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

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Speaker 1: Lamb and hey, you know we're all kind of writing

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Speaker 1: high I guess on a little alien fever here. So

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Speaker 1: here is another film that clearly was inspired, at least

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Speaker 1: in part by alien and aliens. We're going to be

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Speaker 1: talking about Split Second, which takes place in the future

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Speaker 1: of two thousand and eight. This is an episode that

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Speaker 1: Joe and I recorded back in let's see it would

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Speaker 1: have been March of twenty twenty one. But it's a

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Speaker 1: real fun one. Rugger Howard as the grumpiest detective of

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Speaker 1: all time going up against some kind of monster. Let's

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Speaker 1: dive in and explore the film.

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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. This is Rob Lamb.

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Speaker 3: And I'm Jim McCormick, and we have got a post

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Speaker 3: apocalyptic buddy cop movie for you today.

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Speaker 1: That's right, So peel a chocolate off the side of

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Speaker 1: your fridge, sugar down your coffee, and prepare for the

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Speaker 1: ride that is nineteen ninety two's Split Second.

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Speaker 3: Now this was new to me. I actually just finished

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Speaker 3: watching it minutes ago. But you had already seen this one,

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Speaker 3: I think last year or the year before or something,

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Speaker 3: so you brought it back up for the show.

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Speaker 1: Right right. I had watched it in one setting sometime

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Speaker 1: in the last few years, and I was watching it

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Speaker 1: late at night, so I got a little sleepy towards

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Speaker 1: the end. Not not the film's fault, but but my fault.

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Speaker 1: This time around, I watched it in chunks, often first

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Speaker 1: thing in the morning, while I myself was having a

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Speaker 1: cup of coffee, So I really got to appreciate every detail,

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Speaker 1: every nook and cranny of this film. And I feel

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Speaker 1: like second helpings of split second yeah really paid off

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Speaker 1: for me.

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Speaker 3: Now, did this movie convince you to use about three

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Speaker 3: quarters of a cup of sugar per mug of coffee?

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Speaker 1: Yeah? Yeah, yeah, as well, we'll get into in this

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Speaker 1: we there's just such all reckless disregard for our hero's

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Speaker 1: health as he does he doesn't drink, which I think

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Speaker 1: is anymore anymore. Yes, he's given up the alcohol, but

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Speaker 1: has taken to just reckless consumption of chocolate and sugar

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Speaker 1: heavy caffeine.

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Speaker 3: And like his teeth are like Swiss cheese, Like he

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Speaker 3: is just and I bet this world. So this is

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Speaker 3: a dystopian future buddy cop movie that is set in

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Speaker 3: a future London that has been flooded by global warming.

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Speaker 3: So like the water levels have risen, the Thames is

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Speaker 3: now creeping out into the outer burrows, I guess, so

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Speaker 3: all the streets are now like the canals of Venice

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Speaker 3: just flooded with gross, muddy rat water, and the cops

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Speaker 3: have to like drive around in them in these big

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Speaker 3: jeeps that can drive in the shallow water, or actually

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Speaker 3: navigate them in fan boats like it's a bayou movie.

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Speaker 1: Yeah, yeah, this is the again, this is a ninety

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Speaker 1: two film, so this is the future of two thousand

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Speaker 1: and eight. But one of the things about this film

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Speaker 1: is that I feel like it does have a really

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Speaker 1: solid visual feel. It has a great esthetic. You know,

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Speaker 1: just all these scenes of just a two wet London

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Speaker 1: and everything's at least partially flooded. It's just a soggy

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Speaker 1: mess and everything else the rest of the world has

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Speaker 1: a suitably industrial grime to it as well. It looks.

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Speaker 1: It looks great. I really enjoyed the look of the film.

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Speaker 3: It's the steam injected, microbial matt future of Highlander two,

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Speaker 3: where everything is always just dark and moist and unpleasant.

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Speaker 1: Yeah, there's a little bit of a blade runner DNA

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Speaker 1: in this for sure.

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Speaker 3: Yeah, we'll discuss.

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Speaker 1: Another great thing about this film, and we'll touch on

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Speaker 1: this time and time again too, is that it has

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Speaker 1: all the hallmarks of the film in which the script

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Speaker 1: has been reworked multiple times with different intense in mind,

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Speaker 1: and it's result it results in a kind of chaos

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Speaker 1: in key places, kind of ambiguity that can in the

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Speaker 1: right proportions, work really well for a detective story or

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Speaker 1: a monster story, and luckily this film is both.

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Speaker 3: I would say for me, this was one of the

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Speaker 3: funniest movies we have watched so far for weird House cinema.

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Speaker 3: And to explain what I mean, so it has it's

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Speaker 3: like a cargo truck just packed with every grizzled, macho

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Speaker 3: buddy cop movie cliche and every dystopian sci fi cliche

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Speaker 3: all together, but at such a volume and velocity that

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Speaker 3: it does not seem just like lazy hack writing, but

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Speaker 3: more kind of transcendent parody. But at the same time,

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Speaker 3: it doesn't go to the level of parity where it's

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Speaker 3: winking at you about it. It plays it straight, which

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Speaker 3: makes for a much funnier end product.

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Speaker 1: Yeah, so I feel like when we laugh at this film,

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Speaker 1: and I laughed at it at two, we're not laughing,

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Speaker 1: you know, at somebody's face, old art or something here.

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Speaker 1: You know, we're not just we're not. It's not like

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Speaker 1: a mean laugh. I feel like we are laughing in

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Speaker 1: a way that was intended by at least a large

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Speaker 1: number of people involved in this film.

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Speaker 3: Yes, Split Second is not a failure. It succeeds.

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Speaker 1: Yes, though that.

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Speaker 3: Seems to have been lost on people when it originally

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Speaker 3: came out, who seemed to just regard it. Why or

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Speaker 3: at least some of the reviews we were looking at

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Speaker 3: people were just saying, like another you know, hackneyed, cliched

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Speaker 3: dystopian sci fi movie, you can skip it. I think

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Speaker 3: this one is worth a solidly worth a watch.

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Speaker 1: Yeah. Well, when I looked it up after i'd seen

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Speaker 1: it the second time, I looked it up in the

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Speaker 1: Psychotronic Video Guide from Michael Weldon, and I found he

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Speaker 1: didn't care for it. He called it a quote boring, dull,

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Speaker 1: misty science fiction movie. And yeah, I agreed to disagree

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Speaker 1: on this one because I think it's pretty terrific. It's

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Speaker 1: a lot of fun. Maybe it was just too fresh

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Speaker 1: in nineteen ninety six and hasn't hadn't aged enough yet.

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Speaker 1: I'm not sure. But then again, you could also argue

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Speaker 1: that the tropes wouldn't have been as trod well trod

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Speaker 1: in the early nineties as they would be in the

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Speaker 1: year twenty twenty one.

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Speaker 3: Well, a lot of the funny stuff in this movie

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Speaker 3: would continue to be used unironically for the next like

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Speaker 3: decade or two in straightforward like a list cop moviees. Oh,

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Speaker 3: but I don't know if we've been mentioned. Also, this

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Speaker 3: is a monster movie, so it is a dystopian sci

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Speaker 3: fi movie, a grizzled buddy cop movie, and a monster

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Speaker 3: movie all crammed into one.

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Speaker 1: Yeah, your here's your elevator?

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Speaker 3: Pitch okay.

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Speaker 1: In the Gritty Future of two thousand and eight, a

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Speaker 1: murderous horror emerges from the flooded London underground, and only

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Speaker 1: the gruffiest cop imaginable, supercharged on a diet of anxiety,

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Speaker 1: coffee and chocolate, can stop it.

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Speaker 3: I don't know if you noticed that you said gruffiest,

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Speaker 3: which I think is that is the right term, because

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Speaker 3: he's gruff Andy's scruffy.

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Speaker 1: Yeah, it's a combination. It's a hybrid that he has

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Speaker 1: absorbed the DNA of both qualities.

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Speaker 3: Let's say that trailer audio.

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Speaker 4: He can hear it's heartbeat.

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Speaker 1: He knows it's out there.

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Speaker 3: Somebody must have seen something.

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Speaker 4: He knows what it can do. You're telling me, but's

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Speaker 4: something running around loose in this city, ripping a half out.

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Speaker 1: Of people any kingdom.

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Speaker 3: Maybe eat some for breakfast.

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Speaker 4: Now it's really pissing him off.

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Speaker 1: But and his new partner work makes.

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Speaker 4: Two paranoid people with guns are a menace to society.

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Speaker 4: You need paranoid too. If you like this, follow you

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Speaker 4: rutger howerd split second, nice timing, split second.

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Speaker 3: All right, well, oh sorry, did you specify before that

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Speaker 3: this is a rutger Hower film.

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Speaker 1: I don't know that we did. It'll probably be obvious

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Speaker 1: to a number of people. And maybe there's a picture

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Speaker 1: of rutger Hower, you know, capping this thing off. But yees,

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Speaker 1: this is this is a rutger Hower extravaganza in the

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Speaker 1: same way that modern film fans a lot of you

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Speaker 1: like the cage rage. This one is filled with Howard power.

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Speaker 3: Yes, yeah, oh yeah, but.

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Speaker 1: There are other people involved too. Let's start where we

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Speaker 1: tend to start. Let's start with the director. Okay, the

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Speaker 1: guy by the name of Tony Mayleem, English director who

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Speaker 1: also directed the nineteen eighty one slasher film The Burning.

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Speaker 1: Mayleem also went on to do a fair amount of

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Speaker 1: documentary work, and I'm to understand Split Second was a

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Speaker 1: particularly grueling project for him, and he had to step

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Speaker 1: away towards the end of the production and let Ian

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Speaker 1: Sharp finish directing the picture.

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Speaker 3: M Yeah, I can imagine this might have been some

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Speaker 3: trouble because you're dealing with a lot of flooded sets.

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Speaker 3: I mean almost you know, like every other set in

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Speaker 3: this movie. There's just water everywhere, and I would imagine

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Speaker 3: that makes filming very difficult and tedious.

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Speaker 1: Yeah, and you gotta have a pigeon wrangler. You gotta

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Speaker 1: have a rat wrangler. Oh yeah, you gotta have a

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Speaker 1: Hower wrangler, and every every everybody's got to be on hand.

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Speaker 3: I didn't check for the credits, but was there an

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Speaker 3: assistant to mister Howard in there?

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Speaker 1: I didn't notice. Yeah, I should have. I should have looked.

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Speaker 1: Somebody had to get him his coffee.

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Speaker 3: The HOWERD power generator.

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Speaker 1: Uh, he might I think he might be self powering.

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Speaker 1: I really don't know enough about We'll get We'll get

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Speaker 1: to Howard in a second.

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Speaker 3: How power is renewable?

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Speaker 1: Yes. Now, the writer on this is a guy named

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Speaker 1: Gary Scott Thompson. Not a lot that I know about him,

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Speaker 1: except that he is the guy who gave us Too Fast,

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Speaker 1: Too Furious. He also wrote The Hollow Man Joe, it

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Speaker 1: was Too Fast, Too Furious, one of the good fast

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Speaker 1: furious movies.

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Speaker 3: No, you generally want to stay away from the even

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Speaker 3: numbered ones until you get to around six or eight.

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Speaker 1: Uh huh.

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Speaker 3: Once you get once you get past five, everything is

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Speaker 3: like bad but worth watchings. Everything's kind of good bad

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Speaker 3: after that's where you're in, like the Flying Cars era.

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Speaker 3: The real ones you want to stay away from, I

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Speaker 3: think are like two and four, which I remember being

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Speaker 3: rather boring.

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Speaker 1: All right, cool, I'll keep that in mind well.

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Speaker 3: And also the Hollow Man. God. I love Paul Verhoven,

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Speaker 3: but that is just a dreadful movie.

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Speaker 1: Yeah, I don't remember anything good about that one. Now.

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Speaker 1: As for split second here again, this script seems like

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Speaker 1: it was probably changed a number of times, and I

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Speaker 1: think that was the case based on some just IMDb

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Speaker 1: stuff I looked at. It has a lot of the

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Speaker 1: obvious signs of Blade Runner and alien on it, as

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Speaker 1: you would expect at that time, and certainly casting Rudger

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Speaker 1: Howard is that was one of the films he made

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Speaker 1: a big splash in a Blade Runner. But it also

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Speaker 1: to me anyway, I feel like there's a huge two

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Speaker 1: thousand a d comics influence here as well. I have

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Speaker 1: no proof of that. And Gary Scott Thompson, I believe,

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Speaker 1: is an American writer, not British, but there are a

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Speaker 1: lot of British folks involved in this one, and I

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Speaker 1: feel like it thematically has a lot of the elements

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Speaker 1: you find in those original Judge Dread comics, you know,

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Speaker 1: where there's a grittiness, but there's also this comedic and

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Speaker 1: satiric vein going through everything like everything's over the top, like,

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Speaker 1: and we lose some of that in the americanized versions

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Speaker 1: of Judge Dread, you know where in the films, Yeah,

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Speaker 1: Judge Dread is, you know, grumbling and blasting things with

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Speaker 1: an enormous gun, but he doesn't have a humorous maid

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Speaker 1: or funny robots in his life like he does in

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Speaker 1: the comics.

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Speaker 3: So one thing that's funny about this movie is that

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Speaker 3: it is very British. It's not just incidentally set in London.

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Speaker 3: Like the setting is very pointedly British, and some of

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Speaker 3: the characters are very pointedly British in the way they're characterized.

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Speaker 3: But our main hero, Rutger Howard, despite being Rutger Howard,

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Speaker 3: is a very American cop character. He's very much like

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Speaker 3: an American tough guy cop lead.

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Speaker 1: Yeah, that's right, despite of course being Dutch. Rutger Howard

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Speaker 1: was born in nineteen forty four and died in twenty nineteen.

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Speaker 1: In this he plays Harley Stone, a character we will

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Speaker 1: discuss at length here, but yeah, he was a wonderful actor, environmentalist.

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Speaker 1: He also had a nonprofit aimed at HIV and AIDS

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Speaker 1: awareness called the Rugger Howard Starfish Association, and he wrote

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Speaker 1: to prominence in the films a fellow Dutchman of filmmaker

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Speaker 1: Paul of Villehoven, who we just mentioned and made a

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Speaker 1: huge splash in American cinema in nineteen eighty two's Blade Runner.

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Speaker 1: He's also very notable in nineteen eighty five's Lady Hawk

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Speaker 1: and nineteen eighty six is the Hitcher, and he's worked

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Speaker 1: with Hooven culminated in the nineteen eighty five medieval adventure

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Speaker 1: film that I have not seen, Flesh and Blood, which

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Speaker 1: co star Jennifer Jason Lee and Ronald Lacey. And I

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Speaker 1: understand that the two disagreed on the nature of his character.

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Speaker 1: Howard wanted to get away from villain roles, but Verhoven

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Speaker 1: wanted him to play a more morally ambiguous character. And

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Speaker 1: that's an interesting wrinkle to think about because in this

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Speaker 1: obviously he's our hero, and I can't think of a

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Speaker 1: lot of films like Later On where he played anything

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Speaker 1: other than a protagonist, you know, like what are the

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Speaker 1: big rudger howand villain roles? Yeah, you named Blade Runner

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Speaker 1: the hitcher, But anything else.

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Speaker 3: Well, I would argue that maybe you shouldn't even think

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Speaker 3: of him necessarily as the villain of Blade Runner. I mean,

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Speaker 3: in Blade Runners, I would say he's something more like

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Speaker 3: the creature in Frankenstein, as someone true does bad things,

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Speaker 3: who harms people, but in other ways is sort of

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Speaker 3: a sort of a babe in the wilderness, Like he's

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Speaker 3: he's lost and desperate and doesn't know what to do

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Speaker 3: with his own mortality.

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Speaker 1: Yeah, but you can easily imagine, like the filmmaking system

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Speaker 1: that after Blade Runner is like, oh, can we get

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Speaker 1: Howard to play this terrorist? Can we get Howard to

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Speaker 1: play this evil king? And it sounds like he was like,

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Speaker 1: I don't want those type of roles. Want I want

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Speaker 1: something different and I want and you know, you know,

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Speaker 1: my mind come turns to Batman begins.

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Speaker 3: Right, he's a corrupt businessman.

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Speaker 1: He's a corrupt businessman, but he's yeah, he's a suit

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Speaker 1: in that.

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Speaker 3: Oh, I think he's also I remember, God, I haven't

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Speaker 3: seen sin City in many years, but I remember him

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Speaker 3: being some kind of evil corrupt, like yeah or something

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Speaker 3: in that. Also.

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Speaker 1: Okay, well he maybe managed to sprinkle some villainy in

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Speaker 1: the later movies, but yeah. He went on to be

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Speaker 1: in a ton of films and TV projects, one hundred

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Speaker 1: and seventy five acting credits on IMDb, and they really

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Speaker 1: run the gamut from B movies to blockbusters. Like he

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Speaker 1: was just in a lot of stuff and he's just

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Speaker 1: I've never seen him in something where I'm like, ah,

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Speaker 1: that's boring. You know, he's he's an exciting element even

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Speaker 1: in a bad picture.

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Speaker 3: Oh, you should try to watch Dariu Argento's Dracula.

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Speaker 1: Okay, yah is the second time you've challenged me on

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Speaker 1: that one.

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Speaker 3: No, I'm not saying I've watched it. I'm saying I've

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Speaker 3: never been able to watch more than like sixty seconds

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Speaker 3: of it. Okay, But so, I guess if we're talking

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Speaker 3: about Rutger, how are we got to talk about the

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Speaker 3: tears in the rain monologue? Which this is a famous moment,

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Speaker 3: probably the most famous moment of Rutger Howard's career, also

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Speaker 3: the most famous moment of Blade Runner the movie. The

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Speaker 3: context is, of course, Harrison Ford in the movie plays Deckard,

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Speaker 3: who is a type of police officer or bounty hunter

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Speaker 3: who is hired to quote retire escaped replicants. Replicants are

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Speaker 3: you know, sort of androids or humanoids who are created

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Speaker 3: by this company to essentially be forced labor, and they

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Speaker 3: have a very short lifespan so that they don't you know,

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Speaker 3: get off and get ideas about independence. They can only

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Speaker 3: live for something like four years. And so the plot

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Speaker 3: of Blade Runner is that there are a group of

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Speaker 3: replicants who escape and they're trying to find a way

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Speaker 3: to get more life. They want to extend their lifespan. Meanwhile,

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Speaker 3: Harrison Ford deckerd is trying to hunt them down, and

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Speaker 3: in the end of the movie, he's chasing around in

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Speaker 3: a building while the rain is pouring outside. He's chasing

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Speaker 3: Rutger Howard's character, a replicant named Roy Bates, and there's

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Speaker 3: a moment where where Deckard is almost about to fall

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Speaker 3: to his death off the roof, but then Roy Batty

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Speaker 3: grabs his arm and saves him, despite him being there

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Speaker 3: to kill him. He saves him, and then he gives

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Speaker 3: this speech. It's a soliloquy. He says, I've seen things

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Speaker 3: you people wouldn't believe. Attack ships on fire off the

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Speaker 3: shoulder of Orian, I watch seabeams glitter in the dark

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Speaker 3: near the Tanhuser Gate. All those moments will be lost

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Speaker 3: in time, like Tears in Rain. It's a beautiful moment

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Speaker 3: and a beautiful metaphor. But what I've read is that

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Speaker 3: apparently there was a line similar to that already in

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Speaker 3: the script, which I think was written by David Peeples.

