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Speaker 1: Hey, welcome to Weird House Cinema. Rewind. This is Rob Lamb.

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Speaker 1: We have a fun one here for you today. This

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Speaker 1: is our eleven ten, twenty twenty three episode on the

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Speaker 1: nineteen eighty one Yugoslavchak co production Visitors from the Arkana Galaxy,

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Speaker 1: fabulous film. I urge you to see it if you

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Speaker 1: can find it somewhere, and I hope you enjoyed this

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Speaker 1: episode in which we discuss it.

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Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio.

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Speaker 1: Hey, welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and this is Joe McCormick, and

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Speaker 3: today we are going to be talking about the nineteen

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Speaker 3: eighty one science fiction film Visitors from the Arcana Galaxy.

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Speaker 4: Rob. I just finished watching this one moments before we

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Speaker 4: sat down to record here, and wow, this is in

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Speaker 4: our It's got to be on the top ten list

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Speaker 4: of weirdest movies we have ever done on the show.

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Speaker 1: Yeah, this one was a real pleasure. This one's a

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Speaker 1: real treat, This one's worth hunting down. And I have

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Speaker 1: to say also thanks to listener Eric for recommending this

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Speaker 1: one to us. He pointed out some months ago that

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Speaker 1: the excellent restoration label Deaf Crocodile was going to be

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Speaker 1: putting this one out, and I looked at the cover art,

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Speaker 1: I looked at some of the stills from the film,

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Speaker 1: and I was like, Okay, I think I need to

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Speaker 1: buy this one. So I put in the pre order,

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Speaker 1: set it aside during Halloween with the intention of coming

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Speaker 1: back to it in November, and here we are.

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Speaker 4: Yes, thank you for the recommendation. So Rob, this was

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Speaker 4: your pick. I really didn't know anything at all about

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Speaker 4: it going in except you handed the disc off to

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Speaker 4: me said here's what we're watching. I put it in,

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Speaker 4: and wow, this is the movie where you really do

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Speaker 4: not know where this is going. Some of the weird

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Speaker 4: movies we talk about have a weird texture to them,

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Speaker 4: but they might be kind of formula in terms of

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Speaker 4: plot structure. A lot of the you know, horror movies

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Speaker 4: we look at or like that you can kind of

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Speaker 4: tell where they're going to go. This one, I had

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Speaker 4: no idea where it was going, and it felt at

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Speaker 4: times like a child, you know, trying to make up

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Speaker 4: a story as they go along, adding in just bizarre

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Speaker 4: details like I really didn't expect there was going to

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Speaker 4: be a major subplot where the main character of this

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Speaker 4: movie's girlfriend is turned into a metallic cube. And I

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Speaker 4: also did not expect, especially given how some earlier parts

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Speaker 4: of the movie feel very broad and whimsical and almost childlikes,

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Speaker 4: like they might be intended for like a younger audience.

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Speaker 4: I really did not expect that later in this movie

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Speaker 4: there would just be a gory monster rampage carried out

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Speaker 4: by like the Axis bold as Love cover version of

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Speaker 4: like a cross between Alf and Mickey Mouse.

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Speaker 1: Yeah, mumu the monster. It's going to be fun to

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Speaker 1: talk about. Yeah, this is a move. It's like so

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Speaker 1: many films, like you're saying, they're on the tracks of genre,

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Speaker 1: they're on the tracks of formula, and this one, with

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Speaker 1: this film, it may seem at first like it's going

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Speaker 1: to be on the tracks, but no, the train lifts

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Speaker 1: off the tracks, and then you're flying off to who

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Speaker 1: knows where, And we'll get into some of the reasons

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Speaker 1: for that, like the different elements and inspirations that came

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Speaker 1: together the alchemy of this picture. So this movie was

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Speaker 1: a nineteen eighty one co production of Yugoslav and Czechoslovakian cinema,

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Speaker 1: involving four different studios, Zagreb Film which is now in Croatia,

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Speaker 1: jad Run Film also now in Croatia, Kenny Montografi Zagreb,

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Speaker 1: which is also now in Croatia, and then film Ski

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Speaker 1: Studio Barrundov, now in the Czech Republic.

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Speaker 4: An international co production.

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Speaker 1: An international co production of two countries that no longer

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Speaker 1: exists in the form they existed in at the time

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Speaker 1: of this film's release, Yugoslavia and Czechoslovakia in particular.

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Speaker 4: I don't know exactly where this was shot, but I

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Speaker 4: would guess it was along the Croatian coastline because the

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Speaker 4: movie has a much more I don't know, it's just

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Speaker 4: kind of scenic Mediterranean feel than I was expecting as well.

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Speaker 1: Yeah, it's my understanding that this was filmed in Croatia,

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Speaker 1: and yeah, you do have that texture of these like

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Speaker 1: Croatian vacation towns, and they touch on that more than once.

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Speaker 1: It's an important part of the background setting for the

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Speaker 1: whole picture, and I was reading some of the background

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Speaker 1: material for this particular film. The Deaf Crocodile release has

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Speaker 1: a nice little booklet with information about the picture and

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Speaker 1: the filmmakers by film professor Jennifer Lynde. Barker, and she

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Speaker 1: points out that a lot of the locations used from

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Speaker 1: this film might look familiar to people who watch Game

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Speaker 1: of Thrones because a lot of scenes from Game of

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Speaker 1: three were filmed in the exact same locations.

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Speaker 4: Oh yeah, that would make sense.

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Speaker 1: I think King's Landing. I'm not sure I'm remembering that correctly,

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Speaker 1: but I think the King's Landing scenes were filmed in Croatia.

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Speaker 1: But I could have that mixed around in my head.

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Speaker 1: And it's another place in the Game of Thrones TV

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Speaker 1: show that was filmed in Croatia.

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Speaker 4: You absolutely on Game of Thrones. I think we'll see

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Speaker 4: multiple locations that are, you know, coastal areas on the Adriatic.

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Speaker 1: Yeah, all right. Well, my elevator pitch for this movie is,

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Speaker 1: if you gaze long enough into the abyss, the abyss

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Speaker 1: will physically manifest, move into your flat, and turn your

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Speaker 1: girlfriend into a cube.

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Speaker 4: I think that's dead on that. Yeah, that's exactly how

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Speaker 4: I describe it. You know, I haven't had as much

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Speaker 4: time to process this one as I sometimes do when

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Speaker 4: we watch these movies, because I just now finished watching it.

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Speaker 4: But I was trying to think, So, this is a

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Speaker 4: story about a writer and a dreamer, a creative person.

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Speaker 4: Of course, a lot of writers end up writing stories

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Speaker 4: that are about writing. It's kind of it's a very

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Speaker 4: tempting subject if you know, to write about what you

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Speaker 4: are doing right now, which is writing, if you're writing.

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Speaker 4: But I was wondering to what extent the themes of

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Speaker 4: this movie are supposed to be about writing specifically, or

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Speaker 4: if it's incidental that the main character is a sort

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Speaker 4: of dreamy science fiction storyteller and really it's supposed to

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Speaker 4: be more about relationships or just obsession or whatever. The

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Speaker 4: main character often describes his own problem not so much

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Speaker 4: in direct terms of like creativity or writing, but as

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Speaker 4: an obsession.

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Speaker 1: Yeah, yeah, I mean, I think multiple reads on it

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Speaker 1: are of course valid. But yeah, it is fascinating that

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Speaker 1: it is. It's not alone in being a picture about

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Speaker 1: sort of the conflict between a creative obsession and the

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Speaker 1: responsibilities of real life and just sort of the texture

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Speaker 1: and nature of real life versus fantasy and what happens

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Speaker 1: when these two worlds come into conflict. But as we'll discuss,

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Speaker 1: like one of the interesting things about Robert, the main

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Speaker 1: character in this the writer, is he doesn't seem to

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Speaker 1: get a lot of writing accomplished. There's this strong sense

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Speaker 1: that the book is nowhere near any state of completion,

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Speaker 1: and it like physically manifests later on, is a blank book.

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Speaker 1: So it's almost really more about the conflict between the

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Speaker 1: inner world of imagination and the outer world, you know,

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Speaker 1: with something that's been tackled in so many works, including

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Speaker 1: the Never Ending Story. I mean, that's part of the

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Speaker 1: whole scenario there, except with this whole childhood versus adult

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Speaker 1: sort of scenario cobbled into it as well.

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Speaker 4: That's a very good point. I think I was going

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Speaker 4: to say something right along those lines that the writing

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Speaker 4: in this movie is there's never any indication that it

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Speaker 4: involves language at all. Like you don't see him crafting

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Speaker 4: sentences or paragraphs or like working on his fiction. It's

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Speaker 4: purely about coming up with ideas. And you can tell

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Speaker 4: because he likes to talk them into a handheld tape recorder.

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Speaker 4: He's got like a cassette based voice memo thing, and

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Speaker 4: so it and this is I think we will all recognize.

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Speaker 4: In fact, I think most writers will recognize some part

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Speaker 4: of themselves that is like this, that likes to just

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Speaker 4: come up with ideas for things.

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Speaker 1: Yeah, and part of the whole conflict in the story too,

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Speaker 1: is that when he dreams up things, when there are

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Speaker 1: things that he wants, he has this peculiar paranormal ability

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Speaker 1: to manifest them in reality, which that's kind of makes one,

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Speaker 1: I guess, a crappy writer in the end, because you

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Speaker 1: don't have to write it down right, because it's already

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Speaker 1: so you're already making it real through some supernatural ability.

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Speaker 1: And I think you could compare that to sort of

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Speaker 1: like the pure idea dreamscape of creative endeavor. Like you know,

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Speaker 1: you can set around and create whole worlds in your head,

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Speaker 1: and you know that can be the end of it,

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Speaker 1: and there's nothing wrong with that. You don't have to,

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Speaker 1: you know, to bring your rich inner life life, you know,

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Speaker 1: into a literary creation. You don't have to share it

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Speaker 1: with the world. You don't have to market it and

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Speaker 1: get a price tag slapped on it and so forth

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Speaker 1: and try and fill out some sort of you know,

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Speaker 1: a capitalist dream of what you should be. But but, but,

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Speaker 1: but Robert in the film, like he still wants to

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Speaker 1: be a writer, and he still has this this aspiration

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Speaker 1: that that is what he's going to be in reality

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Speaker 1: as well.

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Speaker 4: Yeah, but it's all like top level dream dream based.

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Speaker 4: It's all just the pure imagination point. And that is

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Speaker 4: an interesting comment on writing, because I think it's very

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Speaker 4: much the case, at least in my opinion, that almost

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Speaker 4: always part of the magic of good writing arises from

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Speaker 4: the conflict between like your initial imagine imagination of a

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Speaker 4: story and then the process of putting that into language

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Speaker 4: and getting it on the page, which fights back against

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Speaker 4: your original imagination and makes you change things, often for

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Speaker 4: the better.

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Speaker 1: Yeah, all right, well we'll continue this thread as we

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Speaker 1: discussed the movie further here, but let's go ahead and

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Speaker 1: hear a little bit of audio from the film. I

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Speaker 1: could not find a video clip of like an original

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Speaker 1: trailer for the film, so we're gonna hear just a

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Speaker 1: little bit from the Deaf Crocodile restoration trailer. So just

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Speaker 1: just a little bit of this JJ if you would,

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Speaker 1: and Robot.

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Speaker 4: Robertstigli.

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Speaker 1: All right, Well, if you want to watch Visitors from

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Speaker 1: the Arcana Alexy before continuing on with this episode. Currently,

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Speaker 1: the main way to see it is to buy the

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Speaker 1: excellent restoration from Deaf Crocodile. You can look them up

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Speaker 1: at Deafcrocodile dot com. But the disc is also sold

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Speaker 1: through various other online retailers like Vinegar Syndrome and so forth,

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Speaker 1: wherever you can get it. I recommend picking it up

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Speaker 1: if this is the sort of film that interests you.

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Speaker 1: As far as I know, it's not available like streaming

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Speaker 1: wise anywhere else right now, But a lot of these

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Speaker 1: releases often wind up like that later on, so I

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Speaker 1: keep an eye open for it just in case. But

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Speaker 1: deaf crocodiles put out the likes of films like The

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Speaker 1: Sun of the Stars, Sampo, and Delta Space Mission. Their

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Speaker 1: Blu ray releases look awesome, and this one in particular

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Speaker 1: has a number of cool extras on it, which we'll

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Speaker 1: get into. Any Atlanta locals out there, you should be

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Speaker 1: advised that Videodrome does have a copy. I checked with them,

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Speaker 1: so they do have a copy of this movie for rent.

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Speaker 4: But the first one to get there gets it.

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Speaker 1: That's right. And then you gotta wait. Tell them. You

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Speaker 1: know how it works. You know a video rental works.

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Speaker 1: If you don't just ask them, Go in and ask

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Speaker 1: them how does this work? They'll tell you.

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Speaker 4: Two film geeks enter, one film geek leaves.

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Speaker 1: Yes. All right, let's get into the people behind this film.

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Speaker 1: Let's start right at the top with the director and

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Speaker 1: one of two writers on this Dusan Vukotic born nineteen

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Speaker 1: twenty seven died nineteen ninety eight, born in what is

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Speaker 1: now Bosnia and Herzegovina. According to Jennifer Lynde Barker in

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Speaker 1: the excellent booklet that came with the Deaf Crocodile release,

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Speaker 1: he started off as a political and satirical cartoonist in

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Speaker 1: the nineteen forties, but then became involved in film during

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Speaker 1: the fifties, right as animation was beginning to thrive in

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Speaker 1: Croatia for the first time, so he was one of

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Speaker 1: the early innovators there. In addition to animated shorts, he

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Speaker 1: also did advertisements for her Jardin Film before founding Zagreb

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Speaker 1: Film Studio. His animation work continued through the nineteen sixties.

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Speaker 1: And I have to stress too, this disc is also

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Speaker 1: awesome the Deaf Crocodile release in that it has a

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Speaker 1: number of his animated shorts included in excellent quality and

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Speaker 1: these were really fun to check out as well to see. Well,

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Speaker 1: what was his animated work like before he turned to

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Speaker 1: live action.

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Speaker 4: I would say this is a live action film where

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Speaker 4: the set pieces in costumes and makeup effects and all

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Speaker 4: that are very reminiscent of animation. Somehow, there are not

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Speaker 4: really animated elements. I mean, I guess there's sort of

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Speaker 4: like some laser effects on the screen, but there's not

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Speaker 4: any straight animation. It's all live to film, but it

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Speaker 4: does kind of look like a cartoon similar to I'm

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Speaker 4: trying to think of another movie we've done that was

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Speaker 4: like this, Return to Oz kind of has this quality.

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Speaker 1: Yeah, this kind of sense that even though it is

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Speaker 1: live action, there is a basic animation absurdity to things,

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Speaker 1: and I feel like you also see do you see

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Speaker 1: this element? And other filmmakers as well, like Tim Burton,

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Speaker 1: I think is an example of this. Like many of

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Speaker 1: Tim Burton's live action films, they still have that kind

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Speaker 1: of animated cartoon energy in them.

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Speaker 4: But it's also just there are certain visual qualities that

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Speaker 4: seem similar to animation to me, like a lot of

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Speaker 4: bold lines and costume designs that just feel drawn as

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Speaker 4: opposed to put together out of cloth.

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Speaker 1: You know. Yeah, Well, he started doing live action stuff,

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Speaker 1: I believe in the nineteen eighties, and like through the

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Speaker 1: nineteen eighties did a mix of animation and live action.

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Speaker 1: He was also a professor and film theorist. According to Barker,

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Speaker 1: he also co founded the second oldest animation film festival

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Speaker 1: in the world, currently known as Anomyfest Zagreb. His animation

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Speaker 1: style on its own in these shorts that are included

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Speaker 1: on this disc are wonderful. They're absurd, They're full of

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Speaker 1: abstract shapes and possessed of a perky energy, but also

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Speaker 1: like a genuine comedy like these are not like crazy

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Speaker 1: experimental Film Board of Canada sort of fair where it's

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Speaker 1: not to say that you know that all Film Board

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Speaker 1: of Canada animation shorts are the same, but you know,

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Speaker 1: it's not like super serious stuff. It's about obviously about

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Speaker 1: making people laugh. And I feel like you see this

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Speaker 1: kind of energy reflected in some of the retro animation

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Speaker 1: projects you've seen in recent decades, such as the Pixar

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Speaker 1: short Day and Night from twenty ten, the videos from

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Speaker 1: the Fallout games. Also the MCU Loki series has a

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Speaker 1: little video about the time variance authority that I mean,

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Speaker 1: I have no idea if they were inspired by Vukotic,

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Speaker 1: but I feel like there's a lot of comparisons to

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Speaker 1: be made here between the two works. Barker also describes

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Speaker 1: his animation style as being bouncy, and the animation is

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Speaker 1: certainly bouncy. But he was a big success with these.

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Speaker 1: The nineteen sixty one short Surrogat won the Academy Award

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Speaker 1: for Short Subjects Cartoons the following year in nineteen sixty two.

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Speaker 1: This is one about a guy who goes to the beach.

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Speaker 1: He's kind of like, I guess if you were a

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Speaker 1: real person, who would be kind of like a rotunda fella.

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Speaker 1: But everything's made out of abstract shapes, so he's kind

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Speaker 1: of a triangle. And he gets there to the beach

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Speaker 1: and he starts blowing up things like he blows up afloat,

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Speaker 1: but then he's blowing up things like a table and food,

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Speaker 1: and then he blows up a female to hang out

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Speaker 1: with him, and the first one he doesn't like, so

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Speaker 1: he deflates her, and then he blows up another one.

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Speaker 1: But then it just escalates from there and just gets ridiculous.

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Speaker 4: Okay, is she also a triangle?

