WEBVTT - Why are there so many twin films?

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<v Speaker 1>I'm Anny, I'm Noah, And this is no such thing.

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<v Speaker 1>The show where we settle our dumb arguments and yours

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<v Speaker 1>by actually doing the research. On today's episode, we're getting

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<v Speaker 1>to the bottom of the twin film phenomenon.

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<v Speaker 2>No, there's no no such thing.

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<v Speaker 1>No touch than.

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<v Speaker 3>Touch, thank.

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<v Speaker 1>Touch, thank.

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<v Speaker 4>Touch, thank you.

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<v Speaker 1>Okay, we're here to talk about twin films and why

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<v Speaker 1>they happen so frequently. But first, obviously we have to

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<v Speaker 1>know what a twin film is. So we're talking about

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<v Speaker 1>a pair of movies that have extraordinarily similar premises. Uh,

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<v Speaker 1>like that I like that pronunciation, and that release within

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<v Speaker 1>a year of each other. There there are some outliers

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<v Speaker 1>with this, like there are some twin films that come

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<v Speaker 1>out more than a year apart.

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<v Speaker 5>Uh.

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<v Speaker 1>And there are some outliers that have to do with

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<v Speaker 1>the plot as well, Like there are some movies that

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<v Speaker 1>seem similar at first, but then when you watch them,

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<v Speaker 1>they're not really that similar. We're dealing with that right

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<v Speaker 1>now with Gerrameal del Toros Frankenstein in this movie coming

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<v Speaker 1>out next year from Maggie Gillenhall. I think it's called

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<v Speaker 1>The Bride. Sometimes both of the twin films are popular,

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<v Speaker 1>like Finding Nemo and a Sharks Tale.

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<v Speaker 6>Oh yeah, well I forgot about the Sharks two. I

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<v Speaker 6>was defining Nemo home, so we didn't. We didn't watch Sharks.

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<v Speaker 1>Finding Nemo was definitely I think the more popular one. Yeah,

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<v Speaker 1>you know was a classic, like Substitute Teacher.

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<v Speaker 3>Yeah, that's like I remember renting that. I think renting

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<v Speaker 3>the DVD or something.

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<v Speaker 1>Yeah, you weren't going to theater that, you know, Finding

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<v Speaker 1>Nemo we had the tape.

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<v Speaker 5>Yeah, yeah.

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<v Speaker 1>And Will Smith delivers a masterclass in Shark Tale.

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<v Speaker 6>And my man's psyched has just begged me not to

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<v Speaker 6>myrtalize all.

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<v Speaker 5>Y'all up in here right now.

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<v Speaker 2>I might listen to him, but I might not.

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<v Speaker 6>And that depends on individual behavior of all the individuals

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<v Speaker 6>in here individually.

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<v Speaker 1>In other instances, one twin film is just way more

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<v Speaker 1>popular than the other one to the to the point

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<v Speaker 1>where you might not have even heard of the other one.

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<v Speaker 1>So one example is Madagascar. We all know and love

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<v Speaker 1>ye I'm I'm movement movement, movement, movement, not knocked up.

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<v Speaker 1>There was a Disney movie that came out the same

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<v Speaker 1>year called The Wild, which was the same plot. Animals

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<v Speaker 1>from the Central Park zoo end up in Africa. Oh,

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<v Speaker 1>and it had like I had, like a real cast

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<v Speaker 1>wild Have you ever heard of this movie? No? Oh,

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<v Speaker 1>I need to see it. Let me see some imagery.

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<v Speaker 1>It just it looks like a generic, like a less

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<v Speaker 1>stylized version of Madagascar. But in the cast we had

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<v Speaker 1>Key for Sutherland, Eddie Lizard, Richard Kind was in there,

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<v Speaker 1>William Shatner. And it's like the same animals too. There's

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<v Speaker 1>a graft.

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<v Speaker 5>Who's the zebra?

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<v Speaker 1>There's no zebra? Okay, there's a draft in this one. Anyway,

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<v Speaker 1>I thought that was interesting making a zoom movie, it

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<v Speaker 1>would have a draft in line. But of course, the

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<v Speaker 1>most referred to example of twin films is of course

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<v Speaker 1>Armageddon and Deep Impact. Uh, we're gonna save that one

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<v Speaker 1>for later when we talked to the what went wrong folks,

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<v Speaker 1>But from my recollection, I think like Armageddon was like

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<v Speaker 1>the big, dumb, loud one, and Deep Impact was supposed

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<v Speaker 1>to be the higher brow, smartly written one. We'll see

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<v Speaker 1>if that holds up. But before we get into like

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<v Speaker 1>why exactly twin films happened so regularly with so much frequency,

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<v Speaker 1>what are some other ones that I'm missing? Like, what

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<v Speaker 1>are some big twin films.

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<v Speaker 6>There was the like rom coms of no Strings attached,

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<v Speaker 6>Oh yeah, and then friends with Benefits.

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<v Speaker 1>I'm a doctor, I worked eighty hours a week. I

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<v Speaker 1>need someone who's going to be in my bed at

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<v Speaker 1>two am, who I don't have to eat breakfast with.

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<v Speaker 1>I'm emotionally unavailable.

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<v Speaker 2>I'm emotionally damaged.

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<v Speaker 4>You know what I'm saying, No emotions, just sux.

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<v Speaker 6>Those came out around the same time, around you know,

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<v Speaker 6>like friends who are love interests or artists.