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Speaker 3: But apparently Rutger Hower himself rewrote the line before filming,

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Speaker 3: and he was the person who added the comparison to

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Speaker 3: Tears in Rain, the most famous part of it. So

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Speaker 3: that's from the actor himself.

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Speaker 1: Yeah, I've always been impressed by that and of course

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Speaker 1: that that monologue we've talked about on the show before.

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Speaker 1: Oh here's the line that DJs should be using in

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Speaker 1: their tracks. They they they definitely got the memo on

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Speaker 1: Tears and Rain, because man, I can think of so

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Speaker 1: many different mixes and tracks where something from from Roy

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Speaker 1: pops up, that props up on it's a I mean,

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Speaker 1: it's just a great piece.

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Speaker 3: Yeah. Yeah, it's such a great line that in a

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Speaker 3: way it's kind of lost its power by being over

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Speaker 3: analyzed and over quoted.

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Speaker 1: There's a band called Grumbling Fur and they have a

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Speaker 1: song titled the Ballad of Roy Batty and it's this

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Speaker 1: this kind of somber British song, but it's the lyrics

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Speaker 1: are that that monologue.

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Speaker 3: Oh wow.

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Speaker 1: Yeah, So check that out if you want.

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Speaker 3: But here a very different role in this So he

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Speaker 3: plays in Blade Runner. He is a tragic Frankenstein's creature

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Speaker 3: type character who who doesn't understand the point of his

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Speaker 3: own existence. He wants more life, but he can't have it,

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Speaker 3: and he and he ends in this tragic, introspective state.

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Speaker 3: In split second, Hower is just Hower is the ultimate

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Speaker 3: like beef steak grumpy cop.

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Speaker 1: Yeah, yeah, he is. He is something. It's worth noting

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Speaker 1: that he was I believe forty seven or forty eight

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Speaker 1: at the time, so this is, you know, slightly older

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Speaker 1: Rutger Hower certainly compared to like Blade Runner and stuff.

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Speaker 1: He's carrying a bit of weight in this though, though

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Speaker 1: nothing that feels like awkward or anything. But I think

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Speaker 1: it feel like it feels like his physicality works perfectly

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Speaker 1: well portraying this cop on the edge, he's not taken

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Speaker 1: care of himself, who lives this reckless lifestyle and the

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Speaker 1: bit of a slob. And yeah, again, while they avoid

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Speaker 1: the hard drinking stereotype in this because he's apparently quit drinking,

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Speaker 1: he does smoke like a chimney, just constantly smoking, consumes

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Speaker 1: copious amounts of coffee, sugar, chocolate. And man, that name too,

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Speaker 1: Harler Stone. It's motorcycle plus rocks. You know, you couldn't

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Speaker 1: do any better than that.

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Speaker 3: That was the thing that convinced me to watch this movie.

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Speaker 3: I looked it up and I saw the main character

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Speaker 3: is named Harley Stone, and I was, yeah, I'm in.

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Speaker 1: Yep, I mean yeah, and he has I think a

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Speaker 1: Harley in his apartment, so it's I guess that's part

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Speaker 1: of it, but actually no, no.

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Speaker 3: It was multiple things. I'm sorry I have to add

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Speaker 3: on his name is Harley Stone. And then of course

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Speaker 3: it becomes here's your new partner, buddy cop movie. It's

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Speaker 3: like Tango and Cash, but said in the future, where

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Speaker 3: there's a he's got a partner who's the opposite of

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Speaker 3: him in every way, and this partner is named Dick Durkin.

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Speaker 1: Yep, Harley and Dick. The Adventures off. Well, we've touched

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Speaker 1: on the tropes here, but like one of the big

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Speaker 1: tropes with this guy with Harley Stone is he's the worst.

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Speaker 1: I can't stand him, but he's the best. We've got

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Speaker 1: to use him, like he's just a walking disaster, but

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Speaker 1: nobody does it better than Harley Stone, so we have

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Speaker 1: to use him. He's the only one who can get

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Speaker 1: our man and or monster exactly. It's the you're a

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Speaker 1: loose cannon, you're off the force, you're the only man

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Speaker 1: for the job. And Howard is I mean, he is

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Speaker 1: so good in this because this character, this Harley Stone.

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Speaker 1: At time, there are all these moments where you realize

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Speaker 1: that the film is winking at you, that it's you

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Speaker 1: know that he's just so over the top he's just

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Speaker 1: doing what he's doing in the way he's acting is

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Speaker 1: just it's it's just ridiculous. But yet Howard also walks

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Speaker 1: that line to where he is, you know. I feel

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Speaker 1: he is definitely cool in a lot of the film too,

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Speaker 1: in a way that the mini actors wouldn't be able

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Speaker 1: to pull that off, you know, like like here's this

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Speaker 1: uh this, you know, this this over the hill rundown cop.

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Speaker 1: But yeah, he looks pretty cool in those glasses and

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Speaker 1: that giant leather coat.

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Speaker 3: Yeah, it never gets too juicy.

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Speaker 1: Yeah, so it's ultimately just a joy to watch him.

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Speaker 1: I think some of the best scenes are ones where

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Speaker 1: they're just we're just going about about a day. You know,

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Speaker 1: it's a ride along with Harley Stone as he does

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Speaker 1: things like like shave at a bar where he has

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Speaker 1: shown up for breakfast, you know, things like that.

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Speaker 3: Yeah, he goes to like a moody night club for

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Speaker 3: breakfast where they're playing Knights in White Satin on the

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Speaker 3: jukebox and they give him a big old play to

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Speaker 3: full Inger. I think it is a full English breakfast

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Speaker 3: that it's not just eggs and bacon, but there's baked

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Speaker 3: beans on that plate and he's slurping it up and

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Speaker 3: shaving with an electric razor over his plate.

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Speaker 1: Yep. And yeah, so, oh my god, he's just so good.

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Speaker 1: But let's talk a little bit about that partner. This

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Speaker 1: would be again, Detective Dick Durkin, played by an actor

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Speaker 1: by the name of Alistair Duncan.

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Speaker 3: You know I love this guy too. I think he's great.

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Speaker 1: In this role. Like again, he hits just the right note,

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Speaker 1: like he's he's not too comedic, he's just comedic enough.

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Speaker 3: He's the perfect foil to Harley Stone. So they're setting

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Speaker 3: it up like a you know, a Rigs and Myrtle

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Speaker 3: or Tango and Cash kind of thing where they're opposites,

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Speaker 3: but they end up complimenting each other. And this guy,

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Speaker 3: this guy is the the wimpy bookish nerd who went

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Speaker 3: to Oxford.

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Speaker 1: Yeah, well, I mean not completely wimpy. He's a he's

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Speaker 1: very fitness conscious, right, that's true. And uh and and

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Speaker 1: he's a yeah, but he's by the books. He's he's

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Speaker 1: I think he's doing tai chi in one scene. And

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Speaker 1: he of course course Rutger Howard's character Stone is like

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Speaker 1: just so anxiety written. At one point, he's like, let

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Speaker 1: me give you a massage, let me, let me help

432
00:22:07,000 --> 00:22:08,520
Speaker 1: you out. He's like, don't touch me, like's take the

433
00:22:08,560 --> 00:22:12,240
Speaker 1: gun in his nose. But but yeah, yeah, he's great

434
00:22:12,280 --> 00:22:12,399
Speaker 1: in this.

435
00:22:12,640 --> 00:22:12,760
Speaker 4: Uh.

436
00:22:13,320 --> 00:22:16,480
Speaker 1: Duncan perfectly fine actor. He's done an increasing amount of

437
00:22:16,560 --> 00:22:19,399
Speaker 1: high profile voice work over the over the years, especially

438
00:22:19,440 --> 00:22:22,359
Speaker 1: in major video games, but he was a steady actor

439
00:22:22,359 --> 00:22:24,560
Speaker 1: in the nineties as well, showed up on things like

440
00:22:24,800 --> 00:22:28,639
Speaker 1: Highlander of the TV series Hercules Murder. She wrote, so

441
00:22:29,240 --> 00:22:30,080
Speaker 1: a bunch of stuff.

442
00:22:30,200 --> 00:22:32,760
Speaker 3: Wait, he's not the voice of Wheatley in Portal Too,

443
00:22:32,880 --> 00:22:33,720
Speaker 3: is he?

444
00:22:33,720 --> 00:22:35,119
Speaker 1: He might be. I don't know. I didn't look that

445
00:22:35,160 --> 00:22:38,240
Speaker 1: one up specifically, but I did notice that he's okay,

446
00:22:38,280 --> 00:22:41,040
Speaker 1: you know, for instance, you know the Mortor games where

447
00:22:41,040 --> 00:22:41,320
Speaker 1: you know.

448
00:22:42,359 --> 00:22:44,080
Speaker 3: I'm sorry I looked it up. No, that's a guy

449
00:22:44,160 --> 00:22:47,880
Speaker 3: named Stephen Merchant. But but for a second I thought

450
00:22:47,880 --> 00:22:48,560
Speaker 3: it was possible.

451
00:22:48,840 --> 00:22:51,280
Speaker 1: Stephen Stephen, they're kind of cut from the same cloth, though,

452
00:22:51,280 --> 00:22:54,520
Speaker 1: I can imagine Merchant in this role. But no, Alster Duncan.

453
00:22:54,640 --> 00:22:57,439
Speaker 1: I believe one of his more high profile roles is

454
00:22:57,440 --> 00:23:00,560
Speaker 1: those the Shadow of Mordor games. He played like the

455
00:23:00,720 --> 00:23:03,520
Speaker 1: raith elf that is your alter ego or whatnot? I

456
00:23:03,560 --> 00:23:05,399
Speaker 1: haven't really played the games, but he's that character.

457
00:23:05,600 --> 00:23:07,320
Speaker 3: Oh okay, but let's.

458
00:23:07,080 --> 00:23:10,360
Speaker 1: Not forget our female lead, Joe Ooh.

459
00:23:09,760 --> 00:23:13,000
Speaker 3: So this movie has Kim Katroll in it. She plays

460
00:23:13,480 --> 00:23:17,439
Speaker 3: Michelle McLain and so of course. Kim Catrall is a

461
00:23:17,440 --> 00:23:20,639
Speaker 3: Canadian actress, probably best known today for being part of

462
00:23:20,680 --> 00:23:23,080
Speaker 3: the main cast of Sex and the City, but with

463
00:23:23,160 --> 00:23:26,240
Speaker 3: a long career of lots of interesting movie and TV roles.

464
00:23:26,640 --> 00:23:29,840
Speaker 3: More in the Weird House, Wheelhouse, you might say, Big

465
00:23:29,880 --> 00:23:32,359
Speaker 3: Trouble in Little China and which she plays Gracie Law

466
00:23:32,840 --> 00:23:35,400
Speaker 3: or Star Trek six The Undiscovered Country, which I think

467
00:23:35,440 --> 00:23:38,119
Speaker 3: she was filming either right around the same time as

468
00:23:38,160 --> 00:23:42,200
Speaker 3: Split Second or simultaneous to Split Second. Yeah, because of

469
00:23:42,240 --> 00:23:45,440
Speaker 3: the hair right right, And I gotta say I love

470
00:23:45,560 --> 00:23:48,119
Speaker 3: Kim Katroll. People who have only seen her in like

471
00:23:48,240 --> 00:23:51,520
Speaker 3: more straightforward roles I think might not appreciate just how

472
00:23:51,600 --> 00:23:54,959
Speaker 3: good her comic timing is and how good she is

473
00:23:55,000 --> 00:23:57,959
Speaker 3: at walking that fine line, which is like exactly what

474
00:23:58,000 --> 00:24:01,320
Speaker 3: she's doing in this movie, that tight rope of like

475
00:24:01,440 --> 00:24:04,920
Speaker 3: absurdity and parody but not quite Yeah.

476
00:24:05,040 --> 00:24:08,800
Speaker 1: Yeah, I agree, absolutely certainly. Big Dub and Little China

477
00:24:08,840 --> 00:24:12,360
Speaker 1: is a great example of her work. But prior to

478
00:24:12,560 --> 00:24:14,520
Speaker 1: Sex and the City, she was in a fair amount

479
00:24:14,560 --> 00:24:18,080
Speaker 1: of genre pictures. She kind of reinvented hersel herself, I

480
00:24:18,080 --> 00:24:20,399
Speaker 1: guess with the Sex and the City role. But before

481
00:24:20,480 --> 00:24:22,439
Speaker 1: that she was in she was in an episode of

482
00:24:22,440 --> 00:24:25,240
Speaker 1: the nineties Outer Limits. I don't think one I've seen yet,

483
00:24:25,400 --> 00:24:27,240
Speaker 1: but I'm going to get to it as I steadily

484
00:24:27,240 --> 00:24:29,440
Speaker 1: make my way through all that. But she was also

485
00:24:29,440 --> 00:24:32,840
Speaker 1: in a nineteen ninety eight TV adaptation of Peter Binchley's Creature,

486
00:24:33,160 --> 00:24:36,200
Speaker 1: in which she and Craig T. Nelson battle a Nazi

487
00:24:36,280 --> 00:24:37,399
Speaker 1: engineered killer shark.

488
00:24:37,760 --> 00:24:41,159
Speaker 3: I watched that on TV when it premiered when I

489
00:24:41,240 --> 00:24:44,200
Speaker 3: was a kid. I think I was in I don't know,

490
00:24:44,240 --> 00:24:47,879
Speaker 3: it would have been like sixth grade or something, and yeah, wow,

491
00:24:48,040 --> 00:24:49,280
Speaker 3: it was a it was a winner.

492
00:24:50,080 --> 00:24:54,080
Speaker 1: So Kim is great and split second given the limited

493
00:24:54,080 --> 00:24:56,639
Speaker 1: amount of stuff that she's given to work with. So

494
00:24:57,000 --> 00:24:58,879
Speaker 1: this is a film where she doesn't have much of

495
00:24:58,880 --> 00:25:10,360
Speaker 1: a role, but she manages to shine through that role anyway. Yeah,

496
00:25:11,880 --> 00:25:13,359
Speaker 1: all right, let's talk about some of the other bit

497
00:25:13,440 --> 00:25:16,960
Speaker 1: players in this. Oh, you have this guy, Alin Armstrong

498
00:25:17,440 --> 00:25:22,400
Speaker 1: is Alan. I'm sorry it's a Alan, but I guess

499
00:25:22,440 --> 00:25:26,040
Speaker 1: it's Alan Alan, I don't know. I'm just gonna call

500
00:25:26,119 --> 00:25:30,280
Speaker 1: him Thrasher because that's his character's name. So. Born in

501
00:25:30,359 --> 00:25:33,359
Speaker 1: nineteen forty six, Armstrong is a great British character actor.

502
00:25:34,040 --> 00:25:37,480
Speaker 1: You would recognize him for instance, very recognizable face. But

503
00:25:37,560 --> 00:25:41,320
Speaker 1: he's been in films such as Kroll, Braveheart, Van Helsing

504
00:25:41,480 --> 00:25:44,680
Speaker 1: and Sleepy Hollow, The Double There and tons of TV

505
00:25:44,840 --> 00:25:47,399
Speaker 1: work and he's great in this because he plays the

506
00:25:47,840 --> 00:25:49,320
Speaker 1: I mean, this is a trope too. You have your

507
00:25:49,320 --> 00:25:53,240
Speaker 1: problematic cop, but then you have their just just completely

508
00:25:53,720 --> 00:25:56,359
Speaker 1: enraged boss who just can't take this guy anymore. But

509
00:25:56,400 --> 00:25:57,720
Speaker 1: he's the best, so you got to work with him.

510
00:25:58,160 --> 00:26:01,679
Speaker 1: And that's what Thrasher is. Thrasher manages to be like

511
00:26:01,720 --> 00:26:06,920
Speaker 1: the angriest, foulest police chief ever, like just bristling with

512
00:26:06,920 --> 00:26:10,440
Speaker 1: with with rage. Just his face, his kind of already

513
00:26:10,480 --> 00:26:15,160
Speaker 1: gargoylish face is just twisted with anger and just resentment

514
00:26:15,560 --> 00:26:19,040
Speaker 1: of Stone. And he also has I love his hair

515
00:26:19,080 --> 00:26:22,040
Speaker 1: in this because he has this great dying widow's peak,

516
00:26:22,119 --> 00:26:23,560
Speaker 1: you know where it's like it used to be a

517
00:26:23,560 --> 00:26:26,600
Speaker 1: widow's peak and now it's barely anything, and it somehow

518
00:26:26,600 --> 00:26:30,120
Speaker 1: elevates the character to an even greater level of just again,

519
00:26:30,200 --> 00:26:33,320
Speaker 1: just such visceral hate in every breath he takes.

520
00:26:33,640 --> 00:26:35,919
Speaker 3: At the British casting office, they were like, get me

521
00:26:36,000 --> 00:26:39,560
Speaker 3: the actor who's every breath says you're off the force.

522
00:26:39,680 --> 00:26:40,720
Speaker 3: Here's your new partner.

523
00:26:41,040 --> 00:26:43,880
Speaker 1: Yes, except louder and more intense.

524
00:26:44,160 --> 00:26:46,280
Speaker 3: Yeah, because he has some expletives in there.

525
00:26:46,440 --> 00:26:48,480
Speaker 1: Yeah. So he's wonderful in this and he has some

526
00:26:48,800 --> 00:26:52,480
Speaker 1: great scenes. Now the next actor of note Sale doesn't

527
00:26:52,480 --> 00:26:55,639
Speaker 1: really have any great scenes but is just by all accounts,

528
00:26:56,520 --> 00:27:01,120
Speaker 1: was a tremendous actor, Pete Posselthwaite who from nineteen forty

529
00:27:01,160 --> 00:27:02,520
Speaker 1: six through twenty eleven.

530
00:27:03,560 --> 00:27:04,360
Speaker 3: I love Pete.

531
00:27:04,520 --> 00:27:07,479
Speaker 1: Yeah, so if you don't recognize the name, look him

532
00:27:07,520 --> 00:27:11,560
Speaker 1: up you'll recognize the face. Tremendous English actor with instantly

533
00:27:11,560 --> 00:27:15,200
Speaker 1: recognizable from such films as Alien three, In the Name

534
00:27:15,240 --> 00:27:19,480
Speaker 1: of the Father, Amistad, The Sharp Films, The Lost World,

535
00:27:19,520 --> 00:27:21,760
Speaker 1: Jurassic Park. I believe he was the big game hunter

536
00:27:21,880 --> 00:27:22,520
Speaker 1: character in that.

537
00:27:22,960 --> 00:27:24,880
Speaker 3: Yep, Yep, he was yep.

538
00:27:24,960 --> 00:27:27,800
Speaker 1: Great look great actor. Again, not much of a role

539
00:27:27,840 --> 00:27:31,359
Speaker 1: for him in this, but you know, he's great in

540
00:27:31,400 --> 00:27:33,959
Speaker 1: so many other things. We have to point him out.