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Speaker 1: She's very Yeah, They're all everybody's very geometric. This one

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Speaker 1: is available. You can find it on YouTube. If you

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Speaker 1: search for surro God s u Rogat you'll find the

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Speaker 1: short it's pretty fun. So Barker points out that Vukatak

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Speaker 1: and his colleagues were initially influenced by Western animation like

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Speaker 1: Looney Tunes she mentioned specifically, but they were also influenced

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Speaker 1: by Check animation, and they steadily developed their own styles.

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Speaker 1: And then as far as this film goes, Barker cites

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Speaker 1: several key influences. So, first of all international sci fi

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Speaker 1: and horror films of the sixties and seventies, which I

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Speaker 1: think we see that here. Like I think she mentions

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Speaker 1: Children of the Damned as having an influence. Can't help

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Speaker 1: but compare it to other sort of practical effects monsters

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Speaker 1: of the nineteen eighties like The Thing. But also he

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Speaker 1: was influenced by nineteen sixties camp by Check, new wave absurdity,

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Speaker 1: by magical realism. And then also just in sort of

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Speaker 1: the visual texture of the film, especially there's this sense

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Speaker 1: of like the banal, everyday world versus the colorful, explosive

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Speaker 1: world of fantasy. It's pointed out that we see Robert

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Speaker 1: he's almost always wearing like really drab tones. Most of

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Speaker 1: the settings have kind not I wouldn't say cheerless, but

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Speaker 1: a very lived in kind of feel like it's comfortable,

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Speaker 1: but it is every day, whereas the world of his

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Speaker 1: imagination is like glowing lights and strange textures and so forth.

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Speaker 4: Yes, a theme obviously that he wanted to hit over

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Speaker 4: and over in this movie is just the fantastical versus

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Speaker 4: the mundane, sometimes literally like the fantastic fighting the mundane.

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Speaker 1: Yes. Now, the other writer on the piece is Milos Maccorik,

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Speaker 1: who lived nineteen twenty six through two thousand and two,

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Speaker 1: a check writer who wrote, I believe mostly children's books,

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Speaker 1: but also screenplays, comics and so forth. Now, getting into

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Speaker 1: the cast playing Robert, we have Zarko Potognak who lived

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Speaker 1: nineteen forty six through twenty twenty one. As always, my

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Speaker 1: apologies if I am grew up any of these names here,

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Speaker 1: but he was a Croatian actor of stage, screen and TV.

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Speaker 1: He has a small part in the nineteen seventy six

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Speaker 1: movie The Rat Savior, credited as participant in the Rat Party.

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Speaker 1: This is a movie that you and I've been interested

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Speaker 1: in for a while, but if memory serves it's hard

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Speaker 1: to find right now.

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Speaker 4: Yeah, I haven't seen it, but it's on the list

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Speaker 4: due to its premise, which has something to do with

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Speaker 4: the man discovering, I think he can communicate with like

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Speaker 4: a culture of sentient rats.

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Speaker 1: Yeah, so the actor here, I think this. I think

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Speaker 1: this is his most well known film, both internationally and

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Speaker 1: in Croatian centiment and so forth. But I have to

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Speaker 1: say he's very enjoyable as this kind of bumbling head

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Speaker 1: in the clouds would be sci fi writer with this

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Speaker 1: amazing supernatural gift. It's quite a fun and funny performance.

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Speaker 1: But also you also feel for him, you know, like

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Speaker 1: you can't help it but sympathize with this character.

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Speaker 4: I have no idea why I think this, truly, I

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Speaker 4: don't know what was bringing this to mind, but I

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Speaker 4: kept seeing him in scenes in the movie as a

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Speaker 4: lost extra member of the crew of the Nostromo from Alien.

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Speaker 4: He just looked like a hapless mechanic who would be

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Speaker 4: working alongside Harry Dean Stanton in Alien and wander off

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Speaker 4: and get cocooned. And I don't know why it brought

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Speaker 4: to him. And maybe it's like his clothes kind of

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Speaker 4: seemed sort of like a sci fi jumpsuit from the Nostromo.

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Speaker 4: I really don't know what it was, but that just

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Speaker 4: kept coming to mind.

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Speaker 1: He's very mild mannered, and there's a sense that he's

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Speaker 1: just doing his job. He's doing the bare minimum. He

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Speaker 1: would rather not be here. He's not going to put

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Speaker 1: a lot of effort into things that have to do

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Speaker 1: with this world, because there is another world inside his

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Speaker 1: head and that's where most of his focus is.

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Speaker 4: Yeah. I do think there's an interesting tension in his performance,

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Speaker 4: which is the fact that the whole movie is about

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Speaker 4: his creativity. Like he the whole premise is that he

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Speaker 4: is willing troublesome circumstances into reality with his imagination, and

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Speaker 4: yet he seems almost completely hapless, you know, he has

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Speaker 4: extremely little will or volition, Yeah.

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Speaker 1: Over things in this world or the imagined world as

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Speaker 1: we'll see.

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Speaker 4: Yeah.

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Speaker 1: Now, Robert has a girlfriend, and this is Beebee, played

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Speaker 1: by Lucy Zolova born nineteen fifty two, checkborn actress whose

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Speaker 1: credits include nineteen seventy five's Darling, Are We a Good Match?

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Speaker 1: And How To Drown Mister Marasek The Lawyer. These are

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Speaker 1: not films I'm familiar with that I don't, but she's

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Speaker 1: very good in this. I think it's a solid performance

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Speaker 1: as his loving but almost done with it girlfriend.

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Speaker 4: Yes, she has very little patience for his initial even

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Speaker 4: for his writing career, when he's just like talking into

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Speaker 4: a tape recorder about his ideas for novels. Much less

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Speaker 4: so when aliens start showing up and turning her into

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Speaker 4: a cube and she's an interesting foil to his. Like

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Speaker 4: I was just saying, very a drift and non agentic personality.

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Speaker 4: She is very like forceful and willful and has a

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Speaker 4: strong personality and is the one who's like pushing back

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Speaker 4: against all of this like fantastical stuff from the Arcana

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Speaker 4: galaxy invading their world.

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Speaker 1: So these are like our two main human real world characters.

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Speaker 1: But we also have one of Robert's friends who has

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Speaker 1: a minor but fun role. This is photo Tony. Photo Tony.

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Speaker 4: Yeah, so I think, wait, his name's just Tony, right,

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Speaker 4: But he's a photographer, so his door is a partner door,

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Speaker 4: says photo Tony.

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Speaker 1: Yeah. Yeah. So my wife watched part of the film

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Speaker 1: with me and and she s got to see she's

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Speaker 1: a photographer. So I was like, you got to come

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Speaker 1: see there's a photographer in this movie.

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Speaker 4: And oh yeah, what was her race?

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Speaker 1: She had some thoughts about it. Well, she was like,

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Speaker 1: he's not going to get a good shot, trying to

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Speaker 1: shoot through a window at night and so forth. But

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Speaker 1: I was like, you know, I don't think photo Tony

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Speaker 1: is necessarily at the top of his game here either.

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Speaker 1: He's just more ambitious than Robert. Yeah.

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Speaker 4: Yeah, Well, Photo Tony seems strange in that his ambition

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Speaker 4: seems to be to break through from like tourism photography

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Speaker 4: into journalism. Is that how you understood it?

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Speaker 1: Yes, but he wants to take that shortcut to the

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Speaker 1: top of journalism by getting that one picture that's going

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Speaker 1: to change the world, namely of aliens visiting the Earth exactly.

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Speaker 4: Yeah. So I think he like hangs out around this

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Speaker 4: beach resort taking photos of people for money, but he

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Speaker 4: thinks if he can just snap a picture of an alien,

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Speaker 4: then he'll be the most famous photojournalist in the world.

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Speaker 1: Yes. So, Photo Tony is played by Lubashaw Samardzik, who

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Speaker 1: lived nineteen thirty six through twenty seventeen. Actually a pretty

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Speaker 1: faint I'm a Serbian actor. I read also a director

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Speaker 1: and a producer. He was very popular during the nineteen

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Speaker 1: sixties in various films. He was a popular TV actor

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Speaker 1: in the nineteen eighties, and he directed the internationally acclaimed

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Speaker 1: two thousand film Skyhook. So it's a fun supporting role,

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Speaker 1: but it's definitely one of these cases where you can

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Speaker 1: see how this guy might go on to have a

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Speaker 1: great deal of success. Like if this were a traditional

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Speaker 1: genre film, this would be our hero. Photo Tony would

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Speaker 1: be the one to stand up and save the girl

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Speaker 1: and so forth.

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Speaker 4: Yeah, in the same way that Biba is contrasted to

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Speaker 4: Robert because she has more will and agency, I would

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Speaker 4: say that Photo Tony also has more concrete will and

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Speaker 4: agency than Robert, like he's got a goal. Well you know, actually, though,

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Speaker 4: I guess Robert does have a goal, but it's just

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Speaker 4: not a concrete goal. He just wants to live in

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Speaker 4: his imagination.

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Speaker 1: Yeah. Also worth noting that Lubasha was on a twenty

434
00:24:57,920 --> 00:25:01,919
Speaker 1: nineteen Serbian stamp. I included an image of it here

435
00:25:01,960 --> 00:25:05,040
Speaker 1: for you. Joe looks great, great looking stamp. But I

436
00:25:05,080 --> 00:25:08,240
Speaker 1: would add just about anything from this movie belongs on

437
00:25:08,280 --> 00:25:10,360
Speaker 1: a stamp in any country.

438
00:25:10,520 --> 00:25:11,960
Speaker 4: He looks like Kirk Douglas.

439
00:25:12,840 --> 00:25:16,000
Speaker 1: Yeah, yeah, yeah, we see him like earlier in life

440
00:25:16,040 --> 00:25:17,440
Speaker 1: and then later in life. He does have kind of

441
00:25:17,440 --> 00:25:20,560
Speaker 1: a Kirk Douglas kind of a vibe. All Right, This

442
00:25:20,680 --> 00:25:24,040
Speaker 1: movie notably has a female android in it by the

443
00:25:24,080 --> 00:25:28,520
Speaker 1: name of Andra. If you've seen any covers for this film,

444
00:25:28,640 --> 00:25:31,600
Speaker 1: any posters, or certainly any footage, you've probably seen a

445
00:25:31,640 --> 00:25:36,840
Speaker 1: glimpse of this entity. And this entity is played by

446
00:25:36,880 --> 00:25:42,879
Speaker 1: the actor Cassinia Prohaska born nineteen fifty three, Croatian born

447
00:25:42,920 --> 00:25:46,679
Speaker 1: actress who also pops up in some American films. She

448
00:25:46,840 --> 00:25:49,399
Speaker 1: played a mummy. I don't know if it's the Mummy,

449
00:25:49,400 --> 00:25:52,119
Speaker 1: but she played a mummy in the I guess kind of.

450
00:25:52,160 --> 00:25:54,639
Speaker 1: I don't know if it's infamous. It's definitely said to

451
00:25:54,640 --> 00:25:58,040
Speaker 1: be bad. But the nineteen eighty five film Transylvania six

452
00:25:58,200 --> 00:26:02,480
Speaker 1: five thousand, movie that's mostly known for being a film

453
00:26:02,560 --> 00:26:06,280
Speaker 1: project funded by Dow Chemical because Dow Chemical had money

454
00:26:06,320 --> 00:26:09,600
Speaker 1: in Yugoslavia that they could not get out, and so

455
00:26:09,640 --> 00:26:12,040
Speaker 1: they instead said, well, let's make a movie. Then let's

456
00:26:12,080 --> 00:26:16,320
Speaker 1: funnel those those funds into a film project. And Transylvania

457
00:26:16,400 --> 00:26:19,439
Speaker 1: six five thousand was that film project that has a

458
00:26:19,480 --> 00:26:23,680
Speaker 1: pretty good cast, but nothing. I've never heard anything nice

459
00:26:23,720 --> 00:26:24,960
Speaker 1: said about it. Have you?

460
00:26:25,040 --> 00:26:25,720
Speaker 4: Have you seen it?

461
00:26:26,280 --> 00:26:27,320
Speaker 1: I have not seen it, have you?

462
00:26:27,720 --> 00:26:29,879
Speaker 4: I tried to watch it one time and did not

463
00:26:30,000 --> 00:26:36,240
Speaker 4: get to the end. It it has a very low energy,

464
00:26:36,359 --> 00:26:38,440
Speaker 4: improvised sketch comedy feel.

465
00:26:39,440 --> 00:26:43,080
Speaker 1: Oh yeah, which is a shame because again, fun cast,

466
00:26:43,200 --> 00:26:46,359
Speaker 1: it's got a let's see, who's an Ed Begley Junior.

467
00:26:46,480 --> 00:26:47,400
Speaker 4: Is the Jeff Goldblum.

468
00:26:47,440 --> 00:26:49,160
Speaker 1: I think Jeff Goldblum, Gina Davis.

469
00:26:49,440 --> 00:26:53,000
Speaker 4: Yeah, yeah, well, I don't know. Maybe it gets really

470
00:26:53,000 --> 00:26:55,879
Speaker 4: good in the second half. I remember, I remember something

471
00:26:55,920 --> 00:26:58,159
Speaker 4: about the first few minutes kind of drew me in.

472
00:26:58,240 --> 00:27:00,800
Speaker 4: I was like, oh, okay, yeah, sure, but then it

473
00:27:01,000 --> 00:27:03,080
Speaker 4: just it got incredibly tedious.

474
00:27:04,000 --> 00:27:06,800
Speaker 1: Reviews I was looking at seem to indicate it does

475
00:27:06,840 --> 00:27:11,600
Speaker 1: not get good. But if listeners have differing thoughts right in,

476
00:27:11,680 --> 00:27:14,959
Speaker 1: we'd love to hear from you. Prohaska also plays Marlene

477
00:27:14,960 --> 00:27:18,359
Speaker 1: Dietrich and Barry Levinson's Bugsy in nineteen ninety one. I

478
00:27:18,400 --> 00:27:20,159
Speaker 1: have not seen Bugsy, but I assume this is like

479
00:27:20,160 --> 00:27:23,959
Speaker 1: maybe a small background kind of a role. So anyway,

480
00:27:24,000 --> 00:27:27,320
Speaker 1: hard to comment too much on her acting ability, but

481
00:27:27,680 --> 00:27:30,880
Speaker 1: this because his performance is again an android, a female android,

482
00:27:31,240 --> 00:27:34,240
Speaker 1: but it is a memorable presence. So I'm just gonna

483
00:27:34,240 --> 00:27:35,359
Speaker 1: go ahead and say she's great in it.

484
00:27:35,640 --> 00:27:38,320
Speaker 4: Yeah, totally mean, well, she doesn't have to do much acting.

485
00:27:38,359 --> 00:27:40,640
Speaker 4: She just like says a few lines in a robot voice.

486
00:27:40,760 --> 00:27:45,080
Speaker 4: The costume and the makeup do more of the work.

487
00:27:45,160 --> 00:27:47,760
Speaker 4: Thinking about this this character design, I was wondering, is

488
00:27:47,760 --> 00:27:51,840
Speaker 4: the board Queen based on this character here? I don't know.

489
00:27:52,240 --> 00:27:57,120
Speaker 1: Oh yeah, I mean, yeah, you look at this, this character,

490
00:27:57,160 --> 00:27:58,920
Speaker 1: and yeah, it makes you think of like the Board Queen.

491
00:27:59,000 --> 00:28:01,439
Speaker 1: I thought of cinnabytes bit as well, because there is

492
00:28:01,480 --> 00:28:07,359
Speaker 1: this mixture of sexuality and like dominant female power, but

493
00:28:07,480 --> 00:28:12,040
Speaker 1: on the other hand, like clearly an uncanny inhuman quality

494
00:28:12,080 --> 00:28:13,040
Speaker 1: to the being as well.

495
00:28:13,560 --> 00:28:16,040
Speaker 4: Yeah, I mean it's a cool character design. I think

496
00:28:16,080 --> 00:28:19,520
Speaker 4: she looks great. She looks creepy, which is funny because

497
00:28:19,560 --> 00:28:22,080
Speaker 4: a lot of the characters are like commenting on how

498
00:28:22,119 --> 00:28:23,040
Speaker 4: beautiful she is.

499
00:28:23,680 --> 00:28:25,240
Speaker 1: Yes, and of.

500
00:28:25,119 --> 00:28:26,199
Speaker 4: Course she was to make of that.

501
00:28:27,480 --> 00:28:31,760
Speaker 1: She is frequently accompanied by two space children who also

502
00:28:31,920 --> 00:28:37,040
Speaker 1: have like gold space jumpsuits on bright blonde hair that

503
00:28:37,200 --> 00:28:40,600
Speaker 1: is cut in kind of like a medieval night haircut,

504
00:28:41,200 --> 00:28:43,560
Speaker 1: you know, kind of a medieval bowl cut going on there.

505
00:28:43,760 --> 00:28:46,520
Speaker 4: Yeah, it's kind of gray and Nigel tough mel hair.

506
00:28:47,240 --> 00:28:50,560
Speaker 1: Yeah, these children, one of them is played by a

507
00:28:50,640 --> 00:28:54,640
Speaker 1: child actor by the name of Jasminka Alec. But this

508
00:28:54,760 --> 00:28:56,640
Speaker 1: is one of those cases where this is their only credit,

509
00:28:56,720 --> 00:29:00,080
Speaker 1: so presumably she was in nothing else but the the

510
00:29:00,160 --> 00:29:06,560
Speaker 1: other one, Targo, we'll mention, was played by Renee Bittora

511
00:29:06,680 --> 00:29:11,040
Speaker 1: Jack born nineteen seventy two, Croatian actor of note, seen

512
00:29:11,080 --> 00:29:13,800
Speaker 1: here in his very first role, so he's worked rather

513
00:29:13,880 --> 00:29:17,800
Speaker 1: extensively in Croatian and Bosnian projects. I believe he was

514
00:29:17,840 --> 00:29:19,520
Speaker 1: one of the stars of two thousand and one's No

515
00:29:19,680 --> 00:29:22,560
Speaker 1: Man's Land, a film about the Bosnian War that won

516
00:29:22,560 --> 00:29:24,880
Speaker 1: an Oscar for Best Foreign Language Film in two thousand

517
00:29:24,920 --> 00:29:25,240
Speaker 1: and two.

