1 00:00:01,000 --> 00:00:03,880 Speaker 1: Dear listeners of hollywood Land, does it feel like you're 2 00:00:03,880 --> 00:00:07,120 Speaker 1: stuck in limbo? Standing under a flickering street light at 3 00:00:07,160 --> 00:00:09,880 Speaker 1: the corner of Hollywood and True Crime, waiting for the 4 00:00:09,920 --> 00:00:11,640 Speaker 1: next episode of hollywood Land to drop. 5 00:00:12,680 --> 00:00:13,159 Speaker 2: I got you. 6 00:00:13,960 --> 00:00:23,320 Speaker 1: Welcome to hollywood Land the Rap Party. 7 00:00:28,400 --> 00:00:29,560 Speaker 2: What is up? Everybody? 8 00:00:29,600 --> 00:00:32,159 Speaker 1: Here? We are in another bonus episode of hollywood Land, 9 00:00:32,200 --> 00:00:35,319 Speaker 1: which means we must be at the rap Party. This 10 00:00:35,360 --> 00:00:37,320 Speaker 1: is the show that gets you from one full episode 11 00:00:37,320 --> 00:00:39,760 Speaker 1: of hollywood Land to the next, the place where movie 12 00:00:39,840 --> 00:00:43,360 Speaker 1: history is far from boring. It's dangerous, it's profound. It's 13 00:00:43,400 --> 00:00:46,519 Speaker 1: full of players and fixers and behind the scenesters, and 14 00:00:46,600 --> 00:00:49,880 Speaker 1: of course it routinely intersects with the world of true crime. 15 00:00:50,520 --> 00:00:53,400 Speaker 1: My name is Zeth Lundy, writer, a double Elvis showrunner 16 00:00:53,400 --> 00:00:55,720 Speaker 1: for hollywood Land. And on this bonus episode, we are 17 00:00:55,720 --> 00:01:00,200 Speaker 1: talking about this week's full episode subject, Robert Mitcham, you're 18 00:01:00,240 --> 00:01:03,760 Speaker 1: previewing next week's episode on Anna Nicole Smith. We're talking 19 00:01:03,800 --> 00:01:06,520 Speaker 1: movie and music recommendations, and of course we're gonna check 20 00:01:06,520 --> 00:01:10,800 Speaker 1: out your voicemails, texts, dms and emails. So come on, everybody, 21 00:01:11,080 --> 00:01:12,679 Speaker 1: let's party. 22 00:01:28,319 --> 00:01:29,800 Speaker 2: I'm just gonna jump right into it. 23 00:01:29,840 --> 00:01:32,120 Speaker 1: Here at the top of the block here and give 24 00:01:32,120 --> 00:01:36,360 Speaker 1: you a couple of quotes from Robert Mitchum because they're 25 00:01:36,400 --> 00:01:38,640 Speaker 1: just they're so great. I want to start with this. Okay, 26 00:01:38,840 --> 00:01:42,760 Speaker 1: here's one. I got three expressions, looking left, looking right, 27 00:01:43,000 --> 00:01:48,760 Speaker 1: and looking straight ahead. Number two movies bore me, especially 28 00:01:48,800 --> 00:01:51,880 Speaker 1: my own. And then number three, third quote from Robert 29 00:01:51,880 --> 00:01:55,480 Speaker 1: Mitchum maybe my favorite. There just isn't any pleasing some people. 30 00:01:55,720 --> 00:01:59,640 Speaker 1: The trick is to stop trying, which that last one 31 00:01:59,680 --> 00:02:02,280 Speaker 1: reminds me of something my mom always used to say 32 00:02:02,280 --> 00:02:04,640 Speaker 1: to me, which was, who cares what other people think? 33 00:02:04,680 --> 00:02:06,040 Speaker 1: You're never going to see these people again. 34 00:02:06,160 --> 00:02:06,280 Speaker 2: Right. 35 00:02:06,640 --> 00:02:09,160 Speaker 1: It's like some of the best life advice to get 36 00:02:09,200 --> 00:02:11,800 Speaker 1: from a person who was full of great advice, but 37 00:02:12,320 --> 00:02:14,520 Speaker 1: I was never personally able to take that advice and 38 00:02:14,600 --> 00:02:18,280 Speaker 1: run with it. I am so on Robert Mitcham at 39 00:02:18,320 --> 00:02:21,440 Speaker 1: heart and my core, I am a people pleaser, and 40 00:02:21,480 --> 00:02:25,000 Speaker 1: I can't not care what other people think, nor can 41 00:02:25,040 --> 00:02:28,600 Speaker 1: I stop trying, like Robert Mitcham said, and why is that? 42 00:02:28,720 --> 00:02:32,120 Speaker 1: I don't know, Doc, how much time you got, But 43 00:02:32,400 --> 00:02:35,640 Speaker 1: enough about me. I want to talk about Robert Mitcham. 44 00:02:35,680 --> 00:02:37,440 Speaker 1: I want to talk about the attitude of Robert Mitchum, 45 00:02:37,480 --> 00:02:40,919 Speaker 1: The Swagger, the Defiance. I mentioned this briefly last week, 46 00:02:40,960 --> 00:02:43,400 Speaker 1: but Dennis Brennan, Jake's dad, who helps us with some 47 00:02:43,440 --> 00:02:45,800 Speaker 1: research here at Double Elvis, when he did research on 48 00:02:45,880 --> 00:02:48,000 Speaker 1: Robert Mitcham, he came back and said, this is like 49 00:02:48,280 --> 00:02:51,240 Speaker 1: this guy was the biggest misanthrop in Hollywood. And it 50 00:02:51,280 --> 00:02:53,640 Speaker 1: got me thinking. As I was thinking about Robert Mitcham 51 00:02:53,720 --> 00:02:57,960 Speaker 1: over the weekend preparing to write and record this episode, 52 00:02:58,760 --> 00:03:01,760 Speaker 1: I wonder how a guy like Robert Mitcham would fare 53 00:03:01,880 --> 00:03:05,720 Speaker 1: in today's social media landscape, in a day and age 54 00:03:05,760 --> 00:03:10,440 Speaker 1: when movie stars having this obligation to curate their own 55 00:03:10,480 --> 00:03:16,040 Speaker 1: presence online while also managing their career. Speaking of social 56 00:03:16,080 --> 00:03:19,040 Speaker 1: media feeds, this funny thing popped up in my feed 57 00:03:19,400 --> 00:03:22,960 Speaker 1: actually this morning, and its footage of Towns van Zant. 58 00:03:23,240 --> 00:03:26,120 Speaker 1: He's chasing swigs from a bottle of whiskey with swigs 59 00:03:26,240 --> 00:03:28,320 Speaker 1: from a can of coke, and he's climbing into some 60 00:03:28,520 --> 00:03:30,480 Speaker 1: like hole in the ground on a farm somewhere, and 61 00:03:30,520 --> 00:03:33,400 Speaker 1: the caption was something like, imagine this guy being told 62 00:03:33,440 --> 00:03:36,360 Speaker 1: he had to create content for the algorithm. This is 63 00:03:36,680 --> 00:03:38,560 Speaker 1: exactly what I think of when I think of an 64 00:03:38,640 --> 00:03:40,960 Speaker 1: ordinary son of a bitch like Robert Mitcham, you know, 65 00:03:41,320 --> 00:03:44,360 Speaker 1: and the fact that this sort of online self promotion 66 00:03:44,560 --> 00:03:47,120 Speaker 1: is unavoidable these days. I mean, look, they even got 67 00:03:47,240 --> 00:03:50,240 Speaker 1: to Leonardo DiCaprio at long last. You know, Leo's a 68 00:03:50,280 --> 00:03:52,680 Speaker 1: throwback to the old days. He's got some Mitcham in him. 69 00:03:52,680 --> 00:03:55,400 Speaker 1: He's definitely got some Jack Nicholson in him. Rarely do 70 00:03:55,440 --> 00:03:57,840 Speaker 1: is he do any interviews anymore? He does not do 71 00:03:57,920 --> 00:04:01,120 Speaker 1: social media. Well, guess again, Jack, because Warner Brothers has 72 00:04:01,200 --> 00:04:04,480 Speaker 1: him doing all kinds of social media stuff for one 73 00:04:04,520 --> 00:04:07,840 Speaker 1: battle after another. Sidebar. I've got all kinds of thoughts 74 00:04:07,840 --> 00:04:10,080 Speaker 1: for you on that particular film later in this episode. 75 00:04:10,120 --> 00:04:13,640 Speaker 1: But to get back to the subject at hand, Robert Mitcham, 76 00:04:13,720 --> 00:04:16,240 Speaker 1: as you know from listening to our episode on him, 77 00:04:16,279 --> 00:04:19,120 Speaker 1: he gave zero fucks. He busted out of a chain 78 00:04:19,160 --> 00:04:21,560 Speaker 1: gain when he no longer wanted to be there. He 79 00:04:21,680 --> 00:04:25,680 Speaker 1: lived that fugitive lifestyle, he smoked that reefer or gauge 80 00:04:25,680 --> 00:04:28,680 Speaker 1: as he called it, and he did so much more 81 00:04:28,760 --> 00:04:32,000 Speaker 1: openly than probably any other actor at the time in 82 00:04:32,400 --> 00:04:34,560 Speaker 1: the forties, and he paid the price for it. His 83 00:04:34,680 --> 00:04:37,400 Speaker 1: lack of fucks, his lack of caring what other people 84 00:04:37,440 --> 00:04:41,320 Speaker 1: thought it nearly cost him his career. And while I 85 00:04:41,360 --> 00:04:43,400 Speaker 1: never got to hang out with Robert Mitcham, and likely 86 00:04:43,520 --> 00:04:46,160 Speaker 1: none of you did either, though if you did, hit 87 00:04:46,200 --> 00:04:48,080 Speaker 1: me up, because I want to hear those stories. But 88 00:04:48,440 --> 00:04:51,200 Speaker 1: the really cool thing is that this attitude of his, 89 00:04:51,320 --> 00:04:54,520 Speaker 1: the swagger, the tossed off cool, it's all there in 90 00:04:54,560 --> 00:05:00,880 Speaker 1: the movies. His unparalleled screen presence was honestly seemed like 91 00:05:00,920 --> 00:05:03,680 Speaker 1: a reflection of him. The man Robert Mitcham and the 92 00:05:03,720 --> 00:05:06,520 Speaker 1: actor Robert Mitchum seemed like the same thing. My mind 93 00:05:06,560 --> 00:05:10,039 Speaker 1: goes to out of the past, this nineteen