541
00:27:34,160 --> 00:27:36,840
Speaker 3: Well, most of the parts in this movie are sort

542
00:27:36,840 --> 00:27:41,919
Speaker 3: of underwritten compared to the main two cops. Yeah, but

543
00:27:42,080 --> 00:27:44,600
Speaker 3: the cast members really do shine through, Like you were

544
00:27:44,600 --> 00:27:48,000
Speaker 3: saying with Kim Cattrall and Alan Armstrong, they all kind

545
00:27:48,000 --> 00:27:48,960
Speaker 3: of bring you to attention.

546
00:27:49,800 --> 00:27:54,080
Speaker 1: Now, one interesting thing about Pustlethwaite in this is that

547
00:27:54,280 --> 00:27:56,080
Speaker 1: he's a guy who largely kept out of the spotlight,

548
00:27:56,080 --> 00:27:59,520
Speaker 1: but he was passionate about various causes, including anti war

549
00:27:59,560 --> 00:28:03,080
Speaker 1: protests and environmentalism, which is which is interesting given the

550
00:28:03,480 --> 00:28:06,240
Speaker 1: you know, the environmental I don't want to say theme

551
00:28:06,280 --> 00:28:09,360
Speaker 1: of this film, but like mild sprinkling to the plot.

552
00:28:09,840 --> 00:28:12,080
Speaker 1: Because he starred in a film in two thousand and

553
00:28:12,119 --> 00:28:14,720
Speaker 1: nine titled The Age of Stupid, in which quote a

554
00:28:14,760 --> 00:28:17,880
Speaker 1: failed archivist looks at old footage from the year two

555
00:28:17,920 --> 00:28:21,680
Speaker 1: thousand and eight to understand why humankind failed to address

556
00:28:21,720 --> 00:28:25,800
Speaker 1: climate change. So basically it's a documentary, and at some

557
00:28:25,880 --> 00:28:28,320
Speaker 1: point in making the film they decided they wanted to

558
00:28:28,359 --> 00:28:31,400
Speaker 1: add a like a fictional narrative structure to it, where

559
00:28:31,400 --> 00:28:33,760
Speaker 1: it's like somebody from the future looking back on today.

560
00:28:34,280 --> 00:28:36,280
Speaker 1: And they reached out to him because they knew he

561
00:28:36,320 --> 00:28:38,400
Speaker 1: was great, and they knew that he was interested in

562
00:28:38,440 --> 00:28:40,680
Speaker 1: these causes, and he ended up signing up for it,

563
00:28:40,720 --> 00:28:43,720
Speaker 1: and it allowed the film to just to reach a

564
00:28:43,720 --> 00:28:46,680
Speaker 1: lot more theaters and to really reach far more people

565
00:28:46,720 --> 00:28:49,040
Speaker 1: with its message. So it's a documentary but has a

566
00:28:49,080 --> 00:28:50,280
Speaker 1: sci fi narrative structure.

567
00:28:50,680 --> 00:28:53,560
Speaker 3: Interesting. Now, there's another character in this movie that is

568
00:28:53,880 --> 00:28:56,120
Speaker 3: very weird, but we don't get to until like the

569
00:28:56,200 --> 00:28:58,320
Speaker 3: last ten to fifteen minutes of the movie.

570
00:28:58,720 --> 00:29:01,560
Speaker 1: Yeah, Like I kept thinking, did I miss Michael J.

571
00:29:01,680 --> 00:29:04,080
Speaker 1: Pollard Because Michael J. Pollard who is in this He

572
00:29:04,120 --> 00:29:08,240
Speaker 1: plays this rat catcher character and it's a very small role,

573
00:29:08,440 --> 00:29:12,480
Speaker 1: but he has a very fun scene with our detectives. Now. Pollard,

574
00:29:12,600 --> 00:29:17,200
Speaker 1: American actor, lived thirty nine through twenty nineteen, probably best

575
00:29:17,240 --> 00:29:19,640
Speaker 1: well known for his one of his earlier roles in

576
00:29:19,720 --> 00:29:22,200
Speaker 1: Bonnie and Clyde. Well, I say earlier roles, but he

577
00:29:22,240 --> 00:29:24,280
Speaker 1: also was in a lot of TV stuff before that,

578
00:29:24,400 --> 00:29:27,920
Speaker 1: like Andy Griffiths Show, Classic Star Trek, Alvert Hitchcock Presents.

579
00:29:27,960 --> 00:29:30,040
Speaker 1: But he was in sixty seven's Bonnie and Clyde.

580
00:29:30,200 --> 00:29:33,960
Speaker 3: That's the one with Warren Bady, Yeah, Faye Dunaway.

581
00:29:33,760 --> 00:29:37,200
Speaker 1: Yeah, yeah, the Bonnie and Clyde. Yeah, it's been a

582
00:29:37,200 --> 00:29:39,560
Speaker 1: long time since I've seen that, but I can picture it,

583
00:29:39,600 --> 00:29:42,479
Speaker 1: like I remember his character Pollard was also, I mean,

584
00:29:42,480 --> 00:29:43,920
Speaker 1: he was in a bunch of stuff, but you might

585
00:29:43,960 --> 00:29:48,600
Speaker 1: recognize him from Scrooged. He was in Roxanne in nineteen

586
00:29:48,600 --> 00:29:52,320
Speaker 1: eighty seven, and some listeners to Weird House especially might

587
00:29:52,560 --> 00:29:55,520
Speaker 1: remember him from Rob Zombie's House of a Thousand Corpses.

588
00:29:56,240 --> 00:29:59,120
Speaker 1: He was also, like a lot of actors of that generation,

589
00:29:59,160 --> 00:30:01,120
Speaker 1: he showed up on Tales for the Crypt in an

590
00:30:01,120 --> 00:30:03,880
Speaker 1: episode titled Came the Dawn. So he wasn't a lot

591
00:30:03,920 --> 00:30:07,320
Speaker 1: of stuff always good, all right, just a couple of

592
00:30:07,360 --> 00:30:10,320
Speaker 1: more two small acting roles of note here. Ian Durry

593
00:30:10,360 --> 00:30:13,640
Speaker 1: plays his character JJ. Very small part, but this is

594
00:30:13,680 --> 00:30:15,800
Speaker 1: Ian Durry of the Blockheads, and he was part of

595
00:30:15,800 --> 00:30:18,200
Speaker 1: the new wave in post punk scene, lived forty two

596
00:30:18,320 --> 00:30:21,200
Speaker 1: through two thousand. I don't really know him or his work,

597
00:30:21,280 --> 00:30:23,360
Speaker 1: but as a fun easter egg, I imagine for some

598
00:30:23,440 --> 00:30:25,000
Speaker 1: of you music fans out.

599
00:30:24,840 --> 00:30:27,240
Speaker 3: There, I don't remember who JJ was in the movie.

600
00:30:27,280 --> 00:30:29,800
Speaker 1: I think I'm like thirty five percent sure he was

601
00:30:29,840 --> 00:30:33,640
Speaker 1: the bartender, but I don't remember. I just know he's

602
00:30:33,640 --> 00:30:37,240
Speaker 1: in it. And then there's this also, this character in

603
00:30:37,320 --> 00:30:40,040
Speaker 1: it named pad O'Donnell, played by an actor by the

604
00:30:40,120 --> 00:30:44,760
Speaker 1: name of Tony Steadman or Steedman. I'm not sure, but

605
00:30:45,080 --> 00:30:47,640
Speaker 1: this is an English character actor who played Socrates and

606
00:30:47,720 --> 00:30:51,400
Speaker 1: Bill and Ted. Oh okay, yeah, so in this he's

607
00:30:51,440 --> 00:30:53,760
Speaker 1: just the guy who checks out weapons at the London

608
00:30:53,800 --> 00:30:54,520
Speaker 1: Police Department.

609
00:30:54,680 --> 00:30:56,640
Speaker 3: Well, actually all he does is he says like, no,

610
00:30:56,720 --> 00:30:58,760
Speaker 3: you can't have that, and then they grab it behind

611
00:30:58,800 --> 00:30:59,200
Speaker 3: his back.

612
00:30:59,320 --> 00:31:01,400
Speaker 1: Yeah. He's like that gun's too big and they're like, no,

613
00:31:02,080 --> 00:31:02,880
Speaker 1: we're taking it.

614
00:31:02,920 --> 00:31:03,840
Speaker 3: We need big guns.

615
00:31:03,960 --> 00:31:07,120
Speaker 1: He's like, all right, I did what I could. Now

616
00:31:07,560 --> 00:31:09,320
Speaker 1: getting into some of the other people involved in this.

617
00:31:09,520 --> 00:31:12,200
Speaker 1: This is also pretty interesting because you listen to the

618
00:31:12,280 --> 00:31:16,080
Speaker 1: musical score in this film, and it's from my point

619
00:31:16,080 --> 00:31:18,560
Speaker 1: of view, it's not bad. It's it's at least not

620
00:31:18,760 --> 00:31:23,360
Speaker 1: you know, classical piano, but it's it's you know, it's

621
00:31:23,440 --> 00:31:25,480
Speaker 1: ultimately kind of lukewarm. It has kind of like hell

622
00:31:25,600 --> 00:31:31,440
Speaker 1: razorily hell Hell razory synth chrals at times. You know,

623
00:31:31,520 --> 00:31:34,360
Speaker 1: it's got some synth drums and so forth. So it

624
00:31:34,440 --> 00:31:37,560
Speaker 1: works for me. I never hated it, but it's interesting

625
00:31:37,600 --> 00:31:39,080
Speaker 1: considering what might have been.

626
00:31:39,440 --> 00:31:41,880
Speaker 3: Oh that's right, now, how did you come across this

627
00:31:41,960 --> 00:31:44,040
Speaker 3: next fact? Give me the story.

628
00:31:44,320 --> 00:31:46,360
Speaker 1: Well, there's not much story, like a lot of these things.

629
00:31:46,440 --> 00:31:48,880
Speaker 1: I think I was just reading IMDb too much, And

630
00:31:49,720 --> 00:31:54,920
Speaker 1: it was noted that the filmmakers actually rejected the original score,

631
00:31:55,360 --> 00:31:58,640
Speaker 1: which was composed by the legendary Wendy Carlos.

632
00:31:58,680 --> 00:32:01,200
Speaker 3: How could you reject Wendy Carlos score?

633
00:32:01,560 --> 00:32:07,040
Speaker 1: Yeah, I mean, Wendy Carlos is a legend basically twofold.

634
00:32:07,200 --> 00:32:10,000
Speaker 1: On one hand, she wrote the scores for this like

635
00:32:10,040 --> 00:32:14,640
Speaker 1: the Shining Tron Clockwork Orange, but also just in general,

636
00:32:14,720 --> 00:32:17,200
Speaker 1: she's a true pioneer of electronic music and the use

637
00:32:17,200 --> 00:32:20,280
Speaker 1: of the synthesizer. Yeah, Andy, as we touched on on

638
00:32:20,280 --> 00:32:22,200
Speaker 1: stuff to blow your mind before. She's also a great

639
00:32:22,240 --> 00:32:24,240
Speaker 1: solar photographer. So how could you say no?

640
00:32:24,600 --> 00:32:27,080
Speaker 3: Yeah, it's crazy. So yeah, the score they ended up

641
00:32:27,080 --> 00:32:30,440
Speaker 3: going with, I feel like it is extremely generic. It's

642
00:32:30,480 --> 00:32:33,200
Speaker 3: just doo doo doo doom doo doo don is a

643
00:32:33,320 --> 00:32:38,120
Speaker 3: standard ominous future drums and drone. And I went and

644
00:32:38,200 --> 00:32:41,160
Speaker 3: I looked up some clips because you provided a link.

645
00:32:41,200 --> 00:32:45,000
Speaker 3: There's like an AllMusic page where Wendy Carlos at some

646
00:32:45,240 --> 00:32:50,200
Speaker 3: point released a collection of lost or themes from movies,

647
00:32:50,240 --> 00:32:53,680
Speaker 3: including a couple of things she composed for this movie

648
00:32:53,720 --> 00:32:56,440
Speaker 3: that never actually made it into the film. The two

649
00:32:56,480 --> 00:32:59,640
Speaker 3: tracks here are Visit to a Morgue and Returned to

650
00:32:59,680 --> 00:33:02,160
Speaker 3: the More, which I thought was funny, but I checked

651
00:33:02,240 --> 00:33:04,720
Speaker 3: him out, and having heard both side by side, I'm

652
00:33:04,800 --> 00:33:08,000
Speaker 3: certain her complete score would have been one hundred times better.

653
00:33:08,440 --> 00:33:11,000
Speaker 1: Absolutely. I listened it to these tracks as well, and

654
00:33:11,040 --> 00:33:13,280
Speaker 1: I think they sound great. I'd loved it to hear

655
00:33:13,320 --> 00:33:15,760
Speaker 1: the whole thing. If you want to listen to these tracks,

656
00:33:15,800 --> 00:33:18,960
Speaker 1: the album to look up is Rediscovering Lost Scores, Volume two.

657
00:33:19,360 --> 00:33:21,240
Speaker 1: I'll try to include a link to it on the

658
00:33:22,280 --> 00:33:25,520
Speaker 1: post I do for this episode at samoodomusic dot com.

659
00:33:25,520 --> 00:33:29,160
Speaker 1: But yeah, it's quite good. Sadly, I don't think you

660
00:33:29,160 --> 00:33:30,600
Speaker 1: can find this on Spotify right now.

661
00:33:30,920 --> 00:33:33,120
Speaker 3: Wendy Carlos is still alive. I don't know if she's

662
00:33:33,160 --> 00:33:36,320
Speaker 3: composing anymore, but filmmakers out there, if you have the

663
00:33:36,360 --> 00:33:38,960
Speaker 3: opportunity to get a Wendy Carlos score in your movie,

664
00:33:38,960 --> 00:33:40,720
Speaker 3: don't pass it up now.

665
00:33:40,800 --> 00:33:44,479
Speaker 1: One last interesting individual involved in the creation of Split Second,

666
00:33:44,960 --> 00:33:49,280
Speaker 1: Stephen Norrington was involved in the creature design, so some

667
00:33:49,360 --> 00:33:51,520
Speaker 1: of you might recognize the name. This is London born

668
00:33:51,720 --> 00:33:55,200
Speaker 1: effects makeup artist who worked on such films as Aliens,

669
00:33:55,600 --> 00:34:00,680
Speaker 1: Young Sherlock Holmes, Hardware, Alien three, Jim Henson's The Taylor,

670
00:34:01,240 --> 00:34:03,520
Speaker 1: and then he would go on from this to direct

671
00:34:03,520 --> 00:34:06,520
Speaker 1: a film titled Death Machine with Brad Dorif and Richard

672
00:34:06,520 --> 00:34:10,000
Speaker 1: Brake before I think any I don't think I knew

673
00:34:10,040 --> 00:34:12,520
Speaker 1: who Richard Brake was at that time, but he's since

674
00:34:12,560 --> 00:34:14,759
Speaker 1: gone on to make a name for himself as a

675
00:34:15,120 --> 00:34:21,000
Speaker 1: as a reliable, intimidating character actor. But he followed this

676
00:34:21,080 --> 00:34:26,920
Speaker 1: film up Norrington did directing nineteen ninety eight's Blade, the

677
00:34:27,760 --> 00:34:31,560
Speaker 1: film that started all of the Marvel Cinematic universe, starring,

678
00:34:31,640 --> 00:34:33,120
Speaker 1: of course, Wesley Snipes.

679
00:34:33,440 --> 00:34:36,640
Speaker 3: Now I know you're kind of a bladehead, and I

680
00:34:36,719 --> 00:34:40,760
Speaker 3: the only I think. I've only seen the original Blade

681
00:34:40,840 --> 00:34:43,719
Speaker 3: once many many years ago, like in middle school, and

682
00:34:43,760 --> 00:34:45,040
Speaker 3: that's that's about all I know.

683
00:34:45,760 --> 00:34:47,840
Speaker 1: Oh, well, you need to see it again because it

684
00:34:48,040 --> 00:34:49,000
Speaker 1: absolutely holds up.

685
00:34:50,000 --> 00:34:52,640
Speaker 3: I do remember. I remember a lot of gross scenes

686
00:34:52,680 --> 00:34:55,640
Speaker 3: where they're like they're like shining a flashlight on a

687
00:34:55,760 --> 00:34:58,040
Speaker 3: on a big fat vampire to like burn his skin

688
00:34:58,160 --> 00:34:59,000
Speaker 3: and make him talk.

689
00:34:59,400 --> 00:35:03,319
Speaker 1: Yep, Yep that happened. Yeah, that that's that's a fun thing.

690
00:35:03,360 --> 00:35:06,160
Speaker 1: I love the first two Blade movies and uh and

691
00:35:06,200 --> 00:35:09,560
Speaker 1: that that was that was Norton here. But from there

692
00:35:09,600 --> 00:35:11,200
Speaker 1: he went on to make a film title The Last

693
00:35:11,200 --> 00:35:13,920
Speaker 1: Minute that I don't know anything about, and then the

694
00:35:13,920 --> 00:35:16,000
Speaker 1: film that caused him to I think peace out on

695
00:35:16,040 --> 00:35:21,520
Speaker 1: directing entirely The League of Extraordinary Gentlemen. But I believe

696
00:35:21,560 --> 00:35:23,600
Speaker 1: he has continued to work in effects in other areas

697
00:35:23,640 --> 00:35:24,279
Speaker 1: of filmmaking.

698
00:35:24,640 --> 00:35:27,200
Speaker 3: I never saw that one, but it is notorious. I

699
00:35:27,280 --> 00:35:31,120
Speaker 3: remember the day that my friends had been out and

700
00:35:31,160 --> 00:35:33,440
Speaker 3: seen it earlier in the day, and then I was

701
00:35:33,440 --> 00:35:35,319
Speaker 3: hanging out with them later in the day and they

702
00:35:35,360 --> 00:35:37,799
Speaker 3: could not stop talking about how awful. It was.

703
00:35:38,480 --> 00:35:40,960
Speaker 1: Yeah, I never saw it. I read the graphic novels

704
00:35:41,000 --> 00:35:43,440
Speaker 1: by Alan Moore and loved those, and it has so

705
00:35:43,520 --> 00:35:47,759
Speaker 1: many tremendous actors in it. But yeah, it was. It

706
00:35:47,800 --> 00:35:51,239
Speaker 1: was apparently no fun for anybody that was involved in

707
00:35:51,280 --> 00:35:55,160
Speaker 1: it or solid. But you know, this brings me to

708
00:35:55,200 --> 00:35:56,920
Speaker 1: a good point that I feel like we need to,

709
00:35:57,239 --> 00:35:58,960
Speaker 1: you know, make sure we hammer home every now and then.

710
00:35:59,040 --> 00:36:01,719
Speaker 1: Is that, you know, between norm Rington's case and Meleem's

711
00:36:01,760 --> 00:36:04,279
Speaker 1: experiences that we mentioned earlier, I think it's always worth

712
00:36:04,280 --> 00:36:08,600
Speaker 1: reminding ourselves that it's an endeavor for any motion picture

713
00:36:08,640 --> 00:36:10,600
Speaker 1: to be made, and it's ultimately kind of a minor

714
00:36:10,640 --> 00:36:15,280
Speaker 1: miracle that any creative process of the scope actually reaches completion.