518
00:29:26,560 --> 00:29:29,560
Speaker 4: I would say also about the kids, it's hard to

519
00:29:29,640 --> 00:29:32,600
Speaker 4: comment much on their performance because they're not doing a

520
00:29:32,600 --> 00:29:36,160
Speaker 4: lot of human style acting. They're just like standing there

521
00:29:36,200 --> 00:29:37,440
Speaker 4: and saying weird lines.

522
00:29:38,280 --> 00:29:42,720
Speaker 1: Yeah, and like you said with the Android, the makeup

523
00:29:42,800 --> 00:29:45,600
Speaker 1: is key. And I did note that the makeup artist

524
00:29:45,640 --> 00:29:47,640
Speaker 1: on this, or one of the two makeup artists, is

525
00:29:47,800 --> 00:29:51,800
Speaker 1: Yeri Hurrich born nineteen thirty two, a Zech makeup artist

526
00:29:51,800 --> 00:29:55,080
Speaker 1: who also worked on nineteen seventy eight Beauty and the Beast,

527
00:29:55,120 --> 00:29:58,040
Speaker 1: which we previously discussed under Your House No One had

528
00:29:58,040 --> 00:30:03,080
Speaker 1: some great Avian Beast makeup, Yes, totally, so I'm assuming

529
00:30:03,120 --> 00:30:05,720
Speaker 1: he had a hand in the android effects here, but

530
00:30:05,760 --> 00:30:09,360
Speaker 1: there's also someone else. Evo Strong Muller born nineteen fifty

531
00:30:09,360 --> 00:30:11,840
Speaker 1: four is also credited on makeup, and he worked on

532
00:30:11,880 --> 00:30:14,000
Speaker 1: some big productions later on as well, including the two

533
00:30:14,040 --> 00:30:17,560
Speaker 1: thousand Doom mini series Alien Versus Predator in two thousand

534
00:30:17,600 --> 00:30:20,240
Speaker 1: and four and The Chronicles of Narnia Prince Caspian in

535
00:30:20,240 --> 00:30:23,160
Speaker 1: two thousand and eight as a prosthetic makeup artist.

536
00:30:23,440 --> 00:30:27,640
Speaker 4: Hmmm, oh wait, but you didn't mention fair out vampire,

537
00:30:27,680 --> 00:30:28,560
Speaker 4: did you.

538
00:30:28,600 --> 00:30:30,920
Speaker 1: Oh No, I didn't mention fair out Vampire. That's another

539
00:30:30,920 --> 00:30:33,680
Speaker 1: one that he worked on, a film that we haven't seen,

540
00:30:33,800 --> 00:30:36,840
Speaker 1: but we've mentioned before because it's come up in connections

541
00:30:37,160 --> 00:30:41,120
Speaker 1: on particularly check films. This is like the vampire car movie, right.

542
00:30:41,360 --> 00:30:42,880
Speaker 4: Yeah. I don't know if there's a good way to

543
00:30:42,960 --> 00:30:45,360
Speaker 4: watch this one. Last time I checked, I didn't find

544
00:30:45,400 --> 00:30:48,840
Speaker 4: one but it and it may not be good at all.

545
00:30:48,880 --> 00:30:52,040
Speaker 4: Some of the reviews are pretty middling, but the premise

546
00:30:52,120 --> 00:30:54,080
Speaker 4: is it's a vampire car, so I kind of have

547
00:30:54,160 --> 00:30:55,400
Speaker 4: to see it even if it's bad.

548
00:30:56,200 --> 00:30:58,239
Speaker 1: Now we've mentioned that this movie has a monster in it.

549
00:30:58,280 --> 00:31:00,840
Speaker 1: The monster's name is Mumu and been a fair amount

550
00:31:00,840 --> 00:31:04,720
Speaker 1: of time discussing him. But the really fun thing here

551
00:31:05,160 --> 00:31:08,400
Speaker 1: is that the monster designer here, the person who created

552
00:31:08,480 --> 00:31:11,280
Speaker 1: Mumu and helped bring him to life, is none other

553
00:31:11,520 --> 00:31:15,160
Speaker 1: than Yon S. Funk Meyer born nineteen thirty four. So

554
00:31:15,280 --> 00:31:19,160
Speaker 1: this is the check stop motion animation master himself.

555
00:31:19,640 --> 00:31:23,600
Speaker 4: I think while I was out on parental leave last year,

556
00:31:23,840 --> 00:31:26,600
Speaker 4: you and Seth covered a Yan S. Funk Meyer film,

557
00:31:26,640 --> 00:31:27,000
Speaker 4: didn't you.

558
00:31:27,400 --> 00:31:30,520
Speaker 1: We did. We talked about nineteen eighty eight's Alice. So

559
00:31:30,560 --> 00:31:32,360
Speaker 1: if you want to hear more about spunk Meyer, go

560
00:31:32,400 --> 00:31:35,560
Speaker 1: back and listen to that episode, because we spend a

561
00:31:35,560 --> 00:31:37,440
Speaker 1: lot of time talking about the man in his work

562
00:31:37,520 --> 00:31:41,560
Speaker 1: and how influential he was and still is in the

563
00:31:41,560 --> 00:31:44,560
Speaker 1: world of stop motion animation. But I'll sum it all

564
00:31:44,640 --> 00:31:46,880
Speaker 1: up by stressing that he's just a master of the

565
00:31:46,920 --> 00:31:49,200
Speaker 1: medium and if he has anything to do with the

566
00:31:49,240 --> 00:31:52,440
Speaker 1: look of a film, you're probably in good hands. And indeed,

567
00:31:52,560 --> 00:31:56,480
Speaker 1: Mumu is just insane. It's amazing.

568
00:31:56,920 --> 00:31:59,560
Speaker 4: Yeah, it is one of the weirdest things I've ever

569
00:31:59,560 --> 00:32:00,400
Speaker 4: seen on film.

570
00:32:00,880 --> 00:32:04,440
Speaker 1: Yeah, I should stress like Spunk Myers is part of

571
00:32:04,680 --> 00:32:08,480
Speaker 1: huge part of that world of like strange stop motion animation,

572
00:32:08,720 --> 00:32:12,520
Speaker 1: perhaps creepy stop motion animation that some of you might

573
00:32:12,520 --> 00:32:16,240
Speaker 1: not be that familiar with, but it's out there, it's

574
00:32:16,280 --> 00:32:19,400
Speaker 1: waiting for you. And then finally, the music for this

575
00:32:19,520 --> 00:32:22,360
Speaker 1: film is really good too. I really enjoyed it. It

576
00:32:22,440 --> 00:32:26,000
Speaker 1: is a score by a Croatian born composer by the

577
00:32:26,080 --> 00:32:29,959
Speaker 1: name of Thomas love Simovic, who lived nineteen thirty one

578
00:32:30,000 --> 00:32:34,160
Speaker 1: through twenty fourteen. He worked on multiple films and shorts

579
00:32:34,200 --> 00:32:38,480
Speaker 1: for Fukotic, including sixty one's The Substitute, seventy three's Man

580
00:32:38,600 --> 00:32:42,720
Speaker 1: the Polluter, and seventy seven's Operation Stadium. Other films of

581
00:32:42,760 --> 00:32:46,600
Speaker 1: note include sixty seven's The Fourth Companion and sixty eight

582
00:32:46,640 --> 00:32:48,400
Speaker 1: So I Have Two Mothers and Two fathers.

583
00:32:48,600 --> 00:32:51,640
Speaker 4: I agree with your assessment. Really good music in this one.

584
00:32:52,000 --> 00:32:55,000
Speaker 1: Yeah, it's full of like cascading synth and all the

585
00:32:55,040 --> 00:32:57,880
Speaker 1: sort of sci fi motifs you'd expect from a movie

586
00:32:57,920 --> 00:33:01,160
Speaker 1: like this. And I'm happy to say that it is available.

587
00:33:01,480 --> 00:33:03,840
Speaker 1: It was put up by the Croatian label Fox and

588
00:33:03,880 --> 00:33:06,840
Speaker 1: his Friends, and it's actually available to stream in all

589
00:33:06,880 --> 00:33:10,560
Speaker 1: the usual places. Just look up Visitors from the Arcana Galaxy.

590
00:33:10,800 --> 00:33:12,920
Speaker 4: I don't know if this makes any sense, but the

591
00:33:13,040 --> 00:33:16,000
Speaker 4: music that plays over the opening credits, I was listening

592
00:33:16,080 --> 00:33:19,520
Speaker 4: with headphones while I watch the movie, and the music

593
00:33:19,760 --> 00:33:24,160
Speaker 4: created a sensation like a kind of bubble of heat

594
00:33:24,400 --> 00:33:30,080
Speaker 4: expanding through the inside of my cranium. Just soft, strange, enveloping,

595
00:33:30,160 --> 00:33:33,960
Speaker 4: sonic texture, a very strong mood, really really good.

596
00:33:34,680 --> 00:33:37,400
Speaker 1: Yeah, yeah, yeah, it's this kind of I mean, today

597
00:33:37,400 --> 00:33:38,880
Speaker 1: we would think of it as this kind of like

598
00:33:38,960 --> 00:33:42,720
Speaker 1: retro electronic sound, and I guess at the time it

599
00:33:42,800 --> 00:33:45,600
Speaker 1: was maybe slightly retro, but also sounded like the future.

600
00:33:45,600 --> 00:33:47,640
Speaker 1: And it still sounds like the future as far as

601
00:33:47,640 --> 00:33:48,320
Speaker 1: I'm concerned.

602
00:33:48,760 --> 00:33:51,040
Speaker 4: Also, I love the visuals that went with it. In

603
00:33:51,080 --> 00:33:54,040
Speaker 4: the opening credits, there's this nice mix of concrete and

604
00:33:54,080 --> 00:33:59,000
Speaker 4: abstract imagery, so like, while that music is playing, you

605
00:33:59,000 --> 00:34:02,400
Speaker 4: see something abstract act that looks like these blooming flowers

606
00:34:02,440 --> 00:34:05,239
Speaker 4: of blue paint, but represented on what looks like an

607
00:34:05,320 --> 00:34:09,120
Speaker 4: ultrasound display ye. And then there are also these slow

608
00:34:09,280 --> 00:34:13,200
Speaker 4: pans over physical objects. One thing looks like the bolts

609
00:34:13,239 --> 00:34:17,440
Speaker 4: around the glass face plate of an EVA helmet, and

610
00:34:17,480 --> 00:34:19,879
Speaker 4: then you just see you know, space imagery, like these

611
00:34:19,880 --> 00:34:23,759
Speaker 4: blue rivers flowing through space into a green sun, and

612
00:34:23,960 --> 00:34:26,800
Speaker 4: droplets that look like the you know, the bits of

613
00:34:26,840 --> 00:34:29,360
Speaker 4: splatter flying out of a lava lake. But that's like

614
00:34:29,440 --> 00:34:31,400
Speaker 4: going just passing between the stars.

615
00:34:32,280 --> 00:34:34,040
Speaker 1: Yeah, yeah, I mean this is this is a film

616
00:34:34,080 --> 00:34:37,800
Speaker 1: that portrays space as being a place of color and

617
00:34:38,239 --> 00:34:41,640
Speaker 1: wonder and mystery. It's not a dark void of death

618
00:34:41,719 --> 00:34:42,880
Speaker 1: and in emptiness.

619
00:34:43,280 --> 00:34:45,520
Speaker 4: And maybe so maybe we should get right into the

620
00:34:45,520 --> 00:34:46,200
Speaker 4: plot then.

621
00:34:46,520 --> 00:34:48,719
Speaker 1: Yeah, yeah, yeah, we're already here. Let's keep going.

622
00:34:49,040 --> 00:34:51,439
Speaker 4: Okay, So we begin with some narration after we see

623
00:34:51,480 --> 00:34:54,279
Speaker 4: you know, space and the credits. The narrator says, one

624
00:34:54,320 --> 00:34:58,240
Speaker 4: of the rare populated planets and the cold, uninviting universe

625
00:34:58,360 --> 00:35:02,720
Speaker 4: is the small planet Ugador. Not the most elegant sounding

626
00:35:02,760 --> 00:35:07,000
Speaker 4: planet name I've ever heard, but Tugador located in the

627
00:35:07,040 --> 00:35:10,799
Speaker 4: depths of the Arkonic Galaxy. Its inhabitants look a lot

628
00:35:10,920 --> 00:35:15,200
Speaker 4: like humans, but their abilities are almost godlike. Their spaceships

629
00:35:15,239 --> 00:35:17,760
Speaker 4: move at such speed that they can travel and explore

630
00:35:17,800 --> 00:35:20,879
Speaker 4: even the most remote galaxies. It was one of those

631
00:35:20,960 --> 00:35:25,840
Speaker 4: journeys that Targo and Ulu embarked on, followed by Andra,

632
00:35:26,719 --> 00:35:29,920
Speaker 4: and the whole time this narration is going on, we're

633
00:35:29,960 --> 00:35:32,880
Speaker 4: watching stars flashing in space, and then we cut to

634
00:35:32,960 --> 00:35:36,319
Speaker 4: a totally different scene. A voice memo recorder with like

635
00:35:36,480 --> 00:35:39,040
Speaker 4: a cassette tape in it, held in a man's hand.

636
00:35:39,360 --> 00:35:43,120
Speaker 4: He's talking into the microphone, and the narration continues. The

637
00:35:43,120 --> 00:35:48,000
Speaker 4: inhabitants of Tugador had perfect maps of space. They knew

638
00:35:48,200 --> 00:35:52,319
Speaker 4: all of the other inhabited planets. And now we see

639
00:35:52,360 --> 00:35:55,600
Speaker 4: on the screen that the man speaking, Robert, is wearing

640
00:35:55,680 --> 00:35:59,040
Speaker 4: what appears to be a space helmet, and he goes

641
00:35:59,080 --> 00:36:02,280
Speaker 4: on talking. He says, and Earth, a planet revolving around

642
00:36:02,320 --> 00:36:05,799
Speaker 4: a great shining star, has peaked their interest since the

643
00:36:05,880 --> 00:36:11,000
Speaker 4: dawn of time. Andra, the she robot, Targo, and Ulu

644
00:36:11,080 --> 00:36:15,040
Speaker 4: are now approaching the surface of this unknown and mysterious planet.

645
00:36:15,800 --> 00:36:19,480
Speaker 4: And then suddenly this is interrupted when a woman's hand

646
00:36:19,760 --> 00:36:22,920
Speaker 4: just like wraps on the faceplate of the space helmet,

647
00:36:23,120 --> 00:36:26,200
Speaker 4: and a woman's voice says, Robert, your coffee is ready,

648
00:36:27,560 --> 00:36:30,080
Speaker 4: and so we're not in space at all. Robert is

649
00:36:30,200 --> 00:36:33,200
Speaker 4: just a regular guy in his apartment. He is sitting

650
00:36:33,200 --> 00:36:37,080
Speaker 4: at his desk narrating his own science fiction story into

651
00:36:37,160 --> 00:36:40,520
Speaker 4: a voice recorder and his office. In his office, we

652
00:36:40,560 --> 00:36:43,120
Speaker 4: see all these like books on shelves, presumably a lot

653
00:36:43,160 --> 00:36:47,560
Speaker 4: of science fiction books, kind of gadgets and sci fi

654
00:36:47,640 --> 00:36:51,560
Speaker 4: toys and gizmos, posters scattered all around of NASA and

655
00:36:52,760 --> 00:36:55,640
Speaker 4: the Moon landings and things like that. And the woman

656
00:36:55,680 --> 00:36:58,640
Speaker 4: who was wrapping on his face plate is his girlfriend, Biba,

657
00:36:59,000 --> 00:37:02,120
Speaker 4: who clearly has very little patience for his writing or

658
00:37:02,160 --> 00:37:03,919
Speaker 4: his astronomical obsessions.

659
00:37:05,640 --> 00:37:08,880
Speaker 1: It's a great scene because, yeah, the whole like writing

660
00:37:09,000 --> 00:37:12,920
Speaker 1: environment is very convincing and cozy and there's nothing, you know,

661
00:37:13,040 --> 00:37:17,040
Speaker 1: there's nothing too weird about it. But yeah, his insistence

662
00:37:17,040 --> 00:37:19,480
Speaker 1: on setting there, dictating his notes while wearing the space

663
00:37:19,480 --> 00:37:24,719
Speaker 1: helmet really drives on this comic understanding that yeah, he's

664
00:37:24,760 --> 00:37:27,760
Speaker 1: maybe not getting that much done and it's more about

665
00:37:27,760 --> 00:37:30,160
Speaker 1: shutting himself off from the rest of the world and

666
00:37:30,200 --> 00:37:31,080
Speaker 1: living in fantasy.

667
00:37:31,440 --> 00:37:34,160
Speaker 4: Yeah, yeah, she says, clearly annoyed. She says, are you

668
00:37:34,200 --> 00:37:36,560
Speaker 4: gonna sit around all day with this bucket on your head?

669
00:37:37,640 --> 00:37:41,319
Speaker 4: And then the narrator the narration goes on. Robert says

670
00:37:41,400 --> 00:37:44,760
Speaker 4: time didn't matter for the three space visitors. They manage

671
00:37:44,800 --> 00:37:49,560
Speaker 4: their time like we handle water faucets. And then Biba

672
00:37:49,680 --> 00:37:52,600
Speaker 4: is like, we don't handle water fauces. Return them.

