker 3: and title sequences. Carly Simons, nobody does it better. Nobo

1430
01:20:03,320 --> 01:20:06,800
Speaker 3: usually is in the top five to seven Bond theme

1431
01:20:06,840 --> 01:20:11,800
Speaker 3: songs when you look at various lists, and speaking of music, man,

1432
01:20:11,880 --> 01:20:15,799
Speaker 3: can you tell it's nineteen seventy seven from that opening

1433
01:20:15,840 --> 01:20:20,200
Speaker 3: bit the disco score as Roger Moore exits the little

1434
01:20:20,240 --> 01:20:25,880
Speaker 3: ski chalet, it's so it's so good. Roger Moore, Bruce

1435
01:20:25,880 --> 01:20:27,920
Speaker 3: said he was aging. I think he was forty nine

1436
01:20:28,200 --> 01:20:31,960
Speaker 3: at this point in nineteen seventy seven. Definitely wasn't a

1437
01:20:32,000 --> 01:20:34,800
Speaker 3: forty nine year old Roger Moore out there maneuvering the

1438
01:20:34,840 --> 01:20:38,240
Speaker 3: slopes he wasn't Jean Claude Kiel out there. The rear

1439
01:20:38,320 --> 01:20:45,519
Speaker 3: projection is very, very noticeable. The stunt man is Rick Sylvester. Now,

1440
01:20:45,560 --> 01:20:47,679
Speaker 3: this was kind of fun to read up on Rick

1441
01:20:47,840 --> 01:20:51,760
Speaker 3: Sylvester from Wikipedia in nineteen seventy one. This is why

1442
01:20:51,800 --> 01:20:54,599
Speaker 3: he was picked for this stunt. In nineteen seventy one,

1443
01:20:54,920 --> 01:20:57,560
Speaker 3: he skied off the top of El Capitan in California,

1444
01:20:58,120 --> 01:21:02,439
Speaker 3: descended approximately nine hundred and fourteen meters by parachute. At

1445
01:21:02,439 --> 01:21:05,160
Speaker 3: the time, it was conceived as the world's greatest ski jump.

1446
01:21:06,000 --> 01:21:09,080
Speaker 3: Already an expert skier, he spent three weeks learning skydiving

1447
01:21:09,120 --> 01:21:12,200
Speaker 3: to make that jump. He also worked on another Bond film,

1448
01:21:12,240 --> 01:21:14,519
Speaker 3: reportedly for Your Eyes Only, where he did the stunt

1449
01:21:14,520 --> 01:21:16,400
Speaker 3: when Bond falls off the side of a mountain he's

1450
01:21:16,439 --> 01:21:19,960
Speaker 3: climbing in Greece. I say reportedly because a citation is

1451
01:21:20,040 --> 01:21:23,759
Speaker 3: needed on Wikipedia for that. In nineteen seventy eight, Sylvester,

1452
01:21:23,960 --> 01:21:27,880
Speaker 3: along with fame mountaineer Jim Bridwell, help rescue approximately forty

1453
01:21:27,920 --> 01:21:31,519
Speaker 3: people trapped in a ski tram in blizzard conditions. A

1454
01:21:31,520 --> 01:21:34,800
Speaker 3: seventeen ton cable that supported the tram had come free

1455
01:21:35,160 --> 01:21:39,719
Speaker 3: and sliced through the tram. Car killing several tourists. Sylvester

1456
01:21:39,960 --> 01:21:42,519
Speaker 3: Bridwell and others set up a pulley system on the

1457
01:21:42,600 --> 01:21:46,479
Speaker 3: fly to free the survivors and lower them to safety.

1458
01:21:46,720 --> 01:21:49,439
Speaker 3: So this guy's a hero. This guy's a legitimate hero.

1459
01:21:49,880 --> 01:21:51,880
Speaker 3: And they almost didn't get the shot. It's one of

1460
01:21:51,880 --> 01:21:54,760
Speaker 3: those cases where you know they're waiting, they have to

1461
01:21:54,760 --> 01:21:58,240
Speaker 3: wait for the right whether they know they're only going

1462
01:21:58,280 --> 01:22:00,240
Speaker 3: to get one shot at this, so they got to

1463
01:22:00,280 --> 01:22:03,000
Speaker 3: set up multiple cameras. I think they had three cameras

1464
01:22:03,040 --> 01:22:07,679
Speaker 3: from different angles going the weather is not cooperating. They've

1465
01:22:07,720 --> 01:22:10,400
Speaker 3: spent something like two hundred and fifty thousand dollars just

1466
01:22:10,720 --> 01:22:15,400
Speaker 3: on this stunt alone, and it doesn't look like they're

1467
01:22:15,400 --> 01:22:17,360
Speaker 3: going to get it, and the producer is starting to

1468
01:22:17,400 --> 01:22:21,479
Speaker 3: look for alternatives. They're gonna have to come up with

1469
01:22:21,640 --> 01:22:24,160
Speaker 3: some other stunt to do. It's just not gonna happen.

1470
01:22:25,000 --> 01:22:31,680
Speaker 3: And then it finally clears. Sylvester does it. He nails it.

1471
01:22:32,760 --> 01:22:37,880
Speaker 3: The camera in the helicopter fails, doesn't get it. He

1472
01:22:37,960 --> 01:22:40,920
Speaker 3: jumps out of the field of vision. I think only

1473
01:22:41,040 --> 01:22:45,599
Speaker 3: one of the three cameras actually got the stunt. That's

1474
01:22:45,640 --> 01:22:48,640
Speaker 3: why we only get the one angle of it. But

1475
01:22:48,720 --> 01:22:51,880
Speaker 3: thank god it got it. And that's that's what we

1476
01:22:52,000 --> 01:22:55,880
Speaker 3: get here in the film. And you know, this goes

1477
01:22:55,920 --> 01:22:58,599
Speaker 3: back a little bit to my rogue nation pick and

1478
01:22:58,640 --> 01:23:03,160
Speaker 3: the suspension of disbelief. Not only as viewers bruce in

1479
01:23:03,200 --> 01:23:05,320
Speaker 3: the theater in nineteen seventy seven, Not only do we

1480
01:23:05,400 --> 01:23:08,640
Speaker 3: know Roger Moore didn't die filming this, right, we know

1481
01:23:08,840 --> 01:23:11,760
Speaker 3: they aren't going to kill off James Bond in the

1482
01:23:11,800 --> 01:23:16,160
Speaker 3: opening scene of the New James Bond Movie. And yet

1483
01:23:16,520 --> 01:23:21,559
Speaker 3: our eyes just saw him ski off a real cliff

1484
01:23:22,880 --> 01:23:27,200
Speaker 3: up in the air, surrounded by very real looking clouds.

1485
01:23:27,640 --> 01:23:30,800
Speaker 3: We don't know what's below, but there surely isn't some

1486
01:23:31,080 --> 01:23:36,000
Speaker 3: soft landing spot. There's no airplane or helicopter that's going

1487
01:23:36,040 --> 01:23:39,280
Speaker 3: to somehow come by and be able to carry him

1488
01:23:39,880 --> 01:23:44,360
Speaker 3: away to safety. And he's toppling head over heels. Initially

1489
01:23:44,360 --> 01:23:47,719
Speaker 3: to Michael, it's not like it's some graceful.