715
00:36:16,000 --> 00:36:18,879
Speaker 1: And the stresses of creative projects like this are very real.

716
00:36:19,000 --> 00:36:22,279
Speaker 1: So you know, it's you know, it's surprising you don't

717
00:36:22,280 --> 00:36:24,439
Speaker 1: see more pictures where people you just have to step

718
00:36:24,480 --> 00:36:25,759
Speaker 1: away from it because it's too much.

719
00:36:26,040 --> 00:36:28,920
Speaker 3: Yeah, it's one of the kind of beautiful things about

720
00:36:28,920 --> 00:36:32,360
Speaker 3: B cinema, emphasized in even in great movies like the

721
00:36:32,400 --> 00:36:35,600
Speaker 3: movie ed Wood about the actual director ed Wood, that

722
00:36:35,920 --> 00:36:39,120
Speaker 3: B movies, to whatever extent they succeed or fail, can

723
00:36:39,160 --> 00:36:42,680
Speaker 3: often be funny, but it's also it's kind of it's

724
00:36:42,760 --> 00:36:44,560
Speaker 3: kind of magical that they get made at all.

725
00:36:46,560 --> 00:36:50,120
Speaker 1: All right, well, let's get into the movie itself. This

726
00:36:50,160 --> 00:36:54,040
Speaker 1: one starts out with an opening scroll and opening some

727
00:36:54,120 --> 00:36:56,520
Speaker 1: text to read, which I always like because I feel

728
00:36:56,520 --> 00:36:59,080
Speaker 1: like that way, time travelers from the early days of

729
00:36:59,120 --> 00:37:01,840
Speaker 1: cinema won't be instantly out of place when they go

730
00:37:01,880 --> 00:37:04,360
Speaker 1: to the movie theater. You know, it's going to be

731
00:37:04,400 --> 00:37:06,160
Speaker 1: a talkie, it's going to be a lot, but it's

732
00:37:06,160 --> 00:37:08,279
Speaker 1: going to start off the old fashioned way with some

733
00:37:08,520 --> 00:37:09,759
Speaker 1: words on a screen.

734
00:37:09,800 --> 00:37:12,279
Speaker 3: And a guy playing the piano in the side of

735
00:37:12,280 --> 00:37:12,720
Speaker 3: the theater.

736
00:37:14,239 --> 00:37:18,880
Speaker 1: Yeah, basically, the opening scroll is after forty days and

737
00:37:19,000 --> 00:37:22,200
Speaker 1: nights of torrential rain, the city is largely submerged below water,

738
00:37:22,560 --> 00:37:25,400
Speaker 1: a result of the devastating effects of continued global warming.

739
00:37:25,800 --> 00:37:28,680
Speaker 1: The warnings ignored for decades have now resulted in undreamed

740
00:37:28,719 --> 00:37:32,439
Speaker 1: of levels of pollution where day has become almost endless night.

741
00:37:33,120 --> 00:37:35,239
Speaker 3: You know, I'll have to check, but I do not

742
00:37:35,360 --> 00:37:38,400
Speaker 3: recall endless night being one of the one of the

743
00:37:38,440 --> 00:37:40,760
Speaker 3: proposed consequences of a warming climate.

744
00:37:42,000 --> 00:37:47,879
Speaker 1: No, it's day for night sometimes now, Yeah, this one

745
00:37:47,960 --> 00:37:50,239
Speaker 1: this and also it also brings up the idea that

746
00:37:50,320 --> 00:37:52,879
Speaker 1: it was just it recently rained a lot, which also

747
00:37:52,920 --> 00:37:54,400
Speaker 1: seems out of keep. Like I thought it was just

748
00:37:54,440 --> 00:37:56,799
Speaker 1: the fact that London is pretty flooded these days because

749
00:37:56,840 --> 00:38:01,920
Speaker 1: of rising you know, rising sea levels, but also some

750
00:38:02,000 --> 00:38:04,640
Speaker 1: other like sinking issues that have been going on with

751
00:38:04,680 --> 00:38:05,560
Speaker 1: the city for some time.

752
00:38:05,840 --> 00:38:08,840
Speaker 3: Yeah. Well, so they start while they're showing this text

753
00:38:08,880 --> 00:38:12,080
Speaker 3: crawl like the Star Wars thing. Instead of a starfield,

754
00:38:12,120 --> 00:38:15,480
Speaker 3: it's panning over an aerial shot of a flooded London

755
00:38:15,920 --> 00:38:19,839
Speaker 3: with a kind of sinister tangerine sun flaring in the background,

756
00:38:20,360 --> 00:38:23,759
Speaker 3: and it's brighter in that opening panning shot than it

757
00:38:23,840 --> 00:38:26,800
Speaker 3: is at any other point in the movie. True, true,

758
00:38:27,120 --> 00:38:29,400
Speaker 3: But I did find myself wondering how did they achieve

759
00:38:29,440 --> 00:38:32,920
Speaker 3: this shot because it does actually look like an aerial

760
00:38:32,960 --> 00:38:35,440
Speaker 3: shot of London and it does actually look flooded.

761
00:38:35,880 --> 00:38:37,920
Speaker 1: Yeah, there are details you see, especially as they sort

762
00:38:37,920 --> 00:38:39,400
Speaker 1: of re use this footage later in the film. You

763
00:38:39,440 --> 00:38:41,560
Speaker 1: can see like, oh, yeah, that looks like a lake

764
00:38:41,719 --> 00:38:43,480
Speaker 1: over here. And you know they didn't do it digitally.

765
00:38:43,520 --> 00:38:44,480
Speaker 1: This is nineteen ninety one.

766
00:38:44,600 --> 00:38:46,279
Speaker 3: Yeah, so I was wondering what was going on there?

767
00:38:46,320 --> 00:38:49,680
Speaker 3: I mean, did they did London actually flood at some

768
00:38:49,760 --> 00:38:51,759
Speaker 3: point and this was real footage of it that they

769
00:38:51,880 --> 00:38:54,520
Speaker 3: digitally altered somehow, I don't know.

770
00:38:54,680 --> 00:38:57,560
Speaker 1: But it's convincing. It does set the stage. And again,

771
00:38:57,800 --> 00:39:01,400
Speaker 1: let the city is just a flooded mess throughout this

772
00:39:01,520 --> 00:39:03,959
Speaker 1: entire picture. You buy it completely. It's not like they

773
00:39:04,000 --> 00:39:05,880
Speaker 1: just give you this bit of world building and then

774
00:39:05,920 --> 00:39:08,360
Speaker 1: that it's is ignored for the rest of the film. No,

775
00:39:08,480 --> 00:39:10,360
Speaker 1: It's present in virtually every shot.

776
00:39:11,480 --> 00:39:14,359
Speaker 3: And one thing I like is that before you see

777
00:39:14,400 --> 00:39:17,680
Speaker 3: the title of the movie, you just see Rutger Hower read.

778
00:39:17,520 --> 00:39:19,120
Speaker 1: Letters as it should be.

779
00:39:19,440 --> 00:39:22,640
Speaker 3: Yeah, but then when the title of the movie comes up,

780
00:39:22,680 --> 00:39:23,800
Speaker 3: it looks really funny.

781
00:39:24,239 --> 00:39:26,160
Speaker 1: Yeah, for a film with such a strong sense of

782
00:39:26,160 --> 00:39:29,000
Speaker 1: its own aesthetics, the title card just looks really dumb.

783
00:39:29,000 --> 00:39:32,040
Speaker 1: The letters are like these big blue balloons, like there

784
00:39:32,120 --> 00:39:34,640
Speaker 1: should be floating in the sky of a Mario Brothers level.

785
00:39:34,880 --> 00:39:38,120
Speaker 3: Yes, yes, and it's so it's it says split second.

786
00:39:38,160 --> 00:39:40,600
Speaker 3: But I was experienced a kind of I was seeing

787
00:39:40,600 --> 00:39:44,120
Speaker 3: a kind of selective dyslexic effect where it was hard

788
00:39:44,160 --> 00:39:46,840
Speaker 3: for me do not see the title as spilt second.

789
00:39:47,960 --> 00:39:51,000
Speaker 3: And then also because of the way the L and

790
00:39:51,040 --> 00:39:54,920
Speaker 3: the capitol I come together sput second, kind of like

791
00:39:54,960 --> 00:39:59,640
Speaker 3: the celebrity Jeopardy four and flicks problem. And I've just

792
00:39:59,719 --> 00:40:02,480
Speaker 3: now I wondered for the first time, what is the

793
00:40:02,480 --> 00:40:04,800
Speaker 3: significance of the title split second.

794
00:40:06,200 --> 00:40:09,160
Speaker 1: I don't think it has any significance at all other

795
00:40:09,200 --> 00:40:14,000
Speaker 1: than it just implies a pacing that is largely backed

796
00:40:14,040 --> 00:40:16,800
Speaker 1: up by the picture. You know, stuff is just happening,

797
00:40:16,800 --> 00:40:20,080
Speaker 1: and characters are especially stone. It just has a gut

798
00:40:20,160 --> 00:40:24,040
Speaker 1: level response to everything. So I guess that's the extent

799
00:40:24,080 --> 00:40:24,239
Speaker 1: of it.

800
00:40:24,480 --> 00:40:28,160
Speaker 3: Yeah, the movie might as well be called exciting exciting.

801
00:40:28,280 --> 00:40:33,239
Speaker 1: Yeah, so, yeah, they didn't take long for rug or

802
00:40:33,280 --> 00:40:34,960
Speaker 1: Howard to pop up. He has a lot of screen

803
00:40:35,000 --> 00:40:37,399
Speaker 1: time in this and the first I think we see

804
00:40:37,400 --> 00:40:40,800
Speaker 1: of him is he's walking up in leather, scratching his groin,

805
00:40:40,880 --> 00:40:43,200
Speaker 1: putting on a pair of shades. He's got a big

806
00:40:43,239 --> 00:40:47,560
Speaker 1: old gun. And then shortly thereafter my favorite, one of

807
00:40:47,640 --> 00:40:51,200
Speaker 1: my favorite sequences in the film, he lights his cigar

808
00:40:51,280 --> 00:40:54,960
Speaker 1: with a blowtorch, then gets out of his vehicle calls

809
00:40:55,000 --> 00:40:58,600
Speaker 1: a dog a dickhead on his way into a grimy nightclub.

810
00:40:58,960 --> 00:41:01,480
Speaker 1: For some reason, it's just so, it's such a funny scene.

811
00:41:01,520 --> 00:41:03,560
Speaker 1: Like when I saw that scene the first time I

812
00:41:03,600 --> 00:41:05,560
Speaker 1: watched the film, I was like, oh my god, I'm

813
00:41:05,600 --> 00:41:06,399
Speaker 1: watching all of this.

814
00:41:06,880 --> 00:41:09,600
Speaker 3: I'm in Before he even gets in the car, we

815
00:41:09,760 --> 00:41:13,200
Speaker 3: just get this corridor advancing scene. This is our introduction

816
00:41:13,400 --> 00:41:17,000
Speaker 3: to our protagonist. And god his costume. So he's got

817
00:41:17,040 --> 00:41:20,600
Speaker 3: the sci fi stomper boots. I guess these are these

818
00:41:20,600 --> 00:41:22,919
Speaker 3: are actual all weather boots of some kind. I don't

819
00:41:22,920 --> 00:41:24,360
Speaker 3: know what they're called, but they're the ones with a

820
00:41:24,360 --> 00:41:27,200
Speaker 3: bunch of straps and buckles poking out all over the place.

821
00:41:28,360 --> 00:41:31,560
Speaker 3: And then we get holster vision, like an extreme close

822
00:41:31,640 --> 00:41:34,520
Speaker 3: up of all his different holsters and the guns in them.

823
00:41:34,800 --> 00:41:37,920
Speaker 3: Of course he's wearing a long coat, right, kalflinth coat,

824
00:41:38,080 --> 00:41:40,239
Speaker 3: because hey, you know, how else are they going to

825
00:41:40,280 --> 00:41:41,040
Speaker 3: know that you're bad?

826
00:41:41,719 --> 00:41:45,000
Speaker 1: Yeah, despite it being like really humid looking in this city,

827
00:41:45,040 --> 00:41:48,000
Speaker 1: Like I don't know, it just seems like the smells,

828
00:41:48,040 --> 00:41:49,120
Speaker 1: I don't know, you would.

829
00:41:48,960 --> 00:41:51,440
Speaker 3: Not want to wear that coat, I don't think. And

830
00:41:51,680 --> 00:41:54,680
Speaker 3: then and then he's wearing just plastic pants with a

831
00:41:54,880 --> 00:41:58,080
Speaker 3: gut stabber silver belt buckle. It looks like if he

832
00:41:58,160 --> 00:42:01,520
Speaker 3: bends over to tie his shoes to cause internal bleeding

833
00:42:01,560 --> 00:42:02,920
Speaker 3: and is large intestine.

834
00:42:03,280 --> 00:42:06,600
Speaker 1: Yeah. Yeah, And you don't get the sense that he's

835
00:42:06,760 --> 00:42:09,200
Speaker 1: purchased any new This character has not purchased any new

836
00:42:09,239 --> 00:42:11,120
Speaker 1: clothing since he's let himself go, you.

837
00:42:11,080 --> 00:42:16,000
Speaker 3: Know, right exactly. Sunglasses with tiny frames like the beady

838
00:42:16,080 --> 00:42:18,760
Speaker 3: little circular frames that are about the size of a quarter,

839
00:42:20,200 --> 00:42:23,000
Speaker 3: like they simultaneously like they kind of look cool but

840
00:42:23,040 --> 00:42:27,240
Speaker 3: it's also funny. Yeah. And cigar in his mouth at

841
00:42:27,280 --> 00:42:32,640
Speaker 3: all times, just pathological oral fixation. It never leaves his lips.

842
00:42:32,600 --> 00:42:36,040
Speaker 1: Yeap constantly, just a halo of smoke around his head.

843
00:42:36,400 --> 00:42:38,560
Speaker 3: Uh huh. So in a way, he's kind of a

844
00:42:38,640 --> 00:42:40,600
Speaker 3: dystopian sci Fi Pouci.

845
00:42:41,400 --> 00:42:44,360
Speaker 1: Yeah. Yeah, but but again is rugger Hower and he

846
00:42:44,480 --> 00:42:47,080
Speaker 1: manages to strike that balance where it you know, you

847
00:42:47,800 --> 00:42:49,920
Speaker 1: in any given scene, you're either buying into the coolness

848
00:42:50,000 --> 00:42:52,520
Speaker 1: or noticing again the wink in his performance and or

849
00:42:52,600 --> 00:42:53,040
Speaker 1: the writing.

850
00:42:53,680 --> 00:42:55,279
Speaker 3: So here's a question I don't know if you have

851
00:42:55,320 --> 00:42:57,640
Speaker 3: an answer to. Maybe if you don't, maybe the listeners

852
00:42:57,640 --> 00:43:01,120
Speaker 3: can add some input. Where does the law coats as

853
00:43:01,320 --> 00:43:04,360
Speaker 3: cool thing come from in movies? Where you got a

854
00:43:04,440 --> 00:43:08,320
Speaker 3: character who's just a real like just bad to the bone,

855
00:43:08,680 --> 00:43:10,880
Speaker 3: he's got to wear like a calf length coat.

856
00:43:11,320 --> 00:43:13,239
Speaker 1: That's a great question. I don't know, but it's it's

857
00:43:13,239 --> 00:43:15,760
Speaker 1: been around for a while at this point. It doesn't

858
00:43:15,760 --> 00:43:17,760
Speaker 1: seem to be going away anytime soon.

859
00:43:17,880 --> 00:43:20,280
Speaker 3: Like it was already in place at this time, really

860
00:43:20,320 --> 00:43:24,560
Speaker 3: realized in Matrix Chic. But yeah, but this was way

861
00:43:24,600 --> 00:43:28,080
Speaker 3: before that, and it was definitely in movies even before this.

862
00:43:28,719 --> 00:43:30,640
Speaker 1: Yeah, I don't have an answer for that. Maybe that's

863
00:43:30,680 --> 00:43:33,880
Speaker 1: one we can our listeners will have some insight on.

864
00:43:34,239 --> 00:43:38,000
Speaker 3: Yeah, okay. Oh, and also this movie is if anybody

865
00:43:38,120 --> 00:43:41,800
Speaker 3: out there is actually like a gun owner or into

866
00:43:42,440 --> 00:43:45,040
Speaker 3: firearms safety at all, this movie will just make you

867
00:43:45,120 --> 00:43:49,360
Speaker 3: shudder because all Rutger Howard does is just walk around

868
00:43:49,480 --> 00:43:52,680
Speaker 3: swinging big guns all over the place and tossing them

869
00:43:52,680 --> 00:43:54,040
Speaker 3: around like Duffel bags.

870
00:43:54,440 --> 00:43:57,680
Speaker 1: Yeah, yeah, gesturing with them. He'll stick a gun in

871
00:43:57,680 --> 00:43:59,840
Speaker 1: your face for virtually no reason.

872
00:44:00,080 --> 00:44:01,759
Speaker 3: Yeah, just to play around, you know.

873
00:44:02,000 --> 00:44:05,000
Speaker 1: Yeah, other character, other characters to pick up on this

874
00:44:05,000 --> 00:44:08,640
Speaker 1: this recklessness and start engaging in it. And boy, there's

875
00:44:08,680 --> 00:44:10,359
Speaker 1: some big gun Like the guns look good in this,

876
00:44:10,480 --> 00:44:14,719
Speaker 1: like the gun these are some some video game asque weapons,

877
00:44:14,760 --> 00:44:17,200
Speaker 1: you know, Like he has this pistol that just looks

878
00:44:17,280 --> 00:44:19,680
Speaker 1: like a big just sci fi cannon. And then later

879
00:44:20,160 --> 00:44:25,320
Speaker 1: these like mini gun looking combat shotgun things. It's pretty crazy.

880
00:44:25,520 --> 00:44:27,880
Speaker 3: Yeah, you're not joking about that. They literally have like

881
00:44:27,960 --> 00:44:30,680
Speaker 3: it's like a mini gun barrel, so like the multiple

882
00:44:30,680 --> 00:44:33,239
Speaker 3: barrels and the rotating I don't know what you call

883
00:44:33,280 --> 00:44:36,399
Speaker 3: that piece, but like like like what Jesse Ventura has

884
00:44:36,480 --> 00:44:39,840
Speaker 3: in Predator, except it's supposed to be shotgun barrels.

885
00:44:39,920 --> 00:44:41,840
Speaker 1: Yeah, like a shot gun gatlin gun.

886
00:44:42,000 --> 00:44:44,680
Speaker 3: Yeah. And then at the very beginning, so we see

887
00:44:44,760 --> 00:44:47,320
Speaker 3: him coming down the corridor showing off his cool look,

888
00:44:47,520 --> 00:44:49,960
Speaker 3: and then he gets into a jeep and drives away,

889
00:44:50,440 --> 00:44:52,319
Speaker 3: and of course we see that his car is just

890
00:44:52,360 --> 00:44:56,719
Speaker 3: a rolling sty It is full of garbage, mostly coffee

891
00:44:56,719 --> 00:44:59,560
Speaker 3: cups and the containers of sugary products.