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<v Speaker 1>You were the two Kutcher and uh who Natalie Portman

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<v Speaker 1>Natalie Portman, and then the other one was Myla Cunis

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<v Speaker 1>and Timberlake. And that's funny because Ashton Kutcher is married

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<v Speaker 1>to me Lacunas. They should have just had them in

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<v Speaker 1>the same movie.

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<v Speaker 5>Yeah. I don't know if they were married at the time.

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<v Speaker 6>I don't think they were, probably not, but they were

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<v Speaker 6>on that seventies show together, which is how.

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<v Speaker 1>They since then more than oh you're someone someone looked

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<v Speaker 1>this up, Jame not not now?

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<v Speaker 5>Yeah?

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<v Speaker 1>What are some other ones? Like one I remember is

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<v Speaker 1>Dante's Peak. Yeah, I was just thinking that in.

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<v Speaker 3>The tone of Dante's Peak, a volcano is turning nature into.

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<v Speaker 1>A nightmare, which was Pierce Brosnan like disaster movie that

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<v Speaker 1>takes place in the Pacific Northwest. You know, they're escaping

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<v Speaker 1>from a volcanic a volcanic eruption. And this was an

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<v Speaker 1>example of one that was way more popular than the

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<v Speaker 1>other one, I think because I hadn't even known about

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<v Speaker 1>this movie Volcano with Tommy Lee Jones in a.

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<v Speaker 2>City where anything can happen on April twenty fifth.

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<v Speaker 1>It will same year or within a year of each other,

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<v Speaker 1>and same exact plot. But just I had not heard

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<v Speaker 1>of that one. Have you guys heard of Volcano?

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<v Speaker 3>Yeah, but definitely Dante's peak was like always on, like yeah, TBS, yeah,

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<v Speaker 3>TVs like constantly.

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<v Speaker 1>Another classic one that's more recent is Olympus has Fallen,

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<v Speaker 1>White House Down.

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<v Speaker 6>Yeah, we're talking about the safety of the president of

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<v Speaker 6>the United States.

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<v Speaker 5>We're talking about all of them more than.

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<v Speaker 1>That, sir, Which is funny because they also both have

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<v Speaker 1>black presidents in them. Hey, what's funny?

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<v Speaker 5>We had run all right? People forget there's been one.

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<v Speaker 1>We did have one here. It made sense. Yes, I

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<v Speaker 1>think Morgan Freeman is the president in one of them,

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<v Speaker 1>and Jamie Fox is the president and I'm pretty sure

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<v Speaker 1>right whichever one say, yeah, that's crazy, that's my president

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<v Speaker 1>right there.

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<v Speaker 5>It's like he's young.

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<v Speaker 1>So Olympus has fallen? Is the Gerard Butler one, Yeah, okay?

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<v Speaker 1>And Channing Tatum's in White Houstone, I think, so White

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<v Speaker 1>House Down will be Channing Tatum and Jamie Fox. Is

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<v Speaker 1>Jamie Fox the president or is he just any president?

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<v Speaker 1>James Sawyer?

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<v Speaker 5>Oh wow?

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<v Speaker 1>And before any Olympus has fallen heads send me angry emails.

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<v Speaker 1>I should clear that Morgan Freeman's character is only technically

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<v Speaker 1>acting president. The elected president is Aaron Eckert. But of course,

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<v Speaker 1>there is one pair of twin films that the three

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<v Speaker 1>of us have spent a lot of time debating way back,

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<v Speaker 1>starting in twenty sixteen, and that is a Bugs Life

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<v Speaker 1>for the colony and for a press but everywhere versus Ants.

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<v Speaker 1>He's willing to live for the colony, to fight for

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<v Speaker 1>the colony, to die.

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<v Speaker 5>For the colony.

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<v Speaker 2>This guy's crazy.

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<v Speaker 3>Now.

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<v Speaker 1>The reason we've been debating this is that Noah and

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<v Speaker 1>I feel like Ants is the obvious better movie, and

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<v Speaker 1>Devin thinks that we're crazy, of course, and I actually

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<v Speaker 1>want to break the differences between these movies down for

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<v Speaker 1>the listeners, because I think understanding the differences between these

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<v Speaker 1>movies might actually be useful for us in terms of

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<v Speaker 1>trying to figure out why films happen in the first place.

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<v Speaker 1>So let's start with the plot. Both movies are about

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<v Speaker 1>ants that spark a revolution of sorts against their oppressors.

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<v Speaker 1>In a bug's life, the oppressors are grasshoppers, evil grasshoppers.

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<v Speaker 1>They're not really dynamic. They're just evil. They just come

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<v Speaker 1>and bully and eat everything. So where is it?

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<v Speaker 5>Where's my phone?

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<v Speaker 2>It's a little more interesting.

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<v Speaker 1>In Ants, the ants are in a war with these

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<v Speaker 1>termites that are encroaching on their territory. But the war

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<v Speaker 1>general for the ants is like sending the ants that

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<v Speaker 1>are loyal to the queen off to war on a

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<v Speaker 1>suicide mission so that he and the remaining ants can

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<v Speaker 1>enact at coup d'eta damite colonies.

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<v Speaker 2>Sir, that's suicide exactly.

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<v Speaker 3>You have the list I asked for, Yes, General, these

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<v Speaker 3>are the units loyal to the queen.

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<v Speaker 1>So, Devin, why don't you tell us a little bit

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<v Speaker 1>about why you're wrong to think that a bugs life

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<v Speaker 1>is better and more interesting than that? Plot.