1490
01:23:48,640 --> 01:23:52,800
Speaker 1: Initially spikes seconds, Yeah.

1491
01:23:51,760 --> 01:23:54,680
Speaker 3: And it is many seconds, So it feels like it

1492
01:23:54,800 --> 01:23:59,680
Speaker 3: feels almost like something has gone wrong. What could possibly

1493
01:23:59,800 --> 01:24:02,880
Speaker 3: be the plan here? You're kind of holding your breath, like,

1494
01:24:03,479 --> 01:24:07,840
Speaker 3: where is this going? And then the reveal of the parachute,

1495
01:24:08,560 --> 01:24:13,320
Speaker 3: but not just any parachute, the Union Jack Union Jack, Yeah,

1496
01:24:13,360 --> 01:24:18,559
Speaker 3: opening in sync with the Bond theme. Bruce unfortunately didn't

1497
01:24:18,680 --> 01:24:21,640
Speaker 3: finish painting the picture for us, but I have to

1498
01:24:21,680 --> 01:24:24,320
Speaker 3: imagine that every single person in the theater at that

1499
01:24:24,400 --> 01:24:28,400
Speaker 3: time immediately stood up and started cheering. Has national pride

1500
01:24:28,400 --> 01:24:32,439
Speaker 3: in England been as high ever since? I'm gonna guess not.

1501
01:24:32,800 --> 01:24:35,960
Speaker 1: I actually think that that shot I had hopes. I

1502
01:24:35,960 --> 01:24:38,519
Speaker 1: think when I watched that in the theater that that

1503
01:24:38,560 --> 01:24:44,160
Speaker 1: shot would somehow hold the crumbling British Empire together one

1504
01:24:44,240 --> 01:24:45,040
Speaker 1: more century.

1505
01:24:45,160 --> 01:24:47,559
Speaker 3: You know, it didn't work. But it didn't work, but

1506
01:24:47,680 --> 01:24:49,240
Speaker 3: I thought it could have as well. I mean, I

1507
01:24:49,280 --> 01:24:51,479
Speaker 3: didn't see it in seventy seven, but watching it now,

1508
01:24:51,720 --> 01:24:52,960
Speaker 3: I don't know how it didn't.

1509
01:24:53,360 --> 01:24:55,560
Speaker 1: Mike, but you know what you say about it. I

1510
01:24:55,640 --> 01:24:57,679
Speaker 1: didn't know about the camera failures on the other two,

1511
01:24:57,760 --> 01:25:00,000
Speaker 1: but that I think that's exactly why that scene has

1512
01:25:00,200 --> 01:25:02,880
Speaker 1: weird element of like what what what kind of It's

1513
01:25:02,880 --> 01:25:03,960
Speaker 1: a different kind of suspense.

1514
01:25:03,960 --> 01:25:06,320
Speaker 3: We don't Yeah, we don't get the Jackie chan like

1515
01:25:06,520 --> 01:25:09,400
Speaker 3: multiple cuts from different angles, no show off.

1516
01:25:09,600 --> 01:25:11,320
Speaker 1: They would not have. I don't think they would have

1517
01:25:11,320 --> 01:25:14,240
Speaker 1: had the confidence in the in how good that you

1518
01:25:14,280 --> 01:25:16,000
Speaker 1: know how good that stunt is. I think, just to

1519
01:25:16,080 --> 01:25:18,800
Speaker 1: hold that single shot on it, but it's great. It's

1520
01:25:19,560 --> 01:25:23,040
Speaker 1: no and you know, I I'm not really interested in

1521
01:25:23,080 --> 01:25:25,760
Speaker 1: revisiting Bond movies at this point in my life. I mean,

1522
01:25:26,040 --> 01:25:28,479
Speaker 1: it's just I feel like I spent my whole life

1523
01:25:28,479 --> 01:25:30,920
Speaker 1: as an arrested adolescent. I don't need I don't need

1524
01:25:30,960 --> 01:25:34,240
Speaker 1: to like go back further to adolescents and do that again.

1525
01:25:34,280 --> 01:25:37,360
Speaker 1: But because it is just sort of like, you know,

1526
01:25:37,520 --> 01:25:40,880
Speaker 1: it's there's something about the whole Bond ethos that it

1527
01:25:40,920 --> 01:25:45,080
Speaker 1: doesn't doesn't necessarily wear well as you get older. But

1528
01:25:45,080 --> 01:25:47,200
Speaker 1: but even the good ones I feel that way. But

1529
01:25:47,400 --> 01:25:50,400
Speaker 1: also the best ones go back to something like that.

1530
01:25:50,479 --> 01:25:52,639
Speaker 1: And that's the kind of that's the kind of stunt

1531
01:25:52,640 --> 01:25:55,320
Speaker 1: work that I just crave, you know, always always and

1532
01:25:55,360 --> 01:25:55,880
Speaker 1: always will.

1533
01:25:56,400 --> 01:25:59,960
Speaker 3: We are at our number one picks for movie stunts,

1534
01:26:00,240 --> 01:26:02,240
Speaker 3: and I think we're going to end up here with

1535
01:26:02,280 --> 01:26:05,400
Speaker 3: the same filmmaker at number one, as it should be.

1536
01:26:05,720 --> 01:26:09,719
Speaker 1: That's right, Guy Ritchie. No, No, it's not Guy Richie. No,

1537
01:26:09,800 --> 01:26:13,280
Speaker 1: good lord, No, I think it's Buster Keaton. Right, it's

1538
01:26:13,320 --> 01:26:16,840
Speaker 1: gotta be so, I mean, you spoiled for choice with

1539
01:26:17,080 --> 01:26:21,679
Speaker 1: Keaton we'll talk about the Steamboat Bill junior shot, which

1540
01:26:21,760 --> 01:26:26,200
Speaker 1: really is epic in a different way. But my choice

1541
01:26:26,320 --> 01:26:30,120
Speaker 1: is your nemesis, Adam, and that it is not just

1542
01:26:30,280 --> 01:26:34,200
Speaker 1: a stunt from Sherlock Jr. The nineteen twenty four forty

1543
01:26:34,200 --> 01:26:38,720
Speaker 1: five minute master work that I just love and always have,

1544
01:26:39,280 --> 01:26:43,000
Speaker 1: But it's almost basically I kind of nominate the entire

1545
01:26:43,080 --> 01:26:47,920
Speaker 1: film for best stunt. It's every kind of physical acrobatic

1546
01:26:48,240 --> 01:26:52,800
Speaker 1: and also trickery, visual trickery, because there's a lot of

1547
01:26:52,920 --> 01:26:56,000
Speaker 1: in camera stuff, and there's a lot of stuff that

1548
01:26:56,080 --> 01:26:59,400
Speaker 1: is simply like a three card monkey game about like

1549
01:26:59,520 --> 01:27:02,559
Speaker 1: what what what went into creating an illusion? You know?