forty seven 94 00:05:10,080 --> 00:05:13,719 Speaker 1: film Noir, considered by many to be the greatest film 95 00:05:13,760 --> 00:05:18,599 Speaker 1: noir of all time, directed by Jacques Tunure, co starring 96 00:05:19,040 --> 00:05:22,360 Speaker 1: Jane Greer Kirk Douglas. If you don't know this movie, 97 00:05:22,640 --> 00:05:26,360 Speaker 1: check it out. Robert Mitcham is rocking maximum indifference in 98 00:05:26,400 --> 00:05:28,599 Speaker 1: this one, and this is the movie in which he 99 00:05:28,640 --> 00:05:32,360 Speaker 1: delivers probably his greatest line of all time, when Jane 100 00:05:32,400 --> 00:05:35,839 Speaker 1: Greer is asking him if he believes her in this 101 00:05:36,600 --> 00:05:39,440 Speaker 1: very intimate moment before this romantic embrace, You know, like 102 00:05:39,520 --> 00:05:42,400 Speaker 1: you believe me right, you know, And Robert Mitcham, with 103 00:05:42,520 --> 00:05:45,000 Speaker 1: those like eyes half closed, looks looks back at her, 104 00:05:45,040 --> 00:05:45,880 Speaker 1: and he just says. 105 00:05:46,160 --> 00:05:47,400 Speaker 2: Baby, I don't care. 106 00:05:49,920 --> 00:05:52,760 Speaker 1: That is a line, that is a moment, that's a character, 107 00:05:52,960 --> 00:05:55,840 Speaker 1: that's an on and an off screen persona all in 108 00:05:55,880 --> 00:06:00,839 Speaker 1: one man, Baby, I don't care. That's a that precedes 109 00:06:00,839 --> 00:06:06,839 Speaker 1: Hans Solo by decades. Man Robert Mitcham started making movies 110 00:06:06,839 --> 00:06:10,080 Speaker 1: in the forties. He went well into the nineties. Talked 111 00:06:10,080 --> 00:06:14,240 Speaker 1: about his role in dead Man, the Jim Jarmis film recently. 112 00:06:14,520 --> 00:06:16,799 Speaker 1: I think that was his last role. He was also 113 00:06:16,880 --> 00:06:20,520 Speaker 1: in Scrooged with Bill Murray, so he was acting well 114 00:06:20,520 --> 00:06:25,039 Speaker 1: into his later years. His iconic stuff, though, was stuff 115 00:06:25,080 --> 00:06:28,359 Speaker 1: in the twentieth century, things like the Evil Preacher in 116 00:06:28,400 --> 00:06:30,599 Speaker 1: the Night of the Hunter, or the gun Runner and 117 00:06:30,640 --> 00:06:33,560 Speaker 1: the Friends of Eddy Coyle, the violent revenge seeking ex 118 00:06:33,640 --> 00:06:38,560 Speaker 1: Con and Cape Fear. But since we are interested in 119 00:06:38,640 --> 00:06:40,800 Speaker 1: the rock and roll side of the street here at 120 00:06:40,800 --> 00:06:45,120 Speaker 1: Double Elvis, did you know that Robert Mitcham put out 121 00:06:45,120 --> 00:06:48,200 Speaker 1: a couple of albums. I've been listening to one all 122 00:06:48,279 --> 00:06:52,920 Speaker 1: morning called that Man Robert Mitcham dot Dot Dot Sings. 123 00:06:53,600 --> 00:06:56,320 Speaker 1: It's on Apple Music, so it's probably on Spotify too. 124 00:06:56,680 --> 00:07:00,360 Speaker 1: Came out in nineteen sixty seven rate as Sergeant Pepper 125 00:07:00,480 --> 00:07:04,320 Speaker 1: was blowing up. But this is not some Pepper esque 126 00:07:04,760 --> 00:07:09,480 Speaker 1: hippie dippy shit here. This is some country pop very 127 00:07:09,520 --> 00:07:13,080 Speaker 1: much of its times, got some light strings. It's got 128 00:07:12,920 --> 00:07:16,080 Speaker 1: that Charlie McCoy kind of harmonica. Maybe it is Charlie 129 00:07:16,160 --> 00:07:21,120 Speaker 1: McCoy lap steel the background singers, but I gotta say, man, 130 00:07:22,240 --> 00:07:25,760 Speaker 1: it's pretty passable. Robert Mitcham's got a pretty decent voice, 131 00:07:25,840 --> 00:07:31,480 Speaker 1: and you can kind of hear the the laid back baby, 132 00:07:31,520 --> 00:07:34,760 Speaker 1: I don't care attitude in this voice, even when he sings. 133 00:07:35,160 --> 00:07:36,920 Speaker 1: About halfway through listening to this this morning, and I 134 00:07:37,000 --> 00:07:39,640 Speaker 1: gotta say it's pretty compelling. This came out of Monument Records, 135 00:07:39,640 --> 00:07:42,560 Speaker 1: which is you know, Legit. That's Roy Orbison was on 136 00:07:42,600 --> 00:07:44,560 Speaker 1: that label. I think Dolly and Willie put out some 137 00:07:44,560 --> 00:07:48,239 Speaker 1: stuff there. So check this out. That man, Robert Mitcham sings, 138 00:07:48,320 --> 00:07:50,200 Speaker 1: let me know, and let me know. It's got me thinking, 139 00:07:50,400 --> 00:07:53,280 Speaker 1: who's your favorite actor? Who happened to make a record, 140 00:07:53,600 --> 00:07:55,800 Speaker 1: a country record, a rock and roll record? Is it 141 00:07:55,880 --> 00:07:59,480 Speaker 1: Robert Mitcham? Is it Bruce Willis? Remember that album Bruce 142 00:07:59,480 --> 00:08:04,120 Speaker 1: Willis made on Motown Records in the nineteen eighties, Bruce 143 00:08:04,160 --> 00:08:07,920 Speaker 1: Willis on Motown. Do you remember let me know who's 144 00:08:07,960 --> 00:08:10,640 Speaker 1: got this stuff? Six one seven nine oh six six 145 00:08:10,800 --> 00:08:15,000 Speaker 1: six three eight text me or call me next week. 146 00:08:15,200 --> 00:08:19,040 Speaker 1: We've got in many ways? What is the polar opposite 147 00:08:19,080 --> 00:08:21,960 Speaker 1: of Robert Mitcham Coming at you are? Episode on Anna 148 00:08:22,080 --> 00:08:25,840 Speaker 1: Nicole Smith. If you were around back of the nineteen nineties, 149 00:08:25,920 --> 00:08:29,840 Speaker 1: you remember those ubiquitous guest genes ads in the pages 150 00:08:29,880 --> 00:08:33,400 Speaker 1: of Rolling Stone Magazine. I honestly thought it was some 151 00:08:33,480 --> 00:08:36,160 Speaker 1: sort of pre photoshop photo doctoring when I was a 152 00:08:36,240 --> 00:08:38,319 Speaker 1: kid and I first saw those, I was like, how 153 00:08:38,360 --> 00:08:40,360 Speaker 1: the hell do they get Marilyn Monroe back from the 154 00:08:40,400 --> 00:08:44,400 Speaker 1: dead here in these black and white ads? Anyways, Anna 155 00:08:44,480 --> 00:08:45,120 Speaker 1: Nicole Smith? 156 00:08:45,280 --> 00:08:47,000 Speaker 2: Uh you again. 157 00:08:47,040 --> 00:08:49,000 Speaker 1: I don't know how much you know about her, how 158 00:08:49,040 --> 00:08:51,520 Speaker 1: much you think you know about her, but this episode 159 00:08:51,600 --> 00:08:54,280 Speaker 1: really blew me away in terms of what I did 160 00:08:54,320 --> 00:08:57,920 Speaker 1: not know about Anna Nicole and what happened to her. 161 00:08:58,360 --> 00:09:02,200 Speaker 1: It's it's tragic and it's wild. So you're don't want 162 00:09:02,240 --> 00:09:04,120 Speaker 1: to make sure you check that out. I want to 163 00:09:04,160 --> 00:09:06,720 Speaker 1: check out a bunch of messages from all of you 164 00:09:06,760 --> 00:09:08,880 Speaker 1: and respond to you guys, which I'm going to do 165 00:09:08,920 --> 00:09:11,360 Speaker 1: in just a second, right after I take a quick break. 166 00:09:24,640 --> 00:09:28,360 Speaker 1: Oh righty, welcome back to the Rap Party, your weekly 167 00:09:28,400 --> 00:09:32,280 Speaker 1: bonus episode of the Hollywood Lamb Podcast. And this is 168 00:09:32,320 --> 00:09:34,280 Speaker 1: the part of the show where I'm going to dig 169 00:09:34,320 --> 00:09:41,280 Speaker 1: into some of the emails, text messages dms from all y'all. 170 00:09:41,400 --> 00:09:44,120 Speaker 1: Let's see this first one here. Okay, We've got a 171 00:09:44,160 --> 00:09:48,559 Speaker 1: text from the eight four to three from Jada. Hi, 172 00:09:48,679 --> 00:09:51,360 Speaker 1: listening to the Hollywood Lamb Bonus episode and just wanted 173 00:09:51,400 --> 00:09:55,520 Speaker 1: to tell Lundy it's doctor Lundy that Sinatra kept change 174 00:09:55,559 --> 00:09:57,880 Speaker 1: in his pocket the rest of his life after his 175 00:09:58,000 --> 00:10:01,119 Speaker 1: son's kidnapping so he could all always use the payphone. 176 00:10:01,200 --> 00:10:02,920 Speaker 1: It was because of trauma that he was buried with 177 00:10:02,920 --> 00:10:03,720 Speaker 1: a roll of dimes. 178 00:10:03,880 --> 00:10:04,240 Speaker 2: Lol. 179 00:10:04,559 --> 00:10:07,640 Speaker 1: And then a little PostScript here from Jada says also 180 00:10:07,720 --> 00:10:10,760 Speaker 1: Jake may have told us that in the Sinatra episode. Jada, 181 00:10:10,920 --> 00:10:13,560 Speaker 1: thank you for texting this in. This is fascinating. I 182 00:10:13,559 --> 00:10:18,400 Speaker 1: did not know about this. I saw when I mentioned 183 00:10:18,400 --> 00:10:20,960 Speaker 1: this and said that he was buried with change or 184 00:10:20,960 --> 00:10:23,679 Speaker 1: with dimes or whatever to use a payphone. I didn't 185 00:10:23,720 --> 00:10:25,960 Speaker 1: realize it was connected to a real life event like this, 186 00:10:26,040 --> 00:10:27,800 Speaker 1: But that makes complete sense, and I got to be 187 00:10:27,840 --> 00:10:30,000 Speaker 1: honest when it comes to Sinatra, I am not as 188 00:10:30,040 --> 00:10:32,480 Speaker 1: schooled in his life or his history or anything the 189 00:10:32,559 --> 00:10:34,719 Speaker 1: way that Jake is, though I will tell you a 190 00:10:34,760 --> 00:10:37,640 Speaker 1: little behind the scenes thing here. A few years ago. 191 00:10:37,880 --> 00:10:40,280 Speaker 1: We probably a lot of years ago. At this point, 192 00:10:40,320 --> 00:10:44,360 Speaker 1: we had in development to show this other podcast show 193 00:10:44,480 --> 00:10:46,520 Speaker 1: and the first season was going to be all about Sinatra. 