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<v Speaker 5>Well, first of all, both of these are supposed to

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<v Speaker 5>be kids movies.

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<v Speaker 1>That's true allegedly.

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<v Speaker 6>Okay, uh so A Bugs Life is picture our universe. Basically,

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<v Speaker 6>A Bugs Life looks like I don't know if there

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<v Speaker 6>is some sort of like Easter Egg. It looks like

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<v Speaker 6>it's a toy story. Yeah, like that style, very similar style.

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<v Speaker 6>You zoom in on want to Andy's Toys in the

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<v Speaker 6>grass somewhere, and you saw A bug Life happening, You'd

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<v Speaker 6>like this makes sense. Yes, so toy story iconic, A

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<v Speaker 6>Bugs Life iconic. Okay, they live in the same world.

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<v Speaker 6>Just just remember that. The thing that I love about

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<v Speaker 6>A Bugs Life is it has so many memorable scenes.

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<v Speaker 6>We did it back to backwashing of A Bugs Life

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<v Speaker 6>and Ants. You know, I had not watched this film

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<v Speaker 6>since I don't know, well, I was a child.

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<v Speaker 5>A long time ago.

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<v Speaker 6>That tracks and I had rememb scenes from A Bug's Life,

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<v Speaker 6>which is crazy all these years. It's not something that

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<v Speaker 6>really comes up, you know, in pop culture or anything

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<v Speaker 6>that you're like, you know, I'm not, And I was like,

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<v Speaker 6>oh my god. I remember the rain, specifically that rain

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<v Speaker 6>scene where the ants are running for their lives because

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<v Speaker 6>the rain drops are like, yes, and it is a

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<v Speaker 6>thing that, like, from my childhood to now, I thought

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<v Speaker 6>about and I didn't realize that I was thinking about

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<v Speaker 6>it because of A bugs lif When it rains and

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<v Speaker 6>I'm outside and I see bugs, I thought like, oh, shoot,

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<v Speaker 6>it's to go down. And then when I just watched

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<v Speaker 6>it more recently, it's like, oh, it's because of a

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<v Speaker 6>Bug's life. And that, I think is when you think

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<v Speaker 6>of childhood movies, those scenes that stay with you, that change.

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<v Speaker 5>The way you view the world.

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<v Speaker 6>Wow, okay, this is why we make films. And when

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<v Speaker 6>we watched ants if it felt like some weird Woody

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<v Speaker 6>Allen nightmare. Okay, yeah, well it's dark, it's very moody.

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<v Speaker 6>It's just like, I'm like, what, this is not for kids.

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<v Speaker 6>This feels like some adult was going through something and

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<v Speaker 6>they're forcing their kids to sit down and watch this.

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<v Speaker 6>It's like it feels like divorce dad energy.

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<v Speaker 1>A bugs Life is certainly more colorful and easier on

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<v Speaker 1>the eyes. And it's funny.

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<v Speaker 6>A Buzs Life is hilarious. Scene the scene, every line

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<v Speaker 6>is a joke. I'm watching ANTS, I'm like, what, nothing,

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<v Speaker 6>It really is not funny.

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<v Speaker 3>It's kind of depressing, and it's funny because there's an

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<v Speaker 3>there's PTSD.

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<v Speaker 1>It's that's it's funny. It's kind of cob you know,

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<v Speaker 1>it's it's funny that the Ants have trauma.

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<v Speaker 5>I'm sorry, I don't think trauma is funny, but you

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<v Speaker 5>know some of us, some of us, I guess.

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<v Speaker 1>So let's go cast for cast. Here. You got Kevin

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<v Speaker 1>Spacey obviously as the villain Hopper.

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<v Speaker 5>Playing the proper role. Yeah, Evan Spacey, the villain, a

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<v Speaker 5>bad guy playing exactly great casting if you think about it.

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<v Speaker 1>Yeah, but this was the way before he was They

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<v Speaker 1>knew there's something darkening. Yeah.

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<v Speaker 5>Uh.

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<v Speaker 1>Julia Luis Dreyfus plays Atta.

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<v Speaker 5>Yeah, love interest.

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<v Speaker 1>Hayden Penny Tier is a dot the I think the

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<v Speaker 1>Little Girl aunt Richard Kind. You've got Dennis Leary. So

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<v Speaker 1>you know, it's pretty stacked cast. But let's look at

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<v Speaker 1>Ants because Ants has some fucking hitters in the cast.

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<v Speaker 1>Woody Allen obviously.

0:12:30.880 --> 0:12:32.720
<v Speaker 5>Woody Allen, it's a voice.

0:12:34.360 --> 0:12:36.800
<v Speaker 1>Yeah, your boy, Kevin space no problem.

0:12:37.880 --> 0:12:39.440
<v Speaker 2>Okay, we don't need to go there.

0:12:39.600 --> 0:12:44.160
<v Speaker 1>Both films have problematic actors and memory. This is a wash. Yeah,

0:12:44.240 --> 0:12:47.760
<v Speaker 1>they cancel each other out. Gene Hackman is Mandible, who

0:12:47.800 --> 0:12:50.840
<v Speaker 1>I believe is like the War General r P. Sharon

0:12:51.040 --> 0:12:55.360
<v Speaker 1>Stone is Bala. You got Dan Ackroyd, You've got Danny Glover.