1550
01:27:02,600 --> 01:27:06,280
Speaker 1: What is it? Sometimes it's as simple as the shot

1551
01:27:06,320 --> 01:27:12,880
Speaker 1: where he's he's parked his piny on the handlebars of

1552
01:27:13,000 --> 01:27:18,120
Speaker 1: this runaway motorcycle and it's hurtling toward the railroad crossing

1553
01:27:18,520 --> 01:27:21,920
Speaker 1: and there's a train coming and he just misses it

1554
01:27:21,960 --> 01:27:24,280
Speaker 1: and it's all in one shot, and he thinks, fantastic,

1555
01:27:24,400 --> 01:27:26,040
Speaker 1: how do they do that? It's just simple, you know,

1556
01:27:26,080 --> 01:27:28,599
Speaker 1: And the answer is so simple you don't even feel

1557
01:27:28,680 --> 01:27:30,519
Speaker 1: cheated once you hear it that there was simply a

1558
01:27:30,520 --> 01:27:34,839
Speaker 1: matter of we started. It was all reversed. You start

1559
01:27:35,160 --> 01:27:39,600
Speaker 1: as you've just the shots actually started the inaction terms

1560
01:27:39,680 --> 01:27:42,880
Speaker 1: just after he crosses the tracks and the train was

1561
01:27:42,880 --> 01:27:48,280
Speaker 1: at a standstill at that crossing, and then in reverse

1562
01:27:48,360 --> 01:27:53,840
Speaker 1: the train backs up, as does the motorcycle, and it's all, Yes,

1563
01:27:53,880 --> 01:27:56,639
Speaker 1: it's sped up, for sure, it's sped up a lot.

1564
01:27:56,720 --> 01:28:00,000
Speaker 1: There's a lot of playing around with different crank speeds

1565
01:28:00,439 --> 01:28:03,600
Speaker 1: in Sherlock Junior. That's somehow because he's such a genius

1566
01:28:03,840 --> 01:28:06,839
Speaker 1: as a filmmaker and as a performer. It doesn't spoil

1567
01:28:07,000 --> 01:28:09,920
Speaker 1: your enjoyment of it. You know, it doesn't feel like

1568
01:28:10,000 --> 01:28:13,360
Speaker 1: eyes cheating or it's a gimmicker. But I mean things

1569
01:28:13,439 --> 01:28:16,240
Speaker 1: like all the stuff on top of my favorite thing

1570
01:28:16,240 --> 01:28:18,719
Speaker 1: in the world, people running on top of moving trains.

1571
01:28:18,760 --> 01:28:21,719
Speaker 1: You know that scene where he's getting like basically drowned

1572
01:28:21,720 --> 01:28:26,360
Speaker 1: by this water tanks. Yep, yeah, the spot gushing water.

1573
01:28:26,400 --> 01:28:29,280
Speaker 1: I mean, he broke his neck on that shot. Didn't

1574
01:28:29,360 --> 01:28:30,719
Speaker 1: know it at the time, but they.

1575
01:28:30,680 --> 01:28:34,400
Speaker 3: Got a shot in Super Cup Jackie Chance, Yes, does

1576
01:28:34,439 --> 01:28:35,960
Speaker 3: something very similar on the train.

1577
01:28:36,240 --> 01:28:39,599
Speaker 1: A total you know, I mean Chance talked about Keaton

1578
01:28:40,400 --> 01:28:43,680
Speaker 1: as a huge how can you not but that plush

1579
01:28:44,720 --> 01:28:49,840
Speaker 1: little things like Keaton as in his detective mode, stalking

1580
01:28:50,240 --> 01:28:53,320
Speaker 1: you know, a potential criminal right who's walking along on

1581
01:28:53,360 --> 01:28:56,400
Speaker 1: the sidewalk right in front of him, and the guy

1582
01:28:56,400 --> 01:28:59,479
Speaker 1: in front of him tosses the lit cigarette up in

1583
01:28:59,520 --> 01:29:02,120
Speaker 1: the air, he's done with it or something, and Keaton

1584
01:29:02,200 --> 01:29:05,800
Speaker 1: catches it, and it's all it's it's a throwaway bit,

1585
01:29:05,920 --> 01:29:08,800
Speaker 1: and every time I see it, I think, wow, you know,

1586
01:29:09,160 --> 01:29:12,720
Speaker 1: a minute stunt or piece of physical action like that.

1587
01:29:13,160 --> 01:29:17,200
Speaker 1: And then something as large as this epic chase at

1588
01:29:17,200 --> 01:29:19,920
Speaker 1: the end, which has just got every kind of the

1589
01:29:19,960 --> 01:29:24,879
Speaker 1: technique and comic you know, low medium, high comic detail

1590
01:29:24,920 --> 01:29:30,280
Speaker 1: and flourish and Sherlock Junior, I think is intoxicating for me.

1591
01:29:30,439 --> 01:29:33,840
Speaker 1: And it's the film that anybody who you know, just

1592
01:29:33,880 --> 01:29:36,400
Speaker 1: wants a primer on Keaton, doesn't know this stuff, maybe

1593
01:29:36,400 --> 01:29:39,360
Speaker 1: saw something they didn't like. That's the one to check out.

1594
01:29:39,400 --> 01:29:39,640
Speaker 1: I think.

1595
01:29:39,680 --> 01:29:40,760
Speaker 3: I love it.

1596
01:29:40,800 --> 01:29:42,760
Speaker 1: So that's my number one, by a mile. I have

1597
01:29:42,840 --> 01:29:44,640
Speaker 1: to say, no, no contest.

1598
01:29:44,439 --> 01:29:48,680
Speaker 3: No qualms here. I think you you almost are required

1599
01:29:48,920 --> 01:29:51,360
Speaker 3: to mention the entire movie, and you didn't even mention

1600
01:29:52,479 --> 01:29:55,840
Speaker 3: three other parts that are maybe my favorite parts. One

1601
01:29:55,880 --> 01:29:58,679
Speaker 3: of them I almost consider a stunt. There's the pool scene,

1602
01:29:58,720 --> 01:30:01,479
Speaker 3: where he pulls off the using Billiard's tricks, which he

1603
01:30:01,520 --> 01:30:03,080
Speaker 3: actually just learned how to do.

1604
01:30:03,160 --> 01:30:05,320
Speaker 1: Three months practice or something.

1605
01:30:05,640 --> 01:30:09,200
Speaker 3: And then there's two different tricks he does with dresses

1606
01:30:09,920 --> 01:30:14,000
Speaker 3: where he jumps into dresses and animates, and one he

1607
01:30:14,080 --> 01:30:17,719
Speaker 3: jumps jumps through a window into a dress, and another

1608
01:30:17,760 --> 01:30:21,720
Speaker 3: one he jumps through someone's like mid section and then

1609
01:30:22,320 --> 01:30:24,280
Speaker 3: then fills up the dress and walks away.