673
00:37:54,800 --> 00:37:56,600
Speaker 1: She's like, Robert, that's not even good writing.

674
00:37:56,960 --> 00:38:00,840
Speaker 4: But like I was saying earlier, the writings as writing

675
00:38:01,040 --> 00:38:03,400
Speaker 4: does not seem to be the point. Robert is not

676
00:38:03,560 --> 00:38:07,040
Speaker 4: in love with language. He is not a word smith.

677
00:38:07,239 --> 00:38:08,959
Speaker 4: He is an ideas guy.

678
00:38:09,640 --> 00:38:13,160
Speaker 1: Absolutely. It's more like if he could write, then it

679
00:38:13,200 --> 00:38:15,680
Speaker 1: would balance things out. But it's all it's all like

680
00:38:15,760 --> 00:38:16,680
Speaker 1: trapped in there, right.

681
00:38:17,200 --> 00:38:20,919
Speaker 4: Yeah, But we see Robert has a very frustrated life

682
00:38:21,000 --> 00:38:23,920
Speaker 4: because he wants to be just spending his days wrapped

683
00:38:24,000 --> 00:38:27,400
Speaker 4: up in I guess, talking this story into his tape recorder.

684
00:38:27,760 --> 00:38:31,000
Speaker 4: But Biba does not like him spending his time that way.

685
00:38:31,040 --> 00:38:34,080
Speaker 4: She gets annoyed with him. Also, his neighbors bother him.

686
00:38:34,200 --> 00:38:37,520
Speaker 4: Like his neighbors come over and start having conflict. So

687
00:38:37,600 --> 00:38:42,000
Speaker 4: his neighbor is photo Tony, and photo Tony's mother's dog Vicky,

688
00:38:42,320 --> 00:38:44,960
Speaker 4: keeps causing problems and they're trying to get Robert to

689
00:38:44,960 --> 00:38:47,799
Speaker 4: sort this out for some reason. It is a cute dog,

690
00:38:47,840 --> 00:38:49,799
Speaker 4: by the way, But they bring the dog over and

691
00:38:49,840 --> 00:38:51,840
Speaker 4: they put it on Robert's desk and it peas on

692
00:38:51,880 --> 00:38:52,759
Speaker 4: his manuscript.

693
00:38:53,320 --> 00:38:55,480
Speaker 1: At first, I thought Robert was maybe like the super

694
00:38:55,600 --> 00:38:58,360
Speaker 1: or something, but I think it's just like the supposed

695
00:38:58,360 --> 00:39:00,000
Speaker 1: to give us an idea of the close knit commune

696
00:39:00,040 --> 00:39:02,759
Speaker 1: unity of this particular apartment building. Yeah.

697
00:39:02,840 --> 00:39:05,560
Speaker 4: Yeah, for some reason, they want Robert to solve their problems.

698
00:39:06,719 --> 00:39:08,880
Speaker 4: But I don't know why they'd be going to Robert

699
00:39:08,920 --> 00:39:13,080
Speaker 4: displays throughout the film no ability whatsoever to mediate or

700
00:39:13,080 --> 00:39:16,240
Speaker 4: solve other people's problems. That not that I can remember.

701
00:39:16,640 --> 00:39:19,520
Speaker 1: He's just so checked out. He seems neutral, like yeah,

702
00:39:19,600 --> 00:39:22,279
Speaker 1: I guess so, yeah, like Robert doesn't have a bone

703
00:39:22,320 --> 00:39:24,200
Speaker 1: to pick, let him solve this problem.

704
00:39:24,280 --> 00:39:28,600
Speaker 4: That's a good point. Yes, it's like he's a disinterested party. Yeah,

705
00:39:29,320 --> 00:39:31,279
Speaker 4: so he just wants time to write, but he can

706
00:39:31,360 --> 00:39:34,200
Speaker 4: never have a moment's piece. No one respects his ambitions.

707
00:39:35,000 --> 00:39:37,920
Speaker 4: And also, this was really funny. He just keeps trying

708
00:39:37,960 --> 00:39:43,040
Speaker 4: to put the space helmet back on while everybody's bothering him.

709
00:39:43,360 --> 00:39:46,560
Speaker 4: But so we see that Biba is actually jealous of

710
00:39:46,719 --> 00:39:50,280
Speaker 4: Robert's characters. She She's literally like, if you care about

711
00:39:50,320 --> 00:39:52,880
Speaker 4: this she robot Andra so much, why don't you marry

712
00:39:52,920 --> 00:39:53,840
Speaker 4: her instead of me?

713
00:39:55,480 --> 00:39:56,680
Speaker 1: And we'll come back to that theme.

714
00:39:57,200 --> 00:40:02,000
Speaker 4: Yeah, So they go to visit Biba's family. I think it,

715
00:40:02,320 --> 00:40:05,240
Speaker 4: did you understand it the same way that Biba's sister

716
00:40:05,600 --> 00:40:08,200
Speaker 4: is getting married, and so her whole family is there

717
00:40:08,239 --> 00:40:10,280
Speaker 4: in the house trying to get ready for the wedding.

718
00:40:10,920 --> 00:40:13,799
Speaker 1: Yeah. Yeah, there's a big wedding coming up, and I

719
00:40:13,840 --> 00:40:17,000
Speaker 1: believe the individual that Robert ends up talking to next

720
00:40:17,600 --> 00:40:20,240
Speaker 1: is the fiance the groom.

721
00:40:20,320 --> 00:40:24,279
Speaker 4: Yes, yeah, so yeah. Robert goes along with Biba to

722
00:40:24,320 --> 00:40:28,360
Speaker 4: the house she's meeting with her family. Her family seems

723
00:40:28,400 --> 00:40:30,560
Speaker 4: to look down on Robert and they're like, I don't

724
00:40:30,600 --> 00:40:33,120
Speaker 4: know what you're doing with this guy. And Robert he's

725
00:40:33,160 --> 00:40:35,799
Speaker 4: just there to he obviously he wants to talk to

726
00:40:36,120 --> 00:40:40,840
Speaker 4: the fiance of the sister about science fiction novels. They're like, oh, boy,

727
00:40:41,400 --> 00:40:43,279
Speaker 4: you know, did you read this one. It's about a

728
00:40:43,320 --> 00:40:46,360
Speaker 4: monster from space. And so this other guy is like, look,

729
00:40:46,680 --> 00:40:49,440
Speaker 4: you can't call it Visitors from the Arcanic Galaxy. That's

730
00:40:49,440 --> 00:40:51,359
Speaker 4: what Robert wants to call his novel. He says, you've

731
00:40:51,400 --> 00:40:54,640
Speaker 4: got to call it the Monster from Marcana Galaxy. And

732
00:40:54,719 --> 00:40:56,880
Speaker 4: Robert says there's no monster in the story. But the

733
00:40:56,920 --> 00:40:59,640
Speaker 4: other guy's like, look, you're not writing Hansel and Gretel.

734
00:40:59,680 --> 00:40:59,839
Speaker 1: Here.

735
00:41:00,520 --> 00:41:02,960
Speaker 4: He explains that you've got to have a monster, and

736
00:41:03,040 --> 00:41:05,239
Speaker 4: he talks about another sci fi novel that has a

737
00:41:05,280 --> 00:41:09,319
Speaker 4: monster that bites off people's heads. Yeah, sounds good. So

738
00:41:09,360 --> 00:41:11,640
Speaker 4: the quote is, he says, you got to a quote.

739
00:41:11,680 --> 00:41:15,000
Speaker 4: You have to scare people that's the secret to success.

740
00:41:15,680 --> 00:41:17,440
Speaker 1: I love how he brings up Hansel and Gretel as

741
00:41:17,480 --> 00:41:20,920
Speaker 1: if Hansel and Gretel does not have horrifying elements to it,

742
00:41:21,640 --> 00:41:22,760
Speaker 1: and it's purest telling.

743
00:41:23,200 --> 00:41:26,160
Speaker 4: I think it's interesting that he's giving Robert these very

744
00:41:27,600 --> 00:41:32,000
Speaker 4: mercenary kind of pieces of advice about what the reading

745
00:41:32,120 --> 00:41:35,000
Speaker 4: public wants about, like what makes a book marketable. But

746
00:41:35,080 --> 00:41:37,239
Speaker 4: Robert doesn't seem to have written anything yet. It's not

747
00:41:37,280 --> 00:41:39,600
Speaker 4: like he has a manuscript that's been rejected by a

748
00:41:39,600 --> 00:41:42,960
Speaker 4: bunch of publishers. It's like he's he's like, I'm going

749
00:41:43,080 --> 00:41:44,719
Speaker 4: to write a novel right.

750
00:41:44,800 --> 00:41:47,960
Speaker 1: In fact, it's so unformed that he basically is like,

751
00:41:48,160 --> 00:41:51,399
Speaker 1: oh yeah, okay, I can add a monster. It really

752
00:41:51,400 --> 00:41:54,480
Speaker 1: doesn't rack anything at all because nothing has been written yet.

753
00:41:54,320 --> 00:41:58,240
Speaker 4: Apparent that's right. So Robert ultimately decides his monster should

754
00:41:58,239 --> 00:42:01,680
Speaker 4: be a toy belonging to the children in the story.

755
00:42:02,360 --> 00:42:04,560
Speaker 4: And he also briefly says, you know what, I'm gonna

756
00:42:04,560 --> 00:42:08,000
Speaker 4: cut out Targo, the boy from space or else. That'll

757
00:42:08,040 --> 00:42:11,000
Speaker 4: just be too many characters. So four characters would be

758
00:42:11,040 --> 00:42:13,320
Speaker 4: too many if he as the monster, He's got to

759
00:42:13,320 --> 00:42:17,319
Speaker 4: get rid of Targo, So he goes back home, gets

760
00:42:17,360 --> 00:42:20,120
Speaker 4: back to writing, and now the tone of the story

761
00:42:20,160 --> 00:42:22,520
Speaker 4: is a little bit different. He talks into his tape

762
00:42:22,560 --> 00:42:25,840
Speaker 4: recorder and he says Andra and Ulu, visitors with power

763
00:42:25,920 --> 00:42:29,160
Speaker 4: from the Arcana Galaxy, are a menace to human life,

764
00:42:29,320 --> 00:42:32,080
Speaker 4: and they are approaching the Earth and they're not alone.

765
00:42:32,480 --> 00:42:35,640
Speaker 4: The monster of the Arcana Galaxy is with them. Are

766
00:42:35,680 --> 00:42:39,759
Speaker 4: we ready for that encounter? But while he's talking, we

767
00:42:39,840 --> 00:42:42,480
Speaker 4: see out the window behind Robert and he lives in

768
00:42:42,600 --> 00:42:44,920
Speaker 4: an apartment building that's like right on the water. It's

769
00:42:44,960 --> 00:42:47,239
Speaker 4: on the coast looking out over I guess the Adriatic.

770
00:42:48,080 --> 00:42:52,120
Speaker 4: We see a bright object fall from the sky and

771
00:42:52,200 --> 00:42:55,920
Speaker 4: land on an island across the water. Oh and by

772
00:42:55,920 --> 00:42:58,000
Speaker 4: the way, yes, he is wearing his space helmet in

773
00:42:58,080 --> 00:43:00,799
Speaker 4: this scene. And he goes to the kitchen to get

774
00:43:00,840 --> 00:43:04,640
Speaker 4: a glass of milk, when suddenly his voice memo recorder

775
00:43:04,840 --> 00:43:09,000
Speaker 4: starts talking back to him. It's a woman's voice, very

776
00:43:09,080 --> 00:43:13,800
Speaker 4: tiny and robotic, saying, Robert, we have arrived. This is Andra,

777
00:43:14,080 --> 00:43:17,640
Speaker 4: come find us on the island. And he gets very,

778
00:43:17,840 --> 00:43:20,080
Speaker 4: very freaked out. He checks the tape to see if

779
00:43:20,080 --> 00:43:23,200
Speaker 4: their voices were recorded, but there's only the hiss of static.

780
00:43:23,239 --> 00:43:25,799
Speaker 4: The tape is blank after he stopped talking into it,

781
00:43:26,480 --> 00:43:28,880
Speaker 4: so he doesn't know what to think. But Robert borrows

782
00:43:28,880 --> 00:43:31,640
Speaker 4: a boat from photo Tony photo Tony's got a boat.

783
00:43:32,000 --> 00:43:36,640
Speaker 4: Photo Tony's doing okay, and he motors out to the

784
00:43:36,640 --> 00:43:39,799
Speaker 4: island in photo Tony's boat. He docks, climbs ashore and

785
00:43:39,800 --> 00:43:43,600
Speaker 4: he goes wandering through the forest and then whoa, suddenly

786
00:43:44,040 --> 00:43:47,680
Speaker 4: they are here. So he follows a flashing blue light

787
00:43:47,920 --> 00:43:50,680
Speaker 4: through the courtyard of this building. I think the building

788
00:43:50,719 --> 00:43:53,279
Speaker 4: is part of a like a tourist resort area on

789
00:43:53,320 --> 00:43:56,600
Speaker 4: the island. And then he goes through the trees and

790
00:43:56,640 --> 00:44:00,400
Speaker 4: then over this rocky landscape and down a ravine until

791
00:44:00,440 --> 00:44:03,759
Speaker 4: he meets the three alien beings. And when he meets them,

792
00:44:03,840 --> 00:44:06,359
Speaker 4: one of the two children starts trying to zap him

793
00:44:06,360 --> 00:44:07,360
Speaker 4: with eye lasers.

794
00:44:09,040 --> 00:44:12,440
Speaker 1: I love the eye lasers. They're they're quite destructive, as

795
00:44:12,440 --> 00:44:13,160
Speaker 1: we'll see later on.

796
00:44:13,480 --> 00:44:16,640
Speaker 4: That's Targo who tries to to eyelaser him, but Andra

797
00:44:16,800 --> 00:44:20,080
Speaker 4: stops him. So again they introduce themselves there, Andra, Ulu

798
00:44:20,120 --> 00:44:24,000
Speaker 4: and Targo and Rob How would you describe exactly what

799
00:44:24,040 --> 00:44:26,920
Speaker 4: you what they look like. They're wearing like gold suits,

800
00:44:27,520 --> 00:44:30,480
Speaker 4: and I guess you already mentioned they're like the children

801
00:44:30,560 --> 00:44:35,440
Speaker 4: having the long white hair, metal band hair that Andra

802
00:44:35,760 --> 00:44:40,600
Speaker 4: kind of has these gold ridges along her large pale head.

803
00:44:41,920 --> 00:44:43,520
Speaker 4: I don't know what else there is to say. I

804
00:44:43,520 --> 00:44:44,879
Speaker 4: mean they look strange.

805
00:44:45,360 --> 00:44:48,360
Speaker 1: Yeah, their gold space suits could also be robot bodies,

806
00:44:48,480 --> 00:44:51,399
Speaker 1: especially in the case of Andre. And yeah, she has

807
00:44:51,440 --> 00:44:54,640
Speaker 1: this this big head like a like a like a

808
00:44:54,680 --> 00:44:59,080
Speaker 1: heightened forehead situation going on, which is of course used

809
00:44:59,120 --> 00:45:03,120
Speaker 1: a lot of times, especially with you aliens of like

810
00:45:03,200 --> 00:45:06,600
Speaker 1: fifties and sixties science fiction. But here it is it's

811
00:45:06,600 --> 00:45:09,840
Speaker 1: done so well. Like it doesn't it doesn't look fake

812
00:45:09,960 --> 00:45:14,040
Speaker 1: it it's just it. It just looks exceptional. I loved it.

813
00:45:14,480 --> 00:45:19,080
Speaker 4: Yeah, is there a Missus Exeter maybe maybe right here?

814
00:45:19,440 --> 00:45:21,640
Speaker 1: And they must have I mean, this makeup job must

815
00:45:21,640 --> 00:45:27,080
Speaker 1: have really taxed the artist behind it, because she has

816
00:45:27,120 --> 00:45:29,120
Speaker 1: these tubes as well that come out of the side

817
00:45:29,120 --> 00:45:31,800
Speaker 1: of her head and go into her jaw line.

818
00:45:32,120 --> 00:45:32,319
Speaker 4: Yeah.

819
00:45:32,400 --> 00:45:35,320
Speaker 1: And granted she's not doing a lot of like emoting

820
00:45:35,440 --> 00:45:38,719
Speaker 1: with her face, but she is speaking lines. And like

821
00:45:39,160 --> 00:45:41,280
Speaker 1: you never see a shot where it looks like anything's

822
00:45:41,320 --> 00:45:44,759
Speaker 1: cracking or coming apart. It looks great every time it's

823
00:45:44,760 --> 00:45:45,240
Speaker 1: on the screen.

824
00:45:45,600 --> 00:45:48,840
Speaker 4: When we first meet the kids, Targo says to Robert,

825
00:45:48,960 --> 00:45:51,400
Speaker 4: you wanted to remove me from the story, but you

826
00:45:51,480 --> 00:45:55,319
Speaker 4: were unsuccessful. There's something so threatening about that.

827
00:45:56,120 --> 00:45:59,839
Speaker 1: Yeah, already we see that he doesn't have control over

828
00:46:00,080 --> 00:46:03,200
Speaker 1: what he's creating. He doesn't have control over his imagination.

829
00:46:03,600 --> 00:46:06,640
Speaker 1: He tried to prune it a little bit, and his

830
00:46:06,960 --> 00:46:09,120
Speaker 1: imagined world rejected the change.