0:12:56.200 --> 0:13:00.920
<v Speaker 1>Jennifer Lopez plays ass Teca Celeste Stallone. I mean this

0:13:01.000 --> 0:13:04.640
<v Speaker 1>is nuts. Christopher Walking Jim Yeah, I'm gonna say that

0:13:04.760 --> 0:13:07.439
<v Speaker 1>the Ants cast edges out A Bugs Life cast in

0:13:07.559 --> 0:13:09.000
<v Speaker 1>terms of, you know, real hitters.

0:13:09.120 --> 0:13:12.000
<v Speaker 5>If you just want to put names on the board, sure, yeah,

0:13:12.240 --> 0:13:15.599
<v Speaker 5>what in the world? Okay, but can you name what

0:13:15.720 --> 0:13:16.920
<v Speaker 5>happened these people did in the movie?

0:13:17.000 --> 0:13:17.880
<v Speaker 1>Gene Hackman is Manda.

0:13:18.760 --> 0:13:19.880
<v Speaker 5>Jennifer Lopez was.

0:13:20.720 --> 0:13:23.959
<v Speaker 1>Well, you know that's true. I don't have a I

0:13:24.000 --> 0:13:26.880
<v Speaker 1>don't have an argument against that. Sly Stallone is in

0:13:26.960 --> 0:13:28.679
<v Speaker 1>there as a character that looks like him.

0:13:29.000 --> 0:13:31.040
<v Speaker 3>I remember this, and I believe Chris Walking too is

0:13:31.080 --> 0:13:33.560
<v Speaker 3>kind of Yeah, they do tell me that's what Sharks

0:13:33.800 --> 0:13:37.160
<v Speaker 3>did too, which I think all animated movies should do that. No, well,

0:13:37.240 --> 0:13:39.000
<v Speaker 3>could you talk a little bit about why you like

0:13:39.160 --> 0:13:41.240
<v Speaker 3>Ants the film better than A Bug's Life.

0:13:41.320 --> 0:13:43.480
<v Speaker 1>Yeah, I'm just I like more mature sorts of things.

0:13:43.559 --> 0:13:45.040
<v Speaker 5>I like a PG movie.

0:13:44.840 --> 0:13:46.079
<v Speaker 1>If I can get one, you know.

0:13:46.640 --> 0:13:50.199
<v Speaker 3>I like kind of edgy humor, like that, So, you know,

0:13:50.280 --> 0:13:52.559
<v Speaker 3>I was, you know, kind of refreshing myself on Ants,

0:13:52.600 --> 0:13:55.960
<v Speaker 3>and you know, it's it really is a proper war movie.

0:13:56.480 --> 0:13:59.280
<v Speaker 3>There's nods to Apocalypse now there's there was one scene

0:13:59.320 --> 0:14:01.280
<v Speaker 3>that really set up to me, especially on our rewatch,

0:14:01.480 --> 0:14:04.640
<v Speaker 3>was there's this huge, real pretty serious battle scene and

0:14:04.760 --> 0:14:07.040
<v Speaker 3>then the leader he's decapitated.

0:14:07.080 --> 0:14:08.320
<v Speaker 1>The second I remember this.

0:14:08.480 --> 0:14:13.000
<v Speaker 3>Don't make my mistake, don't follow it as your whole

0:14:13.080 --> 0:14:21.240
<v Speaker 3>life thinking for yourself anyway, the bodyless head is you know,

0:14:21.320 --> 0:14:23.200
<v Speaker 3>kind of giving his final words of like whoa this is?

0:14:23.720 --> 0:14:24.080
<v Speaker 5>Is wild?

0:14:24.320 --> 0:14:25.080
<v Speaker 1>That's a dark movie.

0:14:25.240 --> 0:14:27.720
<v Speaker 3>Yeah, it's just a little for me as an adult

0:14:27.800 --> 0:14:30.920
<v Speaker 3>watching this, not sharing it with kids, it's more interesting

0:14:31.200 --> 0:14:34.360
<v Speaker 3>to watch today. Oh grant, I didn't really watch Bugs

0:14:34.440 --> 0:14:36.080
<v Speaker 3>Life as a kid. I watched it, but it was

0:14:36.160 --> 0:14:37.560
<v Speaker 3>never like on rotation for.

0:14:37.640 --> 0:14:40.400
<v Speaker 1>Me for whatever reason. So it didn't imprint the way

0:14:40.440 --> 0:14:42.560
<v Speaker 1>where it's like these certain little scenes.

0:14:42.520 --> 0:14:45.600
<v Speaker 5>You didn't have a good watch I say that? Did

0:14:45.640 --> 0:14:46.000
<v Speaker 5>I say that?

0:14:46.520 --> 0:14:50.040
<v Speaker 1>I did not say that. I enjoyed watching both of them.

0:14:50.800 --> 0:14:52.440
<v Speaker 2>I like picking we're picking one.

0:14:52.680 --> 0:14:53.320
<v Speaker 5>That's the prompt.

0:14:53.520 --> 0:14:54.760
<v Speaker 2>I simply enjoy the.

0:14:54.800 --> 0:14:58.880
<v Speaker 5>More, And I like you had more fun watching Ants.

0:14:59.080 --> 0:15:01.080
<v Speaker 1>There's a little bit more of I guess they kind

0:15:01.120 --> 0:15:03.800
<v Speaker 1>of have different goals. And that's what's tough about this is,

0:15:03.920 --> 0:15:07.120
<v Speaker 1>despite the fact that they're twin films, they're not necessarily

0:15:07.200 --> 0:15:09.440
<v Speaker 1>one for want. They're not so easy to compare. And

0:15:09.520 --> 0:15:12.840
<v Speaker 1>I like the kind of ugly, garish art style of ANTS. Yeah,

0:15:12.880 --> 0:15:14.080
<v Speaker 1>they look like something to look at.