1610
01:30:24,640 --> 01:30:29,439
Speaker 1: And it's amazing. Against Yeah, I almost and I finally

1611
01:30:29,560 --> 01:30:32,040
Speaker 1: learned how he did it the other day because of this,

1612
01:30:32,280 --> 01:30:34,960
Speaker 1: you know, because I take this podcast very seriously, Yes,

1613
01:30:35,000 --> 01:30:38,120
Speaker 1: of course, you know, but even learning exactly how that

1614
01:30:38,160 --> 01:30:41,360
Speaker 1: illusion is created, and it's a stage illusion, and that

1615
01:30:41,479 --> 01:30:43,559
Speaker 1: was then just simply filmed. It was not that's not

1616
01:30:43,760 --> 01:30:47,640
Speaker 1: film trickery really, that's just simply stagecraft and man and

1617
01:30:47,720 --> 01:30:49,720
Speaker 1: kind of you know, it's like a magic trick. I

1618
01:30:49,760 --> 01:30:51,400
Speaker 1: don't want to spoil it. You know, you can look

1619
01:30:51,439 --> 01:30:53,040
Speaker 1: it up if you want to learn. But even that,

1620
01:30:53,200 --> 01:30:55,800
Speaker 1: even knowing exactly how it's done, doesn't take it, you know,

1621
01:30:55,840 --> 01:30:57,840
Speaker 1: That's how good that stunt illusion is.

1622
01:30:58,000 --> 01:31:01,960
Speaker 3: Yeah, Sherlock Jr. Not eligible for me, though, because that's

1623
01:31:02,000 --> 01:31:05,320
Speaker 3: the movie I was alluding to earlier. Very recently part

1624
01:31:05,360 --> 01:31:08,280
Speaker 3: of our Pantheon project. Of the two movies we put

1625
01:31:08,320 --> 01:31:11,720
Speaker 3: into the Pantheon, they're so good Singing in the Rain

1626
01:31:12,200 --> 01:31:14,640
Speaker 3: and Sherlock Junior. So I had to go in a

1627
01:31:14,640 --> 01:31:17,719
Speaker 3: different direction. Now, there are such a wealth of options

1628
01:31:17,760 --> 01:31:20,360
Speaker 3: available from Keaton, and we're going to mention a few more,

1629
01:31:20,840 --> 01:31:23,320
Speaker 3: I'm sure as we go, But at number one, I

1630
01:31:23,360 --> 01:31:26,000
Speaker 3: had to think about what I truly feel outside of

1631
01:31:26,000 --> 01:31:30,920
Speaker 3: Sherlock Junior. What I truly feel is my favorite Keaton stunt,

1632
01:31:31,040 --> 01:31:33,280
Speaker 3: and I think I landed on it. It's from Our

1633
01:31:33,360 --> 01:31:38,240
Speaker 3: Hospitality and it's the Swinging Waterfall Rescue. It's a little

1634
01:31:38,240 --> 01:31:42,080
Speaker 3: bit of backstory. Keaton's Willie. He has to go from

1635
01:31:42,120 --> 01:31:46,000
Speaker 3: New York to Kentucky. He's inheriting a fortune. On the train,

1636
01:31:46,280 --> 01:31:49,320
Speaker 3: he falls in love with Virginia, who's played by Keaton's

1637
01:31:49,320 --> 01:31:53,040
Speaker 3: first wife, Natalie Talmage. He realizes way too late that

1638
01:31:53,120 --> 01:31:58,120
Speaker 3: she's the daughter of Joseph Canfield of the Canfields and McKay's.

1639
01:31:58,880 --> 01:32:02,880
Speaker 3: He's Willie McKays in McKay's feud that's been going on

1640
01:32:03,000 --> 01:32:06,280
Speaker 3: for decades. So at one point late in the film,

1641
01:32:06,600 --> 01:32:11,800
Speaker 3: he's trying to evade Virginia's brothers. They're out to kill him,

1642
01:32:12,320 --> 01:32:14,800
Speaker 3: and both Willie and Virginia end up in a river.

1643
01:32:15,960 --> 01:32:19,120
Speaker 3: He's ahead of her and they're about to go over

1644
01:32:19,680 --> 01:32:23,320
Speaker 3: a waterfall. This was part of our Buster Keaton Marathon

1645
01:32:23,360 --> 01:32:26,639
Speaker 3: that we did back in twenty twenty two. Danis Stevens

1646
01:32:26,640 --> 01:32:28,959
Speaker 3: helped us. She had just written her book, just published

1647
01:32:28,960 --> 01:32:32,000
Speaker 3: her book about Buster Keaton, called Cameraman, and she helped

1648
01:32:32,080 --> 01:32:34,960
Speaker 3: us close out that marathon with our Keaton Awards at

1649
01:32:35,000 --> 01:32:38,200
Speaker 3: the Music Box and we watched his movie The Cameraman.

1650
01:32:38,439 --> 01:32:41,120
Speaker 3: I said during that marathon that I thought this had

1651
01:32:41,120 --> 01:32:43,479
Speaker 3: to be, up to that point and cinema history in

1652
01:32:43,560 --> 01:32:46,639
Speaker 3: nineteen twenty three, one of the greatest, most thrilling action

1653
01:32:46,800 --> 01:32:49,320
Speaker 3: sequences ever, and it still felt that way to me

1654
01:32:49,439 --> 01:32:52,560
Speaker 3: in twenty twenty two. I love a few things about it.

1655
01:32:52,560 --> 01:32:55,760
Speaker 3: It's thrilling and daring as a stunt, but it also does,

1656
01:32:55,880 --> 01:32:59,839
Speaker 3: of course, rely on some illusion. It's shot on a set,

1657
01:33:00,320 --> 01:33:04,200
Speaker 3: there's no cliffs, there's no dangerous rocks down below. But

1658
01:33:04,880 --> 01:33:08,839
Speaker 3: Keaton not only uses a long shot from in front

1659
01:33:08,920 --> 01:33:11,960
Speaker 3: of the waterfall where we see Keaton dangling from the rope,

1660
01:33:12,200 --> 01:33:15,240
Speaker 3: which emphasizes the distance between him and the bottom he

1661
01:33:15,360 --> 01:33:19,519
Speaker 3: cuts occasionally to the opposite side a tighter shot. As

1662
01:33:19,560 --> 01:33:23,040
Speaker 3: Willie is hanging, he's wrapping his legs around the tree

1663
01:33:23,080 --> 01:33:25,799
Speaker 3: that's jutting out. And the way he uses focus Michael,

1664
01:33:26,200 --> 01:33:28,680
Speaker 3: combined with the mists of the water, the mist that

1665
01:33:29,160 --> 01:33:31,960
Speaker 3: is in the air, and the production design of the

1666
01:33:32,040 --> 01:33:35,360
Speaker 3: mountains in the background, it makes it seem like they

1667
01:33:35,400 --> 01:33:38,360
Speaker 3: are so far up in the air that this is

1668
01:33:38,400 --> 01:33:43,600
Speaker 3: this very ominous territory, you know, and they're very elevated.

1669
01:33:43,920 --> 01:33:46,360
Speaker 3: And then the build up to it, the suspense, the

1670
01:33:46,479 --> 01:33:50,639
Speaker 3: cross cutting. We know that Virginia is coming down the river,

1671
01:33:51,280 --> 01:33:56,360
Speaker 3: really knows she's coming. He's prepping, he's testing the rope,

1672
01:33:56,479 --> 01:34:00,880
Speaker 3: he's doing all that he can to get ready for her.

1673
01:34:01,240 --> 01:34:04,719
Speaker 3: We're cross cutting to her. She's trying to stop, she can't.