831
00:46:09,600 --> 00:46:13,760
Speaker 4: That's right, and Targo seemingly upset by this, he throws

832
00:46:13,800 --> 00:46:16,000
Speaker 4: out his toy, a little toy he has with him,

833
00:46:16,239 --> 00:46:19,120
Speaker 4: which grows to a giant size, and this is Mumoo

834
00:46:19,200 --> 00:46:21,600
Speaker 4: the monster. But at this moment we only get a glimpse,

835
00:46:21,640 --> 00:46:23,680
Speaker 4: so maybe we won't fully describe it yet.

836
00:46:24,040 --> 00:46:25,799
Speaker 1: Yeah, at this point we can just tell that it's

837
00:46:26,239 --> 00:46:29,680
Speaker 1: roughly bipedal, has kind of a snout or a trunk

838
00:46:29,719 --> 00:46:32,440
Speaker 1: going on. But you don't really get much more than that.

839
00:46:32,920 --> 00:46:37,040
Speaker 4: Right, So Robert is chased by the monster. He runs away.

840
00:46:37,400 --> 00:46:40,080
Speaker 4: Then he's chased by what looks like a glowing blue

841
00:46:40,239 --> 00:46:43,080
Speaker 4: Christmas ornament that floats in the air. It's like a

842
00:46:43,200 --> 00:46:46,960
Speaker 4: sky blue ball with these greebles on it. He gets

843
00:46:47,000 --> 00:46:50,040
Speaker 4: in the boat he tries to drive away. He wields

844
00:46:50,080 --> 00:46:52,920
Speaker 4: it I think a beer bottle and self defense against

845
00:46:53,000 --> 00:46:57,719
Speaker 4: the thing, and the ship just keeps chasing him. He

846
00:46:57,800 --> 00:47:00,360
Speaker 4: jumps out of the boat. Somehow, I don't know, somehow

847
00:47:00,360 --> 00:47:02,200
Speaker 4: he ends up back back home.

848
00:47:02,880 --> 00:47:05,120
Speaker 1: Yeah. Yeah, rather freaked out by the whole encounter.

849
00:47:05,520 --> 00:47:08,520
Speaker 4: Right, So the next day, Robert goes to speak to

850
00:47:08,719 --> 00:47:12,120
Speaker 4: a professor. It's just a character just called the professor

851
00:47:12,600 --> 00:47:16,319
Speaker 4: about whether he is having a psychotic episode. He's like, yeah,

852
00:47:16,360 --> 00:47:18,600
Speaker 4: here's what I saw, doc. And the doctor is like,

853
00:47:18,719 --> 00:47:21,640
Speaker 4: do you use drugs? And he says no, And he's like, oh, well,

854
00:47:21,680 --> 00:47:24,839
Speaker 4: it seems all right then. But he explains a bit

855
00:47:24,880 --> 00:47:29,479
Speaker 4: about his personal history. Robert says that sadly, his mother

856
00:47:29,560 --> 00:47:32,480
Speaker 4: died when he was born, but when he was a baby,

857
00:47:32,680 --> 00:47:37,319
Speaker 4: he wanted milk, and he psychically made his father grow

858
00:47:37,400 --> 00:47:41,600
Speaker 4: breasts so that his dad could breastfeed him. That's the story.

859
00:47:41,760 --> 00:47:44,520
Speaker 1: You might ask, well, how would he remember that, Well,

860
00:47:46,160 --> 00:47:49,120
Speaker 1: he probably he would not remember that. I think if

861
00:47:49,160 --> 00:47:50,359
Speaker 1: you go back to some of our stuff to blow

862
00:47:50,400 --> 00:47:53,960
Speaker 1: your mind episodes on this. But luckily the movie depicts

863
00:47:54,000 --> 00:47:58,239
Speaker 1: this entire scene. We see his father grow breast and

864
00:47:58,280 --> 00:48:02,560
Speaker 1: then breastfeed the young baby Robert. And already, you know,

865
00:48:02,719 --> 00:48:04,959
Speaker 1: there's been plenty of weird stuff already in the film,

866
00:48:05,000 --> 00:48:07,640
Speaker 1: but this was a scene that really lets you know, like, Okay,

867
00:48:07,680 --> 00:48:10,479
Speaker 1: this movie is going to continue to take some sharp

868
00:48:10,600 --> 00:48:12,480
Speaker 1: turns that you were not anticipating.

869
00:48:12,680 --> 00:48:17,240
Speaker 4: Yes, psychic powers making Yeah, yeah. So the professor listens

870
00:48:17,280 --> 00:48:19,479
Speaker 4: to the story kind of nods. He's like, oh, yeah, yeah,

871
00:48:19,480 --> 00:48:23,760
Speaker 4: that's called tellergy, he said. The professor says, this concept

872
00:48:23,800 --> 00:48:27,600
Speaker 4: is not yet proven, but it's under intense study in parapsychology,

873
00:48:28,000 --> 00:48:31,600
Speaker 4: and it's a condition where a person of intense willpower

874
00:48:31,960 --> 00:48:36,040
Speaker 4: can make their desires manifest as physical reality. And Robert's like,

875
00:48:36,080 --> 00:48:39,600
Speaker 4: oh cool. And the professors like, do you have a

876
00:48:39,680 --> 00:48:42,719
Speaker 4: problem or an obsession that is bothering you? And of

877
00:48:42,760 --> 00:48:45,240
Speaker 4: course Robert does. It's the book he wants to write.

878
00:48:45,280 --> 00:48:47,480
Speaker 4: But you know, he's like it's always on his mind,

879
00:48:47,520 --> 00:48:49,799
Speaker 4: but he's being bothered all the time. He's not really

880
00:48:49,840 --> 00:48:52,560
Speaker 4: able to write it. And while they're sitting there, Robert

881
00:48:52,680 --> 00:48:56,480
Speaker 4: psychically manifests a book on the professor's desk. It just

882
00:48:56,520 --> 00:49:00,319
Speaker 4: like appears out of thin air. And the professor's like, oh,

883
00:49:00,320 --> 00:49:03,480
Speaker 4: that's interesting. You just made a book appear. So he's like, okay,

884
00:49:03,520 --> 00:49:06,160
Speaker 4: I'm gonna write you a prescription for chilling out. You

885
00:49:06,280 --> 00:49:12,080
Speaker 4: need to relax, and Robert says, okay, this is a

886
00:49:12,120 --> 00:49:15,759
Speaker 4: good scene. And then after this, Robert he picks up

887
00:49:15,800 --> 00:49:18,680
Speaker 4: the book that he psychically manifested in the desk and

888
00:49:18,719 --> 00:49:21,360
Speaker 4: he takes it to his sci fi buddy from earlier,

889
00:49:21,480 --> 00:49:25,040
Speaker 4: who I think. He's working at a bookstore, and when

890
00:49:25,080 --> 00:49:27,520
Speaker 4: going into the store, the guy is talking to another

891
00:49:27,560 --> 00:49:31,520
Speaker 4: customer and he's like, ah, yes, it's an alien beast

892
00:49:31,520 --> 00:49:35,120
Speaker 4: from another galaxy. You know, it eats everyone. And Robert

893
00:49:35,120 --> 00:49:37,359
Speaker 4: interrupts him to be like, hey, I just made this

894
00:49:37,440 --> 00:49:40,680
Speaker 4: book appear. Do you have another copy of it? I think,

895
00:49:40,760 --> 00:49:43,520
Speaker 4: is what he asks, and the guy's like, no, this

896
00:49:43,560 --> 00:49:46,160
Speaker 4: book says it's by you, and Robert says that's right.

897
00:49:46,320 --> 00:49:48,680
Speaker 4: And then the owner of the shop I think comes

898
00:49:48,719 --> 00:49:50,400
Speaker 4: in and looks at the book and says, all the

899
00:49:50,440 --> 00:49:52,680
Speaker 4: pages are blank. This isn't a book, you know, come

900
00:49:52,680 --> 00:50:04,440
Speaker 4: back when it's got words in it. So we get

901
00:50:04,480 --> 00:50:07,880
Speaker 4: some a little more seeing into Robert's mundane day to

902
00:50:07,960 --> 00:50:11,000
Speaker 4: day life. He's doing a pretty crummy job at work.

903
00:50:11,400 --> 00:50:14,239
Speaker 4: His day job is he's a desk clerk at like

904
00:50:14,320 --> 00:50:18,040
Speaker 4: a hotel or resort on the coast here, and he

905
00:50:18,080 --> 00:50:20,240
Speaker 4: gets in trouble with his boss for having a beard.

906
00:50:20,360 --> 00:50:22,160
Speaker 4: His boss is like, shave that thing off.

907
00:50:22,960 --> 00:50:26,719
Speaker 1: Yeah, it doesn't look like a great work environment. His

908
00:50:26,760 --> 00:50:28,680
Speaker 1: boss does seem like a bit of a meanie, but

909
00:50:29,520 --> 00:50:32,120
Speaker 1: Robert's could clearly not putting a lot of effort into

910
00:50:32,160 --> 00:50:32,960
Speaker 1: the whole endeavor.

911
00:50:33,320 --> 00:50:35,239
Speaker 4: Yeah, it is bad on every end. I think his

912
00:50:35,320 --> 00:50:37,760
Speaker 4: boss would be mean even if he was a good employee.

913
00:50:37,760 --> 00:50:39,640
Speaker 4: But he's not really trying.

914
00:50:40,120 --> 00:50:40,200
Speaker 2: No.

915
00:50:40,880 --> 00:50:44,640
Speaker 4: But later that night, the voice contacts Robert again through

916
00:50:44,680 --> 00:50:48,000
Speaker 4: the recorder, and Andrew is there. She tells him that

917
00:50:48,960 --> 00:50:52,760
Speaker 4: she and the space aliens, all three of them, belonged

918
00:50:52,840 --> 00:50:55,600
Speaker 4: to him because he created them, and he's got to

919
00:50:55,640 --> 00:50:58,200
Speaker 4: come back to the island. Oh but before he goes

920
00:50:58,239 --> 00:51:01,200
Speaker 4: back to the island, it shows more reallylationship problems between

921
00:51:01,280 --> 00:51:04,719
Speaker 4: Robert and Biba. Her family is mad at him for

922
00:51:04,880 --> 00:51:08,520
Speaker 4: acting strangely and being a bad boyfriend. But Robert knows

923
00:51:08,520 --> 00:51:10,879
Speaker 4: how to fix it. He's going to take Biba out

924
00:51:10,880 --> 00:51:13,200
Speaker 4: to the island and show her that his alien robot

925
00:51:13,360 --> 00:51:16,680
Speaker 4: characters have physically manifested and come to life, which is

926
00:51:16,719 --> 00:51:19,800
Speaker 4: the perfect way to save any relationship that's on the rocks.

927
00:51:20,200 --> 00:51:21,920
Speaker 1: That's right, totally the right move.

928
00:51:22,920 --> 00:51:25,200
Speaker 4: So they go out, they explore the island. They see

929
00:51:25,200 --> 00:51:29,000
Speaker 4: the giant glowing blue Christmas ornament going inside a cave.

930
00:51:29,040 --> 00:51:30,960
Speaker 4: And you know what, I'm surprised here because what I

931
00:51:31,040 --> 00:51:33,279
Speaker 4: expected to happen would be that he could see them

932
00:51:33,280 --> 00:51:35,719
Speaker 4: and she couldn't, you know. That seems like what would

933
00:51:35,760 --> 00:51:38,680
Speaker 4: happen in another movie. But no, she immediately sees it too,

934
00:51:38,800 --> 00:51:41,920
Speaker 4: and so it's like totally physically externally real for her

935
00:51:41,960 --> 00:51:46,120
Speaker 4: as well. And she sees Andra and Targo and Ulu

936
00:51:46,400 --> 00:51:49,920
Speaker 4: and they are having quote an anatomy class where they

937
00:51:49,960 --> 00:51:53,760
Speaker 4: have captured a guard from the resort on the island

938
00:51:53,840 --> 00:51:56,480
Speaker 4: and they are dissecting him and removing his heart.

939
00:51:57,640 --> 00:52:00,520
Speaker 1: Yes, which then this scene I have to stretch. It

940
00:52:00,600 --> 00:52:03,360
Speaker 1: is not anywhere near as graphic as that may sound,

941
00:52:03,800 --> 00:52:07,000
Speaker 1: but it is like one hundred percent weirder than we

942
00:52:07,040 --> 00:52:09,719
Speaker 1: made it sound, too, because it's like floating and they've

943
00:52:09,760 --> 00:52:13,840
Speaker 1: like bloodlessly removed his heart and he's and also the

944
00:52:14,120 --> 00:52:16,680
Speaker 1: guard is seemingly like a wake during the whole process.

945
00:52:16,680 --> 00:52:19,880
Speaker 1: He just kind of like, uh, and it's wonderful.

946
00:52:20,600 --> 00:52:24,680
Speaker 4: So Robert then sees the blue sphere floating around and

947
00:52:24,719 --> 00:52:26,480
Speaker 4: he's like, I'm going to touch it. I want to

948
00:52:26,480 --> 00:52:29,240
Speaker 4: touch the blue sphere, so he reaches out, he touches

949
00:52:29,280 --> 00:52:33,560
Speaker 4: it and this destroys it. It like it explodes and disappears,

950
00:52:33,920 --> 00:52:36,840
Speaker 4: and then Andra is furious with him. She says, you know,

951
00:52:36,920 --> 00:52:39,319
Speaker 4: this is our ship. How are we going to get

952
00:52:39,320 --> 00:52:42,279
Speaker 4: home now? But she has a solution. She says, in

953
00:52:42,320 --> 00:52:44,680
Speaker 4: situations like this, the only thing to do is to

954
00:52:44,719 --> 00:52:48,840
Speaker 4: go back in time. So Andra opens up her torso

955
00:52:49,000 --> 00:52:52,799
Speaker 4: and shows us her mechanical guts and then winds back

956
00:52:52,880 --> 00:52:56,080
Speaker 4: the clock to the time before Robert touched the ship,

957
00:52:56,360 --> 00:52:58,440
Speaker 4: and this time she interrupts him before he does it.

958
00:52:59,040 --> 00:53:02,839
Speaker 1: This insight to the inner workings of Android are are

959
00:53:02,960 --> 00:53:07,399
Speaker 1: very well done as well. It's varies glowing and mechanical,

960
00:53:07,880 --> 00:53:11,240
Speaker 1: and in a later scene we see I believe Robert

961
00:53:11,360 --> 00:53:14,239
Speaker 1: like look through from the other side, which reminded me

962
00:53:14,320 --> 00:53:16,760
Speaker 1: specifically of a scene in Tobor the Great.

963
00:53:17,200 --> 00:53:17,439
Speaker 4: Yes.

964
00:53:18,160 --> 00:53:20,520
Speaker 1: Yeah, So I wonder if that was inspiration or if

965
00:53:20,560 --> 00:53:22,279
Speaker 1: this was like maybe a common trope of sort of

966
00:53:22,320 --> 00:53:23,960
Speaker 1: old robot movies that inspired it.

967
00:53:24,360 --> 00:53:27,719
Speaker 4: Wow, if this movie was inspired by Towbor, that would

968
00:53:27,719 --> 00:53:28,240
Speaker 4: be something.

969
00:53:28,600 --> 00:53:28,960
Speaker 1: Why not?

970
00:53:30,400 --> 00:53:33,960
Speaker 4: That would mean two degrees of separation from the Christmas

971
00:53:34,000 --> 00:53:38,640
Speaker 4: Carol sponsored by the Magnavox Corporation to visitors from the

972
00:53:38,719 --> 00:53:39,640
Speaker 4: Arcanic Galaxy.

973
00:53:41,880 --> 00:53:44,399
Speaker 1: Now, this is a lot for Biba to take in here,

974
00:53:44,960 --> 00:53:47,960
Speaker 1: and I think we should not be shocked to see

975
00:53:47,960 --> 00:53:49,120
Speaker 1: that she freaks out a little bit.

976
00:53:49,360 --> 00:53:52,760
Speaker 4: That's right. She gets scared, tries to run away, Andrew

977
00:53:52,840 --> 00:53:55,640
Speaker 4: says she cannot escape, and then zaps her with some

978
00:53:55,719 --> 00:53:59,520
Speaker 4: kind of energy beam, which transforms Biba into a cube.

979
00:54:00,080 --> 00:54:03,800
Speaker 4: Shrinks her into a metallic cube, first, a larger I

980
00:54:03,880 --> 00:54:07,120
Speaker 4: don't know, like maybe foot cube, metallic cube with a

981
00:54:07,200 --> 00:54:10,239
Speaker 4: hand sticking out of it. And then they shrink her

982
00:54:10,280 --> 00:54:13,200
Speaker 4: into an even smaller cube that can fit into the

983
00:54:13,239 --> 00:54:14,439
Speaker 4: palm of Robert's hand.

984
00:54:14,840 --> 00:54:17,439
Speaker 1: Yes, I think one of the children initially zaps her,

985
00:54:17,680 --> 00:54:19,960
Speaker 1: and then Andre has to finish it. She says, so

986
00:54:20,120 --> 00:54:23,359
Speaker 1: you can't do that yet. Yeah, you haven't worked out

987
00:54:23,360 --> 00:54:23,719
Speaker 1: the art.

988
00:54:24,160 --> 00:54:27,480
Speaker 4: Your skill at shrinking people into metallic cubes is not

989
00:54:27,600 --> 00:54:31,320
Speaker 4: yet perfected. This is another classic way to heal a

990
00:54:31,360 --> 00:54:34,960
Speaker 4: struggling relationship. One of you at least has to temporarily

991
00:54:35,000 --> 00:54:36,240
Speaker 4: transform into a cube.

992
00:54:36,719 --> 00:54:37,239
Speaker 1: That's right.