194 00:10:47,360 --> 00:10:50,480 Speaker 1: And for that I did some really intensive research for 195 00:10:50,720 --> 00:10:52,720 Speaker 1: about a week or two to put this outline together. 196 00:10:53,120 --> 00:10:56,000 Speaker 1: It was to be pretty badass. And now that I'm 197 00:10:56,040 --> 00:10:58,600 Speaker 1: thinking about it, I would love to do this idea 198 00:10:58,640 --> 00:11:00,839 Speaker 1: somewhere else in the double Elvis word, so stay tuned. 199 00:11:00,840 --> 00:11:02,920 Speaker 1: But and then, I don't know if you remember a 200 00:11:02,920 --> 00:11:06,640 Speaker 1: few years ago, but John Stamos, the famous Beach Boys drummer, 201 00:11:06,920 --> 00:11:10,720 Speaker 1: made this podcast about the kidnapping of Frank Sinatra Junior 202 00:11:10,720 --> 00:11:14,719 Speaker 1: and Jake actually had Stemos on the after party or 203 00:11:14,840 --> 00:11:16,880 Speaker 1: was it the maybe it was the twitch thing we 204 00:11:16,880 --> 00:11:19,839 Speaker 1: were doing there for a hot minute. But yeah, anyways, Jada, 205 00:11:20,040 --> 00:11:23,360 Speaker 1: thank you, super fascinating insight here. I'm totally putting that 206 00:11:23,400 --> 00:11:25,840 Speaker 1: in my back pocket for a rainy day. I appreciate 207 00:11:25,880 --> 00:11:29,080 Speaker 1: that text here from Matt in the three one seven, 208 00:11:29,200 --> 00:11:33,720 Speaker 1: Matt says the verdict is Paul Newman's greatest performance, but 209 00:11:33,840 --> 00:11:36,640 Speaker 1: Slapshot is my favorite Paul Newman performance. 210 00:11:37,120 --> 00:11:37,480 Speaker 2: Rip. 211 00:11:38,040 --> 00:11:41,600 Speaker 1: Claudia Cardinal one of the faces of the Mount Rushmore 212 00:11:41,640 --> 00:11:45,400 Speaker 1: of nineteen sixties European screen beauties. Along with Sophia Loren, 213 00:11:45,679 --> 00:11:49,320 Speaker 1: Catherine Deneuve and Julie Christy. Claudia captured the hearts of 214 00:11:49,360 --> 00:11:53,040 Speaker 1: men and women in three genres comedy, the original Pink Panther, 215 00:11:53,559 --> 00:11:57,200 Speaker 1: International Art House, Felini's Eight and a Half, and Visconti's 216 00:11:57,240 --> 00:12:00,720 Speaker 1: The Leopard Western, Once upon a Time on West and 217 00:12:00,800 --> 00:12:05,120 Speaker 1: the underappreciated the professionals take care Matt from the three 218 00:12:05,160 --> 00:12:09,680 Speaker 1: to one seven, Yeah, Matt Rip, indeed she could do 219 00:12:09,760 --> 00:12:13,040 Speaker 1: it all. And I you know, comedy, Art House, Western, 220 00:12:13,080 --> 00:12:16,280 Speaker 1: And I still remember seeing Eight and a half for 221 00:12:16,320 --> 00:12:19,480 Speaker 1: the first time in high school junior or senior year, 222 00:12:19,520 --> 00:12:24,160 Speaker 1: when I really got hooked on world cinema. Fellini, Kursawa, Bergmann. 223 00:12:24,880 --> 00:12:27,920 Speaker 1: Shout out to one of my English teachers from back then, 224 00:12:28,559 --> 00:12:31,600 Speaker 1: mister Ingraham. He was my English teacher and also Matt 225 00:12:31,600 --> 00:12:33,400 Speaker 1: from Double Elves. Here the two of us had him. 226 00:12:33,600 --> 00:12:35,720 Speaker 1: Not only did he introduce me to the music of 227 00:12:36,360 --> 00:12:40,960 Speaker 1: Big Star Moby Grape the Replacements and RBQ so much. 228 00:12:41,600 --> 00:12:43,560 Speaker 1: He was also the one to hit me to movies 229 00:12:43,600 --> 00:12:47,000 Speaker 1: like The Seventh Seal, the Seventh Samurai in eight and 230 00:12:47,080 --> 00:12:50,679 Speaker 1: a half, and I still remember watching Eight and a 231 00:12:50,679 --> 00:12:53,680 Speaker 1: Half for the first time, not really understanding what I 232 00:12:53,720 --> 00:12:58,280 Speaker 1: was seeing, but being taken along for the ride nonetheless, 233 00:12:58,320 --> 00:13:02,080 Speaker 1: And there was just something about Claudia Cardinal in that movie, 234 00:13:02,120 --> 00:13:05,920 Speaker 1: her beauty, her humor, her screen presence. It felt like 235 00:13:05,960 --> 00:13:09,280 Speaker 1: it came from this other dimension to my sixteen year 236 00:13:09,320 --> 00:13:12,400 Speaker 1: old mind. You know, she's so compelling and captivating in 237 00:13:12,440 --> 00:13:15,160 Speaker 1: that movie. And maybe because the movie feels like this 238 00:13:15,240 --> 00:13:18,280 Speaker 1: strange dream state anyways, played a part of it. But 239 00:13:18,840 --> 00:13:21,720 Speaker 1: it was just this like exotic beauty that I was 240 00:13:22,040 --> 00:13:26,800 Speaker 1: sort of burned into my brain forever. So thanks Matt 241 00:13:26,840 --> 00:13:29,959 Speaker 1: for bringing her up and for that tribute, for sure, 242 00:13:30,160 --> 00:13:34,560 Speaker 1: Rip to the great Claudia Cardinal. Okay, next text here 243 00:13:34,760 --> 00:13:37,840 Speaker 1: is from The three one four A week or two ago. 244 00:13:37,920 --> 00:13:40,800 Speaker 1: I was talking about or a listener brought up an 245 00:13:40,840 --> 00:13:44,160 Speaker 1: annoying character in a movie, and I was asking for 246 00:13:44,400 --> 00:13:47,120 Speaker 1: y'all's feedback on the most annoying character from a movie 247 00:13:47,240 --> 00:13:48,920 Speaker 1: or a character you love to hate. So the three 248 00:13:48,960 --> 00:13:52,080 Speaker 1: pine four texted in most annoying character Bill Murray as 249 00:13:52,160 --> 00:13:55,640 Speaker 1: Bob from What About Bob and it Aside, This isn't 250 00:13:55,640 --> 00:13:58,120 Speaker 1: an annoying character, but a character that I truly hate 251 00:13:58,920 --> 00:14:02,880 Speaker 1: is John Doe from seven. Spacey is so good in 252 00:14:02,880 --> 00:14:05,280 Speaker 1: that role that I want to hurt him. Not Kevin Spacey, 253 00:14:05,320 --> 00:14:06,959 Speaker 1: though he is trash. I mean I want to hurt 254 00:14:06,960 --> 00:14:11,440 Speaker 1: the character John Doe. Yeah, three, one, four that John 255 00:14:11,480 --> 00:14:14,400 Speaker 1: Doe is a bad, bad man. The seven character I'm 256 00:14:14,400 --> 00:14:17,080 Speaker 1: talking about, not the bass player for the incredible band X. 257 00:14:17,800 --> 00:14:22,000 Speaker 1: Does anyone remember how shocking seven was in the movie theater. 258 00:14:22,160 --> 00:14:25,560 Speaker 1: It's nineteen ninety five. Thirty years have gone by and 259 00:14:25,680 --> 00:14:28,720 Speaker 1: times have changed and we've become desensitized to this sort 260 00:14:28,720 --> 00:14:32,000 Speaker 1: of thing. But the gruesome, disgusting ways in which the 261 00:14:32,080 --> 00:14:35,160 Speaker 1: victims are tortured and killed in this movie was like, 262 00:14:36,080 --> 00:14:40,280 Speaker 1: visually just truly shocking. I remember seeing it in the 263 00:14:40,280 --> 00:14:42,400 Speaker 1: theater and thinking can they show this? Like, can they 264 00:14:42,480 --> 00:14:45,520 Speaker 1: actually do this? Granted, I was a sheltered kid from 265 00:14:45,560 --> 00:14:48,080 Speaker 1: the boonies of New England in my first weeks of 266 00:14:48,120 --> 00:14:51,920 Speaker 1: college in Boston, and you know, conveniently there was a 267 00:14:52,040 --> 00:14:57,960 Speaker 1: commercial movie theater on this backstreet right behind my dorm 268 00:14:58,120 --> 00:15:01,200 Speaker 1: at BU, which was right next to the College of Communication, 269 00:15:01,280 --> 00:15:03,800 Speaker 1: which is the school at BU where I went to 270 00:15:03,800 --> 00:15:07,480 Speaker 1: film school, And literally right behind these buildings there was 271 00:15:07,520 --> 00:15:11,280 Speaker 1: this backstreet and there was a Nickelodeon movie theater there, 272 00:15:11,760 --> 00:15:13,080 Speaker 1: so I probably saw it there. 273 00:15:13,160 --> 00:15:14,320 Speaker 2: I saw a lot of movies there. 274 00:15:14,840 --> 00:15:16,640 Speaker 1: And so, you know, you're a kid from the boonies 275 00:15:16,680 --> 00:15:19,000 Speaker 1: and you moved to the city and you see seven 276 00:15:19,040 --> 00:15:22,560 Speaker 1: within the first few weeks of being there. It changes 277 00:15:22,600 --> 00:15:26,080 Speaker 1: you forever. There's no more culture shock at that point. 