1674
01:34:05,520 --> 01:34:08,320
Speaker 3: We see what happens to the boat as it goes over.

1675
01:34:08,880 --> 01:34:11,720
Speaker 3: What's going to happen to her if he doesn't catch her,

1676
01:34:11,800 --> 01:34:13,800
Speaker 3: if he doesn't pull this off, He's only going to

1677
01:34:13,840 --> 01:34:16,559
Speaker 3: have one shot at this. And here's that kind of

1678
01:34:16,640 --> 01:34:21,000
Speaker 3: meta element that occurs with every type of great stunt sequence.

1679
01:34:21,160 --> 01:34:26,679
Speaker 3: We're invested in watching Keaton, the showman, the stuntman pull

1680
01:34:26,760 --> 01:34:29,960
Speaker 3: this off. But we're also invested in watching Willie be

1681
01:34:30,080 --> 01:34:33,880
Speaker 3: the hero and save the woman he loves simultaneously, and

1682
01:34:34,760 --> 01:34:37,280
Speaker 3: whether or not they're just going to fall into a

1683
01:34:37,320 --> 01:34:43,280
Speaker 3: swimming pool. Keaton still has to do this incredible stunt.

1684
01:34:43,800 --> 01:34:46,960
Speaker 3: The timing of it. He has to be so precise.

1685
01:34:47,040 --> 01:34:51,880
Speaker 3: He has to swing across and snatch her just as

1686
01:34:51,920 --> 01:34:55,320
Speaker 3: she comes over the edge of the waterfall and then

1687
01:34:55,360 --> 01:34:57,960
Speaker 3: deliver her back safely to the ledge on the other side.

1688
01:34:59,160 --> 01:35:03,320
Speaker 3: And when he does it, it's just so gracefully executed.

1689
01:35:03,400 --> 01:35:05,439
Speaker 3: It really did. When I saw it the first time,

1690
01:35:05,479 --> 01:35:08,360
Speaker 3: I think I said out loud, wow when I watched it.

1691
01:35:08,600 --> 01:35:10,000
Speaker 1: I saw the first time I saw I was at

1692
01:35:10,040 --> 01:35:14,280
Speaker 1: the Walker Arts Center in Minneapolis in the eighties and

1693
01:35:15,120 --> 01:35:19,559
Speaker 1: a great live accompaniment on piano and that full house,

1694
01:35:19,680 --> 01:35:22,240
Speaker 1: and that was the biggest audience response I had ever

1695
01:35:22,280 --> 01:35:25,280
Speaker 1: heard in the theater up to that point. At the

1696
01:35:25,800 --> 01:35:27,960
Speaker 1: just the embrace of that moment and that had stunt.

1697
01:35:28,000 --> 01:35:30,439
Speaker 1: I mean, it was just like literal not just applause,

1698
01:35:30,479 --> 01:35:32,840
Speaker 1: but like cheers, like it was like the ninth inning

1699
01:35:32,960 --> 01:35:36,160
Speaker 1: Cubs victory or something. I mean, it was, you know,

1700
01:35:36,479 --> 01:35:40,479
Speaker 1: it was incredible, and yeah, it's great, and yeah, like

1701
01:35:40,520 --> 01:35:43,120
Speaker 1: you say, you break it down, you see, Okay, well,

1702
01:35:43,360 --> 01:35:46,880
Speaker 1: you know the risks were what they were, not quite

1703
01:35:46,920 --> 01:35:49,840
Speaker 1: what they seemed, you know, and the and the and

1704
01:35:49,880 --> 01:35:54,200
Speaker 1: the visual illusion is very crafty, no different really than

1705
01:35:54,240 --> 01:35:57,920
Speaker 1: another film that year from twenty three Safety Last Harold

1706
01:35:58,000 --> 01:35:59,840
Speaker 1: Lloyd hanging off the clock. Well, you know, we all

1707
01:35:59,880 --> 01:36:04,360
Speaker 1: know that shot and maybe the sequence qualifies as a stunt,

1708
01:36:04,360 --> 01:36:07,160
Speaker 1: maybe it doesn't. But when you see, you know how

1709
01:36:07,200 --> 01:36:09,280
Speaker 1: they actually filmed that, and you know he really didn't

1710
01:36:09,320 --> 01:36:11,559
Speaker 1: have you know, he had about eight feet to fall,

1711
01:36:12,400 --> 01:36:16,479
Speaker 1: you know, they in reality onto a rooftop. It was

1712
01:36:16,479 --> 01:36:19,320
Speaker 1: just a matter of angling the camera correctly and building

1713
01:36:19,320 --> 01:36:21,960
Speaker 1: a false piece of scenery, you know, kind of a

1714
01:36:21,960 --> 01:36:26,800
Speaker 1: false front. Whatever, it doesn't, that's that. That's the kind

1715
01:36:26,840 --> 01:36:32,599
Speaker 1: of practical trickery that an illusion making. That that I respect,

1716
01:36:32,680 --> 01:36:33,639
Speaker 1: that can still respect.

1717
01:36:33,960 --> 01:36:37,080
Speaker 3: So those are our top five movie stunts. To see

1718
01:36:37,080 --> 01:36:40,599
Speaker 3: our picks, along with some clips, visit film spotting dot

1719
01:36:40,680 --> 01:36:46,519
Speaker 3: net slash lists Michael any honorable mentions, including probably a

1720
01:36:46,560 --> 01:36:48,200
Speaker 3: few more Keaton honorable.

1721
01:36:48,720 --> 01:36:51,800
Speaker 1: I'll just stick with one Keten the shot that's the

1722
01:36:51,800 --> 01:36:56,200
Speaker 1: most famous, and it's blood curdling, really is that? Is

1723
01:36:56,240 --> 01:36:59,800
Speaker 1: that wonderful climax? From Steamboat Build Junior, where you know,

1724
01:37:00,120 --> 01:37:04,040
Speaker 1: dealing with you know, cyclones and tornados and incredible sort

1725
01:37:04,080 --> 01:37:06,760
Speaker 1: of wind effects that again are real. I mean he's

1726
01:37:06,760 --> 01:37:09,240
Speaker 1: really getting blown around at high speed because he had

1727
01:37:09,280 --> 01:37:12,479
Speaker 1: like it was like I think it was aircraft, you know,

1728
01:37:12,640 --> 01:37:17,120
Speaker 1: sort of engine fans going to create that amazing amount

1729
01:37:17,120 --> 01:37:20,479
Speaker 1: of actual wind. But when he's standing still and then

1730
01:37:20,600 --> 01:37:23,800
Speaker 1: the entire side of the house falls down on him,

1731
01:37:23,840 --> 01:37:26,880
Speaker 1: we know this shot is very famous. It's the most

1732
01:37:26,960 --> 01:37:31,160
Speaker 1: it's the modernist version of amazing stone work because he

1733
01:37:31,240 --> 01:37:35,200
Speaker 1: is standing completely still, if he moved, if he was

1734
01:37:35,240 --> 01:37:37,680
Speaker 1: misplaced by even just two inches one way or the other.