0:15:14.520 --> 0:15:17.720
<v Speaker 3>And I appreciate the kind of neurotic witticisms of you know,

0:15:18.120 --> 0:15:20.120
<v Speaker 3>the Woody Allen esque character.

0:15:20.400 --> 0:15:20.640
<v Speaker 5>Yeah.

0:15:20.720 --> 0:15:24.240
<v Speaker 1>I think here in New York the humor was really interesting.

0:15:24.640 --> 0:15:26.920
<v Speaker 1>But that's not to say I disliked A Bug's Life.

0:15:26.960 --> 0:15:27.920
<v Speaker 1>I mean, it's definitely I.

0:15:27.960 --> 0:15:30.000
<v Speaker 6>Know, I know you two didn't dislike it because y'all

0:15:30.000 --> 0:15:33.440
<v Speaker 6>were cracking up, gigglin the whole time.

0:15:33.680 --> 0:15:39.160
<v Speaker 1>Again, not much being said. You think about sitting with

0:15:39.320 --> 0:15:41.800
<v Speaker 1>when we're watching ANTS, taking notes.

0:15:41.600 --> 0:15:43.000
<v Speaker 5>I watched movies to be entertained.

0:15:43.360 --> 0:15:46.360
<v Speaker 1>Okay, you can do both ideally, you get both ideally.

0:15:48.040 --> 0:15:48.320
<v Speaker 2>Okay.

0:15:48.440 --> 0:15:51.200
<v Speaker 1>So now we know what a twin film is and

0:15:51.280 --> 0:15:54.960
<v Speaker 1>we've been through many, many examples. After the break, we're

0:15:54.960 --> 0:15:57.600
<v Speaker 1>gonna chat with the hosts of the What Went Wrong

0:15:57.800 --> 0:16:00.920
<v Speaker 1>podcast the show about the film and and see if

0:16:00.960 --> 0:16:03.520
<v Speaker 1>we can get their thoughts on why twin films happened

0:16:03.600 --> 0:16:17.880
<v Speaker 1>so regularly in the first place. All right, We're now

0:16:18.040 --> 0:16:21.960
<v Speaker 1>joined by Lizzie and Chris from the popular What Went

0:16:22.040 --> 0:16:24.960
<v Speaker 1>Wrong podcast. Thank you guys for joining us. Thank you

0:16:25.040 --> 0:16:26.800
<v Speaker 1>so much for having us. It's an honor to be here.

0:16:27.000 --> 0:16:28.480
<v Speaker 1>You guys are so much fancier than us.

0:16:28.520 --> 0:16:38.560
<v Speaker 2>You have mugste Yeah, yeah, we try, we try.

0:16:38.800 --> 0:16:41.960
<v Speaker 1>Before you guys joined us, we were talking about this

0:16:42.200 --> 0:16:45.680
<v Speaker 1>phenomenon of the twin films. We had just ended a

0:16:45.800 --> 0:16:49.360
<v Speaker 1>rigorous debate about whether A Bugs Life or Ants is

0:16:49.440 --> 0:16:52.240
<v Speaker 1>the better film. Noah and I are on the ants

0:16:52.440 --> 0:16:55.160
<v Speaker 1>on team Ants, and Devin is team of Bugs Life.

0:16:55.160 --> 0:16:57.920
<v Speaker 1>I'm just curious what your guys take. Are you have

0:16:57.960 --> 0:17:00.360
<v Speaker 1>a strong opinion you too.

0:17:00.280 --> 0:17:05.199
<v Speaker 4>With your Aunts defending I am I'm done. I'm very

0:17:05.280 --> 0:17:07.679
<v Speaker 4>interested to I can't wait to hear what your argument

0:17:07.960 --> 0:17:11.040
<v Speaker 4>was for both sides. But now I'm mad.

0:17:13.640 --> 0:17:16.199
<v Speaker 2>I would also lean a Bugs Life, although not as

0:17:16.240 --> 0:17:20.760
<v Speaker 2>hard as Lizzie. I appreciate as the manifestation of Jeffrey

0:17:20.800 --> 0:17:25.600
<v Speaker 2>Katzenberg in a movie, but I still prefer I think, overall,

0:17:25.760 --> 0:17:28.159
<v Speaker 2>a Bugs Life. But I have kids that age like

0:17:28.200 --> 0:17:30.080
<v Speaker 2>I would show my daughter a Bugs Life. I probably

0:17:30.119 --> 0:17:32.240
<v Speaker 2>wouldn't show her aunts At this point.

0:17:32.119 --> 0:17:32.720
<v Speaker 1>I agree with that.

0:17:34.720 --> 0:17:39.680
<v Speaker 6>It's an enjoyable film. It's so much fun, so memorable. Yeah,

0:17:39.920 --> 0:17:40.760
<v Speaker 6>and it feels like, you.

0:17:40.800 --> 0:17:43.280
<v Speaker 2>Know, I don't have to think of Alan marrying his

0:17:43.480 --> 0:17:46.359
<v Speaker 2>stepdaughter while I'm watching it, exactly.