278 00:15:26,200 --> 00:15:28,600 Speaker 1: At that point, you walk down the street with purpose, 279 00:15:28,960 --> 00:15:32,920 Speaker 1: head down, headphones loud, trying to jostle your discman too 280 00:15:32,960 --> 00:15:36,040 Speaker 1: much because the CD will skip, and you're on defense. Now, 281 00:15:36,080 --> 00:15:38,160 Speaker 1: You're always on defense, because if you let your guard down, 282 00:15:38,560 --> 00:15:40,000 Speaker 1: that's when the John Doe's of the world get in 283 00:15:40,160 --> 00:15:43,720 Speaker 1: right anyway, Yeah, I hear you, man, John Doe, bad 284 00:15:43,760 --> 00:15:47,520 Speaker 1: bad man. And yeah, also Bill Murray, he didn't he 285 00:15:47,960 --> 00:15:51,440 Speaker 1: harass Richard Dreyfus for real in What About Bob? That 286 00:15:51,520 --> 00:15:53,520 Speaker 1: was really like he drove him literally crazy on the 287 00:15:53,520 --> 00:15:56,480 Speaker 1: set of that movie. So all that tension between those 288 00:15:56,520 --> 00:15:59,880 Speaker 1: two characters is totally legit. Anyways, three and four, thanks 289 00:16:00,040 --> 00:16:03,720 Speaker 1: so much. For the message. Okay, we got this email 290 00:16:03,840 --> 00:16:06,480 Speaker 1: from Mark. It says, Hi, Jake and Zeth Mark here 291 00:16:06,560 --> 00:16:08,600 Speaker 1: from the four one to five. Since she died in 292 00:16:08,680 --> 00:16:11,920 Speaker 1: twenty twenty three, I have been on a Jane Berkin quest. 293 00:16:12,400 --> 00:16:16,520 Speaker 1: It's Jane Berkin, as Mark points out, eponymous with the 294 00:16:16,560 --> 00:16:20,640 Speaker 1: hermis Burkenbag and also Ju tem He's talking about Joue 295 00:16:20,640 --> 00:16:25,000 Speaker 1: tem moi non pleu, which is the duet with Sarah's Gainsburg. 296 00:16:25,320 --> 00:16:28,360 Speaker 1: But I digress back to Mark's message. Here I stumbled 297 00:16:28,440 --> 00:16:32,160 Speaker 1: upon one of James Berkins's very early movies, blow Up, 298 00:16:32,480 --> 00:16:34,840 Speaker 1: in which she had a very small role. The reason 299 00:16:34,920 --> 00:16:37,800 Speaker 1: I'm writing to you, guys is that approximately fifteen minutes 300 00:16:37,840 --> 00:16:40,480 Speaker 1: before the end of this movie, the Yardbirds with both 301 00:16:40,640 --> 00:16:44,080 Speaker 1: Jeff Beck and Jimmy Page appear in the movie playing 302 00:16:44,120 --> 00:16:48,120 Speaker 1: on stage. Considering these two only overlapped by about six 303 00:16:48,160 --> 00:16:50,920 Speaker 1: months in the band, this movie has become a time capsule. 304 00:16:51,200 --> 00:16:52,520 Speaker 1: I thought you'd enjoy hearing about it. 305 00:16:52,640 --> 00:16:53,120 Speaker 2: Check it out. 306 00:16:53,920 --> 00:16:58,560 Speaker 1: Mark, thanks so much. Yeah, another European beauty here, Jane Berkin. 307 00:16:58,840 --> 00:17:01,080 Speaker 1: Mark of course is talking about out blow Up, the 308 00:17:01,200 --> 00:17:06,199 Speaker 1: nineteen sixties six Michaelangelo Antonioni film set in Swinging London 309 00:17:06,240 --> 00:17:08,920 Speaker 1: in the nineteen sixties. The plot loosely of this one 310 00:17:08,960 --> 00:17:11,280 Speaker 1: is that a fashion photographer thinks that maybe he's captured 311 00:17:11,280 --> 00:17:14,240 Speaker 1: a murder on his camera and it's yeah, it's got 312 00:17:14,240 --> 00:17:16,960 Speaker 1: this this moment with the Yardbirds in there. And you know, 313 00:17:17,040 --> 00:17:20,000 Speaker 1: when it comes to Yarbirds, Yardbirds famously had Let's see, 314 00:17:20,040 --> 00:17:22,119 Speaker 1: Jeff Beck was in that group, Jimmy Page was in 315 00:17:22,119 --> 00:17:26,440 Speaker 1: that group, and Eric Clapton. And there's there fourth quote 316 00:17:26,520 --> 00:17:28,880 Speaker 1: unquote guitar god from the sixties that I'm forgetting about 317 00:17:28,880 --> 00:17:33,960 Speaker 1: who was in that band anyways, Clapton, Beck Page. I 318 00:17:34,000 --> 00:17:37,280 Speaker 1: feel like there's phases in life here right, there's and 319 00:17:37,600 --> 00:17:41,320 Speaker 1: you can chart these phases of your life by guitarists 320 00:17:41,359 --> 00:17:45,639 Speaker 1: in the Yardbirds. So early on, when I was a 321 00:17:45,720 --> 00:17:49,199 Speaker 1: kid getting into music, loving music, early on, I was 322 00:17:49,240 --> 00:17:52,320 Speaker 1: really into blues music big time. You know, not just 323 00:17:52,359 --> 00:17:55,920 Speaker 1: the Eric Clapton version, but Muddy Waters, Allan wolf Sonny 324 00:17:56,000 --> 00:17:58,720 Speaker 1: Terry and Brownie McGee all that stuff. But I was 325 00:17:58,760 --> 00:18:02,080 Speaker 1: super into Clapton. My dad was a big Clapton head 326 00:18:02,080 --> 00:18:04,159 Speaker 1: from back on the days I have I think I 327 00:18:04,200 --> 00:18:07,679 Speaker 1: have at least one of his original Cream albums, Cream 328 00:18:07,800 --> 00:18:11,280 Speaker 1: Blind Faith, Derek and the Domino's all that stuff. Love Clapton, 329 00:18:12,000 --> 00:18:14,000 Speaker 1: and then as I got older, I was sort of 330 00:18:14,080 --> 00:18:17,320 Speaker 1: found Clapton to not really interest me anymore. He he 331 00:18:17,359 --> 00:18:20,600 Speaker 1: didn't really challenge me quite as much as I want 332 00:18:20,640 --> 00:18:23,000 Speaker 1: to be challenged. And so Jimmy Page kind of became 333 00:18:23,000 --> 00:18:25,880 Speaker 1: my guy, you know, for Yarbird's guitarists. And so as 334 00:18:25,920 --> 00:18:28,720 Speaker 1: I grew into an adult and started to mature some more, 335 00:18:28,960 --> 00:18:32,800 Speaker 1: it was all about Jimmy Page. There's an incredible, incredible 336 00:18:33,480 --> 00:18:36,919 Speaker 1: episode of the of the online show called Guitar Moves, 337 00:18:37,720 --> 00:18:42,560 Speaker 1: which you can find on YouTube, hosted by this this guy, 338 00:18:42,600 --> 00:18:46,880 Speaker 1: Matt Sweeney. He used to be in Chavez, the band Chaves, 339 00:18:47,400 --> 00:18:49,760 Speaker 1: and he's collaborated with a lot of people since then. 340 00:18:50,359 --> 00:18:52,639 Speaker 1: He has this great show called online show, you can 341 00:18:52,640 --> 00:18:56,520 Speaker 1: find it on YouTube called Guitar Moves, and he speaks 342 00:18:56,520 --> 00:18:58,800 Speaker 1: with I guess at a lot of the guests you 343 00:18:58,800 --> 00:19:02,560 Speaker 1: could you could call unorthan like anti guitar hero players, right. 344 00:19:02,600 --> 00:19:05,000 Speaker 1: It's people like Josh Hommi from Queens of the Stone 345 00:19:05,040 --> 00:19:08,600 Speaker 1: Age or Saint Vincent Jason Isbel was on recently. He 346 00:19:08,600 --> 00:19:10,440 Speaker 1: does have an episode with Keith Richards, who I think 347 00:19:10,480 --> 00:19:13,160 Speaker 1: you could qualify as an anti guitar hero as well. 348 00:19:13,840 --> 00:19:17,359 Speaker 1: But he has a incredible episode with Dean Ween of 349 00:19:17,400 --> 00:19:20,359 Speaker 1: the band Ween, and Dean Ween is like sweating his 350 00:19:20,920 --> 00:19:24,439 Speaker 1: balls off through this whole episode. I'm not sure why. 351 00:19:24,480 --> 00:19:29,280 Speaker 1: I'm not going to speculate, but he has this incredible 352 00:19:29,960 --> 00:19:33,520 Speaker 1: take on Jimmy Page and how Jimmy is the brownest 353 00:19:33,560 --> 00:19:35,720 Speaker 1: guitar player of all time. If you don't know what 354 00:19:35,760 --> 00:19:39,280 Speaker 1: I mean in terms of Dean Ween and what he's 355 00:19:39,320 --> 00:19:41,119 Speaker 1: talking about when he's saying that's some of the brownest 356 00:19:41,160 --> 00:19:42,840 Speaker 1: guitar playing around the time, you got to check out 357 00:19:42,840 --> 00:19:46,080 Speaker 1: this episode. It's very short, it's so funny, it has 358 00:19:46,160 --> 00:19:49,720 Speaker 1: so much good anti guitar god wisdom in it. 359 00:19:49,720 --> 00:19:50,160 Speaker 2: It's great. 360 00:19:50,240 --> 00:19:54,760 Speaker 1: Anyways, I digress. Jimmy Page became my guy as I 361 00:19:54,880 --> 00:19:58,600 Speaker 1: matured into an adult, and all this time I always 362 00:19:58,600 --> 00:20:01,200 Speaker 1: looked at Jeff Beck sort of suspiciously, like I don't 363 00:20:01,200 --> 00:20:03,720 Speaker 1: get I don't get this dude's deal. I don't understand. 