1735
01:37:38,200 --> 01:37:40,280
Speaker 1: And what I didn't know Adham until just this week

1736
01:37:40,760 --> 01:37:44,840
Speaker 1: is the sort of the backstory about everything Keaton was

1737
01:37:44,840 --> 01:37:48,400
Speaker 1: dealing with at that point in his life. A miserable marriage.

1738
01:37:48,560 --> 01:37:52,439
Speaker 1: I mean, he was a real melancholic, depressive of serious

1739
01:37:52,439 --> 01:37:55,720
Speaker 1: alcoholic that was getting worse and worse. And he has

1740
01:37:55,920 --> 01:37:58,880
Speaker 1: intimated in interviews that he was ready to die at

1741
01:37:58,880 --> 01:38:03,280
Speaker 1: that point in his life. And there's the knowledge that

1742
01:38:03,880 --> 01:38:06,839
Speaker 1: other people have also commented on this who are involved

1743
01:38:06,840 --> 01:38:09,559
Speaker 1: with the making of it, that he really didn't care

1744
01:38:10,520 --> 01:38:14,760
Speaker 1: maybe if he lived or died filming that shot and

1745
01:38:15,439 --> 01:38:15,920
Speaker 1: he lived.

1746
01:38:17,479 --> 01:38:20,640
Speaker 3: You watch it. When you watch it, he's just slightly

1747
01:38:20,800 --> 01:38:24,479
Speaker 3: off center and that that facade comes down and you

1748
01:38:25,000 --> 01:38:28,639
Speaker 3: see it kind of clip his shoulder like another half

1749
01:38:28,640 --> 01:38:30,840
Speaker 3: an inch and he's dead right right.

1750
01:38:30,960 --> 01:38:34,519
Speaker 1: But there's something about, yeah, this is where the sort

1751
01:38:34,560 --> 01:38:37,519
Speaker 1: of what was going on none of what you see

1752
01:38:37,600 --> 01:38:39,760
Speaker 1: on camera, of course, but what was going on in

1753
01:38:39,840 --> 01:38:42,240
Speaker 1: the mind and the maybe the soul the filmmaker at

1754
01:38:42,280 --> 01:38:45,000
Speaker 1: that point and the performer obviously is all in one.

1755
01:38:45,240 --> 01:38:49,080
Speaker 1: It just gives it another dimension of It's a chilling laugh,

1756
01:38:49,200 --> 01:38:51,680
Speaker 1: you know what I mean, and very fine, and it's

1757
01:38:51,680 --> 01:38:55,320
Speaker 1: not like an epic climax to anything like the waterfall stuff,

1758
01:38:55,320 --> 01:38:57,920
Speaker 1: which is amazing, you know, or other things. It's just

1759
01:38:58,000 --> 01:39:00,519
Speaker 1: one of many things going on in this scene. But

1760
01:39:00,840 --> 01:39:04,600
Speaker 1: it's it is a stunner and it also excerpts you know,

1761
01:39:04,640 --> 01:39:06,960
Speaker 1: it was the meme before its time, right, I mean

1762
01:39:07,160 --> 01:39:09,320
Speaker 1: that shot is so even just the five seconds is

1763
01:39:09,600 --> 01:39:10,479
Speaker 1: a killer or something.

1764
01:39:10,520 --> 01:39:14,280
Speaker 3: Yeah, that's my definitely thought about the falling House. I

1765
01:39:14,320 --> 01:39:18,080
Speaker 3: also thought about clearing the railroad ties in the general.

1766
01:39:18,640 --> 01:39:20,800
Speaker 3: I love that. I think that's a really kind of

1767
01:39:21,240 --> 01:39:24,760
Speaker 3: underrated almost because it doesn't seem maybe as difficult as

1768
01:39:24,800 --> 01:39:28,120
Speaker 3: it as it really is. I did think about the

1769
01:39:28,280 --> 01:39:31,639
Speaker 3: car chase in Tarantino's Death Proof, and that one fit

1770
01:39:31,720 --> 01:39:34,880
Speaker 3: the bill for me, because even though it may seem

1771
01:39:35,000 --> 01:39:37,000
Speaker 3: like it's part of a larger sequence, it really is

1772
01:39:37,080 --> 01:39:40,599
Speaker 3: just one stunt Zoe Bell just hanging onto that roof

1773
01:39:40,640 --> 01:39:43,519
Speaker 3: for the entire time. I'm going to rattle off a

1774
01:39:43,520 --> 01:39:46,400
Speaker 3: few here, but just if I was going broader and

1775
01:39:46,439 --> 01:39:51,320
Speaker 3: thinking about bigger extended sequences, that French Connection car chase,

1776
01:39:51,800 --> 01:39:55,760
Speaker 3: the Boorn Ultimatum, Tangier rooftop chase. You gotta look at

1777
01:39:55,760 --> 01:40:00,720
Speaker 3: that inception rotating hallway fight that Nolan pulled off, which

1778
01:40:00,760 --> 01:40:03,880
Speaker 3: is all practical, really right, there's no cgi in that

1779
01:40:03,960 --> 01:40:10,920
Speaker 3: they invented those rotating you know, centrifugal force creating hallways.

1780
01:40:10,960 --> 01:40:13,360
Speaker 3: It really is something. I couldn't put Raiders of the

1781
01:40:13,360 --> 01:40:15,479
Speaker 3: Lost Ark in here, but I could put the tank

1782
01:40:15,520 --> 01:40:18,559
Speaker 3: battle from Indiana Jones in the Last Crusade, And of

1783
01:40:18,560 --> 01:40:21,240
Speaker 3: course George Miller gave us some incredible stuff. It's so

1784
01:40:21,280 --> 01:40:23,639
Speaker 3: hard to pick. What's my stock? What do you pick?

1785
01:40:23,720 --> 01:40:26,360
Speaker 3: What do you pick from Fury Road? How do you

1786
01:40:26,479 --> 01:40:27,639
Speaker 3: isolate a sequence?

1787
01:40:27,920 --> 01:40:28,120
Speaker 2: Right?

1788
01:40:28,479 --> 01:40:31,759
Speaker 3: I know some people the polls right, the poll attack

1789
01:40:32,320 --> 01:40:35,400
Speaker 3: from Furiosa, the war rig, but even the war rig

1790
01:40:35,520 --> 01:40:39,799
Speaker 3: is you know, fifteen twenty minutes an extended kind of sequence,

1791
01:40:39,840 --> 01:40:44,240
Speaker 3: but all incredible. This is the last one. A question

1792
01:40:44,320 --> 01:40:48,439
Speaker 3: that came in from our film spotting family discord, someone

1793
01:40:48,520 --> 01:40:52,479
Speaker 3: named awa was aw A Z said, do stunts and

1794
01:40:52,600 --> 01:40:56,560
Speaker 3: docks qualify? I held my breath for most of Skywalker's

1795
01:40:56,560 --> 01:40:59,479
Speaker 3: a love story. Those are some stunts with real steaks,

1796
01:40:59,800 --> 01:41:02,960
Speaker 3: And Devin replied, I mean Man on Wire for that

1797
01:41:03,040 --> 01:41:05,559
Speaker 3: man and and I haven't seen it, but have to