0:17:46.080 --> 0:17:48.320
<v Speaker 1>It's you have to do you have to think about

0:17:48.359 --> 0:17:49.000
<v Speaker 1>Kevin Spacey.

0:17:57.280 --> 0:17:59.480
<v Speaker 4>Yeah, I don't need Woody Allen as the romantic lead.

0:17:59.520 --> 0:18:01.200
<v Speaker 4>And you want to know, my biggest problem with Ants

0:18:01.320 --> 0:18:03.320
<v Speaker 4>was that I literally screamed at the TV when I

0:18:03.400 --> 0:18:07.160
<v Speaker 4>was rewatching it for this episode they're human teeth. It's

0:18:07.200 --> 0:18:11.479
<v Speaker 4>the most horrible, Yeah, says so creepy horrible when he's

0:18:11.560 --> 0:18:13.680
<v Speaker 4>chewing on the plastic. I was like, I'm this sit,

0:18:13.840 --> 0:18:14.280
<v Speaker 4>I'm done.

0:18:14.760 --> 0:18:19.480
<v Speaker 1>Yes, So Chris and Lizzie. When it comes to Ants

0:18:19.520 --> 0:18:21.680
<v Speaker 1>and A Bug's Life coming out at the same time,

0:18:22.240 --> 0:18:26.480
<v Speaker 1>is it true that there was an alleged intellectual property theft?

0:18:26.600 --> 0:18:27.920
<v Speaker 1>Can you tell us a little bit about that?

0:18:32.760 --> 0:18:35.520
<v Speaker 2>Well, my understanding is so development on A Bug's Life

0:18:35.560 --> 0:18:41.000
<v Speaker 2>began before development on Ants, and so John Lassiter was

0:18:41.520 --> 0:18:43.439
<v Speaker 2>the director of A Bug's Life, who was written by

0:18:43.480 --> 0:18:46.440
<v Speaker 2>Andrew Stanton. Joe Ranft, who actually does the voice of

0:18:46.480 --> 0:18:50.440
<v Speaker 2>Heimlich in the movie. Was co story creator with those two,

0:18:51.080 --> 0:18:54.480
<v Speaker 2>and this was a well known project within the animation community.

0:18:54.560 --> 0:18:56.640
<v Speaker 2>And I have a slightly different thesis as to why

0:18:56.840 --> 0:19:01.000
<v Speaker 2>these two movies are both around bugs. Lizz about Toy

0:19:01.119 --> 0:19:03.280
<v Speaker 2>Story on our podcast, and one of the reasons that

0:19:03.560 --> 0:19:07.639
<v Speaker 2>they chose toys was because highly reflective surfaces as a

0:19:07.720 --> 0:19:10.360
<v Speaker 2>texture are a lot easier to animate. At this point

0:19:10.400 --> 0:19:14.560
<v Speaker 2>in the technologies, like maturation process in the mid nineteen nineties,

0:19:14.880 --> 0:19:17.200
<v Speaker 2>it's really hard to do hair. This is why like Monsters, Inc.

0:19:17.280 --> 0:19:19.680
<v Speaker 2>And Shrek don't come until the early two thousands. A

0:19:19.720 --> 0:19:21.719
<v Speaker 2>bug's Life makes a lot of sense because, okay, well

0:19:21.720 --> 0:19:25.440
<v Speaker 2>we can animate bugs, right they have these they're exoskeletons,

0:19:25.480 --> 0:19:28.959
<v Speaker 2>they're shiny. This makes sense. Also, it's ants. We can

0:19:29.040 --> 0:19:31.200
<v Speaker 2>make one model and then we can clone it a

0:19:31.320 --> 0:19:34.000
<v Speaker 2>bunch of times, and it's like Andy and all his

0:19:34.080 --> 0:19:37.840
<v Speaker 2>friends at the birthday party and Toy Story. So the

0:19:37.960 --> 0:19:43.680
<v Speaker 2>allegations were that Lasseter and Katzenberg had more unfriendly terms.

0:19:44.200 --> 0:19:49.399
<v Speaker 2>Katzenberg acrimoniously left Disney. He felt he had been owed

0:19:50.040 --> 0:19:54.240
<v Speaker 2>a higher position by then CEO Michael Eisner. He was

0:19:54.600 --> 0:19:58.120
<v Speaker 2>looked over after Lizzie remind David Wells or Frank Wells.

0:19:58.160 --> 0:19:59.040
<v Speaker 2>I can never remember.

0:19:59.200 --> 0:20:00.879
<v Speaker 4>Oh man, I want I say it's Frank Wells, but

0:20:00.920 --> 0:20:03.000
<v Speaker 4>let me double check. He's the he was the head

0:20:03.000 --> 0:20:05.240
<v Speaker 4>of Disney who I'm sure you guys know about this,

0:20:05.400 --> 0:20:09.080
<v Speaker 4>But he died unexpectedly in helicopter crash.

0:20:09.119 --> 0:20:10.960
<v Speaker 2>It's Frank Wells, so frankly.

0:20:11.359 --> 0:20:15.200
<v Speaker 4>And it's pretty wild because you know, we talked about

0:20:15.200 --> 0:20:17.080
<v Speaker 4>this in Toy Story, but this guy dies in a

0:20:17.119 --> 0:20:20.720
<v Speaker 4>helicopter crash. And then Jeffrey Katzenberg is like, oh, he's dead.

0:20:21.119 --> 0:20:22.640
<v Speaker 4>Is it my turn? Is it my turn?