364 00:20:03,960 --> 00:20:06,320 Speaker 1: I get that he's talented, technically talented, but I just 365 00:20:06,359 --> 00:20:08,560 Speaker 1: don't he doesn't speak to me in the same way 366 00:20:08,400 --> 00:20:11,240 Speaker 1: that Clapton once spoke to me, and that Jimmy Page 367 00:20:11,280 --> 00:20:13,320 Speaker 1: now speaks to me. However, I got to say, now, 368 00:20:13,320 --> 00:20:16,960 Speaker 1: as I'm getting older, Jeff Beck, who you know, passed 369 00:20:16,960 --> 00:20:19,679 Speaker 1: away a few years ago, I've started to sort of 370 00:20:20,520 --> 00:20:22,520 Speaker 1: look at his catalog, listen to his stuff again, and 371 00:20:22,520 --> 00:20:25,320 Speaker 1: I'm starting to see and in there. And I'm telling 372 00:20:25,359 --> 00:20:27,640 Speaker 1: you this is the phases of the Yardbirds guitarists. You've 373 00:20:27,640 --> 00:20:31,320 Speaker 1: got the simple Clapton, You've got the more complex Jimmy Page, 374 00:20:31,359 --> 00:20:33,240 Speaker 1: and then as you get older, you get into the 375 00:20:33,280 --> 00:20:36,359 Speaker 1: even more complex Jeff Beck. Right, I'm onto something here, 376 00:20:36,400 --> 00:20:39,840 Speaker 1: aren't I? Anyways, Mark, I really appreciate this message. I 377 00:20:39,880 --> 00:20:42,720 Speaker 1: wanted to also mention when it comes to the film 378 00:20:43,119 --> 00:20:46,000 Speaker 1: blow Up, it features a score by none other than 379 00:20:46,000 --> 00:20:48,520 Speaker 1: Herbie Hancock. I think it might have been his first 380 00:20:48,520 --> 00:20:50,720 Speaker 1: score here we did. He onlyed a handful of movie scores, 381 00:20:50,760 --> 00:20:54,840 Speaker 1: but listen. In nineteen eighty eight, Herbie Hancock scored both 382 00:20:55,359 --> 00:20:58,119 Speaker 1: the film Colors, the Dennis Hopper film About the lapd 383 00:20:58,280 --> 00:21:02,359 Speaker 1: with Sean Penn and Robert Daval, also Action Jackson, the 384 00:21:02,520 --> 00:21:07,960 Speaker 1: Carl Weathers Vehicle co starring Vanity. What a resume. Amazing. Anyways, Mark, 385 00:21:08,040 --> 00:21:10,560 Speaker 1: appreciate the message. I've got another email here. I'm gonna 386 00:21:10,600 --> 00:21:12,880 Speaker 1: do one more. I was talking about Two Lane Blacktop, 387 00:21:13,080 --> 00:21:14,959 Speaker 1: the movie Two Lane Blacktop a while back on how 388 00:21:14,960 --> 00:21:17,159 Speaker 1: I couldn't find it anywhere, and I will say that, 389 00:21:17,400 --> 00:21:19,359 Speaker 1: thanks to a listener, I now have a way to 390 00:21:19,359 --> 00:21:20,600 Speaker 1: see this movie and I'm. 391 00:21:20,480 --> 00:21:22,760 Speaker 2: Planning on seeing it soon. So thank you. 392 00:21:22,760 --> 00:21:25,200 Speaker 1: You know who you are, and I will report back 393 00:21:25,240 --> 00:21:26,960 Speaker 1: as soon as I see this film that I've been 394 00:21:26,960 --> 00:21:29,119 Speaker 1: wanting to see for a long time but until then. 395 00:21:29,240 --> 00:21:31,880 Speaker 1: Got an email here from Patrick that says, Hi, Zeth, 396 00:21:32,320 --> 00:21:35,200 Speaker 1: you mentioned Two Lane Blacktop in the after party where 397 00:21:35,240 --> 00:21:37,960 Speaker 1: you were talking about car chases and Carrie Fisher. So 398 00:21:38,040 --> 00:21:40,680 Speaker 1: I had to say that the fifty five Chevy that 399 00:21:40,800 --> 00:21:44,400 Speaker 1: James Taylor drives in Two Lane Blacktop is the exact 400 00:21:44,480 --> 00:21:49,040 Speaker 1: same car that Harrison Ford drives in American Graffiti. They 401 00:21:49,080 --> 00:21:53,280 Speaker 1: painted it black and changed the hood scoop in wheels. Patrick, 402 00:21:53,359 --> 00:21:56,359 Speaker 1: thank you. My mind is blown. This is exactly the 403 00:21:56,480 --> 00:21:59,800 Speaker 1: kind of deep movie detail I'm into. I swear to God, 404 00:21:59,800 --> 00:22:02,200 Speaker 1: I'm not being facetious. This is this is great. I'm 405 00:22:02,200 --> 00:22:04,080 Speaker 1: gonna put that in one in my back pocket, along 406 00:22:04,080 --> 00:22:06,960 Speaker 1: with the uh, the Sinatra and the dimes. 407 00:22:06,680 --> 00:22:07,440 Speaker 2: The change thing. 408 00:22:07,960 --> 00:22:10,680 Speaker 1: So I appreciate that, and if any of you listening here, 409 00:22:11,080 --> 00:22:14,560 Speaker 1: I've got a fascinating tidbit from movie history like Patrick here, 410 00:22:14,960 --> 00:22:18,200 Speaker 1: Or you got another time capsule movie moment like Mark 411 00:22:18,240 --> 00:22:20,719 Speaker 1: did for blow Up. Hit me up and let me know. 412 00:22:20,880 --> 00:22:23,040 Speaker 1: You can get me at six one seven nine oh 413 00:22:23,119 --> 00:22:27,080 Speaker 1: six sixty six three eight. That's text or voicemail email 414 00:22:27,480 --> 00:22:30,720 Speaker 1: at Disgrace lampod at gmail dot com. I gotta take 415 00:22:30,720 --> 00:22:33,560 Speaker 1: a quick break, but don't go anywhere, because I got 416 00:22:33,600 --> 00:22:36,040 Speaker 1: a lot to say about a fantastic new movie I 417 00:22:36,080 --> 00:23:03,120 Speaker 1: just saw coming at you right after this. Ohrighty, everybody, 418 00:23:03,119 --> 00:23:05,400 Speaker 1: Welcome back to the rap parties. Zeth Lundy here once 419 00:23:05,440 --> 00:23:08,240 Speaker 1: again talking with you about what I've been watching, what 420 00:23:08,280 --> 00:23:11,800 Speaker 1: I've been listening to, what I've been reading. Okay, here's 421 00:23:11,800 --> 00:23:14,560 Speaker 1: the deal. I mentioned this earlier in the episode. This 422 00:23:14,600 --> 00:23:18,040 Speaker 1: past weekend, I saw one battle after another, the new 423 00:23:18,280 --> 00:23:20,920 Speaker 1: film from Paul Thomas Anderson, the tenth film from Paul 424 00:23:20,920 --> 00:23:23,640 Speaker 1: Thomas he Anderson, and I have so much to say 425 00:23:23,640 --> 00:23:26,080 Speaker 1: about it that I'm not going to talk about what 426 00:23:26,119 --> 00:23:27,920 Speaker 1: I've been listening to or what I've been reading today. 427 00:23:27,960 --> 00:23:29,560 Speaker 1: I'm just going to talk about this film. 428 00:23:29,640 --> 00:23:29,960 Speaker 2: Okay. 429 00:23:30,440 --> 00:23:37,960 Speaker 1: There's been so much unanimous praise from critics for this movie, 430 00:23:38,480 --> 00:23:42,359 Speaker 1: I honestly cannot remember the last time I saw so 431 00:23:42,640 --> 00:23:46,240 Speaker 1: much positive ten out of ten, five out of five, 432 00:23:46,600 --> 00:23:51,879 Speaker 1: one hundred percent recommended ratings from all the critics out there. 433 00:23:51,880 --> 00:23:53,560 Speaker 1: If you go to Metacritic or you go to Rotten 434 00:23:53,560 --> 00:23:56,320 Speaker 1: Tomatoes online, you'll see what I'm talking about if you 435 00:23:56,359 --> 00:24:00,640 Speaker 1: haven't already. So there was so much hype going into 436 00:24:00,720 --> 00:24:05,480 Speaker 1: this film, not just the critical appraisal, but the fact 437 00:24:05,520 --> 00:24:08,000 Speaker 1: that this is for me, at least, Paul Thomas Anderson 438 00:24:08,040 --> 00:24:10,800 Speaker 1: is one of my favorite living filmmakers working right now, 439 00:24:10,880 --> 00:24:14,080 Speaker 1: one of my favorite filmmakers period. I don't think he's 440 00:24:14,080 --> 00:24:16,399 Speaker 1: ever made a bad movie. He's made some movies that 441 00:24:16,440 --> 00:24:18,800 Speaker 1: I like more than others, but I think there's something 442 00:24:19,280 --> 00:24:22,600 Speaker 1: incredible about every movie he's made. And he's made ten 443 00:24:22,640 --> 00:24:25,000 Speaker 1: movies at this point. I don't know how many filmmakers 444 00:24:25,040 --> 00:24:27,560 Speaker 1: you can say that about. This isn't to say that 445 00:24:27,680 --> 00:24:30,400 Speaker 1: he's better than anybody else. I'm just saying he has 446 00:24:30,440 --> 00:24:33,480 Speaker 1: a higher hit ratio for me than a lot of 447 00:24:33,560 --> 00:24:37,000 Speaker 1: other filmmakers do. So going into this that was a 448 00:24:37,000 --> 00:24:38,399 Speaker 1: lot of There was a lot of hype to live 449 00:24:38,480 --> 00:24:41,159 Speaker 1: up to, and so part of me was extremely excited to. 450 00:24:41,119 --> 00:24:41,640 Speaker 2: See this movie. 451 00:24:41,640 --> 00:24:44,040 Speaker 1: The other part of me was really hoping that it 452 00:24:44,080 --> 00:24:45,199 Speaker 1: was going to be as good as I thought it 453 00:24:45,240 --> 00:24:49,880 Speaker 1: was going to be. And listen, I had a hard time. Actually, 454 00:24:49,920 --> 00:24:51,280 Speaker 1: I didn't have a hard time, because I think I 455 00:24:51,320 --> 00:24:53,080 Speaker 1: actually did say this to my wife when we left. 456 00:24:53,400 --> 00:24:56,720 Speaker 1: The movie opens and Bam, you're off. It hits the 457 00:24:56,720 --> 00:24:59,760 Speaker 1: ground running. It really does not let up for two 458 00:24:59,800 --> 00:25:03,240 Speaker 1: hours and forty minutes. It feels like it's ninety minutes. 