1798
01:41:05,600 --> 01:41:09,000
Speaker 3: imagine Free Solo does as well. You know this, Michael,

1799
01:41:09,120 --> 01:41:11,759
Speaker 3: I am a huge fan of the documentary Man on Wire,

1800
01:41:11,840 --> 01:41:14,519
Speaker 3: and I almost answered this question in the affirmative and

1801
01:41:14,560 --> 01:41:16,840
Speaker 3: put Man on Wire on my list. In the end,

1802
01:41:16,960 --> 01:41:20,439
Speaker 3: I couldn't go there. But certainly what Felip Petit did

1803
01:41:20,600 --> 01:41:23,720
Speaker 3: on that day, and I believe nineteen seventy four was

1804
01:41:23,760 --> 01:41:28,320
Speaker 3: a stunt. It it wasn't a movie stunt. We didn't

1805
01:41:28,360 --> 01:41:31,680
Speaker 3: get to watch it play out on screen. Unfortunately, we

1806
01:41:31,720 --> 01:41:34,280
Speaker 3: could only see see pictures of it. And it wasn't

1807
01:41:34,439 --> 01:41:38,240
Speaker 3: done for cinema. I couldn't. I couldn't actually say that

1808
01:41:38,320 --> 01:41:40,920
Speaker 3: it was a movie stunt. But it's a it's a

1809
01:41:40,920 --> 01:41:41,519
Speaker 3: fun question.

1810
01:41:41,720 --> 01:41:44,000
Speaker 1: Yeah it is. I couldn't help but think of Man

1811
01:41:44,040 --> 01:41:46,759
Speaker 1: on a Wire too, And I mean, I love that film,

1812
01:41:46,840 --> 01:41:51,280
Speaker 1: and I just the fact that Petit actually got off

1813
01:41:51,320 --> 01:41:55,760
Speaker 1: the wire by friend and thought to himself and this

1814
01:41:55,840 --> 01:41:58,280
Speaker 1: is true. You know, the only thing that could make

1815
01:41:58,439 --> 01:42:00,760
Speaker 1: this high last a little long as if I had

1816
01:42:00,760 --> 01:42:03,519
Speaker 1: sex with a groupie and he did that morning.

1817
01:42:04,200 --> 01:42:05,080
Speaker 3: I did know that part.

1818
01:42:06,120 --> 01:42:10,040
Speaker 1: That's a documentary. Yeah, yeah, well there it is, so

1819
01:42:10,120 --> 01:42:12,120
Speaker 1: that to me, that's that's the bonussume.

1820
01:42:12,720 --> 01:42:17,240
Speaker 3: Congratulations Philip. Again, those are our top five movie sunts.

1821
01:42:17,280 --> 01:42:19,439
Speaker 3: You can see those picks and our clips at film

1822
01:42:19,479 --> 01:42:22,479
Speaker 3: spotting dot net slash list, and you can send your

1823
01:42:22,520 --> 01:42:24,959
Speaker 3: picks or any other comments about the show to feedback

1824
01:42:24,960 --> 01:42:28,479
Speaker 3: at film spotting dot net. That's our show. Find me

1825
01:42:28,720 --> 01:42:31,920
Speaker 3: and the show on Instagram and Facebook and letterboxed at

1826
01:42:31,920 --> 01:42:34,960
Speaker 3: film spotting. You can find josh at Larson on film

1827
01:42:35,000 --> 01:42:37,200
Speaker 3: on those platforms. Michael, we can find you on some

1828
01:42:37,240 --> 01:42:40,080
Speaker 3: of those social platforms. You're at Phillips Tribune.

1829
01:42:40,200 --> 01:42:43,080
Speaker 1: Yeah, here and there on the former Twitter, still on

1830
01:42:43,200 --> 01:42:46,200
Speaker 1: there for my sins. Phillips Tribune. You can check out

1831
01:42:46,880 --> 01:42:49,960
Speaker 1: Blue Sky occasionally, but I would point you to my

1832
01:42:50,120 --> 01:42:54,080
Speaker 1: interview with mister Ralph Saxon from Mission Impossible, and it

1833
01:42:54,120 --> 01:42:57,439
Speaker 1: was a delightful series of anecdotes about what it was

1834
01:42:57,520 --> 01:43:01,320
Speaker 1: like to come back after a four line bit part

1835
01:43:01,800 --> 01:43:03,599
Speaker 1: that he thought he was going to get fired off of.

1836
01:43:03,680 --> 01:43:05,759
Speaker 1: He had a great story about working with the Palm

1837
01:43:06,160 --> 01:43:08,200
Speaker 1: and thinking he was about to get fired at any

1838
01:43:08,240 --> 01:43:10,840
Speaker 1: second to this amazing comeback that he makes in this

1839
01:43:11,000 --> 01:43:13,760
Speaker 1: greatly expanded role in the new Rules Impossible.

1840
01:43:13,880 --> 01:43:15,680
Speaker 3: I hope you'll share a link with us that we

1841
01:43:15,680 --> 01:43:17,360
Speaker 3: can put in the show notes on the website and

1842
01:43:17,400 --> 01:43:20,080
Speaker 3: in the episode. I shall so our listeners can find

1843
01:43:20,080 --> 01:43:23,800
Speaker 3: that Film Spotting is independently produced and listener supported. Support

1844
01:43:23,880 --> 01:43:26,600
Speaker 3: the show by joining the film Spotting Family at filmspottingfamily

1845
01:43:26,680 --> 01:43:29,200
Speaker 3: dot com. You can listen early in ad free, plus

1846
01:43:29,200 --> 01:43:32,000
Speaker 3: get a weekly newsletter, monthly bonus episodes, and access to

1847
01:43:32,040 --> 01:43:34,800
Speaker 3: the entire show archive. For show t shirts and other

1848
01:43:34,840 --> 01:43:37,920
Speaker 3: merch go to film spotting dot net slash shop in

1849
01:43:38,360 --> 01:43:42,800
Speaker 3: the Film Spotting Archive. We've reviewed a few Missions Impossible

1850
01:43:43,840 --> 01:43:47,720
Speaker 3: three number one hundred, that was our one hundredth episode,

1851
01:43:47,880 --> 01:43:51,000
Speaker 3: Ghost Protocol number four. We didn't review that for some reason.

1852
01:43:51,040 --> 01:43:53,280
Speaker 3: We did talk about Roade Nation on five forty eight,

1853
01:43:53,680 --> 01:43:57,519
Speaker 3: Fallout on six ninety one, Dead Reckoning nine to twenty

1854
01:43:57,720 --> 01:44:02,240
Speaker 3: eight outstreaming this weekend or on vod Andrew Dominic directs

1855
01:44:02,640 --> 01:44:05,679
Speaker 3: Bono Stories of Surrender, the film adaptation of the YouTube

1856
01:44:05,680 --> 01:44:09,759
Speaker 3: front Man's twenty twenty three solo stage show, part concert,

1857
01:44:09,840 --> 01:44:14,280
Speaker 3: part autobiography that's on Apple TV plus. Mountainhead is out

1858
01:44:14,320 --> 01:44:16,920
Speaker 3: on Max. This is about a group of billionaires who

1859
01:44:16,920 --> 01:44:20,280
Speaker 3: get together against the backdrop of an international crisis, with

1860
01:44:20,400 --> 01:44:25,120
Speaker 3: Jason Schwartzman, Steve Carell, Corey Michael Smith, and Raymie Yusef.