993
00:54:38,239 --> 00:54:40,359
Speaker 4: And the aliens start talking to Robert. They're like, are

994
00:54:40,360 --> 00:54:42,600
Speaker 4: you a mammal? And he says yeah, and They're like

995
00:54:43,080 --> 00:54:47,560
Speaker 4: gross and the children marvel at the fact of how

996
00:54:47,640 --> 00:54:51,759
Speaker 4: primitive an undeveloped Robert is and the paradox that he

997
00:54:51,880 --> 00:54:55,080
Speaker 4: created them. They are the much more advanced beings with

998
00:54:55,120 --> 00:54:59,600
Speaker 4: all this technology and intelligence and everything, and they were

999
00:54:59,600 --> 00:55:02,440
Speaker 4: creating by this being that is far less complex than

1000
00:55:02,480 --> 00:55:06,440
Speaker 4: they are, which is kind of an interesting theme. Like Targo,

1001
00:55:06,719 --> 00:55:09,960
Speaker 4: as this character from a sci fi planet, knows about

1002
00:55:10,000 --> 00:55:13,680
Speaker 4: ways that he could have been imagined that Robert doesn't

1003
00:55:13,680 --> 00:55:16,440
Speaker 4: know about. So Targo is like, if our creator had

1004
00:55:16,440 --> 00:55:19,160
Speaker 4: been more advanced, we could have had para lasers in

1005
00:55:19,239 --> 00:55:22,960
Speaker 4: our eyes. They don't specify how para lasers are better

1006
00:55:23,120 --> 00:55:26,480
Speaker 4: or more advanced than the regular eye lasers Targo already has,

1007
00:55:26,600 --> 00:55:31,160
Speaker 4: but that's to be understood. And so the kids are

1008
00:55:31,239 --> 00:55:33,360
Speaker 4: kind of like, they're kind of bummed out. They're like,

1009
00:55:33,719 --> 00:55:37,280
Speaker 4: if only Robert had been from a more advanced planet,

1010
00:55:37,560 --> 00:55:41,080
Speaker 4: then we could have been imagined with more advanced capabilities

1011
00:55:41,120 --> 00:55:41,640
Speaker 4: of our own.

1012
00:55:42,520 --> 00:55:45,759
Speaker 1: Yeah, and Targo, I think, still has a grudge about

1013
00:55:45,760 --> 00:55:49,280
Speaker 1: the whole attempted pruning from the Fantastic narrative.

1014
00:55:49,920 --> 00:55:52,560
Speaker 4: That's right, Targo never really gets over it. He's got

1015
00:55:52,560 --> 00:55:54,120
Speaker 4: to chip on his shoulder. The whole time.

1016
00:55:54,560 --> 00:55:57,880
Speaker 1: Yeah, you tried to cut me from the story, and

1017
00:55:57,960 --> 00:55:58,719
Speaker 1: I refuse to go.

1018
00:55:59,480 --> 00:56:03,000
Speaker 4: But and is more interested in what Robert has imagined

1019
00:56:03,040 --> 00:56:05,440
Speaker 4: for their future. She's like, what's in the next chapter

1020
00:56:05,480 --> 00:56:08,200
Speaker 4: of the story. And Robert doesn't really have an answer

1021
00:56:08,200 --> 00:56:10,800
Speaker 4: for that, because you know, he's not he's not really

1022
00:56:10,800 --> 00:56:14,120
Speaker 4: into the details the plot mechanics. He's a big ideas guy.

1023
00:56:14,560 --> 00:56:15,719
Speaker 1: Yeah.

1024
00:56:15,960 --> 00:56:19,319
Speaker 4: Oh. But then in one of the funniest scenes in

1025
00:56:19,360 --> 00:56:22,480
Speaker 4: the movie, even though it does involve corporal punishment of children,

1026
00:56:22,840 --> 00:56:26,120
Speaker 4: not usually funny, but funny in this case, Andra disciplines

1027
00:56:26,160 --> 00:56:29,600
Speaker 4: the children after they eye laser her fingers off, so

1028
00:56:29,920 --> 00:56:34,000
Speaker 4: I think Targo shoots her fingers off with beams of

1029
00:56:34,080 --> 00:56:37,480
Speaker 4: light from his eyes, and then she whips the children

1030
00:56:37,560 --> 00:56:38,520
Speaker 4: with a lightsaber.

1031
00:56:38,920 --> 00:56:41,479
Speaker 1: Yeah, she grows the missing finger back and then yeah,

1032
00:56:41,719 --> 00:56:44,440
Speaker 1: one of her fingers extends into a lightsaber and you're like, oh,

1033
00:56:44,440 --> 00:56:47,440
Speaker 1: what's gonna happen next? Just she starts spanking the knuckles,

1034
00:56:47,520 --> 00:56:50,000
Speaker 1: lashing the knuckles of the children and they're like ou ow,

1035
00:56:50,560 --> 00:56:53,960
Speaker 1: which again, normally maybe wouldn't be funny, but in this

1036
00:56:54,080 --> 00:56:55,320
Speaker 1: scene is hilarious.

1037
00:56:55,760 --> 00:56:56,080
Speaker 4: Yeah.

1038
00:56:56,160 --> 00:56:56,399
Speaker 1: Great.

1039
00:56:57,080 --> 00:57:00,360
Speaker 4: So back on Land, Robert has to explain to Beba's

1040
00:57:00,360 --> 00:57:03,680
Speaker 4: that she's been transformed into a cube, and Beba's sister

1041
00:57:04,200 --> 00:57:06,520
Speaker 4: she doesn't like. She gets mad, she knocks the cube

1042
00:57:06,560 --> 00:57:08,480
Speaker 4: into the water and then he's like, oh.

1043
00:57:08,320 --> 00:57:09,640
Speaker 1: No, she's down to the water.

1044
00:57:10,200 --> 00:57:12,640
Speaker 4: So they have to get a diver to find the cube,

1045
00:57:13,239 --> 00:57:14,160
Speaker 4: and they taste great.

1046
00:57:14,200 --> 00:57:17,520
Speaker 1: Because Beba's sister too, it's like, she doesn't outright say

1047
00:57:17,680 --> 00:57:21,040
Speaker 1: I think he killed my sister, but it's heavily implied,

1048
00:57:21,200 --> 00:57:24,320
Speaker 1: like what on earth has happened here? But then he

1049
00:57:24,400 --> 00:57:26,560
Speaker 1: keeps going on about this cube and she's like, okay,

1050
00:57:26,600 --> 00:57:28,240
Speaker 1: I guess I'll listen to him.

1051
00:57:28,600 --> 00:57:31,360
Speaker 4: Yes, And then but well, actually, Biba's got multiple sisters,

1052
00:57:31,400 --> 00:57:34,040
Speaker 4: so Biba's I think her older sister is the one

1053
00:57:34,080 --> 00:57:37,160
Speaker 4: who's skeptical. Biba's little sister seems to believe it, but

1054
00:57:37,240 --> 00:57:39,040
Speaker 4: she's like, okay, we got to cut the cube open

1055
00:57:39,120 --> 00:57:41,920
Speaker 4: to get her out, but Robert has to explain no, no, no,

1056
00:57:41,960 --> 00:57:44,480
Speaker 4: she's not in the cube. She is the cube, so

1057
00:57:44,520 --> 00:57:49,120
Speaker 4: you can't cut it. Eventually, the cube spontaneously transforms back

1058
00:57:49,160 --> 00:57:50,480
Speaker 4: into Beba, proving him right.

1059
00:57:51,080 --> 00:57:54,720
Speaker 1: Yeah, and I think the children or Andre had said

1060
00:57:54,760 --> 00:57:57,040
Speaker 1: that it was only temporary, so it's well timed. Before

1061
00:57:57,040 --> 00:57:59,600
Speaker 1: anyone could freak out any longer, or anyone could be

1062
00:57:59,800 --> 00:58:00,680
Speaker 1: char with murder.

1063
00:58:01,160 --> 00:58:03,320
Speaker 4: Now, if you thought things were weird so far, it

1064
00:58:03,400 --> 00:58:06,760
Speaker 4: is going to get so much stranger. On the island,

1065
00:58:06,960 --> 00:58:11,120
Speaker 4: there's a sequence of events where like a tourist child, no, no, no,

1066
00:58:11,200 --> 00:58:15,920
Speaker 4: the child of the cook in the resort there, finds

1067
00:58:16,520 --> 00:58:20,840
Speaker 4: the severed andra finger, so like the severed alien robot finger,

1068
00:58:21,360 --> 00:58:25,040
Speaker 4: and takes it into the restaurant kitchen at the resort

1069
00:58:25,280 --> 00:58:27,680
Speaker 4: and is like, Dad, look a finger, and he's holding

1070
00:58:27,720 --> 00:58:30,480
Speaker 4: it right there next to a meat grinder, and all

1071
00:58:30,480 --> 00:58:34,000
Speaker 4: these tourists come into the kitchen, including photo Tony who's

1072
00:58:34,000 --> 00:58:36,960
Speaker 4: standing there with his camera, and they're all watching as

1073
00:58:37,000 --> 00:58:41,040
Speaker 4: they're holding this finger over the meat grinder. The finger

1074
00:58:41,120 --> 00:58:43,880
Speaker 4: falls in, it gets ground up with the other meat,

1075
00:58:43,920 --> 00:58:45,760
Speaker 4: which they do. They do explain what the meat is

1076
00:58:45,760 --> 00:58:47,160
Speaker 4: going to be used for. It's going to be to

1077
00:58:47,200 --> 00:58:52,200
Speaker 4: make stuffed peppers. And then the finger gets ground into

1078
00:58:52,240 --> 00:58:55,320
Speaker 4: a metallic powder. And there is a large man with

1079
00:58:55,400 --> 00:58:58,040
Speaker 4: a red beard who just keeps appearing and sort of

1080
00:58:58,080 --> 00:59:01,320
Speaker 4: like issuing authoritative state. I don't know who this guy

1081
00:59:01,400 --> 00:59:03,120
Speaker 4: is or where he comes from, the big guy with

1082
00:59:03,160 --> 00:59:06,840
Speaker 4: the beard, and he just looks at the bowl of

1083
00:59:07,080 --> 00:59:09,600
Speaker 4: ground meat. He says, that's not a human finger.

1084
00:59:10,320 --> 00:59:13,000
Speaker 1: This guy, I think must I think he's the town crackpot.

1085
00:59:13,480 --> 00:59:16,480
Speaker 1: I think we glimpse him earlier in the sci fi bookstore.

1086
00:59:16,560 --> 00:59:20,280
Speaker 1: I'm not sure. Oh, and I think the actor who

1087
00:59:20,280 --> 00:59:23,760
Speaker 1: plays him who I looked him up and he's rather tall.

1088
00:59:23,800 --> 00:59:27,480
Speaker 1: I think he plays Frankenstein in the Transylvania film we

1089
00:59:27,480 --> 00:59:28,600
Speaker 1: were talking about earlier.

1090
00:59:28,720 --> 00:59:29,680
Speaker 4: Oh that's funny.

1091
00:59:30,000 --> 00:59:32,840
Speaker 1: Yeah, but it's like he's the town crackpot and now

1092
00:59:32,880 --> 00:59:35,160
Speaker 1: it is his time to shine. And I love how

1093
00:59:35,160 --> 00:59:38,120
Speaker 1: people start listening to him. Yeah.

1094
00:59:38,160 --> 00:59:40,000
Speaker 4: Wait a minute, when you say he played he plays

1095
00:59:40,040 --> 00:59:41,840
Speaker 4: Victor Frankenstein. He plays the creature.

1096
00:59:42,200 --> 00:59:44,960
Speaker 1: Oh, well, you know Frankenstein, the monster.

1097
00:59:45,080 --> 00:59:47,040
Speaker 4: Yes, oh, okay, I'm not trying to be pedantic. I

1098
00:59:47,120 --> 00:59:48,880
Speaker 4: just didn't know for sure.

1099
00:59:49,400 --> 00:59:54,120
Speaker 1: Is Victor Frankenstein in They had Begley Junior translvant idea.

1100
00:59:54,240 --> 00:59:55,040
Speaker 4: I don't remember.

1101
00:59:56,080 --> 00:59:58,440
Speaker 1: There's some sort of Frankenstein's monster in it. And I

1102
00:59:58,520 --> 01:00:00,800
Speaker 1: believe this is the gentleman who so plays.

1103
01:00:01,480 --> 01:00:04,200
Speaker 4: So everybody on this island. Now it's full of tourists.

1104
01:00:04,200 --> 01:00:05,840
Speaker 4: They all been hanging out of the beach, and I

1105
01:00:05,880 --> 01:00:07,880
Speaker 4: guess they're bored and they want to see aliens. Now

1106
01:00:07,920 --> 01:00:09,920
Speaker 4: they're like, all right, that wasn't a human finger, so

1107
01:00:09,960 --> 01:00:12,200
Speaker 4: there must be aliens on the island. So they start

1108
01:00:12,560 --> 01:00:15,680
Speaker 4: like running all around trying to find the aliens. There

1109
01:00:15,680 --> 01:00:18,760
Speaker 4: are dudes in wetsuits with spear guns who say they're

1110
01:00:18,800 --> 01:00:21,560
Speaker 4: gonna hunt the aliens, and they go to the cave

1111
01:00:21,760 --> 01:00:25,280
Speaker 4: where the aliens are hanging out and shoot spear guns

1112
01:00:25,320 --> 01:00:28,400
Speaker 4: at them. And there's like a laser battle where the

1113
01:00:28,480 --> 01:00:31,800
Speaker 4: aliens are shooting you know, cyclops I beams at them

1114
01:00:32,160 --> 01:00:34,880
Speaker 4: and Ulu Zap's one of the spear gun men on

1115
01:00:34,960 --> 01:00:36,160
Speaker 4: the butt with a laser.

1116
01:00:36,720 --> 01:00:38,520
Speaker 1: Oh. This seems great because it's like they're trying to

1117
01:00:38,520 --> 01:00:40,920
Speaker 1: make this aquatic landing. It's like the battle of the

1118
01:00:41,320 --> 01:00:44,560
Speaker 1: the Alien cave, and the I beams are just causing

1119
01:00:44,760 --> 01:00:47,760
Speaker 1: enormous explosions in the water, which I guess it's due

1120
01:00:47,760 --> 01:00:50,920
Speaker 1: to like like the rapid thermal heating of the of

1121
01:00:50,960 --> 01:00:55,040
Speaker 1: the water. That probably, Yeah, the effect is explosives in

1122
01:00:55,080 --> 01:00:57,920
Speaker 1: the water. But it's great. It's like, wow, it's like

1123
01:00:57,960 --> 01:01:00,680
Speaker 1: this is this is it. It's like the children are

1124
01:01:00,840 --> 01:01:04,000
Speaker 1: artillery in a battle. It's wonderful.

1125
01:01:04,240 --> 01:01:08,080
Speaker 4: Yeah, And so this causes tourists from the beach. Now

1126
01:01:08,160 --> 01:01:10,320
Speaker 4: they know the aliens are in the caves, so like

1127
01:01:10,480 --> 01:01:14,600
Speaker 4: hundreds of tourists flood into the caves to find the aliens.

1128
01:01:15,080 --> 01:01:16,920
Speaker 4: And I don't even know where this comes from. A

1129
01:01:16,920 --> 01:01:18,960
Speaker 4: bunch of them start yelling and they're like, come out

1130
01:01:18,960 --> 01:01:21,520
Speaker 4: and meet us, and they decide to get naked to

1131
01:01:21,640 --> 01:01:24,120
Speaker 4: prove to the aliens they are harmless. So a bunch

1132
01:01:24,200 --> 01:01:26,480
Speaker 4: of the tourists just like take all their clothes off,

1133
01:01:26,520 --> 01:01:29,600
Speaker 4: except they still got shoes on, and they're running around

1134
01:01:29,680 --> 01:01:32,840
Speaker 4: in the cave naked but with shoes. And then the

1135
01:01:33,200 --> 01:01:35,040
Speaker 4: big guy with the beard is there and he's like,

1136
01:01:35,080 --> 01:01:37,200
Speaker 4: if you see them, don't make any sudden moves.

1137
01:01:37,760 --> 01:01:41,120
Speaker 1: Yes, they adn't say something about just smile, just smile

1138
01:01:41,440 --> 01:01:45,240
Speaker 1: and look peaceful or something. Yeah, I love this. Barker

1139
01:01:45,360 --> 01:01:48,760
Speaker 1: in her notes points out that it's like this inversion

1140
01:01:48,840 --> 01:01:53,400
Speaker 1: of the Frankenstein scenario where the villagers instead of grabbing

1141
01:01:53,440 --> 01:01:55,520
Speaker 1: pitchforks and going up there and like let's get him.

1142
01:01:55,680 --> 01:01:57,840
Speaker 1: Though I guess we do see that initially with the

1143
01:01:57,880 --> 01:02:00,800
Speaker 1: first phase of the assault, but here with the villagers,

1144
01:02:01,040 --> 01:02:03,040
Speaker 1: it's more of like, no, let's just take all our

1145
01:02:03,040 --> 01:02:05,560
Speaker 1: clothes off. So they know that we're we're just soft

1146
01:02:05,600 --> 01:02:08,320
Speaker 1: and harmless. Yeah, and we don't wish them any harm,

1147
01:02:08,520 --> 01:02:11,200
Speaker 1: though we are still rapidly invading their space.

1148
01:02:11,400 --> 01:02:14,560
Speaker 4: Yeah, maximum disarmament of just getting completely naked.

1149
01:02:15,080 --> 01:02:16,680
Speaker 1: Yeah.

1150
01:02:16,720 --> 01:02:18,320
Speaker 4: But they go looking around in the caves, they don't

1151
01:02:18,360 --> 01:02:20,760
Speaker 4: find him. It's like, where are they? It turns out

1152
01:02:20,800 --> 01:02:22,920
Speaker 4: the aliens have moved into Robert's apartment.

1153
01:02:23,200 --> 01:02:24,120
Speaker 1: So he comes.