892
00:45:00,040 --> 00:45:02,080
Speaker 1: Yeah, there's like he's a one brand guy when it

893
00:45:02,120 --> 00:45:05,000
Speaker 1: comes to these sugary things. I think maybe they're donuts

894
00:45:05,120 --> 00:45:07,920
Speaker 1: or chocolate balls. But like when we say that he

895
00:45:07,960 --> 00:45:10,080
Speaker 1: lives on a diet, like that's directly from the film

896
00:45:10,120 --> 00:45:11,880
Speaker 1: that they say that he lives on a diet of

897
00:45:12,239 --> 00:45:15,960
Speaker 1: of what caffeine, sugar and anxiety anxiety? No caffeine, no sugar,

898
00:45:16,040 --> 00:45:17,960
Speaker 1: chocolate in anxiety or is it sugar?

899
00:45:18,280 --> 00:45:21,880
Speaker 3: I think coffee sugar or sugar chocolate in an anxiety?

900
00:45:21,960 --> 00:45:24,560
Speaker 1: Yeah, maybe, yeah, yeah, I think so. And so that's

901
00:45:24,600 --> 00:45:28,080
Speaker 1: like literally if he's not smoking, and or if he's smoking,

902
00:45:28,280 --> 00:45:33,360
Speaker 1: he's also liable to be consuming chocolate and putting just

903
00:45:33,440 --> 00:45:35,200
Speaker 1: tons of sugar. Like it's a scene where he fills

904
00:45:35,280 --> 00:45:37,960
Speaker 1: up his coffee in an office and it's just like

905
00:45:38,440 --> 00:45:40,880
Speaker 1: thirty percent sugar and then the rest is coffee.

906
00:45:40,960 --> 00:45:43,120
Speaker 3: Yeah, And so he's driving around. You mentioned that he's

907
00:45:43,120 --> 00:45:45,360
Speaker 3: on his way to this filthy night club he's going to.

908
00:45:45,440 --> 00:45:48,600
Speaker 3: But also for some reason at the very beginning, it's

909
00:45:48,640 --> 00:45:51,480
Speaker 3: it's not established why this is at all he's being

910
00:45:51,560 --> 00:45:55,759
Speaker 3: pursued by police, so he is a police detective. But

911
00:45:55,800 --> 00:45:58,680
Speaker 3: he's also like, while he's driving around, there are cops

912
00:45:58,800 --> 00:46:03,080
Speaker 3: chasing him, being like where there's Harley Stone going just unbeatable. Yeah,

913
00:46:03,920 --> 00:46:05,799
Speaker 3: But he ends up in this dirty night club that

914
00:46:05,840 --> 00:46:09,800
Speaker 3: he has to enter through like a corrugated aluminum sewer

915
00:46:09,840 --> 00:46:12,560
Speaker 3: tunnel that has a bunch of wet socks dangling from

916
00:46:12,600 --> 00:46:15,319
Speaker 3: the walls. And I don't know what the deal with

917
00:46:15,360 --> 00:46:17,200
Speaker 3: that was. But he goes inside. He's told there's a

918
00:46:17,239 --> 00:46:21,240
Speaker 3: two drink minimum, and he orders two coffees with extra sugar,

919
00:46:22,200 --> 00:46:24,839
Speaker 3: and he seems to be here trying to scope things out.

920
00:46:24,920 --> 00:46:27,880
Speaker 3: It's like he's got a sixth sense that there is

921
00:46:27,920 --> 00:46:31,400
Speaker 3: a that there is Duin's afoot in the club, and

922
00:46:31,440 --> 00:46:36,360
Speaker 3: he's just scoping around and eventually ends up trying to

923
00:46:36,360 --> 00:46:38,120
Speaker 3: make a phone call I think, but it's hard to

924
00:46:38,160 --> 00:46:40,200
Speaker 3: understand what he's saying on the phone because he's still

925
00:46:40,200 --> 00:46:41,520
Speaker 3: got the cigar in his mouth.

926
00:46:41,880 --> 00:46:43,480
Speaker 1: He's not here for fun, though, because I don't think

927
00:46:43,480 --> 00:46:45,360
Speaker 1: Harley Stone does fun, not anymore.

928
00:46:45,480 --> 00:46:47,520
Speaker 3: No, he does not go to the club to party.

929
00:46:47,600 --> 00:46:50,720
Speaker 3: He goes to the club to find the killer. Yeah,

930
00:46:50,760 --> 00:46:53,640
Speaker 3: and he's looking for somebody I guess the killer. But

931
00:46:53,680 --> 00:46:55,920
Speaker 3: then meanwhile there's a scream and we find that a

932
00:46:55,920 --> 00:47:00,000
Speaker 3: woman has been murdered in the bathroom. There's blood splattered everywhere,

933
00:47:00,480 --> 00:47:04,239
Speaker 3: her heart has been removed, and there is there are

934
00:47:04,280 --> 00:47:07,760
Speaker 3: the words I'm back scrawled on the mirror in blood.

935
00:47:08,480 --> 00:47:10,759
Speaker 1: Yeah, And this is one of many scenes that will

936
00:47:10,760 --> 00:47:14,320
Speaker 1: come in this film where a filthy environment is sprawled

937
00:47:14,360 --> 00:47:18,200
Speaker 1: with blood and it looks it looks great like this

938
00:47:18,280 --> 00:47:21,760
Speaker 1: film man Like Again, the aesthetics of this film are

939
00:47:22,320 --> 00:47:25,440
Speaker 1: pretty tremendous, and there's something about like it has an

940
00:47:25,760 --> 00:47:30,800
Speaker 1: almost erotic fixation on blood and death. And you see

941
00:47:30,880 --> 00:47:32,960
Speaker 1: the first taste of it in this scene.

942
00:47:33,239 --> 00:47:36,080
Speaker 3: And we see that Harley Stone, the character is also

943
00:47:36,280 --> 00:47:40,360
Speaker 3: fixated because he's he's not just on a case. He

944
00:47:40,560 --> 00:47:44,759
Speaker 3: is obsessed. He starts chasing down the blood trail that's

945
00:47:44,840 --> 00:47:48,120
Speaker 3: running out of the bathroom. He's freaking out. He's pointing

946
00:47:48,160 --> 00:47:51,200
Speaker 3: his gun at random people as he runs through these alleys.

947
00:47:51,600 --> 00:47:54,399
Speaker 3: Other police are trying to like join in and help him,

948
00:47:54,400 --> 00:47:56,319
Speaker 3: I think, but he's screaming at them to get out

949
00:47:56,320 --> 00:47:58,640
Speaker 3: of his way. And here I believe we have a

950
00:47:58,640 --> 00:48:01,000
Speaker 3: classic case of take it too personal.

951
00:48:01,320 --> 00:48:02,800
Speaker 1: Yep, he's taking it too personal.

952
00:48:03,440 --> 00:48:07,239
Speaker 3: She says, he's taking it too personal. That's right, you

953
00:48:07,280 --> 00:48:09,640
Speaker 3: can't stop. I mean, he's the best, even if he

954
00:48:09,760 --> 00:48:12,160
Speaker 3: is taking it too personal. And the whole chase we

955
00:48:12,239 --> 00:48:15,799
Speaker 3: get this doom doom. We hear a heart beating and

956
00:48:15,880 --> 00:48:20,440
Speaker 3: heavy breathing that suggests a psychic connection somehow between the

957
00:48:20,560 --> 00:48:24,200
Speaker 3: killer and Harley Stone. But I guess somehow he gets subdued.

958
00:48:24,239 --> 00:48:26,040
Speaker 3: I think he ends up like on a fire escape,

959
00:48:26,160 --> 00:48:30,200
Speaker 3: just kind of I don't know, hyperventilating and leaning against

960
00:48:30,239 --> 00:48:32,680
Speaker 3: the railing. And then we cut to the fan boats,

961
00:48:32,719 --> 00:48:35,120
Speaker 3: you know, the Bayou boats, except they're out on the Thames,

962
00:48:35,880 --> 00:48:40,000
Speaker 3: and we hear the Chief of Police Thrasher, talking to

963
00:48:40,040 --> 00:48:42,640
Speaker 3: this other guy, and we get some backstory on Harleystone.

964
00:48:42,760 --> 00:48:44,480
Speaker 3: Is he talking to Dick Durkin?

965
00:48:44,880 --> 00:48:46,919
Speaker 1: I think so, yeah, because he's preparing him, because again,

966
00:48:46,960 --> 00:48:49,080
Speaker 1: he's the best. We've got to use him. But we

967
00:48:49,120 --> 00:48:51,920
Speaker 1: need a good cop to pal around with him, to

968
00:48:52,320 --> 00:48:53,960
Speaker 1: keep tabs on him and keep him from getting out

969
00:48:53,960 --> 00:48:54,440
Speaker 1: of hand.

970
00:48:54,320 --> 00:48:56,960
Speaker 3: Right, We need a nerd cop to put a leash

971
00:48:57,040 --> 00:49:01,239
Speaker 3: on the loose cannon cop. Yeah, And so it's just

972
00:49:01,480 --> 00:49:05,160
Speaker 3: perfect cop movie cliches. Butt on a fan boat on

973
00:49:05,200 --> 00:49:08,680
Speaker 3: the Thames, and Thrasher talks about how it took four

974
00:49:08,880 --> 00:49:11,879
Speaker 3: officers to subdue Harley Stone and now he's in lock

975
00:49:11,960 --> 00:49:14,880
Speaker 3: up and Dick Dirkin is so curious what happened to

976
00:49:14,880 --> 00:49:19,000
Speaker 3: Harley Stone to make him this way? And Thrasher says, well,

977
00:49:19,080 --> 00:49:22,640
Speaker 3: a serial killer murdered his partner Foster three years ago

978
00:49:23,040 --> 00:49:26,640
Speaker 3: and he was there when it happened. And Dick Dirkin says, oh,

979
00:49:26,760 --> 00:49:30,960
Speaker 3: is it survivor's guilt and Thrasher says, nah, just plain guilt.

980
00:49:31,200 --> 00:49:34,439
Speaker 3: He had an affair with Foster's wife, left her, hit

981
00:49:34,520 --> 00:49:37,600
Speaker 3: the booze went over the edge. Now he lives on

982
00:49:37,640 --> 00:49:43,000
Speaker 3: here's the quote anxiety, coffee and chocolate. Oh. And they

983
00:49:43,040 --> 00:49:45,279
Speaker 3: specified that he's worked in every hell hole in the

984
00:49:45,320 --> 00:49:48,319
Speaker 3: world and he's been fired from all of them, and

985
00:49:48,560 --> 00:49:50,160
Speaker 3: they say he's the best.

986
00:49:51,800 --> 00:49:54,120
Speaker 1: S Yeah, what are these other hell holes? I wonder

987
00:49:54,200 --> 00:49:56,759
Speaker 1: It's like there's a whole there's a whole universe of

988
00:49:57,000 --> 00:49:59,200
Speaker 1: Harley Stone adventures we don't know anything about.

989
00:49:59,120 --> 00:50:01,200
Speaker 3: Right, So he's worked in like every city in the

990
00:50:01,200 --> 00:50:03,800
Speaker 3: world or something, or only the ones that are hell holes,

991
00:50:03,840 --> 00:50:05,319
Speaker 3: which are those yep?

992
00:50:05,480 --> 00:50:09,160
Speaker 1: Just every like flooded, monster ridden Metropolis on Earth.

993
00:50:09,400 --> 00:50:11,080
Speaker 3: I guess we may have missed our chance for a

994
00:50:11,600 --> 00:50:15,480
Speaker 3: prequel that's like the Adventures of Harley Stone in I

995
00:50:15,520 --> 00:50:17,480
Speaker 3: don't know, New Orleans or something.

996
00:50:17,920 --> 00:50:20,160
Speaker 1: Yeah, I don't know who the young Rutger Hower would be.

997
00:50:20,239 --> 00:50:22,719
Speaker 1: I mean, he can't really replace him.

998
00:50:22,880 --> 00:50:26,799
Speaker 3: Yeah. But so Harley Stone's back in the station. He's

999
00:50:26,880 --> 00:50:29,880
Speaker 3: raging against the bars and lock up, rattling them, and

1000
00:50:29,920 --> 00:50:32,040
Speaker 3: then he gets out eventually and he's getting coffee. And

1001
00:50:32,080 --> 00:50:34,040
Speaker 3: here we get one of the great coffee scenes where

1002
00:50:34,040 --> 00:50:36,719
Speaker 3: he puts like, you know, eighteen spoonfuls of sugar in.

1003
00:50:38,120 --> 00:50:41,520
Speaker 3: And then we meet Pete Postelwaite and they have a

1004
00:50:41,520 --> 00:50:45,040
Speaker 3: big confrontation. It is clear that Rutger and Pete do

1005
00:50:45,120 --> 00:50:47,000
Speaker 3: not like one another, right.

1006
00:50:47,840 --> 00:50:51,880
Speaker 1: I think it's later revealed that Pete's character was also

1007
00:50:52,320 --> 00:50:54,799
Speaker 1: the slain partner's best friend, and so he holds it

1008
00:50:54,840 --> 00:50:55,600
Speaker 1: against him.

1009
00:50:55,520 --> 00:50:58,919
Speaker 3: Right, And then there's a great chief chewout scene. Yeah,

1010
00:50:58,960 --> 00:51:01,160
Speaker 3: and so he gets invited it into the chief's office

1011
00:51:01,200 --> 00:51:04,719
Speaker 3: to get Harley Stone gets chewed out. We hear all

1012
00:51:04,760 --> 00:51:07,000
Speaker 3: about how he's a loose cannon, how he's taken it

1013
00:51:07,040 --> 00:51:09,480
Speaker 3: to personal, how he's off the force, and then here's

1014
00:51:09,520 --> 00:51:12,560
Speaker 3: your new partner. And the new partner, of course, is

1015
00:51:12,600 --> 00:51:16,920
Speaker 3: Dick Dirkin, the nerd from Oxford who is getting filled

1016
00:51:16,920 --> 00:51:18,719
Speaker 3: in on the case. And he's like, I thought we

1017
00:51:18,719 --> 00:51:22,160
Speaker 3: were dealing with the psychotic, not a psychopath. But the

1018
00:51:22,160 --> 00:51:24,600
Speaker 3: scoop on Dick Dirkin is that he's an expert on

1019
00:51:24,719 --> 00:51:28,080
Speaker 3: serial killers. He's a sort of lily livered college boy

1020
00:51:28,120 --> 00:51:31,279
Speaker 3: who went to Oxford, and Harley Stone does not like him.

1021
00:51:31,320 --> 00:51:34,880
Speaker 3: I think Harley Stone, I think, clearly believes that the

1022
00:51:34,960 --> 00:51:37,280
Speaker 3: book Learning is weak and puny.

1023
00:51:38,200 --> 00:51:42,200
Speaker 1: Well, it's like any kind of premeditation is is puny.

1024
00:51:42,280 --> 00:51:46,959
Speaker 1: Like Stone again, he rules from the gut. He's he's

1025
00:51:47,040 --> 00:51:51,520
Speaker 1: just all action and no chill. There's just his brain

1026
00:51:51,719 --> 00:51:56,400
Speaker 1: is just like an exploding rat of anxiety and of

1027
00:51:56,440 --> 00:51:58,280
Speaker 1: you know, fueled with caffeine and sugar.

1028
00:51:58,440 --> 00:52:01,399
Speaker 3: Yeah, and then oh oh oh, and then so can

1029
00:52:01,440 --> 00:52:04,120
Speaker 3: you explain to me what you think is implied to

1030
00:52:04,239 --> 00:52:07,440
Speaker 3: have happened in the following scene, because right after the

1031
00:52:07,520 --> 00:52:10,560
Speaker 3: chew out, Harley Stone goes back to his desk and

1032
00:52:10,600 --> 00:52:12,960
Speaker 3: there's just a cooler with a heart in it. There,

1033
00:52:13,239 --> 00:52:15,520
Speaker 3: like a cooler full of ice that's got a chewed

1034
00:52:15,600 --> 00:52:19,080
Speaker 3: up heart. And I don't know why it's on ice,

1035
00:52:19,280 --> 00:52:22,240
Speaker 3: because this is not going to be a successful transplant

1036
00:52:22,560 --> 00:52:25,879
Speaker 3: or like donor organ, it has a bite taken out

1037
00:52:25,880 --> 00:52:28,440
Speaker 3: of it, but for some reason, it's on ice in

1038
00:52:28,520 --> 00:52:31,640
Speaker 3: a cooler sitting right next to his desk. Are we

1039
00:52:31,719 --> 00:52:34,960
Speaker 3: to understand that this heart has been delivered by the

1040
00:52:35,080 --> 00:52:36,360
Speaker 3: killer to his desk?

1041
00:52:36,920 --> 00:52:40,319
Speaker 1: I think, okay, so out of picture, I would say

1042
00:52:40,440 --> 00:52:42,960
Speaker 1: this is a clear sign of an earlier draft of

1043
00:52:43,360 --> 00:52:46,040
Speaker 1: the plot. I think at one point this screenplay did

1044
00:52:46,040 --> 00:52:47,520
Speaker 1: not have a monster in it. It was just a

1045
00:52:47,520 --> 00:52:51,840
Speaker 1: serial killer flick, or supposed to be a serial color story.

1046
00:52:52,520 --> 00:52:54,800
Speaker 1: I think if I'm going to try and read into

1047
00:52:55,000 --> 00:52:56,840
Speaker 1: the movie, I'm going to want to live within the

1048
00:52:56,920 --> 00:53:00,920
Speaker 1: narrative of the film. The monster killer villain and must

1049
00:53:00,960 --> 00:53:05,000
Speaker 1: have hired at delivery service to deliver this heart. And

1050
00:53:05,080 --> 00:53:08,920
Speaker 1: they must have stolen the cooler and some ice from

1051
00:53:09,440 --> 00:53:13,040
Speaker 1: like a local store in order just to mess with Stone.

1052
00:53:13,400 --> 00:53:16,160
Speaker 3: Why the ice? The heart's not going to be used

1053
00:53:16,160 --> 00:53:16,760
Speaker 3: for anything.

1054
00:53:17,320 --> 00:53:20,040
Speaker 1: I think it basically the well out of picture. The

1055
00:53:20,080 --> 00:53:22,800
Speaker 1: reason is that because it looks really cool glistening among

1056
00:53:22,840 --> 00:53:24,480
Speaker 1: the ice. You know, it's a beautiful one of these

1057
00:53:24,520 --> 00:53:27,279
Speaker 1: scenes that again things that are dead or bleeding in

1058
00:53:27,320 --> 00:53:29,760
Speaker 1: this film are the only things that are beautiful aside

1059
00:53:29,800 --> 00:53:34,680
Speaker 1: from Kim Katrell. Everything else is grizzly and dirty. Yeah,

1060
00:53:34,160 --> 00:53:37,520
Speaker 1: and so I think that's the real reason. Otherwise, I

1061
00:53:37,520 --> 00:53:39,959
Speaker 1: guess just shock value, just to be like, hey, here's

1062
00:53:39,960 --> 00:53:40,880
Speaker 1: this heart on ice.