0:20:22.720 --> 0:20:22.840
<v Speaker 5>Now?

0:20:24.400 --> 0:20:26.840
<v Speaker 2>What's up with the promotion? Let's get this going?

0:20:27.480 --> 0:20:28.040
<v Speaker 1>Oh my god.

0:20:28.160 --> 0:20:31.120
<v Speaker 2>Katzenberg leaves. He ends up suing Disney for an unpaid

0:20:31.160 --> 0:20:33.680
<v Speaker 2>bonus of well over one hundred million dollars. He also

0:20:33.800 --> 0:20:36.359
<v Speaker 2>was on the you know, Michael Ovitz, formerly of CAAA,

0:20:36.520 --> 0:20:39.160
<v Speaker 2>is coming in. It's a very messy time. DreamWorks gets built,

0:20:39.520 --> 0:20:42.760
<v Speaker 2>and obviously Pixar starts working with Disney for their distribution

0:20:43.440 --> 0:20:45.320
<v Speaker 2>of Toy Story and then A Bug's Life. And so

0:20:45.440 --> 0:20:51.240
<v Speaker 2>the accusation is that that Katzenberg stole the idea for

0:20:51.520 --> 0:20:54.160
<v Speaker 2>A Bug's Life or ants from a Bug's Life after

0:20:54.280 --> 0:20:58.120
<v Speaker 2>having soundboard conversations with Lassiter, who felt that he could

0:20:58.200 --> 0:21:03.640
<v Speaker 2>trust Katzenberg. On Katzenberg's side, my understanding is he has asserted,

0:21:04.320 --> 0:21:06.440
<v Speaker 2>although I've heard also that he has kind of admitted

0:21:06.480 --> 0:21:09.520
<v Speaker 2>as much that he may have taken this idea from Lassitter.

0:21:10.680 --> 0:21:12.240
<v Speaker 2>He has asserted that there was a pitch for a

0:21:12.280 --> 0:21:15.960
<v Speaker 2>movie called Army Ants back in nineteen eighty eight while

0:21:16.040 --> 0:21:19.280
<v Speaker 2>he was at Disney Animation that was about a worker

0:21:19.320 --> 0:21:23.239
<v Speaker 2>aunt trying to bestow the benefits of individuality upon their

0:21:23.320 --> 0:21:27.120
<v Speaker 2>colony that went nowhere, and that that's kind of where

0:21:27.160 --> 0:21:29.000
<v Speaker 2>the idea originated, and then.

0:21:29.000 --> 0:21:30.240
<v Speaker 5>He picked it up.

0:21:30.680 --> 0:21:33.480
<v Speaker 2>My guess, my best guess, and you guys can tell me, like,

0:21:33.680 --> 0:21:35.280
<v Speaker 2>I don't know if we know the truth, but my

0:21:35.440 --> 0:21:38.800
<v Speaker 2>best guess is there are technological limitations in place, and

0:21:39.359 --> 0:21:42.159
<v Speaker 2>there's only so many types of characters that you can

0:21:42.240 --> 0:21:45.280
<v Speaker 2>do at this point in time. And Toy Story had

0:21:45.280 --> 0:21:48.520
<v Speaker 2>already come out, and I think Toy Soldiers is maybe

0:21:48.600 --> 0:21:50.800
<v Speaker 2>around this time as well, and so like the DreamWorks

0:21:50.880 --> 0:21:53.359
<v Speaker 2>is this upstart, we probably don't want to do toys. Okay,

0:21:53.440 --> 0:21:55.800
<v Speaker 2>we'll do bugs, and we could probably come close to

0:21:55.880 --> 0:21:59.040
<v Speaker 2>doing bugs. Pixars doing bugs. They just bought PDI. I'd

0:21:59.040 --> 0:22:02.640
<v Speaker 2>also heard that PDI specific data Imaging had a BUGS

0:22:02.760 --> 0:22:06.040
<v Speaker 2>treatment in the works as well that was also different

0:22:06.119 --> 0:22:09.040
<v Speaker 2>than a bugs life. So again, my instinct in this

0:22:09.119 --> 0:22:11.600
<v Speaker 2>could get come to my big unifying theory about twin

0:22:11.680 --> 0:22:15.879
<v Speaker 2>films is that maybe Katzenberg stole it, or maybe he

0:22:16.080 --> 0:22:19.840
<v Speaker 2>was mulling on this and he saw Pixar as proof

0:22:19.960 --> 0:22:23.200
<v Speaker 2>that this was a good direction for DreamWorks to go.

0:22:23.800 --> 0:22:27.960
<v Speaker 1>Before we get your guys's thoughts and theories about why

0:22:28.200 --> 0:22:31.840
<v Speaker 1>twin films kind of occur so regularly, or at least

0:22:31.880 --> 0:22:34.800
<v Speaker 1>they seem to occur so regularly. I wanted to talk

0:22:34.800 --> 0:22:36.760
<v Speaker 1>a little bit about Armageddon.

0:22:36.560 --> 0:22:38.280
<v Speaker 2>Hitting a rock from the outside and we'll be the

0:22:38.400 --> 0:22:41.680
<v Speaker 2>job so we knew this thing from the inside. Ah,

0:22:42.440 --> 0:22:44.560
<v Speaker 2>we drill from bringing the World's prest.

0:22:44.440 --> 0:22:48.960
<v Speaker 1>Dave Cordriller and Deep Impact, two comments were discovered. Is

0:22:49.240 --> 0:22:51.160
<v Speaker 1>on a collision course with Earth.