1154
01:02:24,360 --> 01:02:28,160
Speaker 4: Yeah, Robert comes home and he finds Andra operating her

1155
01:02:28,200 --> 01:02:31,520
Speaker 4: own hand as a magical vacuum cleaner on the floors

1156
01:02:31,560 --> 01:02:34,160
Speaker 4: and she's like vacuuming. He drops his groceries when he

1157
01:02:34,200 --> 01:02:38,360
Speaker 4: sees her, and her vacuum cleaner sucks up objects as

1158
01:02:38,440 --> 01:02:40,280
Speaker 4: large as an apple and a baguette.

1159
01:02:40,680 --> 01:02:43,800
Speaker 1: Yeah, some nice stop motion work here, And yeah, I

1160
01:02:43,840 --> 01:02:46,560
Speaker 1: love that her arm is extended into a vacuum cleaner

1161
01:02:46,840 --> 01:02:49,320
Speaker 1: and when she's done with it, like it glows and

1162
01:02:49,400 --> 01:02:51,520
Speaker 1: then shrinks back down to a normal hand again.

1163
01:02:51,880 --> 01:02:54,439
Speaker 4: So he says he's hungry, and she offers to cook

1164
01:02:54,480 --> 01:02:56,840
Speaker 4: for him. She's like, you know, what do you want?

1165
01:02:56,880 --> 01:02:58,560
Speaker 4: And he says, you know what, I would like a

1166
01:02:58,600 --> 01:03:02,560
Speaker 4: steak Pomfrey and a salad, And so she makes him

1167
01:03:02,600 --> 01:03:05,480
Speaker 4: a steak pomfreys and a salad out of her, this

1168
01:03:05,560 --> 01:03:09,000
Speaker 4: like weird magnet in her guts. But it's tiny. It's

1169
01:03:09,040 --> 01:03:12,120
Speaker 4: like a little tiny blade. It's one bite of each thing.

1170
01:03:12,520 --> 01:03:15,040
Speaker 1: It's like he says, it pills like in Santa versus

1171
01:03:15,080 --> 01:03:15,680
Speaker 1: the Martians.

1172
01:03:15,800 --> 01:03:18,480
Speaker 4: That's right. He says that it's the best beef steak

1173
01:03:18,480 --> 01:03:21,520
Speaker 4: he's ever had, but portions are kind of small, and

1174
01:03:21,560 --> 01:03:23,760
Speaker 4: she's like, no, no, no, you don't need any more

1175
01:03:23,800 --> 01:03:29,200
Speaker 4: than this. Oh, and then it just Andrew starts demanding

1176
01:03:29,240 --> 01:03:32,400
Speaker 4: that Robert touch her. She's like, touch me, and he

1177
01:03:32,520 --> 01:03:36,640
Speaker 4: wants to, but he's very afraid. And then Targo interrupts

1178
01:03:36,720 --> 01:03:39,080
Speaker 4: by he comes into the room, the kid, and he

1179
01:03:39,120 --> 01:03:41,720
Speaker 4: has his little a monster toy with him, mum mum,

1180
01:03:42,200 --> 01:03:44,680
Speaker 4: and he like makes it turn into a big monster

1181
01:03:45,120 --> 01:03:48,000
Speaker 4: and sends it after Robert. H and so for a

1182
01:03:48,040 --> 01:03:50,960
Speaker 4: moment it's menacing, but Andre shows him how to defend

1183
01:03:51,040 --> 01:03:53,800
Speaker 4: himself by pressing a button on this little remote control.

1184
01:03:54,800 --> 01:03:57,760
Speaker 1: Now we only get a really a quick look at

1185
01:03:57,760 --> 01:04:01,040
Speaker 1: the full size Mumu here, but already we can see

1186
01:04:01,080 --> 01:04:04,240
Speaker 1: that this is an incredible creation. I have to say,

1187
01:04:04,320 --> 01:04:07,280
Speaker 1: Mumu is unlike anything I've ever seen before. In a

1188
01:04:07,280 --> 01:04:10,920
Speaker 1: monster film. The basic concept I think does remind me

1189
01:04:11,000 --> 01:04:13,439
Speaker 1: a bit of what we talked about in Terror Vision,

1190
01:04:13,440 --> 01:04:16,480
Speaker 1: which of course came later, the idea that you wanted

1191
01:04:16,520 --> 01:04:20,320
Speaker 1: to create a practical effects monster that was at once

1192
01:04:21,120 --> 01:04:24,840
Speaker 1: incredibly terrifying if the context was right, but also looked

1193
01:04:24,880 --> 01:04:30,000
Speaker 1: really dumb. So Muma is an absurd monstrosity with parts

1194
01:04:30,040 --> 01:04:31,880
Speaker 1: of him seemed to be He seems to be cobbled

1195
01:04:31,880 --> 01:04:35,600
Speaker 1: together from oversized and misplaced bits of human anatomy, Like

1196
01:04:36,040 --> 01:04:38,200
Speaker 1: a lot of him, Like, he seems to have sort

1197
01:04:38,240 --> 01:04:42,840
Speaker 1: of wing like appendages or features that seem to be

1198
01:04:43,320 --> 01:04:45,800
Speaker 1: big human ears that are part of his body.

1199
01:04:46,240 --> 01:04:48,720
Speaker 4: Yeah, but they're also kind of they're kind of mouse

1200
01:04:48,760 --> 01:04:51,880
Speaker 4: ears at a distance, but they're also a curled up

1201
01:04:52,000 --> 01:04:54,400
Speaker 4: appendage making it look like a rams horn.

1202
01:04:55,320 --> 01:04:57,760
Speaker 1: Yeah. Oh oh you're talking about on his head. Yeah,

1203
01:04:57,800 --> 01:04:58,080
Speaker 1: he does.

1204
01:04:58,360 --> 01:05:00,360
Speaker 4: I'm sorry, I'm sorry, I miss you.

1205
01:05:00,360 --> 01:05:03,240
Speaker 1: Then no, yeah, because on his head he has these

1206
01:05:03,280 --> 01:05:05,760
Speaker 1: things that are like ears or horns, but are also

1207
01:05:05,840 --> 01:05:10,000
Speaker 1: like tentacles. But then on his torso it's like he

1208
01:05:10,040 --> 01:05:13,960
Speaker 1: has giant human ear low part of him.

1209
01:05:14,160 --> 01:05:16,440
Speaker 4: Yeah, So if you're right, it's really weird, like the

1210
01:05:16,480 --> 01:05:19,280
Speaker 4: outer fleshy part of a of a human ear on

1211
01:05:19,560 --> 01:05:21,560
Speaker 4: as as wings almost.

1212
01:05:21,640 --> 01:05:25,360
Speaker 1: Yeah, and yeah, we'll see a lot more from Mumu.

1213
01:05:26,200 --> 01:05:29,919
Speaker 1: And there's never any wasteed see with Mummum's terrific. It's

1214
01:05:30,080 --> 01:05:33,680
Speaker 1: because it's either you're getting like a bumbling rubber monster

1215
01:05:33,800 --> 01:05:36,160
Speaker 1: suit kind of an effect and in all the best ways,

1216
01:05:37,040 --> 01:05:38,800
Speaker 1: and it's you know, it certainly allows you to lean

1217
01:05:38,840 --> 01:05:41,880
Speaker 1: into the comedy and the absurdity, but also he's like

1218
01:05:42,000 --> 01:05:46,000
Speaker 1: legitimately terrifying in scenes as well, especially given the context

1219
01:05:46,080 --> 01:05:48,800
Speaker 1: of the film and the sort of thematic ambiguity of

1220
01:05:48,840 --> 01:05:51,560
Speaker 1: the film, where at least for me anyway watching it

1221
01:05:51,640 --> 01:05:53,720
Speaker 1: as someone who's you know, not there as part of

1222
01:05:53,760 --> 01:05:57,560
Speaker 1: its original time period and original release audience, like I

1223
01:05:57,680 --> 01:05:59,560
Speaker 1: don't know what's going to happen. I don't know what

1224
01:05:59,600 --> 01:06:02,200
Speaker 1: to expect to this movie, and therefore the monster's a

1225
01:06:02,200 --> 01:06:03,600
Speaker 1: little more dangerous because of it.

1226
01:06:04,080 --> 01:06:06,360
Speaker 4: Yeah, you know what, I would actually compare it to though,

1227
01:06:06,600 --> 01:06:10,360
Speaker 4: this design is one hundred times weirder and more interesting

1228
01:06:10,400 --> 01:06:14,640
Speaker 4: and better. But it has a similar dual nature and

1229
01:06:14,720 --> 01:06:17,040
Speaker 4: appearance to Trumpy from Pod People.

1230
01:06:17,560 --> 01:06:25,040
Speaker 1: Yeah, yeah, yeah, similar morphology. This is like the nightmare version,

1231
01:06:25,160 --> 01:06:27,960
Speaker 1: like the extra nightmare version of it, and of course

1232
01:06:28,040 --> 01:06:31,480
Speaker 1: later on we see stop motion and puppetry effects added

1233
01:06:32,120 --> 01:06:35,800
Speaker 1: into the overall moomoo effect and it just works wonderfully.

1234
01:06:44,000 --> 01:06:46,720
Speaker 4: All right. So after this next thing that happens is

1235
01:06:46,800 --> 01:06:50,480
Speaker 4: Biba comes home to Robert's apartment only to catch Robert

1236
01:06:50,560 --> 01:06:55,040
Speaker 4: caressing Andra, the alien android, and Biba is very angry

1237
01:06:55,080 --> 01:06:58,240
Speaker 4: about this. Robert tries to defend himself by saying, but Biba,

1238
01:06:58,800 --> 01:07:01,400
Speaker 4: every part of her body makes a different beeping noise

1239
01:07:01,440 --> 01:07:04,920
Speaker 4: when you touch it. She is perfection. And Biba is

1240
01:07:04,960 --> 01:07:07,680
Speaker 4: not swayed by this, like this doesn't make her less angry.

1241
01:07:08,800 --> 01:07:11,320
Speaker 1: Yeah, And this scene is great because on the one hand,

1242
01:07:11,360 --> 01:07:13,080
Speaker 1: this is very much a trope, you know, the whole

1243
01:07:13,440 --> 01:07:15,960
Speaker 1: you know, one character catches the other two in the

1244
01:07:16,000 --> 01:07:19,960
Speaker 1: act and there's a confrontation. But it's all the more

1245
01:07:20,040 --> 01:07:21,960
Speaker 1: ridiculous here. It's not even the first time this has

1246
01:07:22,000 --> 01:07:23,840
Speaker 1: been done with a human in a robot being caught

1247
01:07:23,840 --> 01:07:27,880
Speaker 1: by another human, or the last time. But it's just

1248
01:07:28,400 --> 01:07:30,840
Speaker 1: it has such absurdity to it, like the whole, like,

1249
01:07:30,840 --> 01:07:32,960
Speaker 1: like her body makes a different beep you know, wherever

1250
01:07:33,000 --> 01:07:35,720
Speaker 1: you touch it, and Biba's like, I bet it dies.

1251
01:07:39,280 --> 01:07:43,160
Speaker 4: Yeah, So Biba gets very angry, she directs a lot

1252
01:07:43,160 --> 01:07:46,240
Speaker 4: of her anger at Andra. She calls her an erotic

1253
01:07:46,320 --> 01:07:50,080
Speaker 4: bucket of bolts and compares her to a laundry machine.

1254
01:07:50,960 --> 01:07:53,560
Speaker 4: And then at one point, Andra shocks Biba with blue

1255
01:07:53,640 --> 01:07:55,880
Speaker 4: light to like, I don't know, I guess, in reaction

1256
01:07:55,960 --> 01:07:59,640
Speaker 4: to her touching her, and Biba then begs Robert to

1257
01:07:59,680 --> 01:08:02,520
Speaker 4: send them back to the Arcana galaxy. She says, make

1258
01:08:02,520 --> 01:08:04,960
Speaker 4: them go away forever if she's like, if you love me,

1259
01:08:05,080 --> 01:08:08,800
Speaker 4: make them disappear. And he tries. He you know, he

1260
01:08:08,880 --> 01:08:11,040
Speaker 4: cares about Biba, so he does want to do that.

1261
01:08:11,120 --> 01:08:14,200
Speaker 4: He tries to make them disappear, but he is unable to.

1262
01:08:14,320 --> 01:08:16,559
Speaker 4: He doesn't know how to get rid of them. Mentally,

1263
01:08:16,720 --> 01:08:20,640
Speaker 4: They're just stuck here now. Yeah, so Biba storms out

1264
01:08:20,880 --> 01:08:26,559
Speaker 4: and somehow, I think, does Targo put the mumoo doll

1265
01:08:26,840 --> 01:08:29,400
Speaker 4: in Biba's purse? Is that what happens?

1266
01:08:29,880 --> 01:08:32,519
Speaker 1: Yeah, he does, that, mean spirited little scamp. He puts

1267
01:08:32,520 --> 01:08:34,840
Speaker 1: that moumou doll right into her purse.

1268
01:08:35,760 --> 01:08:38,639
Speaker 4: And so she goes back to her family's house where

1269
01:08:38,680 --> 01:08:40,800
Speaker 4: I think she was coming to get Robert to go

1270
01:08:40,880 --> 01:08:44,000
Speaker 4: to her sister's weddings. So the wedding celebration is going on.

1271
01:08:45,200 --> 01:08:47,320
Speaker 4: I don't know if it's like a rehearsal dinner the

1272
01:08:47,400 --> 01:08:49,240
Speaker 4: night before or if it's the wedding itself. I don't know.

1273
01:08:49,280 --> 01:08:51,160
Speaker 4: There are a bunch of people at the house, gathered

1274
01:08:51,200 --> 01:08:53,840
Speaker 4: for a big meal. She goes back to the house,

1275
01:08:54,080 --> 01:08:58,280
Speaker 4: takes the Mumoo doll with her, and unfortunately it transforms

1276
01:08:58,760 --> 01:09:02,360
Speaker 4: back at her family's house into its full size mode

1277
01:09:03,000 --> 01:09:07,200
Speaker 4: and just it just goes wild. It starts attacking people.

1278
01:09:07,520 --> 01:09:12,200
Speaker 4: Somebody cuts off it's like weird snout, snake tongue thing,

1279
01:09:12,360 --> 01:09:16,200
Speaker 4: anteater tongue, and it sprays green blood all over everybody,

1280
01:09:16,439 --> 01:09:19,800
Speaker 4: ruins the wedding. There is this giant scene that goes

1281
01:09:19,840 --> 01:09:23,400
Speaker 4: on forever of Mumu, just like attacking the wedding and

1282
01:09:23,520 --> 01:09:28,400
Speaker 4: ruining the feast and like shooting weird tentacles everywhere and

1283
01:09:28,439 --> 01:09:31,479
Speaker 4: maybe being defeated, like oh, Dad gets it, like shoots

1284
01:09:31,479 --> 01:09:33,479
Speaker 4: the monster and then it falls down, but then it

1285
01:09:33,520 --> 01:09:36,400
Speaker 4: gets back up. And then the professor is there at

1286
01:09:36,400 --> 01:09:38,320
Speaker 4: the wedding for some reason, and he's like, you are

1287
01:09:38,360 --> 01:09:41,720
Speaker 4: witnesses to the first ever visitor from another galaxy, and

1288
01:09:41,760 --> 01:09:43,920
Speaker 4: he goes and tries to touch the thing. No, this

1289
01:09:44,160 --> 01:09:46,679
Speaker 4: he later goes and tries to touch it after he decides

1290
01:09:46,720 --> 01:09:50,120
Speaker 4: instead that it's a collective hallucination, and it bites his

1291
01:09:50,240 --> 01:09:53,920
Speaker 4: hand off. It twists the grandpa's head off. This other

1292
01:09:53,960 --> 01:09:59,200
Speaker 4: grandpa is playing accordion wedding music the entire time. It

1293
01:09:59,360 --> 01:10:03,800
Speaker 4: like hacks some family member with this puff of green gash.

1294
01:10:04,120 --> 01:10:07,040
Speaker 4: And then at the end, the monster's alf trunk turns

1295
01:10:07,120 --> 01:10:09,920
Speaker 4: into a flame thrower and it's just like torching everything

1296
01:10:10,479 --> 01:10:13,760
Speaker 4: and like spits out a glowing hot fork into a

1297
01:10:13,800 --> 01:10:16,280
Speaker 4: slice of cake and the cake hisses, which is a

1298
01:10:16,360 --> 01:10:16,920
Speaker 4: nice touch.

1299
01:10:17,600 --> 01:10:19,519
Speaker 1: This is a lot to try and handle. I realize,

1300
01:10:19,560 --> 01:10:21,840
Speaker 1: especially if you haven't if you haven't seen the film

1301
01:10:21,840 --> 01:10:23,960
Speaker 1: and you're just hearing all this, because it's like, on

1302
01:10:23,960 --> 01:10:27,360
Speaker 1: one hand, like the flame thrower is terrifying. It's like

1303
01:10:28,600 --> 01:10:32,360
Speaker 1: a lot of these fire effects more nowadays than ever.

1304
01:10:32,560 --> 01:10:34,760
Speaker 1: I'm just like, oh my god, it's just terrifying. It's

1305
01:10:34,800 --> 01:10:38,519
Speaker 1: real flame. This is not a computer effect. The head

1306
01:10:38,600 --> 01:10:40,519
Speaker 1: ripping off, and I think a leg gets ripped off

1307
01:10:40,560 --> 01:10:44,160
Speaker 1: as well. These are not bloody scenes. It's more of

1308
01:10:44,240 --> 01:10:51,520
Speaker 1: like a surrealistic, like absurd dismembering where he pulls people apart,

1309
01:10:51,560 --> 01:10:54,479
Speaker 1: like their dolls, like when he pulls the head off

1310
01:10:54,520 --> 01:10:57,120
Speaker 1: and he throws it lands in the punch bowl, and

1311
01:10:57,160 --> 01:10:59,080
Speaker 1: then in there in the poet punch bowl, the head

1312
01:10:59,120 --> 01:11:01,439
Speaker 1: is bobbing around and still speaking.