1063
00:53:41,239 --> 00:53:44,360
Speaker 3: Maybe the dewey, glistening cubes of ice as they slowly

1064
00:53:44,440 --> 00:53:48,200
Speaker 3: melt into a puddle, they symbolize the fleetingness of human life.

1065
00:53:48,800 --> 00:53:52,799
Speaker 1: I guess. So, yeah, it's impossible to say. With this

1066
00:53:53,000 --> 00:53:54,400
Speaker 1: monster slash Killer.

1067
00:54:02,440 --> 00:54:04,560
Speaker 3: They pretty much go straight out into the field. So

1068
00:54:04,560 --> 00:54:07,840
Speaker 3: it's Harley Stone and Dick Dirkin learning to be buddy

1069
00:54:07,840 --> 00:54:11,200
Speaker 3: cops and finding out about each other, finding out about

1070
00:54:11,239 --> 00:54:15,240
Speaker 3: each other's minds and bodies as they investigate the scenes

1071
00:54:15,239 --> 00:54:15,800
Speaker 3: of the crime.

1072
00:54:16,480 --> 00:54:19,920
Speaker 1: Yeah, and oh man, there's so many great hijinks that

1073
00:54:20,040 --> 00:54:21,920
Speaker 1: come out of this as they feel each other, and

1074
00:54:22,000 --> 00:54:25,680
Speaker 1: it's basically you know, odd couple mixed buddy cop kind

1075
00:54:25,680 --> 00:54:27,440
Speaker 1: of stuff. But it's just really well done.

1076
00:54:27,760 --> 00:54:30,360
Speaker 3: There's a part where a murder gets called in and

1077
00:54:30,400 --> 00:54:32,360
Speaker 3: they go to investigate the murder and it's like on

1078
00:54:32,400 --> 00:54:34,439
Speaker 3: the top floor of an apartment building and we see

1079
00:54:34,480 --> 00:54:37,480
Speaker 3: that Harley Stone has trouble climbing the stairs, I guess

1080
00:54:37,480 --> 00:54:39,320
Speaker 3: because he's out of shape, and he asks to stop

1081
00:54:39,360 --> 00:54:41,120
Speaker 3: for a cigar halfway.

1082
00:54:40,760 --> 00:54:43,279
Speaker 1: Up, out of breath. Got to stop and smoke.

1083
00:54:43,200 --> 00:54:46,160
Speaker 3: Right, But so we find there's another victim of the

1084
00:54:46,239 --> 00:54:49,239
Speaker 3: killer up in this apartment. It's a twenty eight year

1085
00:54:49,280 --> 00:54:51,839
Speaker 3: old man who has had his heart torn out, and

1086
00:54:51,960 --> 00:54:55,480
Speaker 3: Stone somehow knows intuitively what the time of death was.

1087
00:54:55,560 --> 00:54:57,960
Speaker 3: And this is one of the hints picking up on

1088
00:54:58,000 --> 00:55:00,480
Speaker 3: the thing at the club earlier, that there's a psychic

1089
00:55:00,560 --> 00:55:02,920
Speaker 3: connection between Harley Stone and the killer.

1090
00:55:03,280 --> 00:55:03,720
Speaker 1: Yeah.

1091
00:55:03,800 --> 00:55:06,120
Speaker 3: Oh, and here we get a there's a really funny

1092
00:55:06,160 --> 00:55:10,040
Speaker 3: part here where there's just a rat execution, Like the

1093
00:55:10,440 --> 00:55:13,080
Speaker 3: partner he Harley Stone pulls out his gun and it

1094
00:55:13,080 --> 00:55:15,680
Speaker 3: looks like he's about to shoot Dick Durkin in the face,

1095
00:55:16,200 --> 00:55:19,320
Speaker 3: but instead he shoots right over his shoulder to shoot

1096
00:55:19,320 --> 00:55:22,040
Speaker 3: a rat that was going to bite him or something.

1097
00:55:22,480 --> 00:55:24,600
Speaker 1: It was a monster It looked like a monster rat too,

1098
00:55:24,640 --> 00:55:26,960
Speaker 1: because there are plenty of live rats in this picture,

1099
00:55:27,200 --> 00:55:29,560
Speaker 1: but right before he shoots it, it looks like it's

1100
00:55:29,560 --> 00:55:32,560
Speaker 1: a like a puppet rat and looks extra gross. So

1101
00:55:33,280 --> 00:55:36,520
Speaker 1: I don't know, you know, couch that within the narrative

1102
00:55:36,560 --> 00:55:37,080
Speaker 1: as you will.

1103
00:55:38,000 --> 00:55:40,640
Speaker 3: Oh, and clearly the killer is trying to send a

1104
00:55:40,680 --> 00:55:44,920
Speaker 3: message with these crimes, because there are multiple messages for Stone,

1105
00:55:45,239 --> 00:55:48,120
Speaker 3: his dead former partner's gun is at the scene of

1106
00:55:48,160 --> 00:55:51,640
Speaker 3: this crime, and there is an occult symbol in blood

1107
00:55:51,719 --> 00:55:55,200
Speaker 3: on the ceiling and Drkin immediately starts coming up with

1108
00:55:55,239 --> 00:55:58,719
Speaker 3: theories about this. He's I guess he knows all about astrology,

1109
00:55:58,760 --> 00:56:02,400
Speaker 3: and he's like, it's the symbolifical it's gonna used in

1110
00:56:02,440 --> 00:56:04,120
Speaker 3: the occult.

1111
00:56:04,800 --> 00:56:08,520
Speaker 1: Yeah, there's a lot of occult nonsense that it's brought

1112
00:56:08,600 --> 00:56:11,040
Speaker 1: up as they try and figure out this killer.

1113
00:56:11,400 --> 00:56:13,480
Speaker 3: Oh and then there's a there's a great moment where

1114
00:56:14,040 --> 00:56:18,360
Speaker 3: they get they get to Harley Stone a dental cast

1115
00:56:18,560 --> 00:56:21,160
Speaker 3: based on the bites on the heart and it's a

1116
00:56:21,200 --> 00:56:24,520
Speaker 3: giant beast mouth. But still, after this, everybody's talking about

1117
00:56:24,520 --> 00:56:27,279
Speaker 3: a serial killer, like this isn't just an obvious piece

1118
00:56:27,320 --> 00:56:30,279
Speaker 3: of evidence that it's a monster they're dealing with. Yeah,

1119
00:56:30,840 --> 00:56:33,040
Speaker 3: is this a serial killer with a panther's head?

1120
00:56:33,360 --> 00:56:36,279
Speaker 1: Because as well, we'll find out later and becomes increasingly

1121
00:56:36,320 --> 00:56:38,800
Speaker 1: clear this is not a human we're going up against.

1122
00:56:38,800 --> 00:56:41,320
Speaker 1: This is a monster. This is essentially a grindle beast.

1123
00:56:41,520 --> 00:56:45,400
Speaker 3: Yeah. Yeah, And meanwhile, some things happen. Harley Stone has

1124
00:56:45,440 --> 00:56:48,440
Speaker 3: another like anxiety attack in an alley and starts shooting

1125
00:56:48,480 --> 00:56:50,640
Speaker 3: his gun randomly at the sky. I think he has

1126
00:56:50,680 --> 00:56:54,040
Speaker 3: to get talked down, but eventually, finally we get to

1127
00:56:54,040 --> 00:56:58,640
Speaker 3: meet Kim Katrol. So Harley Stone goes to I think

1128
00:56:58,719 --> 00:57:01,839
Speaker 3: the grave of his former partner. Is that right?

1129
00:57:02,160 --> 00:57:02,520
Speaker 1: Yeah?

1130
00:57:02,560 --> 00:57:06,480
Speaker 3: And she's there, she's placing memento on his grave. Is

1131
00:57:06,480 --> 00:57:09,879
Speaker 3: she supposed to be his dead partner's widow? I might

1132
00:57:09,920 --> 00:57:13,960
Speaker 3: have missed that, Yes, yes, okay, because they've previously had

1133
00:57:14,000 --> 00:57:18,240
Speaker 3: a relationship, right, Okay, Well, as soon as he arrives,

1134
00:57:18,600 --> 00:57:21,200
Speaker 3: she shows concern for his well being. She observes that

1135
00:57:21,320 --> 00:57:26,560
Speaker 3: he is he is not the cleanest or the most

1136
00:57:26,600 --> 00:57:30,040
Speaker 3: well rested, and that he needs caring for.

1137
00:57:30,160 --> 00:57:32,720
Speaker 1: I think, yeah, yeah, So they go back to this apartment.

1138
00:57:32,760 --> 00:57:35,040
Speaker 3: Yeah, they go back to his filthy apartment that just

1139
00:57:35,040 --> 00:57:39,120
Speaker 3: looks like the inside of of like an unethical animal enclosure.

1140
00:57:39,600 --> 00:57:41,880
Speaker 1: It is it is. I mean, it's like every scene

1141
00:57:41,880 --> 00:57:44,400
Speaker 1: in this film, it's like they went wild decorating it.

1142
00:57:44,400 --> 00:57:48,800
Speaker 1: There's so many grizzly details in this this just pig

1143
00:57:48,840 --> 00:57:53,120
Speaker 1: style that he lives in, including live pigeons and live rats.

1144
00:57:53,240 --> 00:57:56,520
Speaker 3: Yes, live pigeons, live rats. So a few other details

1145
00:57:56,560 --> 00:57:57,960
Speaker 3: I want to run by you to make sure I'm

1146
00:57:57,960 --> 00:58:01,320
Speaker 3: not mistaken here. Number one, does he keep his gun

1147
00:58:01,400 --> 00:58:02,440
Speaker 3: in a refrigerator?

1148
00:58:03,360 --> 00:58:05,600
Speaker 1: Yes, though we don't have a clear indication that the

1149
00:58:05,640 --> 00:58:06,680
Speaker 1: refrigerator is on.

1150
00:58:07,040 --> 00:58:10,600
Speaker 3: Okay, maybe it's just using a broken refrigerator as a shelf.

1151
00:58:10,960 --> 00:58:13,880
Speaker 1: Yeah, he has an actual refrigerator in which he keeps

1152
00:58:13,920 --> 00:58:18,280
Speaker 1: other foul things. But there's like a convenient store refrigerator

1153
00:58:18,320 --> 00:58:19,840
Speaker 1: that might not be plugged up. It has like a

1154
00:58:19,840 --> 00:58:21,080
Speaker 1: shotgun and some AMMO in it.

1155
00:58:21,080 --> 00:58:23,000
Speaker 3: Okay, that's what I thought. And then also, yeah, the

1156
00:58:23,040 --> 00:58:27,080
Speaker 3: apartment's full of live pigeons and motorcycles. There are just

1157
00:58:27,880 --> 00:58:30,520
Speaker 3: his apartment is full of motorcycles.

1158
00:58:30,880 --> 00:58:33,360
Speaker 1: How motorcycle signs as well?

1159
00:58:33,560 --> 00:58:37,000
Speaker 3: Yes, how did he get them in there? Did he

1160
00:58:37,080 --> 00:58:39,320
Speaker 3: get those Harley Davidson's up the steps?

1161
00:58:40,440 --> 00:58:40,960
Speaker 1: I guess so?

1162
00:58:42,440 --> 00:58:44,880
Speaker 3: And then also we at one point we see inside

1163
00:58:44,880 --> 00:58:49,520
Speaker 3: his refrigerator, which seems to contain exclusively coffee. And then

1164
00:58:49,720 --> 00:58:53,560
Speaker 3: like mud, there's just a big, just a big canister

1165
00:58:53,680 --> 00:58:55,600
Speaker 3: of mud that is spilled everywhere.

1166
00:58:56,000 --> 00:58:59,240
Speaker 1: Well, I think there are chocolates in there, or perhaps don't.

1167
00:58:59,240 --> 00:59:01,320
Speaker 1: I don't know. They're chocolate things that he eats out

1168
00:59:01,320 --> 00:59:03,880
Speaker 1: of those little bags. So the refrigerator has those bags

1169
00:59:03,920 --> 00:59:08,040
Speaker 1: in there. Yeah and yeah, and also these foul looking chocolates.

1170
00:59:08,120 --> 00:59:10,880
Speaker 3: And so basically, as soon as they get to his apartment, well,

1171
00:59:10,960 --> 00:59:15,800
Speaker 3: Kim Katrol is still surveying the land of disgust. She

1172
00:59:15,800 --> 00:59:18,080
Speaker 3: she he like falls asleep on the couch with a

1173
00:59:18,120 --> 00:59:20,880
Speaker 3: cigarette burning right next to his eye, and she has

1174
00:59:20,920 --> 00:59:23,520
Speaker 3: to go put it out for him. But I think

1175
00:59:23,600 --> 00:59:26,680
Speaker 3: the implication is this, this this filthy down on his

1176
00:59:26,760 --> 00:59:30,800
Speaker 3: luck cop uh just just needs his own his own

1177
00:59:30,840 --> 00:59:34,080
Speaker 3: personal Kim Katrol to help make his house into a home.

1178
00:59:34,560 --> 00:59:39,240
Speaker 1: Yeah, and she's really she's not tremendously disgusted by this environment.

1179
00:59:39,440 --> 00:59:41,840
Speaker 3: No, she she kind of rolls with it.

1180
00:59:42,240 --> 00:59:46,840
Speaker 1: Yeah, despite being like this angelic being really yeah.

1181
00:59:46,960 --> 00:59:49,160
Speaker 3: Oh. At some point also, I think to emphasize how

1182
00:59:49,160 --> 00:59:52,080
Speaker 3: dirty he is, he combs his hair with like a

1183
00:59:52,120 --> 00:59:53,440
Speaker 3: shoe polish brush.

1184
00:59:53,720 --> 00:59:56,960
Speaker 1: Yeah, yep, yep, because he does groom himself. He's not like,

1185
00:59:57,440 --> 01:00:01,000
Speaker 1: you know, completely abandoned self care. But what self care

1186
01:00:01,040 --> 01:00:04,200
Speaker 1: he does, it's reckless in the wrong place, is like

1187
01:00:04,320 --> 01:00:04,760
Speaker 1: at a bar.

1188
01:00:05,680 --> 01:00:09,600
Speaker 3: At some point later, Durkin and Harley Stone are driving

1189
01:00:09,640 --> 01:00:12,640
Speaker 3: around and they're trying to like outmacho each other. Rutger

1190
01:00:12,720 --> 01:00:16,840
Speaker 3: Hower is derisively tossing aside books that he finds in

1191
01:00:16,880 --> 01:00:19,680
Speaker 3: the car. The implication, I think is that like books

1192
01:00:19,720 --> 01:00:21,000
Speaker 3: are for weak, puny men.

1193
01:00:21,440 --> 01:00:23,840
Speaker 1: M yep, yep. I think. This is also the scene

1194
01:00:23,840 --> 01:00:26,800
Speaker 1: where we find out that Durkin has sex every night.

1195
01:00:27,400 --> 01:00:29,160
Speaker 3: That is what he claims. Though you wonder if he's

1196
01:00:29,200 --> 01:00:30,840
Speaker 3: just trying to impress Harley Stone.

1197
01:00:31,160 --> 01:00:32,240
Speaker 1: Yeah, Stone is doubtful.

1198
01:00:32,400 --> 01:00:35,800
Speaker 3: Oh oh oh, and then there was this fascinating strain.

1199
01:00:35,920 --> 01:00:38,640
Speaker 3: So meanwhile, while they're out doing something, I don't remember

1200
01:00:38,680 --> 01:00:41,160
Speaker 3: what they're doing, they're driving somewhere and we see Kim

1201
01:00:41,200 --> 01:00:45,840
Speaker 3: catroll back at Harley Stone's rancid cell and she finds

1202
01:00:45,880 --> 01:00:49,000
Speaker 3: a bunch of chocolates that are just stuck to the

1203
01:00:49,040 --> 01:00:52,760
Speaker 3: outside of the filthy refrigerator in the shape of a heart,

1204
01:00:53,160 --> 01:00:56,920
Speaker 3: and then she plucks one off of the refrigerator facade

1205
01:00:57,040 --> 01:00:59,040
Speaker 3: and she eats it. Disgusting.

1206
01:01:00,080 --> 01:01:02,680
Speaker 1: Yeah, this made no sense that you would like, why

1207
01:01:02,760 --> 01:01:04,760
Speaker 1: are they stuck there? Why are they being stored there

1208
01:01:04,800 --> 01:01:08,000
Speaker 1: again in a place that clearly pigeons and rats have

1209
01:01:08,080 --> 01:01:11,160
Speaker 1: access to. It seems like a terrible move, even if

1210
01:01:11,200 --> 01:01:13,640
Speaker 1: you want ready access to your chocolate. And then for

1211
01:01:13,720 --> 01:01:16,360
Speaker 1: her to be like, oh, this is fine, this is normal.

1212
01:01:16,440 --> 01:01:17,520
Speaker 1: I'm hungry for chocolate.

1213
01:01:17,680 --> 01:01:20,000
Speaker 3: Oh wait, no, no, no, I remember where they were going. Now,

1214
01:01:20,080 --> 01:01:22,440
Speaker 3: this is when they're going out to get quote breakfast,

1215
01:01:22,560 --> 01:01:24,920
Speaker 3: but they go to like the moody night club that's

1216
01:01:24,960 --> 01:01:26,200
Speaker 3: playing Knights in White Satin.

1217
01:01:26,480 --> 01:01:27,920
Speaker 1: Yeah, and then that's where he shaves.

1218
01:01:27,960 --> 01:01:29,800
Speaker 3: He shaves over his plate at the bar.

1219
01:01:30,200 --> 01:01:32,160
Speaker 1: But they're getting work done. They're figuring out what the

1220
01:01:32,240 --> 01:01:33,040
Speaker 1: killer might be.

1221
01:01:33,160 --> 01:01:35,960
Speaker 3: Right, Durkin has a theory. He thinks that he's like,

1222
01:01:36,040 --> 01:01:37,800
Speaker 3: I think you and this killer are on the same

1223
01:01:37,840 --> 01:01:41,600
Speaker 3: psychic wavelength. What sign are you? And it's revealed that

1224
01:01:41,640 --> 01:01:45,320
Speaker 3: he's a scorpio, and Durkin has all kinds of astrological

1225
01:01:45,360 --> 01:01:49,040
Speaker 3: theories about when the killer strikes. And then meanwhile, there

1226
01:01:49,120 --> 01:01:51,920
Speaker 3: is a tent scene where the killer breaks into Harley's

1227
01:01:51,960 --> 01:01:54,600
Speaker 3: apartment while Kim Catral is taking a shower. It's very

1228
01:01:54,640 --> 01:01:58,960
Speaker 3: psycho and he's sneaking around doing his heartbeat thing, and

1229
01:01:59,000 --> 01:02:01,640
Speaker 3: of course Harley gets a bad feeling, you know, get

1230
01:02:01,680 --> 01:02:04,560
Speaker 3: through his psychic connection and him and Durkin run back

1231
01:02:04,600 --> 01:02:07,080
Speaker 3: to the apartment and they're they're rushing up to the rescue.