459 00:25:03,840 --> 00:25:06,800 Speaker 1: And when we were walking out of that theater, I 460 00:25:06,920 --> 00:25:09,919 Speaker 1: was like that that might be the best movie that 461 00:25:10,160 --> 00:25:14,679 Speaker 1: PTA has ever made, which is crazy because I just 462 00:25:14,680 --> 00:25:19,040 Speaker 1: saw it once, and I understand part of it is 463 00:25:19,040 --> 00:25:21,080 Speaker 1: the high that I'm on after having seen it, but 464 00:25:21,160 --> 00:25:24,160 Speaker 1: it really felt to me like I had just seen 465 00:25:24,200 --> 00:25:27,520 Speaker 1: something special, something that I really hadn't seen before. So 466 00:25:27,600 --> 00:25:30,000 Speaker 1: let me explain what I mean by that. I talk 467 00:25:30,040 --> 00:25:33,800 Speaker 1: a lot about the divide between genre and style and ethos. 468 00:25:34,240 --> 00:25:37,080 Speaker 1: I've talked at length in the past about film School 469 00:25:37,160 --> 00:25:39,000 Speaker 1: and how it was designed, at least the one that 470 00:25:39,040 --> 00:25:42,240 Speaker 1: I went to to shift your perspective as a film 471 00:25:42,240 --> 00:25:45,720 Speaker 1: lover a film snob, to embrace films with ideas and 472 00:25:45,760 --> 00:25:49,359 Speaker 1: with characters. Films that challenge you, and to do so 473 00:25:50,160 --> 00:25:54,280 Speaker 1: while simultaneously rejecting the mainstream popcorn movies that have been 474 00:25:54,280 --> 00:25:57,120 Speaker 1: shoved down your throat since you were a kid, right which, 475 00:25:57,119 --> 00:26:00,000 Speaker 1: on the one hand, I understand why the strategy is 476 00:26:00,119 --> 00:26:02,919 Speaker 1: so heavy handed, because it worked, at least on me. 477 00:26:03,240 --> 00:26:07,760 Speaker 1: That strategy worked for a long time. I drank that 478 00:26:07,840 --> 00:26:12,280 Speaker 1: kool aid, I rejected Steven Spielberg movies, and instead I watched, 479 00:26:12,680 --> 00:26:16,359 Speaker 1: you know, movies by Carl Dreyer, until one day I 480 00:26:16,359 --> 00:26:18,960 Speaker 1: woke up and said, hey, I can watch both. It's okay. 481 00:26:19,440 --> 00:26:19,679 Speaker 2: You know. 482 00:26:20,480 --> 00:26:23,240 Speaker 1: I use the it's not us versus them. I use 483 00:26:23,320 --> 00:26:25,919 Speaker 1: the punk versus disco analogy a lot because I think 484 00:26:25,960 --> 00:26:28,280 Speaker 1: it's very apt and that's sort of the world that 485 00:26:28,320 --> 00:26:30,359 Speaker 1: I come from. You know, if you're gen X like me, 486 00:26:30,960 --> 00:26:32,800 Speaker 1: you remember back in the day, you weren't allowed to 487 00:26:32,800 --> 00:26:35,159 Speaker 1: listen to both Madonna and Black Flag. That just was 488 00:26:35,200 --> 00:26:37,919 Speaker 1: not possible. There was a line in the sand, and 489 00:26:37,960 --> 00:26:40,199 Speaker 1: you were either over here dancing in the club with 490 00:26:40,240 --> 00:26:44,119 Speaker 1: Madonna or you were over here slam dancing to Black Flag. 491 00:26:44,200 --> 00:26:47,879 Speaker 1: I mean, but that's what this movie is. That's what's 492 00:26:47,920 --> 00:26:50,560 Speaker 1: so special about this movie. It is Madonna and Black 493 00:26:50,600 --> 00:26:52,879 Speaker 1: flag at the same time, it is punk and it 494 00:26:53,000 --> 00:26:58,360 Speaker 1: is disco. It's a popcorn movie, thrill ride, a big budget, 495 00:26:58,640 --> 00:27:03,480 Speaker 1: holy shit action movie with equally big ideas, big themes, 496 00:27:03,800 --> 00:27:04,680 Speaker 1: big characters. 497 00:27:05,359 --> 00:27:05,760 Speaker 2: Ensure. 498 00:27:06,200 --> 00:27:09,600 Speaker 1: We've had plenty of action movies in the past that 499 00:27:09,680 --> 00:27:13,040 Speaker 1: have been funny the way that this movie is funny, 500 00:27:13,320 --> 00:27:15,640 Speaker 1: that have had big ideas, the way that this movie 501 00:27:15,680 --> 00:27:20,400 Speaker 1: has big ideas, But you always feel the big budgetness 502 00:27:20,400 --> 00:27:23,439 Speaker 1: of them, the studio ness of them. You always feel 503 00:27:23,640 --> 00:27:27,639 Speaker 1: there's a box that they're in a format you know 504 00:27:27,680 --> 00:27:32,000 Speaker 1: that they have to follow of a big budget Hollywood 505 00:27:32,040 --> 00:27:36,600 Speaker 1: crowd pleaser. This is a completely different kind of movie. 506 00:27:36,800 --> 00:27:41,240 Speaker 1: This is a movie about political revolutionaries, like a weather 507 00:27:41,359 --> 00:27:48,000 Speaker 1: Underground kind of group, and reckoning with their past. But 508 00:27:48,080 --> 00:27:53,560 Speaker 1: it's squashed into an action movie premise. And it's just 509 00:27:53,680 --> 00:27:57,520 Speaker 1: the way in which the two worlds combine. And then 510 00:27:57,600 --> 00:28:00,800 Speaker 1: the way in which the music element of this which 511 00:28:01,000 --> 00:28:03,800 Speaker 1: I got to mention this. You know, once again, PTA 512 00:28:03,880 --> 00:28:07,640 Speaker 1: is working with Johnny Greenwood from Radiohead fame here Johnny Greenwood, 513 00:28:07,640 --> 00:28:10,080 Speaker 1: who's scored I think all of PTA's movies since There 514 00:28:10,080 --> 00:28:14,919 Speaker 1: will be Blood. This score is like felonious Monk, you know, 515 00:28:15,560 --> 00:28:19,720 Speaker 1: getting drunk with Steve Reich. It's so percussive. There's lots 516 00:28:19,760 --> 00:28:23,400 Speaker 1: of piano, there's lots of percussion, there's some strings, there's 517 00:28:23,400 --> 00:28:27,320 Speaker 1: some guitar. There's some weird, detuned, elastic guitar going on. 518 00:28:28,160 --> 00:28:31,560 Speaker 1: But there's so much rhythm to this score, and the 519 00:28:31,680 --> 00:28:34,959 Speaker 1: rhythm works in tandem with what's happening on the screen, 520 00:28:35,359 --> 00:28:38,840 Speaker 1: with these characters in great peril, these characters chasing after 521 00:28:38,880 --> 00:28:42,000 Speaker 1: one another. The movie is essentially I'm not gonna spoil 522 00:28:42,040 --> 00:28:45,120 Speaker 1: anything here, but after a riveting prologue, the movie is 523 00:28:45,240 --> 00:28:49,400 Speaker 1: essentially like a long chase scene that just keeps going 524 00:28:49,440 --> 00:28:52,120 Speaker 1: and going and doesn't let you go, and the music 525 00:28:52,360 --> 00:28:55,800 Speaker 1: just propels it. So there's so many things here that 526 00:28:55,880 --> 00:28:58,640 Speaker 1: I love about this movie, and I walked out on 527 00:28:58,680 --> 00:29:01,240 Speaker 1: a high, the high that I haven't walked out of 528 00:29:01,240 --> 00:29:04,280 Speaker 1: a movie from a in a very long time. So 529 00:29:04,320 --> 00:29:07,280 Speaker 1: I can now see why, you know, critics are saying 530 00:29:07,360 --> 00:29:10,520 Speaker 1: this is the best Hollywood movie I've reviewed in ten 531 00:29:10,600 --> 00:29:12,960 Speaker 1: years or whatever, Like I get it. In some ways, 532 00:29:13,000 --> 00:29:17,480 Speaker 1: I can't believe that a studio like Warner Brothers allowed 533 00:29:17,480 --> 00:29:20,440 Speaker 1: this movie to be made because it's just so it's 534 00:29:20,480 --> 00:29:23,200 Speaker 1: so wild, it's such a punk and disco thing at 535 00:29:23,200 --> 00:29:26,400 Speaker 1: the same time. And I implore you, while it's still 536 00:29:26,400 --> 00:29:28,680 Speaker 1: in the movie theater, go see it and let me 537 00:29:28,720 --> 00:29:31,000 Speaker 1: know what you think. So, speaking of Paul Thomas Anderson, 538 00:29:31,160 --> 00:29:33,280 Speaker 1: I gotta do this. You know, I love lists, I 539 00:29:33,320 --> 00:29:34,920 Speaker 1: love like top ten lists or whatever. 540 00:29:35,400 --> 00:29:35,720 Speaker 2: This is. 541 00:29:36,080 --> 00:29:38,360 Speaker 1: This is nice and neat. He's made ten movies to date. 542 00:29:39,040 --> 00:29:42,680 Speaker 1: So I'm gonna give you my my favorite Paul Thomas 543 00:29:42,720 --> 00:29:45,360 Speaker 1: Anderson movies. I'm gonna go reverse order here from ten 544 00:29:45,400 --> 00:29:45,960 Speaker 1: to number one. 545 00:29:46,000 --> 00:29:46,320 Speaker 2: Okay. 546 00:29:46,720 --> 00:29:48,600 Speaker 1: And again, I don't think he's made a bad movie, 547 00:29:48,640 --> 00:29:50,520 Speaker 1: So I'm not saying the movie at number ten is bad. 548 00:29:50,760 --> 00:29:53,720 Speaker 1: I'm just saying for my taste and the movies that 549 00:29:53,760 --> 00:29:55,920 Speaker 1: I like, this is this is my favorite, Okay. So 550 00:29:55,960 --> 00:29:57,960 Speaker 1: I'm gonna start with number ten, which is Hard eight. 551 00:29:58,240 --> 00:29:59,920 Speaker 1: This is his his film Day. 552 00:30:00,640 --> 00:30:01,160 Speaker 2: It's great. 553 00:30:01,440 --> 00:30:03,680 Speaker 1: It shows a lot of potential, like a lot of 554 00:30:03,680 --> 00:30:07,080 Speaker 1: his movies. It has an incredible supporting role by Philip 555 00:30:07,080 --> 00:30:10,800 Speaker 1: Seymour Hoffman, who plays this gambler at a craps table. 