1861
01:44:25,520 --> 01:44:28,839
Speaker 3: In limited release, you can see Sister Midnight, an arranged

1862
01:44:28,840 --> 01:44:32,599
Speaker 3: marriage brings an oddball couple together in a Mumbai shack.

1863
01:44:33,200 --> 01:44:37,400
Speaker 3: Our friend and colleague Isaac Feldberg says, this a surreal, strange,

1864
01:44:37,600 --> 01:44:42,120
Speaker 3: crepuscular fable that doesn't move, look, sound, or feel like

1865
01:44:42,200 --> 01:44:45,759
Speaker 3: anything else you'll see this year, completely its own, wild,

1866
01:44:45,960 --> 01:44:49,599
Speaker 3: weird thing, but all the more delightful for it. Well if,

1867
01:44:49,640 --> 01:44:53,000
Speaker 3: Isaac says, so, I'll believe him. And just in case

1868
01:44:53,080 --> 01:44:57,439
Speaker 3: you need it, crepuscular of resembling or relating to Twilight,

1869
01:44:57,760 --> 01:44:58,479
Speaker 3: Well done.

1870
01:44:58,240 --> 01:45:00,920
Speaker 1: Isaac, excellent, Ye great, he's great.

1871
01:45:00,960 --> 01:45:03,479
Speaker 3: He is in wide release bring Her Back. From the

1872
01:45:03,520 --> 01:45:06,760
Speaker 3: directors of twenty twenty two's Monkeys Pa horror movie Talk

1873
01:45:06,800 --> 01:45:09,200
Speaker 3: to Me. A brother and sister are placed with foster mother,

1874
01:45:09,280 --> 01:45:13,240
Speaker 3: Sally Hawkins. I'm just reading this for the first time.

1875
01:45:13,360 --> 01:45:16,479
Speaker 3: Sam has in my notes foster mother Sally Hawkins, who

1876
01:45:16,520 --> 01:45:20,720
Speaker 3: is bat shit nuts. I think probably accurate, but I

1877
01:45:20,720 --> 01:45:25,519
Speaker 3: don't think that's in the official plot synopsis. Karate Kid Legends,

1878
01:45:25,520 --> 01:45:29,679
Speaker 3: Speaking of Jackie Chan, he stars as Sense and Ralph

1879
01:45:29,720 --> 01:45:35,920
Speaker 3: Macchio returns as Daniel LaRusso Machio, currently a decade older

1880
01:45:36,200 --> 01:45:40,000
Speaker 3: than Pat Morita was in the original Karate Kid. Do

1881
01:45:40,120 --> 01:45:44,920
Speaker 3: with that information whatever you will. Next week, Clueless is thirty,

1882
01:45:45,560 --> 01:45:49,200
Speaker 3: we'll share our top five movie quotes, not the all

1883
01:45:49,280 --> 01:45:52,240
Speaker 3: time movie quotes, but our favorite movie quotes that we

1884
01:45:52,320 --> 01:45:56,840
Speaker 3: actually weirdly find ways to work into our everyday conversation. Still.

1885
01:45:57,160 --> 01:46:00,000
Speaker 3: That will be with Ayisha Harris from NPR's Pop Culture

1886
01:46:00,240 --> 01:46:02,640
Speaker 3: Happy Hour. Film Spotting is produced by Golden Joe to

1887
01:46:02,760 --> 01:46:05,439
Speaker 3: So and Sam van Holgren. Without Sam and Golden Joe,

1888
01:46:05,760 --> 01:46:08,879
Speaker 3: the show wouldn't go. Our production assistant is Sophie Kempinar

1889
01:46:09,200 --> 01:46:12,320
Speaker 3: and special thanks to everyone at wb Eazy Chicago. More

1890
01:46:12,360 --> 01:46:16,200
Speaker 3: information is available at wbez dot org. Of course, special

1891
01:46:16,240 --> 01:46:19,080
Speaker 3: thanks as well to Michael Phillips for joining me this

1892
01:46:19,160 --> 01:46:22,080
Speaker 3: week and for having so much fun with me. At

1893
01:46:22,160 --> 01:46:24,280
Speaker 3: least it was fun on my end talking about movie

1894
01:46:24,320 --> 01:46:26,960
Speaker 3: stunts and mission impossible. I hope it was fun for you.

1895
01:46:27,240 --> 01:46:30,280
Speaker 1: It really was. It was a card and.

1896
01:46:30,280 --> 01:46:35,280
Speaker 3: Could be a card, a caution, a pip again, Michael,

1897
01:46:35,600 --> 01:46:40,000
Speaker 3: it's the barrier. That's a new one. Okay. Look for

1898
01:46:40,080 --> 01:46:44,200
Speaker 3: Michael at Phillips Tribune, Chicago Tribune dot com, slash movies.

1899
01:46:44,520 --> 01:46:46,439
Speaker 1: Yes, that's it. That's it and got it.

1900
01:46:46,400 --> 01:46:48,679
Speaker 3: And look for him to come back on Film Spotting

1901
01:46:48,760 --> 01:46:49,519
Speaker 3: sometime soon.

1902
01:46:49,600 --> 01:46:52,360
Speaker 1: Now and then here and there. Yeah, I'd love to. Yeah. No,

1903
01:46:52,400 --> 01:46:54,559
Speaker 1: it was great. It was a great I really the research,

1904
01:46:54,600 --> 01:46:56,320
Speaker 1: this is great. Fun to watch it, and I I

1905
01:46:56,320 --> 01:46:58,519
Speaker 1: am so glad you're putting all the links to the

1906
01:46:58,560 --> 01:47:00,400
Speaker 1: stuff we have described.

1907
01:47:00,439 --> 01:47:02,080
Speaker 3: We will do that with words.

1908
01:47:02,479 --> 01:47:07,360
Speaker 1: Yes, they get to see in moving pictures talking some

1909
01:47:07,400 --> 01:47:08,839
Speaker 1: of them are talking pictures.

1910
01:47:09,160 --> 01:47:13,240
Speaker 3: Yes, for film spotting. I'm Adam Kimbadar. Thanks for listening.

1911
01:47:13,360 --> 01:47:17,240
Speaker 1: This conversation can serve no purpose anymore, but.

1912
01:47:17,400 --> 01:47:37,200
Speaker 3: Fine film Spotting. As listeners supported, join the film Spotting family.

1913
01:47:37,240 --> 01:47:39,760
Speaker 3: At film spotting Family dot com and get access to

1914
01:47:39,920 --> 01:47:43,400
Speaker 3: ad free episodes, monthly bonus shows, our weekly newsletter, and,

1915
01:47:43,520 --> 01:47:45,799
Speaker 3: for the first time, all in one place, the entire

1916
01:47:46,080 --> 01:47:48,519
Speaker 3: film spotting archive going back to two thousand and five.

1917
01:47:48,840 --> 01:47:54,200
Speaker 3: That's a film spotting Family dot com panically