1232
01:02:07,440 --> 01:02:09,720
Speaker 3: I was really afraid Kim Katral was going to be killed,

1233
01:02:09,760 --> 01:02:12,600
Speaker 3: but nope. Instead they heard her scream earlier, but she

1234
01:02:12,640 --> 01:02:16,160
Speaker 3: screamed because the water got cold, and instead somebody somewhere

1235
01:02:16,160 --> 01:02:19,240
Speaker 3: else in the building got their heart ripped out. So

1236
01:02:19,560 --> 01:02:23,120
Speaker 3: Stone and Durkin chase, and then a lot happens really fast.

1237
01:02:23,160 --> 01:02:26,520
Speaker 3: We find somebody else with their heart ripped out. Durkin

1238
01:02:26,680 --> 01:02:29,560
Speaker 3: gets blasted with a shotgun by the killer.

1239
01:02:29,800 --> 01:02:32,320
Speaker 1: And what looks like he's blasted through a window with

1240
01:02:32,360 --> 01:02:34,480
Speaker 1: it as well, so you just think he's dead at that.

1241
01:02:34,440 --> 01:02:37,520
Speaker 3: Point, yeah, And then yeah, yeah, he goes out the

1242
01:02:37,520 --> 01:02:39,840
Speaker 3: window after getting hit like in the belly with a

1243
01:02:39,880 --> 01:02:43,320
Speaker 3: scatter gun. And then we also find out Kim Katral

1244
01:02:43,440 --> 01:02:46,480
Speaker 3: gets bitten on the shoulder by the monster somehow.

1245
01:02:46,640 --> 01:02:49,200
Speaker 1: Though we do not see that happen, though they're.

1246
01:02:49,040 --> 01:02:53,320
Speaker 3: Still talking about this being a human killer. And again,

1247
01:02:53,320 --> 01:02:54,919
Speaker 3: this is one of the things where like I think

1248
01:02:54,960 --> 01:02:57,480
Speaker 3: the script I don't know, like like you were saying earlier,

1249
01:02:57,520 --> 01:03:00,320
Speaker 3: like the earlier drafts are showing through, because are we

1250
01:03:00,400 --> 01:03:03,080
Speaker 3: to understand in the final version of the movie that

1251
01:03:03,160 --> 01:03:06,640
Speaker 3: the monster shot Durkin with a shotgun.

1252
01:03:07,360 --> 01:03:10,320
Speaker 1: Yes, yes, and if I was watching for it this time,

1253
01:03:10,760 --> 01:03:14,120
Speaker 1: and it's the shotgun is clearly held by monsterous hands.

1254
01:03:14,200 --> 01:03:18,840
Speaker 1: So our monster is clearly capable of utilizing modern tools,

1255
01:03:19,080 --> 01:03:22,640
Speaker 1: well like the cooler that he somehow got delivered through

1256
01:03:22,680 --> 01:03:25,520
Speaker 1: a shipping service, but also he can handle a shotgun.

1257
01:03:25,640 --> 01:03:28,600
Speaker 3: Okay, all right, But anyway, we find out after this

1258
01:03:28,640 --> 01:03:32,000
Speaker 3: big shootout, we find out everybody's okay. Durkin is in fact,

1259
01:03:32,080 --> 01:03:33,840
Speaker 3: is not dead. He's like, haven't you ever heard of

1260
01:03:33,880 --> 01:03:38,800
Speaker 3: a bulletproof vest? And Kim Catral's okay. But Harley Stone

1261
01:03:38,840 --> 01:03:41,360
Speaker 3: has another panic attack again. He starts freaking out in

1262
01:03:41,400 --> 01:03:44,240
Speaker 3: the alley and he has to get sedated by cops.

1263
01:03:44,800 --> 01:03:46,360
Speaker 1: And I have to say, it is kind of interesting

1264
01:03:46,360 --> 01:03:49,520
Speaker 1: to see a hero suffer a panic attack in a

1265
01:03:49,520 --> 01:03:53,000
Speaker 1: film like split second, like a believable panic attack, you know,

1266
01:03:53,080 --> 01:03:55,320
Speaker 1: not like a and not one that reeks of like

1267
01:03:56,040 --> 01:03:59,720
Speaker 1: machismo all that much, because generally in a film like this,

1268
01:04:00,240 --> 01:04:02,800
Speaker 1: it's kind of a rule that stress never gets on

1269
01:04:02,840 --> 01:04:06,360
Speaker 1: top of your hero. You know, there they're up for

1270
01:04:06,400 --> 01:04:08,680
Speaker 1: the battle. You know, It's like Beowulf doesn't have a

1271
01:04:08,720 --> 01:04:11,360
Speaker 1: panic attack, so I don't know, in a way, it's

1272
01:04:11,400 --> 01:04:14,000
Speaker 1: kind of a nice human element that that Harley Stone

1273
01:04:14,120 --> 01:04:16,880
Speaker 1: is is human enough to, you know, to not be

1274
01:04:16,920 --> 01:04:18,600
Speaker 1: able to stay on top of it all.

1275
01:04:18,880 --> 01:04:22,640
Speaker 3: Yeah, it is unusual. So he is a gruff and

1276
01:04:22,720 --> 01:04:27,520
Speaker 3: absurdly macho in that classic cop protagonist's style. But he

1277
01:04:27,600 --> 01:04:30,200
Speaker 3: also clearly has real anxiety issues.

1278
01:04:30,480 --> 01:04:32,600
Speaker 1: Yeah, like to the point where there's a medical intervention

1279
01:04:32,680 --> 01:04:35,120
Speaker 1: here because he's having such a panic attack.

1280
01:04:35,480 --> 01:04:37,880
Speaker 3: Yeah, that does not seem usual. I can't think of

1281
01:04:37,920 --> 01:04:41,280
Speaker 3: other examples of that. Maybe there are some, but oh oh,

1282
01:04:41,280 --> 01:04:43,240
Speaker 3: And then we get a good flashback scene where it's

1283
01:04:43,280 --> 01:04:46,240
Speaker 3: revealed that he saw his partner get slaughtered by the killer.

1284
01:04:46,360 --> 01:04:49,200
Speaker 3: He just like, they're walking around in ankle deep water

1285
01:04:49,400 --> 01:04:52,560
Speaker 3: in some gross place and and his partner just gets

1286
01:04:52,640 --> 01:04:55,840
Speaker 3: yanked down under the water and then the killer somehow

1287
01:04:55,960 --> 01:04:59,760
Speaker 3: mauls him, mauls Harley Stone, leaving a big scratch on

1288
01:04:59,800 --> 01:05:03,600
Speaker 3: his arm. And then after Harley Stone comes to later,

1289
01:05:03,720 --> 01:05:06,520
Speaker 3: Durkin sees the big scar going down from his shoulder

1290
01:05:06,560 --> 01:05:08,960
Speaker 3: to his arm and he's like, that's it, that's the

1291
01:05:09,000 --> 01:05:12,560
Speaker 3: psychic connection. But back at the station, there's another great

1292
01:05:12,640 --> 01:05:16,400
Speaker 3: chief chewout scene where there's suddenly just an exposition dump.

1293
01:05:16,440 --> 01:05:18,400
Speaker 3: They're like, oh, we got to move this plot along.

1294
01:05:18,800 --> 01:05:22,280
Speaker 3: So there you find out that during the gunfight earlier,

1295
01:05:22,360 --> 01:05:24,640
Speaker 3: Rutger Howard shot the killer a bunch of times and

1296
01:05:24,720 --> 01:05:28,600
Speaker 3: yet it's still alive, so something's up. And then they

1297
01:05:28,640 --> 01:05:30,960
Speaker 3: also get some lab reports back where they say that

1298
01:05:31,000 --> 01:05:34,920
Speaker 3: the Killer's DNA is polymorphic. It has the DNA of

1299
01:05:35,000 --> 01:05:39,080
Speaker 3: all its previous victims put together, including Harley Stone I

1300
01:05:39,080 --> 01:05:41,840
Speaker 3: think from when he got scratched by it, and it

1301
01:05:41,960 --> 01:05:45,800
Speaker 3: has his dead former partner's fingerprints, and it has like

1302
01:05:46,000 --> 01:05:50,640
Speaker 3: rat DNA and rat virus DNA. Yeah, this scene is

1303
01:05:50,720 --> 01:05:54,280
Speaker 3: a supreme pizza. They're getting you everything.

1304
01:05:54,200 --> 01:05:55,960
Speaker 1: All the topic click all the boxes.

1305
01:05:56,080 --> 01:05:59,040
Speaker 3: Yes. Oh, and then there's a great so right after this,

1306
01:05:59,160 --> 01:06:01,840
Speaker 3: there's a great scene where Durkin and Harley Stone go

1307
01:06:01,960 --> 01:06:05,760
Speaker 3: to the morgue because they realize, oh, the killer didn't

1308
01:06:05,800 --> 01:06:08,240
Speaker 3: manage to get the last victim's heart. The heart is

1309
01:06:08,240 --> 01:06:11,040
Speaker 3: still in them. So they're like, oh, it's going to

1310
01:06:11,080 --> 01:06:13,040
Speaker 3: come back to the morgue and try to get the heart.

1311
01:06:13,440 --> 01:06:15,360
Speaker 3: So they go to the morgue. This is actually kind

1312
01:06:15,360 --> 01:06:17,560
Speaker 3: of a cool looking scene the way it's set up,

1313
01:06:17,560 --> 01:06:20,400
Speaker 3: with like all the plastic and there are these nasty

1314
01:06:20,480 --> 01:06:22,600
Speaker 3: like ivy bags everywhere.

1315
01:06:22,160 --> 01:06:25,960
Speaker 1: But otherwise it's a very sterile and wide environment. Yeah,

1316
01:06:26,000 --> 01:06:29,520
Speaker 1: because again this film it there's an eroticism of death.

1317
01:06:29,920 --> 01:06:34,080
Speaker 1: So the cleanest, holiest place, the holiest scene in the

1318
01:06:34,200 --> 01:06:37,680
Speaker 1: entire film, the holiest setting is the morgue. Yes, it

1319
01:06:37,680 --> 01:06:39,920
Speaker 1: feels like a heaven with corpses in it.

1320
01:06:40,240 --> 01:06:42,880
Speaker 3: And since they're returning to the Morgue here, I think

1321
01:06:42,960 --> 01:06:46,080
Speaker 3: this would have been the occasion for Wendy Carlos's return

1322
01:06:46,160 --> 01:06:48,120
Speaker 3: to the Morgue theme, which you can hear a clip

1323
01:06:48,160 --> 01:06:51,760
Speaker 3: of online. Yeah, and you know, once again we wish

1324
01:06:51,760 --> 01:06:54,760
Speaker 3: we'd had that score. But so they're creeping around trying

1325
01:06:54,760 --> 01:06:57,000
Speaker 3: to find things. They end up pointing their guns at

1326
01:06:57,000 --> 01:06:59,840
Speaker 3: some unwitting lab technician who's.

1327
01:06:59,480 --> 01:07:00,920
Speaker 1: Like, oh, know what's going on.

1328
01:07:01,400 --> 01:07:03,320
Speaker 3: And then there is a really funny part where they

1329
01:07:03,400 --> 01:07:08,840
Speaker 3: start they start to see that the ceiling panels are jiggling. Yeah,

1330
01:07:08,880 --> 01:07:11,360
Speaker 3: and I think that means, oh, the monster is up there,

1331
01:07:11,920 --> 01:07:14,080
Speaker 3: and they have to face the monster, and there's a

1332
01:07:14,080 --> 01:07:16,520
Speaker 3: big scene where they start shooting at it while it's

1333
01:07:16,600 --> 01:07:21,040
Speaker 3: running around, and eventually it escapes, but Durkin, having now

1334
01:07:21,120 --> 01:07:24,840
Speaker 3: confronted the monster, firsthand is a changed man.

1335
01:07:25,720 --> 01:07:29,000
Speaker 1: Yes, and here we get to probably my favorite part

1336
01:07:29,000 --> 01:07:30,400
Speaker 1: of the whole film, the conversion.

1337
01:07:30,560 --> 01:07:32,120
Speaker 3: Yes, this is amazing.

1338
01:07:32,520 --> 01:07:35,320
Speaker 1: Yeah, this is where so Durkin has encountered the killer

1339
01:07:35,720 --> 01:07:39,000
Speaker 1: and he is shaken by this and he undergoes what

1340
01:07:39,160 --> 01:07:42,720
Speaker 1: is kind of a religious conversion, and Stone is here

1341
01:07:42,760 --> 01:07:44,920
Speaker 1: to guide him along the way. So he's like that

1342
01:07:45,040 --> 01:07:48,120
Speaker 1: anxiety you're feeling, now, well here, First of all, that

1343
01:07:48,120 --> 01:07:50,160
Speaker 1: anxiety is good. That will fuel you. But you need

1344
01:07:50,160 --> 01:07:53,280
Speaker 1: more fuel. You need these chocolates. Eat this chocolate, drink

1345
01:07:53,320 --> 01:07:56,800
Speaker 1: of this burnt coffee that's thirty percent sugar. And now

1346
01:07:56,880 --> 01:07:59,400
Speaker 1: let's get you a giant gun right out of you know,

1347
01:07:59,400 --> 01:08:02,959
Speaker 1: some kil's video game. This is the Harley Stone Way,

1348
01:08:03,280 --> 01:08:05,120
Speaker 1: and this is how you're going to live your life

1349
01:08:05,320 --> 01:08:07,680
Speaker 1: from here on out. And I am not exaggerating.

1350
01:08:07,920 --> 01:08:11,920
Speaker 3: Chocolate, sugar, coffee and the guns from Doom. And he

1351
01:08:12,360 --> 01:08:15,160
Speaker 3: converts him to the religion of Harley Stone. You are

1352
01:08:15,240 --> 01:08:16,679
Speaker 3: one thousand percent correct.

1353
01:08:17,160 --> 01:08:19,599
Speaker 1: Yeah, And he stays converted for the rest of the picture.

1354
01:08:19,680 --> 01:08:23,519
Speaker 3: It's beautiful, and he basically reverts to adolescents. So he

1355
01:08:23,960 --> 01:08:27,839
Speaker 3: like really starts loving Harley Stone's motorcycles in this apartment,

1356
01:08:28,200 --> 01:08:29,439
Speaker 3: sits on them and he goes like.

1357
01:08:29,439 --> 01:08:33,240
Speaker 1: Broom, broom, yep, yep, and he keeps mumbling it's like

1358
01:08:33,280 --> 01:08:36,240
Speaker 1: a mantra. He's like, we need big freaking guns. Yeah,

1359
01:08:36,280 --> 01:08:38,519
Speaker 1: we need big freaking guns, big freaking guns.

1360
01:08:38,600 --> 01:08:42,519
Speaker 3: And he also starts dressing like Harley Stone. I don't

1361
01:08:42,520 --> 01:08:44,799
Speaker 3: remember when this starts, but he puts on a big

1362
01:08:44,920 --> 01:08:45,639
Speaker 3: leather coat.

1363
01:08:46,280 --> 01:08:49,920
Speaker 1: Yep. So again it's it's so like, this is this

1364
01:08:50,040 --> 01:08:52,480
Speaker 1: was no accident, this is this is brilliant.

1365
01:08:53,360 --> 01:08:55,680
Speaker 3: And then I guess maybe after this point, I'm going

1366
01:08:55,760 --> 01:08:57,840
Speaker 3: to describe the plot in less detail, but we'll just

1367
01:08:57,880 --> 01:09:00,400
Speaker 3: say it goes into third act Overdrive, and there are

1368
01:09:00,479 --> 01:09:04,519
Speaker 3: various people getting kidnapped. Durkin gets kidnapped and then Harley

1369
01:09:04,520 --> 01:09:07,599
Speaker 3: Stone goes back to get him. Michelle McLain gets kidnapped.

1370
01:09:07,680 --> 01:09:10,840
Speaker 3: That's Kim Cattrol. She goes missing and then they're trying

1371
01:09:10,880 --> 01:09:14,080
Speaker 3: to find her. There's a great part where after Durkin

1372
01:09:14,120 --> 01:09:17,080
Speaker 3: has been kidnapped to the monster has apparently like carved

1373
01:09:17,120 --> 01:09:21,280
Speaker 3: all of this like occult symbology into his chest and

1374
01:09:21,320 --> 01:09:24,280
Speaker 3: then they realize like, wait, it's not a cult symbols,

1375
01:09:24,400 --> 01:09:26,840
Speaker 3: it's a map, and they're like holding a map up

1376
01:09:26,880 --> 01:09:28,840
Speaker 3: to his chest while he's bleeding everything.

1377
01:09:29,400 --> 01:09:32,160
Speaker 1: Yeah, bleeding chest. It looks it was awful, like he

1378
01:09:32,200 --> 01:09:33,760
Speaker 1: needs to go to the emergency room. But you know

1379
01:09:33,760 --> 01:09:36,200
Speaker 1: it's like, all right, bundle up, grab some chocolate. We're

1380
01:09:36,200 --> 01:09:36,960
Speaker 1: going out in the field.

1381
01:09:37,160 --> 01:09:38,800
Speaker 3: And there's a big set piece at the end where

1382
01:09:38,800 --> 01:09:40,840
Speaker 3: they have to go rescue Kim Katrol in like a

1383
01:09:40,880 --> 01:09:44,040
Speaker 3: flooded subway tunnel, and they confront the monster and there

1384
01:09:44,080 --> 01:09:46,960
Speaker 3: are various kinds of like traps and weapons setups they

1385
01:09:47,040 --> 01:09:49,439
Speaker 3: use against him. They try to use electricity, and they

1386
01:09:49,439 --> 01:09:52,479
Speaker 3: try to use explosives, and then in the end, I

1387
01:09:53,000 --> 01:09:56,120
Speaker 3: this was totally inexplicable to me. Did you understand why

1388
01:09:57,400 --> 01:10:00,240
Speaker 3: Harley Stone was able to do a Temple of Doom

1389
01:10:00,360 --> 01:10:03,120
Speaker 3: style reverse heart ripping on the monster?

1390
01:10:04,360 --> 01:10:06,200
Speaker 1: I think it was. I think it's kind of like

1391
01:10:06,240 --> 01:10:09,880
Speaker 1: when obi Wan battles General Grievous, Like General Grievous has

1392
01:10:09,960 --> 01:10:13,160
Speaker 1: damaged enough in the battle that obi Wan is able

1393
01:10:13,200 --> 01:10:18,599
Speaker 1: to target the inner weak spot. Okay, So I think

1394
01:10:18,640 --> 01:10:21,240
Speaker 1: that's basically what's happened here. Is like all their attempts

1395
01:10:21,280 --> 01:10:24,400
Speaker 1: to blow him up and shoot him and to electrocute him,

1396
01:10:24,600 --> 01:10:27,720
Speaker 1: it managed to expose the heart enough that he was

1397
01:10:27,760 --> 01:10:32,240
Speaker 1: able to reach in and pull this grotesque like black,

1398
01:10:32,479 --> 01:10:36,000
Speaker 1: just solid black heart out of the monster that continues

1399
01:10:36,040 --> 01:10:39,559
Speaker 1: to beat like NonStop after he rips.