556 00:30:10,840 --> 00:30:14,400 Speaker 1: It's an amazing scene he's in. But Heart eight is 557 00:30:14,760 --> 00:30:17,760 Speaker 1: number ten for me. Number nine Phantom Thread. I love 558 00:30:17,840 --> 00:30:21,280 Speaker 1: Daniel day Lewis I love his collaborations with Pta. I 559 00:30:21,360 --> 00:30:23,520 Speaker 1: loved this movie when I saw it. I've only seen it. 560 00:30:23,560 --> 00:30:25,280 Speaker 1: I'm going to say I've always seen it once. I 561 00:30:25,320 --> 00:30:26,800 Speaker 1: have not seen it. I need to see it more, 562 00:30:27,320 --> 00:30:29,040 Speaker 1: and maybe if I saw it some more, it would 563 00:30:29,080 --> 00:30:31,160 Speaker 1: go up the list of my estimation. But at this point, 564 00:30:31,320 --> 00:30:33,560 Speaker 1: based on what I've seen, how many times I've seen these, 565 00:30:33,600 --> 00:30:35,800 Speaker 1: this is at number nine for me. Number eight is 566 00:30:35,840 --> 00:30:37,880 Speaker 1: Punch Drunk Love. This used to be a lot higher 567 00:30:37,880 --> 00:30:40,040 Speaker 1: for me, probably, I don't know, a decade ago or so. 568 00:30:40,600 --> 00:30:43,040 Speaker 1: The really important thing that this movie did is is 569 00:30:43,080 --> 00:30:46,440 Speaker 1: it changed everyone's perspective on Adam Sandler, because up until 570 00:30:46,440 --> 00:30:49,680 Speaker 1: this point, Adam Sandler was one thing. He was a 571 00:30:49,720 --> 00:30:57,000 Speaker 1: goofball comedian, immature manchild comedian who made, in many people's estimations, 572 00:30:57,120 --> 00:30:59,040 Speaker 1: the kinds of people who would go see Paul Thomas 573 00:30:59,080 --> 00:31:01,760 Speaker 1: Anderson movie. Adam Sailor made the opposite kind of movies. 574 00:31:01,800 --> 00:31:02,800 Speaker 1: He made stupid movies. 575 00:31:03,240 --> 00:31:03,760 Speaker 2: And this was. 576 00:31:05,320 --> 00:31:08,720 Speaker 1: A way to look at Sandler from a different point 577 00:31:08,720 --> 00:31:11,480 Speaker 1: of view and to take that immature manchild and put 578 00:31:11,560 --> 00:31:15,960 Speaker 1: him into a dramatic movie. It's incredible. It's an incredible move. 579 00:31:16,680 --> 00:31:20,240 Speaker 1: And I got to mention once again, Philip seymore Hoffin 580 00:31:20,280 --> 00:31:22,800 Speaker 1: stealing this entire movie with like a three minute scene 581 00:31:23,280 --> 00:31:27,400 Speaker 1: arguing into a phone. Philip seymore Hoffan probably the greatest 582 00:31:27,400 --> 00:31:29,560 Speaker 1: phone actor of all time. Just give him a phone, 583 00:31:29,600 --> 00:31:32,320 Speaker 1: and the guy just, you know, give him an oscar 584 00:31:32,360 --> 00:31:32,680 Speaker 1: for the phone. 585 00:31:32,720 --> 00:31:33,160 Speaker 2: It's great. 586 00:31:33,400 --> 00:31:36,440 Speaker 1: Punch drunk Love number eight, number seven Magnolia. Back when 587 00:31:36,440 --> 00:31:38,320 Speaker 1: this came out in nineteen eighty nine, this was like 588 00:31:38,360 --> 00:31:40,400 Speaker 1: for me. It was my north star for cinema. It 589 00:31:40,520 --> 00:31:44,040 Speaker 1: was the highest high. I love this movie so much. 590 00:31:44,040 --> 00:31:46,160 Speaker 1: I watched it so many times, even though it's three hours. 591 00:31:46,480 --> 00:31:49,120 Speaker 1: I love the Ammy Man soundtrack. I own the Emmy 592 00:31:49,120 --> 00:31:52,960 Speaker 1: Man soundtrack. I own the recent reissue of Bachelor Number two, 593 00:31:53,000 --> 00:31:56,360 Speaker 1: which has all these songs on the end. Incredible songs. 594 00:31:56,480 --> 00:31:58,200 Speaker 1: Takes me back to that time whenever I hear it. 595 00:31:58,400 --> 00:32:00,240 Speaker 1: And I just rewatched this movie for the first time 596 00:32:00,440 --> 00:32:03,360 Speaker 1: in years a few weeks ago, and I still love 597 00:32:03,400 --> 00:32:06,840 Speaker 1: it. It still has some of the highest highs in his 598 00:32:06,880 --> 00:32:11,960 Speaker 1: whole filmography for me, but it does feel overstuffed, and 599 00:32:12,360 --> 00:32:15,160 Speaker 1: back when I was younger, I love the overstuffedness of it. 600 00:32:15,440 --> 00:32:18,280 Speaker 1: But now that I'm older, my taste have become more refined. 601 00:32:18,320 --> 00:32:20,560 Speaker 1: It's just a little too overstuffed for me to be 602 00:32:20,720 --> 00:32:23,680 Speaker 1: higher at my list right now. Number six Inherent Weiss. 603 00:32:23,920 --> 00:32:27,480 Speaker 1: This is the movie based on Thomas Pinchon's novel starring 604 00:32:27,520 --> 00:32:30,600 Speaker 1: Joaquin Phoenix as Dox Sportello. For a lot of people, 605 00:32:30,720 --> 00:32:33,840 Speaker 1: this is pretty low on their lists because, just like 606 00:32:33,880 --> 00:32:40,480 Speaker 1: Pinsion's novels, this is at times an impenetrable narrative, very dense, 607 00:32:41,160 --> 00:32:47,800 Speaker 1: very satirical, lots of absurd characters with equally absurd names. 608 00:32:48,800 --> 00:32:51,120 Speaker 1: But this is like a This is like an Onion 609 00:32:51,160 --> 00:32:51,680 Speaker 1: layer movie. 610 00:32:51,720 --> 00:32:51,920 Speaker 2: For me. 611 00:32:52,080 --> 00:32:56,480 Speaker 1: This has immense rewatchability for me because I can I 612 00:32:56,480 --> 00:32:58,200 Speaker 1: can watch this over and over again, and I can 613 00:32:58,240 --> 00:33:00,920 Speaker 1: peel back the layers and I can find the jokes 614 00:33:00,960 --> 00:33:03,120 Speaker 1: that I missed the first time. So many jokes in 615 00:33:03,160 --> 00:33:06,240 Speaker 1: pta movies, so many jokes that go missing because they're 616 00:33:06,680 --> 00:33:10,160 Speaker 1: under a layer. And I love sort of figuring this out. 617 00:33:10,240 --> 00:33:12,640 Speaker 1: And even if the plot is serpentine, even if the 618 00:33:12,640 --> 00:33:15,400 Speaker 1: plot is sort of unknowable in that way that you 619 00:33:15,440 --> 00:33:19,640 Speaker 1: know a film noir like the like The Big Sleep 620 00:33:19,680 --> 00:33:22,920 Speaker 1: is unknowable, I love this movie all the more for that, 621 00:33:23,000 --> 00:33:25,120 Speaker 1: and so I really look forward to rewatching this one. 622 00:33:25,160 --> 00:33:28,000 Speaker 1: A lot because again, I just like peeling back those layers. 623 00:33:28,400 --> 00:33:31,400 Speaker 1: Number five is Licorice Pizza, and this is his most 624 00:33:31,440 --> 00:33:35,280 Speaker 1: recent movie before One Battle after Another, that is pretty 625 00:33:35,280 --> 00:33:36,760 Speaker 1: low on a lot of people's list as well. They 626 00:33:37,000 --> 00:33:39,640 Speaker 1: kind of seen this as like a lesser entry in 627 00:33:39,760 --> 00:33:43,040 Speaker 1: his catalog. But I love this movie because it's such 628 00:33:43,080 --> 00:33:46,120 Speaker 1: a great hang. It's just a great hang of a movie. 629 00:33:46,520 --> 00:33:49,240 Speaker 1: It's a snapshot of a time in place, the nineteen 630 00:33:49,280 --> 00:33:52,440 Speaker 1: seventies San Fernando Valley, which I'm sure it is a 631 00:33:52,520 --> 00:33:54,920 Speaker 1: very personal movie for Pta as well, because it's sort 632 00:33:54,920 --> 00:33:57,920 Speaker 1: of his old stomping grounds. But it's just a great 633 00:33:57,960 --> 00:33:59,400 Speaker 1: hang of a movie, the way it looks, the way 634 00:33:59,400 --> 00:34:02,840 Speaker 1: it sounds, the way it feels. Incredible central performances too, 635 00:34:02,920 --> 00:34:06,680 Speaker 1: by Cooper Hoffman, who's Philip Seymour Hoffman's son, who this 636 00:34:06,800 --> 00:34:09,279 Speaker 1: was his first major role, and then Alana Heim from 637 00:34:09,320 --> 00:34:13,120 Speaker 1: The Banheim who had not acted before, and it has 638 00:34:13,200 --> 00:34:16,600 Speaker 1: that it almost has like that Cassavetti's feel of like 639 00:34:16,680 --> 00:34:19,600 Speaker 1: these two non actors who are doing the thing for 640 00:34:19,640 --> 00:34:21,960 Speaker 1: the first time. And I just I love It's just 641 00:34:22,000 --> 00:34:24,240 Speaker 1: a great ride to go on. I love this movie. 642 00:34:24,560 --> 00:34:27,040 Speaker 1: Number four Boogie Knights, What more can I say that 643 00:34:27,120 --> 00:34:29,760 Speaker 1: hasn't missed out already? This is very in some ways 644 00:34:29,840 --> 00:34:33,319 Speaker 1: very derivative of his influences. It's got Scorsese's fingerprints all over, 645 00:34:33,320 --> 00:34:36,280 Speaker 1: it's got Altman's fingerprints all over. It's like if Scorsese 646 00:34:36,400 --> 00:34:39,600 Speaker 1: made an Altman movie, which is a wild thing. And 647 00:34:39,640 --> 00:34:43,480 Speaker 1: I think that's why it works, because it's his influences. 648 00:34:43,760 --> 00:34:46,600 Speaker 1: They sort of meshed together and they become this new style. 