1313
01:11:01,640 --> 01:11:03,120
Speaker 4: Yeah, it keeps talking. Yeah.

1314
01:11:03,479 --> 01:11:06,120
Speaker 1: And the effect they did on that is great.

1315
01:11:06,360 --> 01:11:09,880
Speaker 4: There's a cartoonishness, a kind of non reality to it.

1316
01:11:10,680 --> 01:11:14,080
Speaker 4: And Robert arrives just in time to save Biba by

1317
01:11:14,120 --> 01:11:16,960
Speaker 4: pressing the button on the remote to make the monster disappear.

1318
01:11:17,280 --> 01:11:19,280
Speaker 1: Oh wait, before the monster disappears, I also have to

1319
01:11:19,320 --> 01:11:24,040
Speaker 1: mention this is pure synchronicity, but the monster also manifests

1320
01:11:24,080 --> 01:11:26,160
Speaker 1: a belly mouth and nipple eyes.

1321
01:11:26,720 --> 01:11:29,040
Speaker 4: Yes, yeah, yeah, yeah, which.

1322
01:11:28,880 --> 01:11:31,880
Speaker 1: We just finished talking about on our core stuff to

1323
01:11:31,920 --> 01:11:35,160
Speaker 1: blow your mind episodes. But yes, swank Meyer didn't hold back.

1324
01:11:35,280 --> 01:11:41,280
Speaker 1: This monster Mumu is just a buffet of just absurd monstrosity.

1325
01:11:41,680 --> 01:11:44,640
Speaker 4: So Robert goes back and complains to Andra. He's like,

1326
01:11:44,840 --> 01:11:49,400
Speaker 4: this monster from your planet attacked Biba's family's wedding guests,

1327
01:11:49,880 --> 01:11:52,280
Speaker 4: and Andrew says, you can't be mad at a toy.

1328
01:11:52,479 --> 01:11:56,360
Speaker 4: She's like weirdly unsympathetic at first, but then she says,

1329
01:11:56,400 --> 01:11:58,080
Speaker 4: you know what, we can go back in time and

1330
01:11:58,120 --> 01:12:02,120
Speaker 4: fix it, so she rewinds the clock on reality goes

1331
01:12:02,160 --> 01:12:05,760
Speaker 4: back to before Biba walked in on them earlier. And

1332
01:12:05,840 --> 01:12:08,080
Speaker 4: so now Biba comes into the apartment and does not

1333
01:12:08,200 --> 01:12:12,240
Speaker 4: find Robert caressing Andra, but instead she finds the blue

1334
01:12:12,240 --> 01:12:19,960
Speaker 4: ball floating around the apartment the alien spaceship, and from here, Andra, Targo, Ulu, Mumu,

1335
01:12:20,200 --> 01:12:24,320
Speaker 4: and Robert all fly away together in the spaceship into

1336
01:12:24,320 --> 01:12:27,920
Speaker 4: space to go back to the Arcanic Galaxy. And then

1337
01:12:28,080 --> 01:12:32,439
Speaker 4: there's an interesting twist in space. He's like sitting there

1338
01:12:32,479 --> 01:12:34,719
Speaker 4: sort of at a desk, kid, just floating in space.

1339
01:12:34,800 --> 01:12:37,839
Speaker 4: It's like their spaceship doesn't have really like a metal

1340
01:12:37,920 --> 01:12:40,719
Speaker 4: interior hull. It's just like they're floating through the stars.

1341
01:12:41,280 --> 01:12:44,720
Speaker 4: And he's sitting at his desk and Andra comes up

1342
01:12:44,760 --> 01:12:47,400
Speaker 4: to him and says, your coffee's on the table, which

1343
01:12:47,439 --> 01:12:50,759
Speaker 4: is what Biba said to him at the very beginning

1344
01:12:50,760 --> 01:12:53,920
Speaker 4: of the movie when interrupting his writing and not letting

1345
01:12:54,280 --> 01:12:56,880
Speaker 4: him concentrate. So it kind of makes you wonder that

1346
01:12:57,000 --> 01:12:59,559
Speaker 4: like in a way, he's like, oh, have I been

1347
01:12:59,640 --> 01:13:02,479
Speaker 4: free from all of these distractions? Now? Can I just

1348
01:13:02,560 --> 01:13:05,720
Speaker 4: like dream and imagine forever? Because I'm floating off to

1349
01:13:05,760 --> 01:13:09,240
Speaker 4: this other galaxy with my alien friends. Maybe not really,

1350
01:13:09,360 --> 01:13:11,400
Speaker 4: maybe they're just going to keep interrupting him.

1351
01:13:11,479 --> 01:13:15,479
Speaker 1: Now, this is also a callback to when Andre pours

1352
01:13:15,520 --> 01:13:18,560
Speaker 1: in coffee to go with his meal. I don't know

1353
01:13:18,560 --> 01:13:21,080
Speaker 1: if we mentioned this or not, but she pours coffee

1354
01:13:21,120 --> 01:13:24,960
Speaker 1: out of her fingertip and then and then pours cream

1355
01:13:24,960 --> 01:13:27,439
Speaker 1: out of the other fingertip. She's just like a Swiss

1356
01:13:27,560 --> 01:13:30,200
Speaker 1: army knife of gadgets and features.

1357
01:13:30,479 --> 01:13:32,280
Speaker 4: I wonder what you made of the ending, rob Is

1358
01:13:32,640 --> 01:13:36,800
Speaker 4: it a more straightforward, sentimental, happy ending where Robert is

1359
01:13:37,160 --> 01:13:40,040
Speaker 4: finally getting to live the life of the imagination now

1360
01:13:40,040 --> 01:13:43,760
Speaker 4: that the people are back on Earth unharmed, like you know,

1361
01:13:43,800 --> 01:13:45,960
Speaker 4: they wound back the clock so the monster didn't actually

1362
01:13:46,000 --> 01:13:49,680
Speaker 4: hurt anybody. Everybody's okay, and now he just gets to

1363
01:13:49,880 --> 01:13:52,439
Speaker 4: you know, dream and imagine forever. Or is it a

1364
01:13:52,520 --> 01:13:55,919
Speaker 4: more satirical thing where it's kind of like Robert's problems

1365
01:13:55,920 --> 01:13:56,799
Speaker 4: are not solved.

1366
01:13:57,760 --> 01:14:00,360
Speaker 1: Yeah. I guess it's kind of both, right, because I

1367
01:14:00,400 --> 01:14:05,519
Speaker 1: mean it comes back to that confrontation earlier, like where

1368
01:14:05,760 --> 01:14:07,920
Speaker 1: Baba walks in and there's the you know, a big

1369
01:14:08,040 --> 01:14:12,200
Speaker 1: argument and you know, this is like like the final

1370
01:14:12,240 --> 01:14:16,439
Speaker 1: straw of your fantasy versus your reality. You have to choose,

1371
01:14:17,000 --> 01:14:19,840
Speaker 1: and of course he's he's not really able to muster

1372
01:14:20,000 --> 01:14:23,160
Speaker 1: enough will to choose, and it leads to this whole

1373
01:14:23,720 --> 01:14:27,200
Speaker 1: catastrophic set of events with Mumu the monster, rampaging and

1374
01:14:27,800 --> 01:14:31,799
Speaker 1: killing people. But then they solve it by just turning

1375
01:14:31,800 --> 01:14:36,800
Speaker 1: back the clock and removing that point of confrontation, by

1376
01:14:36,960 --> 01:14:40,040
Speaker 1: just going ahead and removing any choice from him, and

1377
01:14:40,960 --> 01:14:43,400
Speaker 1: so he just gets whisked away into that world of fantasy.

1378
01:14:43,640 --> 01:14:46,360
Speaker 1: But at the same time he seems happy. I guess

1379
01:14:46,360 --> 01:14:48,800
Speaker 1: he's happy, And I mean an argument could be made

1380
01:14:48,840 --> 01:14:52,080
Speaker 1: that everyone off else is better off without him, especially

1381
01:14:52,080 --> 01:14:55,439
Speaker 1: if he's just gonna manifest rampaging monsters if left to

1382
01:14:55,479 --> 01:14:56,240
Speaker 1: his own designs.

1383
01:14:56,920 --> 01:14:59,920
Speaker 4: I want I don't know if it's consciously getting at this,

1384
01:15:00,760 --> 01:15:02,800
Speaker 4: but I wonder if another thing is, well, these are

1385
01:15:02,840 --> 01:15:05,960
Speaker 4: the creatures that he is imagining, so in some way

1386
01:15:06,040 --> 01:15:09,400
Speaker 4: he is kind of responsible for what they do. So

1387
01:15:09,600 --> 01:15:12,439
Speaker 4: I wonder if the whole thing of her now saying

1388
01:15:13,000 --> 01:15:15,080
Speaker 4: you know, Robert, your coffee is on the table and

1389
01:15:15,160 --> 01:15:17,679
Speaker 4: interrupting him while he's trying to dream on the ship

1390
01:15:18,160 --> 01:15:21,320
Speaker 4: is a way of showing that he's like creating the

1391
01:15:21,360 --> 01:15:25,320
Speaker 4: situations where he is constantly being interrupted to sort of

1392
01:15:25,360 --> 01:15:28,599
Speaker 4: like prevent himself from ever having to follow through on

1393
01:15:28,680 --> 01:15:31,040
Speaker 4: the full creative work. You know, I think we all

1394
01:15:31,080 --> 01:15:34,800
Speaker 4: know creative people, or probably in some sense creative people

1395
01:15:34,840 --> 01:15:37,080
Speaker 4: know a part of yourself that's like this, where like

1396
01:15:37,680 --> 01:15:41,599
Speaker 4: you can you know, if you fear that you're not

1397
01:15:41,680 --> 01:15:44,040
Speaker 4: going to be able to create the thing you want

1398
01:15:44,080 --> 01:15:46,320
Speaker 4: to create in the way that you want to create it,

1399
01:15:46,400 --> 01:15:50,439
Speaker 4: you might sometimes subconsciously put obstacles in your own path

1400
01:15:50,880 --> 01:15:54,080
Speaker 4: that kind of obviate that that problem, like that prevent

1401
01:15:54,200 --> 01:15:57,559
Speaker 4: you from ever failing on your own terms.

1402
01:15:57,600 --> 01:16:00,280
Speaker 1: Honestly, Yeah, I mean, especially if you know like you have,

1403
01:16:00,360 --> 01:16:03,920
Speaker 1: you haven't sort of embraced the reality that that any

1404
01:16:03,920 --> 01:16:06,280
Speaker 1: creative endeavor is going to kind of have those two phases,

1405
01:16:06,400 --> 01:16:09,479
Speaker 1: right or more or certainly more than one phase. You're

1406
01:16:09,479 --> 01:16:12,360
Speaker 1: gonna have that initial phase of sort of free form creativity.

1407
01:16:12,720 --> 01:16:14,599
Speaker 1: But then you have to make the stuff work. You

1408
01:16:14,640 --> 01:16:17,000
Speaker 1: have to you have to to turn it into language,

1409
01:16:17,040 --> 01:16:19,000
Speaker 1: you have to turn it into cinema, you have to

1410
01:16:19,000 --> 01:16:22,000
Speaker 1: break it down into a script, et cetera. And a

1411
01:16:22,040 --> 01:16:23,479
Speaker 1: lot of times you are going to lose stuff and

1412
01:16:23,479 --> 01:16:26,160
Speaker 1: you're gonna have to like the dream is not going

1413
01:16:26,240 --> 01:16:30,760
Speaker 1: to come willingly into reality. Uh, you know, coming back

1414
01:16:30,800 --> 01:16:34,040
Speaker 1: to that, the whole idea of reality and fantasy budding

1415
01:16:34,080 --> 01:16:36,680
Speaker 1: heads Uh. And you know, Robert, I guess, is just

1416
01:16:36,880 --> 01:16:42,920
Speaker 1: fundamentally unable to to to deal with this transference. You know,

1417
01:16:42,960 --> 01:16:44,680
Speaker 1: he's not able to muster the will to control the

1418
01:16:44,720 --> 01:16:49,200
Speaker 1: fantasy or to like control its entry possible entry into

1419
01:16:49,439 --> 01:16:53,599
Speaker 1: reality in either a fantastic sense or a realistic sense,

1420
01:16:53,720 --> 01:16:54,639
Speaker 1: like writing the book.

1421
01:16:55,120 --> 01:16:57,000
Speaker 4: How much of it do you think he ever actually

1422
01:16:57,000 --> 01:17:00,240
Speaker 4: did write? We see some of a menuscript at the beginning,

1423
01:17:00,360 --> 01:17:03,280
Speaker 4: like with the dog peas on some pages. At another part,

1424
01:17:03,320 --> 01:17:05,640
Speaker 4: we see him wad up some pages and throw them

1425
01:17:05,640 --> 01:17:08,160
Speaker 4: in the trash. So he's writing something, but I never

1426
01:17:08,200 --> 01:17:10,000
Speaker 4: get the feeling that he's getting very far.

1427
01:17:10,920 --> 01:17:15,400
Speaker 1: I'm assuming he has a bunch of notes, like sort

1428
01:17:15,400 --> 01:17:18,160
Speaker 1: of D and D setting notes about characters and factions

1429
01:17:18,160 --> 01:17:21,120
Speaker 1: and planets, though again not more than four characters, because

1430
01:17:21,120 --> 01:17:25,120
Speaker 1: that's plenty. And then he probably has like five to

1431
01:17:25,160 --> 01:17:29,599
Speaker 1: ten pages that he is just constantly rewriting and tinkering with,

1432
01:17:29,680 --> 01:17:32,200
Speaker 1: but never getting much much further than five or ten pages.

1433
01:17:32,280 --> 01:17:34,599
Speaker 4: Oh my god, this dude's drawn maps, you know, what

1434
01:17:34,640 --> 01:17:36,360
Speaker 4: I mean, he's drawing maps.

1435
01:17:37,200 --> 01:17:40,840
Speaker 1: Yeah, Trugidour. That's the planet, right, Trugidoor is fully mapped,

1436
01:17:40,880 --> 01:17:43,360
Speaker 1: all the continents everything, all right?

1437
01:17:43,360 --> 01:17:44,200
Speaker 4: Should we call it there?

1438
01:17:44,600 --> 01:17:46,040
Speaker 1: Yeah, we should go and call it here. We could

1439
01:17:46,080 --> 01:17:48,439
Speaker 1: keep talking about this movie. Yeah, it's a great one.

1440
01:17:48,600 --> 01:17:51,280
Speaker 1: Highly recommend it. Check it out wherever you can get it,

1441
01:17:51,360 --> 01:17:54,320
Speaker 1: rented at video drone by it from Deaf Crocodile. Just

1442
01:17:54,360 --> 01:17:57,599
Speaker 1: see it if you can. Just a reminder that Stuff

1443
01:17:57,640 --> 01:17:59,880
Speaker 1: to Blow your Mind is primarily a science podcast, with

1444
01:18:00,000 --> 01:18:02,479
Speaker 1: more episodes on Tuesdays and Thursdays, but on Fridays we

1445
01:18:02,560 --> 01:18:04,519
Speaker 1: set aside most serious concerns to just talk about a

1446
01:18:04,520 --> 01:18:06,880
Speaker 1: weird film on Weird House Cinema. If you want to

1447
01:18:06,920 --> 01:18:08,519
Speaker 1: see a list of all the movies we've covered on

1448
01:18:08,560 --> 01:18:11,559
Speaker 1: Weird House Cinema, well, you can go to letterboxed dot com.

1449
01:18:11,560 --> 01:18:13,800
Speaker 1: It's l A T T E r boxd dot com.

1450
01:18:13,840 --> 01:18:15,320
Speaker 1: We are Weird House on there, and we have a

1451
01:18:15,320 --> 01:18:17,160
Speaker 1: list of all the movies we've covered over the years,

1452
01:18:17,360 --> 01:18:21,000
Speaker 1: sometimes a glimpse ahead at what's coming up next. I

1453
01:18:21,040 --> 01:18:23,599
Speaker 1: also blog about these films at some immutomusic dot com.

1454
01:18:24,120 --> 01:18:25,920
Speaker 1: Don't always put a lot on those blog posts, but

1455
01:18:25,960 --> 01:18:27,640
Speaker 1: on this one I'll make sure to throw in some

1456
01:18:27,680 --> 01:18:30,320
Speaker 1: of those short films and also some of the music

1457
01:18:30,439 --> 01:18:32,120
Speaker 1: so you can check those out as well as and

1458
01:18:32,160 --> 01:18:34,400
Speaker 1: also some links to where you can obtain the picture

1459
01:18:34,680 --> 01:18:35,200
Speaker 1: huge things.

1460
01:18:35,240 --> 01:18:38,519
Speaker 4: As always to our excellent audio producer Jjposway. If you

1461
01:18:38,520 --> 01:18:40,479
Speaker 4: would like to get in touch with us with feedback

1462
01:18:40,479 --> 01:18:42,840
Speaker 4: on this episode or any other, to suggest a topic

1463
01:18:42,880 --> 01:18:44,800
Speaker 4: for the future, or just to say hello, you can

1464
01:18:44,840 --> 01:18:47,559
Speaker 4: email us at contact at stuff to Blow your Mind

1465
01:18:47,640 --> 01:18:54,560
Speaker 4: dot com.

1466
01:18:54,720 --> 01:18:57,640
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1467
01:18:57,720 --> 01:19:00,559
Speaker 2: more podcasts from my Heart Radio, visit the iHeart video app,

1468
01:19:00,680 --> 01:19:03,439
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.