1400
01:10:39,360 --> 01:10:41,240
Speaker 3: It out, and then he shoots it while it's in

1401
01:10:41,280 --> 01:10:44,639
Speaker 3: his hand point blank. Yes, it looks like he would

1402
01:10:44,640 --> 01:10:45,760
Speaker 3: have shot his fingers off.

1403
01:10:46,040 --> 01:10:46,280
Speaker 1: Yes.

1404
01:10:48,000 --> 01:10:50,479
Speaker 3: But so one of my favorite things about this movie.

1405
01:10:50,520 --> 01:10:52,479
Speaker 3: I kept thinking, like, Okay, so what are we going

1406
01:10:52,560 --> 01:10:54,240
Speaker 3: to find out about the monster in the end, We're

1407
01:10:54,240 --> 01:10:57,759
Speaker 3: going to find out like it's actually his former partner

1408
01:10:58,040 --> 01:11:01,479
Speaker 3: as or something like that, But nope, like it has no,

1409
01:11:01,760 --> 01:11:05,280
Speaker 3: it's not any character we previously knew. It doesn't really

1410
01:11:05,320 --> 01:11:07,960
Speaker 3: have any causal connection to anything else that happens in

1411
01:11:08,000 --> 01:11:12,160
Speaker 3: the story. It's only really apparently after Harley Stone, just

1412
01:11:12,200 --> 01:11:15,160
Speaker 3: because they happened to have met before. Like, it's just

1413
01:11:15,240 --> 01:11:16,200
Speaker 3: a random monster.

1414
01:11:16,680 --> 01:11:20,240
Speaker 1: Yeah, But it's increasingly difficult to try and figure out

1415
01:11:20,320 --> 01:11:22,720
Speaker 1: what this monster's supposed to be, huh, because we have

1416
01:11:22,760 --> 01:11:27,160
Speaker 1: all these strange qualities that are brought up, some oftentimes conflicting.

1417
01:11:27,640 --> 01:11:30,880
Speaker 1: So we know it's it's humanoid but not human. It

1418
01:11:30,920 --> 01:11:34,000
Speaker 1: lives in the sewers and flooded ruins. It has rat

1419
01:11:34,120 --> 01:11:36,920
Speaker 1: DNA but it also has DNA from all of its victims,

1420
01:11:37,240 --> 01:11:40,080
Speaker 1: so it's some sort of a gene stealer. It's intelligent,

1421
01:11:40,160 --> 01:11:43,120
Speaker 1: it knows human language, it knows occult symbology. It can

1422
01:11:43,200 --> 01:11:47,800
Speaker 1: use weapons and tools and delivery services. But it's also

1423
01:11:47,920 --> 01:11:50,920
Speaker 1: this total grindel monster. It's a bestial killer. It has

1424
01:11:51,000 --> 01:11:56,400
Speaker 1: monster hands and monster teeth. We're largely left to assume

1425
01:11:56,439 --> 01:11:59,320
Speaker 1: it is completely organic and or naked, but in one

1426
01:11:59,360 --> 01:12:02,080
Speaker 1: of the rare mpses we see of it, it has

1427
01:12:02,120 --> 01:12:06,120
Speaker 1: this kind of motorcycle visor kind of head that makes

1428
01:12:06,160 --> 01:12:09,439
Speaker 1: you think, well, maybe it's part robot or something, or

1429
01:12:10,040 --> 01:12:11,880
Speaker 1: costume or something as well.

1430
01:12:12,120 --> 01:12:15,680
Speaker 3: It looks like a cross between the xenomorph venom and

1431
01:12:15,880 --> 01:12:18,000
Speaker 3: like Judge Dread with the helmet.

1432
01:12:18,840 --> 01:12:21,960
Speaker 1: Well, this more specifically reminds me of Judge Death. I believe,

1433
01:12:22,640 --> 01:12:26,200
Speaker 1: one of the foul evil judges where you have like

1434
01:12:26,200 --> 01:12:29,120
Speaker 1: the big teeth underneath the Yeah, I think that's Judge Dead.

1435
01:12:29,120 --> 01:12:30,080
Speaker 1: I may have my Judge all.

1436
01:12:30,360 --> 01:12:32,080
Speaker 3: I don't know Judge Dread world all that. Well, I

1437
01:12:32,160 --> 01:12:34,240
Speaker 3: just being like, yes, you're exactly right. Its head does

1438
01:12:34,320 --> 01:12:37,439
Speaker 3: look like a helmet with a solid black visor.

1439
01:12:37,960 --> 01:12:41,439
Speaker 1: Yeah, And on top of that, it may think it's

1440
01:12:41,479 --> 01:12:44,160
Speaker 1: the devil, or is the devil? It eats human hearts.

1441
01:12:44,160 --> 01:12:46,880
Speaker 1: There's a psychic connection between it and the people it's harmed,

1442
01:12:46,960 --> 01:12:50,760
Speaker 1: or at least with stone. Is itself obsessed with the

1443
01:12:50,760 --> 01:12:53,479
Speaker 1: occult and the Chinese zodiac. It's active during the year

1444
01:12:53,520 --> 01:12:56,240
Speaker 1: at the rat and again it's weird. Black heart continues

1445
01:12:56,280 --> 01:12:59,640
Speaker 1: to beat outside its body, so you're left asking, like,

1446
01:12:59,680 --> 01:13:03,599
Speaker 1: what exactly is this thing? Did a human killer mutate

1447
01:13:03,760 --> 01:13:06,880
Speaker 1: into this in the sewers? Is it an emergent horror,

1448
01:13:06,880 --> 01:13:10,720
Speaker 1: a genetically engineered monster, an alien? We just don't know.

1449
01:13:10,920 --> 01:13:14,360
Speaker 3: Is it a rat virus that took on bodily form?

1450
01:13:14,680 --> 01:13:17,400
Speaker 3: What was the part about it being a rat virus?

1451
01:13:17,439 --> 01:13:19,080
Speaker 3: There's just like one line about that.

1452
01:13:19,600 --> 01:13:22,600
Speaker 1: Yeah. Again, perhaps all these rewrites are the cause. But

1453
01:13:23,280 --> 01:13:26,360
Speaker 1: ultimately I really liked this. I love not knowing what

1454
01:13:26,400 --> 01:13:31,640
Speaker 1: this thing is because again, monstrosity is often about category confusion,

1455
01:13:31,680 --> 01:13:33,480
Speaker 1: and this monster is confusing.

1456
01:13:33,720 --> 01:13:35,080
Speaker 3: Yes, yes, there's a.

1457
01:13:35,160 --> 01:13:38,400
Speaker 1: Chaotic ambiguity about it, and I find that. I ultimately

1458
01:13:38,439 --> 01:13:42,160
Speaker 1: really like that it's emerged from the inhuman realm and

1459
01:13:42,240 --> 01:13:45,519
Speaker 1: humans are able to kill it. Possibly we have that

1460
01:13:45,640 --> 01:13:49,320
Speaker 1: stinger with the bubbles, but human understanding fails any attempt

1461
01:13:49,320 --> 01:13:51,760
Speaker 1: to comprehend it, and so it has this kind of

1462
01:13:52,520 --> 01:13:56,040
Speaker 1: pure monstrosity to it that it works. And they also

1463
01:13:56,120 --> 01:13:58,160
Speaker 1: don't shoot it a lot. We don't see much of it,

1464
01:13:58,520 --> 01:14:01,800
Speaker 1: so there's a lot of mys regarding what it is.

1465
01:14:02,120 --> 01:14:03,360
Speaker 3: Yeah, I wouldn't change a thing.

1466
01:14:04,520 --> 01:14:04,720
Speaker 1: Oh.

1467
01:14:04,920 --> 01:14:06,840
Speaker 3: One thing I forgot to mention that I thought was

1468
01:14:06,880 --> 01:14:10,599
Speaker 3: great about the conversion to the religion of Harley Stone

1469
01:14:11,160 --> 01:14:14,080
Speaker 3: is that you also see after the plot is resolved,

1470
01:14:14,800 --> 01:14:19,080
Speaker 3: like further religious disciplining to keep him on the path.

1471
01:14:19,240 --> 01:14:22,800
Speaker 3: Because Durkin at one point they ask after they've beaten

1472
01:14:22,840 --> 01:14:25,519
Speaker 3: the monster, I think Kim Katral says, is it dead?

1473
01:14:26,120 --> 01:14:31,000
Speaker 3: And Durkin says, existentially, that's difficult to answer. Philosophy of

1474
01:14:31,040 --> 01:14:33,320
Speaker 3: death is one of my hobbies. And then they both

1475
01:14:33,479 --> 01:14:37,120
Speaker 3: yell at him like Drkin. I think the implication is that,

1476
01:14:37,320 --> 01:14:40,400
Speaker 3: uh oh, it sounds like he's reverting to his puny

1477
01:14:40,439 --> 01:14:44,439
Speaker 3: milksop intellectual personality and they need to like, you know,

1478
01:14:44,520 --> 01:14:46,960
Speaker 3: whip him to make sure he adheres to the harley

1479
01:14:47,000 --> 01:14:47,719
Speaker 3: Stone Path.

1480
01:14:48,360 --> 01:14:51,720
Speaker 1: Yeah, eat some chocolate and have some more coffee and

1481
01:14:51,880 --> 01:14:56,599
Speaker 1: cigars right now. Ah. Yeah. I feel like the Harley

1482
01:14:56,600 --> 01:14:59,400
Speaker 1: Stone Way is also similar to like my taste in films,

1483
01:15:00,600 --> 01:15:03,400
Speaker 1: and perhaps someone out there might see one of the

1484
01:15:03,400 --> 01:15:06,320
Speaker 1: films we cover on Weird House and for the first

1485
01:15:06,360 --> 01:15:09,040
Speaker 1: time and experience a similar conversion, you know, like something

1486
01:15:09,040 --> 01:15:12,519
Speaker 1: has shaken you, something has changed after seeing a film

1487
01:15:12,560 --> 01:15:15,839
Speaker 1: like Split Second or Mad Love or Teens in the Universe.

1488
01:15:16,160 --> 01:15:19,000
Speaker 1: What do I do now? Well, let us recommend this

1489
01:15:19,120 --> 01:15:23,439
Speaker 1: cinematic diet of chocolate, brain jarring coffee and violent excess.

1490
01:15:23,720 --> 01:15:23,920
Speaker 4: Yeah.

1491
01:15:24,320 --> 01:15:25,120
Speaker 3: Put that coat on.

1492
01:15:25,400 --> 01:15:29,200
Speaker 1: Yeah, put this coat on. Have a seat on this motorcycle.

1493
01:15:32,240 --> 01:15:33,679
Speaker 3: Gets you some plastic pants.

1494
01:15:35,840 --> 01:15:39,519
Speaker 1: Yeah, So this one's really fun. I recommend it. Let's

1495
01:15:39,520 --> 01:15:41,880
Speaker 1: see places to see it. I think we both watched

1496
01:15:41,920 --> 01:15:44,960
Speaker 1: it streaming on Amazon Prime. It's part of the Prime

1497
01:15:46,240 --> 01:15:48,479
Speaker 1: streaming plan right now, at least in the United States.

1498
01:15:48,680 --> 01:15:50,320
Speaker 1: It's probably. I think it's one of these films is

1499
01:15:50,400 --> 01:15:56,400
Speaker 1: ultimately available wherever you buy or rent things digitally. Got

1500
01:15:56,439 --> 01:15:58,400
Speaker 1: to check, Yeah, yeah, I forgot to check if there

1501
01:15:58,520 --> 01:16:00,320
Speaker 1: was like a really good Blu ray or anything of it.

1502
01:16:00,360 --> 01:16:03,360
Speaker 1: But I hope there is. If not, there should be one.

1503
01:16:03,439 --> 01:16:05,479
Speaker 3: Wait, I thought you, I thought the last time you

1504
01:16:05,520 --> 01:16:07,520
Speaker 3: watched it you rented it from videodrome.

1505
01:16:08,000 --> 01:16:10,719
Speaker 1: No last time, or did I hmm hmm.

1506
01:16:11,280 --> 01:16:14,240
Speaker 3: Our local video store where yes you can still rent

1507
01:16:14,439 --> 01:16:15,439
Speaker 3: movies on disc.

1508
01:16:15,840 --> 01:16:18,400
Speaker 1: Yeah, excellent place. Well I would have rented it there.

1509
01:16:18,520 --> 01:16:20,479
Speaker 1: Oh well, you know, I take that back. There is

1510
01:16:20,880 --> 01:16:23,000
Speaker 1: this is not the addition that I rented if I

1511
01:16:23,040 --> 01:16:26,120
Speaker 1: did rent it, But there is a very handsome looking

1512
01:16:26,160 --> 01:16:30,840
Speaker 1: Blu ray of this available now Criteria not Criterion. It

1513
01:16:30,840 --> 01:16:33,519
Speaker 1: looks like it's MVD, I'm not familiar with that. But

1514
01:16:33,560 --> 01:16:36,160
Speaker 1: it has some wonderful brand new art on the cover

1515
01:16:36,320 --> 01:16:39,840
Speaker 1: that looks absolutely snazzy. Looks like this came out. Oh,

1516
01:16:39,880 --> 01:16:42,840
Speaker 1: this just came out in August of last year, so

1517
01:16:43,200 --> 01:16:45,160
Speaker 1: I would say, yeah, check this out. I feel kind

1518
01:16:45,160 --> 01:16:47,519
Speaker 1: of foolish for not picking this up on Blu ray now.

1519
01:16:48,160 --> 01:16:49,640
Speaker 1: And it looks like it. Oh my goodness. It has

1520
01:16:49,680 --> 01:16:52,280
Speaker 1: audio commentary, teraries, it has a bunch of stuff on it.

1521
01:16:52,360 --> 01:16:56,200
Speaker 1: So yeah, if you're into this, go check it out.

1522
01:16:56,640 --> 01:16:59,000
Speaker 3: The tagline on the cover. So a few things about

1523
01:16:59,040 --> 01:17:01,200
Speaker 3: the box art. I think this is the original box

1524
01:17:01,320 --> 01:17:03,439
Speaker 3: art that may have the newer version may have something

1525
01:17:03,439 --> 01:17:06,439
Speaker 3: more elaborate. Yeah, first of all, the old box art

1526
01:17:06,600 --> 01:17:10,760
Speaker 3: looks like a Sega Genesis game, Yes you see that.

1527
01:17:11,280 --> 01:17:14,160
Speaker 3: And then second I want to talk about the taglines

1528
01:17:14,520 --> 01:17:17,720
Speaker 3: says rutger Hower split Second, and then it says he's

1529
01:17:17,760 --> 01:17:21,400
Speaker 3: seen the future now he has to kill it.

1530
01:17:21,640 --> 01:17:22,639
Speaker 1: Ah, and he does.

1531
01:17:22,760 --> 01:17:25,360
Speaker 3: Yeah, he kills the future. Oh and it also says

1532
01:17:25,360 --> 01:17:28,200
Speaker 3: he'll need bigger guns. It's like they couldn't decide, so

1533
01:17:28,240 --> 01:17:31,440
Speaker 3: they included both possible taglines.

1534
01:17:31,880 --> 01:17:33,240
Speaker 1: Yeah I think that.

1535
01:17:33,439 --> 01:17:33,519
Speaker 4: So.

1536
01:17:33,600 --> 01:17:36,519
Speaker 1: Yeah, this this Blu ray looks impressive and has a

1537
01:17:36,560 --> 01:17:38,800
Speaker 1: mini poster that comes with it with the original style

1538
01:17:38,880 --> 01:17:42,479
Speaker 1: VHS artwork. But I don't say see anything about a

1539
01:17:42,560 --> 01:17:46,320
Speaker 1: Windy Carlos score being an option on there. So sadly

1540
01:17:46,400 --> 01:17:48,839
Speaker 1: that will remain lost to history.

1541
01:17:49,000 --> 01:17:51,120
Speaker 3: If you got connections in the film world you want

1542
01:17:51,120 --> 01:17:54,479
Speaker 3: to put out a new remastered version of Split Second

1543
01:17:54,640 --> 01:17:58,160
Speaker 3: with the all new, original Windy Carlos score, I would

1544
01:17:58,200 --> 01:17:59,960
Speaker 3: pay top dollar for that day.

1545
01:18:00,560 --> 01:18:02,960
Speaker 1: Yeah. We're talking thirty to forty bucks here. Yeah, so

1546
01:18:03,120 --> 01:18:07,160
Speaker 1: make it happen. All right, Well, we're gonna go ahead

1547
01:18:07,160 --> 01:18:08,760
Speaker 1: and close this one out, but we'd love to hear

1548
01:18:08,800 --> 01:18:11,719
Speaker 1: from everyone out there, you know, people who saw Split

1549
01:18:11,800 --> 01:18:14,280
Speaker 1: Second back in the day when it came out, people

1550
01:18:14,280 --> 01:18:17,000
Speaker 1: who've discovered it since then. What are your thoughts on

1551
01:18:17,000 --> 01:18:20,920
Speaker 1: the film with the performances yeah, everything's on the table.

1552
01:18:21,720 --> 01:18:23,360
Speaker 1: In the meantime, if you want to check out other

1553
01:18:23,439 --> 01:18:26,720
Speaker 1: episodes of Weird House Cinema, this publishes every Friday in

1554
01:18:26,800 --> 01:18:29,960
Speaker 1: the Stuff to Blow Your Mind podcast feed. You can

1555
01:18:29,960 --> 01:18:33,479
Speaker 1: find that feed wherever you get your podcasts, and we

1556
01:18:33,600 --> 01:18:37,280
Speaker 1: just asked you rate, review and subscribe as I have

1557
01:18:37,479 --> 01:18:40,000
Speaker 1: been doing. If you go to Summuta music dot com,

1558
01:18:40,000 --> 01:18:42,280
Speaker 1: it's se m U T A m U s I

1559
01:18:42,479 --> 01:18:46,160
Speaker 1: C dot com. That's a little personal blog, but I

1560
01:18:46,280 --> 01:18:50,000
Speaker 1: will put up bits about the episodes of Weird House there.

1561
01:18:50,040 --> 01:18:52,800
Speaker 1: So some of these other media bits that I've discussed here,

1562
01:18:52,880 --> 01:18:54,920
Speaker 1: I'll include them there for your easy.

1563
01:18:54,640 --> 01:18:58,120
Speaker 3: Access huge things. As always to our excellent audio producer

1564
01:18:58,160 --> 01:19:00,599
Speaker 3: Seth Nicholas Johnson. If you would like to get in

1565
01:19:00,640 --> 01:19:03,200
Speaker 3: touch with us with feedback on this episode or any other,

1566
01:19:03,640 --> 01:19:05,960
Speaker 3: to suggest a topic for the future, or just to

1567
01:19:05,960 --> 01:19:08,840
Speaker 3: say hello, you can email us at contact at stuff

1568
01:19:08,920 --> 01:19:17,360
Speaker 3: to Blow your Mind dot com.

1569
01:19:17,479 --> 01:19:20,439
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1570
01:19:20,520 --> 01:19:23,320
Speaker 2: more podcasts from My Heart Radio, visit the iHeartRadio app,

1571
01:19:23,479 --> 01:19:26,240
Speaker 2: Apple Podcasts, or wherever you listen to your favorite shows.