649 00:34:47,600 --> 00:34:52,160 Speaker 1: Number three, The Master, featuring one of my favorite performances 650 00:34:52,160 --> 00:34:56,200 Speaker 1: of any PTA movie by Philip Seymour Hoffman. Also incredible 651 00:34:56,200 --> 00:35:00,440 Speaker 1: performance by Joaquin Phoenix. There's these two like alternate of 652 00:35:00,560 --> 00:35:06,160 Speaker 1: the male coin, just incredible movie. Number two One Battle 653 00:35:06,239 --> 00:35:09,359 Speaker 1: after Another. Number one, There will be Blood. I think 654 00:35:09,440 --> 00:35:11,880 Speaker 1: what puts there will be Blood a number one for 655 00:35:11,960 --> 00:35:13,960 Speaker 1: me right now is first of all, I need to 656 00:35:13,960 --> 00:35:16,719 Speaker 1: see one Battle after another some more. But Daniel day 657 00:35:16,800 --> 00:35:20,000 Speaker 1: Lewis's performance And There Will Be Blood is an all 658 00:35:20,080 --> 00:35:26,080 Speaker 1: time performance, arguably the greatest performance in any Paul Thomas 659 00:35:26,120 --> 00:35:29,200 Speaker 1: Anderson movie. And I don't think there is a performance 660 00:35:29,360 --> 00:35:33,160 Speaker 1: like this in One Battle after Another, Which is not 661 00:35:33,680 --> 00:35:36,560 Speaker 1: to say it's recommended less, it's just it's a different 662 00:35:36,640 --> 00:35:38,799 Speaker 1: kind of movie. So I think that danielday Lewis puts 663 00:35:38,800 --> 00:35:40,439 Speaker 1: that over the top for me, at least for now 664 00:35:40,840 --> 00:35:43,480 Speaker 1: until I watch one Battle after another some more, which 665 00:35:43,520 --> 00:35:46,719 Speaker 1: I think, based on my first viewing, my reaction is 666 00:35:46,719 --> 00:35:49,520 Speaker 1: going to be extremely rewatchable. I think one Battle after 667 00:35:49,560 --> 00:35:52,840 Speaker 1: another will be as rewatchable as Bogie Nights, probably the 668 00:35:52,920 --> 00:35:55,440 Speaker 1: two most rewatchable ones in his catalog, is my guess. 669 00:35:56,160 --> 00:35:56,799 Speaker 2: So there you go. 670 00:35:56,920 --> 00:36:00,560 Speaker 1: Those are my top Paul Thomas Anderson movies. I'm wondering 671 00:36:00,719 --> 00:36:04,120 Speaker 1: what are yours? You want to give me your your order, 672 00:36:04,239 --> 00:36:06,319 Speaker 1: your ten, or your your just your favorite or your 673 00:36:06,400 --> 00:36:10,200 Speaker 1: least favorite, or your favorite character, your favorite needle drop 674 00:36:10,400 --> 00:36:13,799 Speaker 1: six one seven nine oh six six six three eight 675 00:36:14,200 --> 00:36:14,680 Speaker 1: let me know. 676 00:36:15,200 --> 00:36:15,719 Speaker 2: Hang tight. 677 00:36:16,239 --> 00:36:18,279 Speaker 1: I gotta take one more break here, but I'll be 678 00:36:18,360 --> 00:36:35,040 Speaker 1: right back with some final parting thoughts. What is happening all, y'all? 679 00:36:35,080 --> 00:36:37,200 Speaker 1: We are getting awfully close to the end of another 680 00:36:37,200 --> 00:36:39,919 Speaker 1: dish of the Rap Party. But before we bid adieu here, 681 00:36:40,120 --> 00:36:43,319 Speaker 1: I wanted to make sure you've heard the news. For 682 00:36:43,480 --> 00:36:47,440 Speaker 1: All Access members of the show and of the show, 683 00:36:47,560 --> 00:36:53,120 Speaker 1: I mean, Disgrace Land and Hollywood Land, yesterday we launched 684 00:36:53,160 --> 00:36:57,560 Speaker 1: this brand new perk for All Access subscribers the mini episode. 685 00:36:57,640 --> 00:37:02,120 Speaker 1: We're calling these mini episodes the excess excess. You know, 686 00:37:02,160 --> 00:37:05,840 Speaker 1: when Jake and I research and write episodes of Disgraced Land, 687 00:37:06,280 --> 00:37:08,759 Speaker 1: there's so much stuff that we just don't have time 688 00:37:08,800 --> 00:37:13,680 Speaker 1: to include within our thirty minute episode structure, that we 689 00:37:13,800 --> 00:37:16,359 Speaker 1: leave out some stories, and a lot of times there's 690 00:37:16,360 --> 00:37:19,279 Speaker 1: someone like the wildest Stories out there as well. So 691 00:37:19,360 --> 00:37:22,359 Speaker 1: now subscribers are getting, along with every brand new full 692 00:37:22,400 --> 00:37:26,279 Speaker 1: episode that's released on Tuesdays, that same day, they're also 693 00:37:26,360 --> 00:37:30,280 Speaker 1: getting a ten minute mini episode that tells another story 694 00:37:30,400 --> 00:37:34,480 Speaker 1: of that week's subject. So, for instance, yesterday we released 695 00:37:34,480 --> 00:37:37,839 Speaker 1: our brand new led Zeppelin Part two episode on the 696 00:37:37,880 --> 00:37:41,839 Speaker 1: haunting at Headley Grange, and then we also released our 697 00:37:41,880 --> 00:37:45,960 Speaker 1: brand new mini episode on led Zeppelin about the last 698 00:37:46,000 --> 00:37:50,800 Speaker 1: beheading in England and how that ties to Jimmy Page's 699 00:37:50,920 --> 00:37:54,919 Speaker 1: Bolskine House in the Scottish Highlands. These mini episodes will 700 00:37:54,920 --> 00:37:57,560 Speaker 1: replace the bonus monthly episode we were producing. It's the 701 00:37:57,600 --> 00:38:00,319 Speaker 1: same amount of content time wise, it's just you get 702 00:38:00,320 --> 00:38:03,080 Speaker 1: it every week now, and it also has a killer 703 00:38:03,200 --> 00:38:07,279 Speaker 1: reimagining of the theme song by our great production guy 704 00:38:07,320 --> 00:38:11,319 Speaker 1: Matt Boden here. So again that's disgracelent all access. You 705 00:38:11,320 --> 00:38:14,520 Speaker 1: can sign up at disgracelandpod dot com. It's just five 706 00:38:14,520 --> 00:38:17,080 Speaker 1: bucks a month and the very least you get ad 707 00:38:17,120 --> 00:38:20,920 Speaker 1: free Disgraceland and hollywood Land. All right, I mentioned a 708 00:38:20,960 --> 00:38:23,600 Speaker 1: couple of people here in this episode. I mentioned Bill Murray, 709 00:38:23,640 --> 00:38:28,160 Speaker 1: mentioned Schampenn, I mentioned Paul Newman. Wait, I didn't mention Shampenn. 710 00:38:28,360 --> 00:38:32,280 Speaker 1: I was going to mention Shampenn as delivering a performance 711 00:38:32,320 --> 00:38:35,719 Speaker 1: in one battle after another that will surely go down 712 00:38:35,840 --> 00:38:40,440 Speaker 1: in the Hall of Fame of just dirty, nasty, deplorable villains. 713 00:38:40,800 --> 00:38:43,720 Speaker 1: So I'm mentioning him now. Bill Murray, Schampenn, Paul Newman. 714 00:38:43,760 --> 00:38:47,160 Speaker 1: We've got episodes on all those dudes here in the 715 00:38:47,200 --> 00:38:50,400 Speaker 1: hollywood Land archive, so make sure you check those out. 716 00:38:50,680 --> 00:38:52,839 Speaker 1: And with that, I've got a jump. I got more 717 00:38:52,880 --> 00:38:55,239 Speaker 1: stories of research and right about. But before I go, 718 00:38:55,800 --> 00:38:57,920 Speaker 1: here are the four things I need you to remember. 719 00:38:58,040 --> 00:39:00,879 Speaker 1: Number one, available right now in your Hollywood Land feed. 720 00:39:01,000 --> 00:39:04,479 Speaker 1: Our episode on Robert Mitcham. Number two coming next week 721 00:39:04,480 --> 00:39:08,640 Speaker 1: on Monday. Our episode on Anna Nicole Smith. Number three 722 00:39:09,040 --> 00:39:11,640 Speaker 1: right now in the disgraced Land Feed. Our new Part 723 00:39:11,719 --> 00:39:15,360 Speaker 1: two episode on led Zeppelin, The Haunting at Headley Grange 724 00:39:15,560 --> 00:39:19,440 Speaker 1: and for all Access subscribers are mini episode on ZEPP, 725 00:39:19,719 --> 00:39:21,800 Speaker 1: both of them just in time for the start of 726 00:39:21,840 --> 00:39:26,200 Speaker 1: Spooky Season, and now then number four in honor of 727 00:39:26,200 --> 00:39:28,680 Speaker 1: this week's episode me reading you. The list of the 728 00:39:28,760 --> 00:39:32,239 Speaker 1: top grossing films from July nineteen ninety seven, the month 729 00:39:32,280 --> 00:39:35,439 Speaker 1: that Robert Mitcham died at the age of seventy nine. 730 00:39:36,440 --> 00:39:41,480 Speaker 1: Number one Men in Black, directed by Barry Sonenfeld. Number 731 00:39:41,480 --> 00:39:47,640 Speaker 1: two Face Off, directed by John Woo. Number three Contact 732 00:39:48,239 --> 00:39:53,520 Speaker 1: directed by Robert Zemeckis director. Number four Hercules directed by 733 00:39:53,640 --> 00:39:57,920 Speaker 1: John Musker. Clements directed by directed Number five My Best 734 00:39:57,960 --> 00:39:59,959 Speaker 1: Friend's Wedding Number eight, directed. 735 00:39:59,640 --> 00:40:01,799 Speaker 2: By p J. O. John was directed by Born. 736 00:40:02,160 --> 00:40:06,200 Speaker 1: Number six George of the Jungle directed by Sam why 737 00:40:06,280 --> 00:40:07,200 Speaker 1: Is corected by Steve. 738 00:40:07,560 --> 00:40:14,240 Speaker 2: Number seven Hit four or six Quit Talking and start 739 00:40:14,520 --> 00:40:15,479 Speaker 2: mixing could