0:22:51.640 --> 0:22:52.320
<v Speaker 4>Oh my god.

0:22:52.720 --> 0:22:54.960
<v Speaker 1>I haven't seen those movies in a very long time,

0:22:55.040 --> 0:22:56.919
<v Speaker 1>but from what I recall, I want to see if

0:22:56.960 --> 0:22:59.919
<v Speaker 1>this is accurate. Armageddon is kind of like the big,

0:23:00.000 --> 0:23:03.920
<v Speaker 1>big dumb blockbuster, and Deep Impact is a slightly more,

0:23:04.720 --> 0:23:07.840
<v Speaker 1>slightly smarter, higher brow disaster film.

0:23:07.920 --> 0:23:08.320
<v Speaker 5>Is that right?

0:23:08.359 --> 0:23:09.879
<v Speaker 1>Am I making that out? No? No, you're right.

0:23:10.000 --> 0:23:11.159
<v Speaker 4>But here's what's funny.

0:23:11.359 --> 0:23:14.160
<v Speaker 2>They're closer than we remember. Yea, they are.

0:23:14.240 --> 0:23:17.239
<v Speaker 4>Closer and honestly, I so we did this for our

0:23:17.280 --> 0:23:19.800
<v Speaker 4>live show, which was a blast. We did these two movies,

0:23:19.920 --> 0:23:22.359
<v Speaker 4>and I went into it remembering the same thing, Like

0:23:22.520 --> 0:23:24.720
<v Speaker 4>I loved Deep Impact when I was a kid, and

0:23:24.760 --> 0:23:26.879
<v Speaker 4>I was like, this is the smart movie. This is

0:23:26.920 --> 0:23:29.760
<v Speaker 4>the movie that carries about science, and I can't wait

0:23:29.840 --> 0:23:32.000
<v Speaker 4>to rewatch this. And I rewatched it and I was like, God,

0:23:32.080 --> 0:23:35.560
<v Speaker 4>I'm bored. I miss Armageddon and you watch Armageddon and

0:23:35.680 --> 0:23:38.680
<v Speaker 4>it's just insane. It's completely insane. I loved it.

0:23:38.880 --> 0:23:41.440
<v Speaker 1>Can you show us about the similarities and the differences

0:23:41.480 --> 0:23:42.400
<v Speaker 1>between these two movies?

0:23:42.560 --> 0:23:45.040
<v Speaker 4>Sure? So you you know, you have an asteroid that

0:23:45.200 --> 0:23:47.320
<v Speaker 4>is hurtling towards Earth and the only way to get

0:23:47.400 --> 0:23:49.159
<v Speaker 4>rid of it is to blow it up, and then

0:23:49.280 --> 0:23:54.399
<v Speaker 4>from there, from there it just the paths diverge in

0:23:54.480 --> 0:23:54.840
<v Speaker 4>the wood.

0:23:55.760 --> 0:23:58.480
<v Speaker 2>But the how they're going to deal with it is

0:23:58.520 --> 0:24:01.520
<v Speaker 2>the same blow it up. They're gonna blow it up

0:24:01.680 --> 0:24:04.760
<v Speaker 2>by drilling and sticking a nuke in the hole, right,

0:24:04.920 --> 0:24:05.240
<v Speaker 2>and with.

0:24:05.440 --> 0:24:08.320
<v Speaker 4>Deep Impact, it makes like a decent amount of sense

0:24:08.359 --> 0:24:10.320
<v Speaker 4>how they're gonna go about this. They're gonna use astronauts,

0:24:10.440 --> 0:24:13.040
<v Speaker 4>which you know they're going to space, so that that tracks.

0:24:13.680 --> 0:24:17.440
<v Speaker 4>And then you have Armageddon where.

0:24:18.880 --> 0:24:20.800
<v Speaker 2>This is where Lizzie and I differ in our opinions.

0:24:21.119 --> 0:24:23.400
<v Speaker 2>By the way, this is the good, good idea.

0:24:23.600 --> 0:24:26.280
<v Speaker 4>You have Armageddon where Bruce Willis walks in to Billy

0:24:26.320 --> 0:24:29.159
<v Speaker 4>Bob Thornton at NASA and he's like, I believe the

0:24:29.240 --> 0:24:31.720
<v Speaker 4>line is something along the lines of, you know, you

0:24:31.800 --> 0:24:32.080
<v Speaker 4>want to.

0:24:32.040 --> 0:24:34.560
<v Speaker 2>Send these boys into space. Fine, I'm sure they'll make

0:24:34.600 --> 0:24:35.359
<v Speaker 2>good astronauts.

0:24:36.000 --> 0:24:36.480
<v Speaker 1>They don't know.

0:24:36.600 --> 0:24:39.760
<v Speaker 2>Jack about drilling. They don't know jack about drilling. I

0:24:39.800 --> 0:24:43.000
<v Speaker 2>haven't drilling for forty years. And then he basically says, look,

0:24:43.119 --> 0:24:47.639
<v Speaker 2>you need less astronauts, more oil drillers, and they send like.

0:24:47.760 --> 0:24:50.159
<v Speaker 4>One William Fickner into space, and then the rest are

0:24:50.240 --> 0:24:54.240
<v Speaker 4>all oil drillers and you know what they do it, guys,

0:24:54.560 --> 0:24:55.360
<v Speaker 4>They get it done.

0:24:56.000 --> 0:24:57.640
<v Speaker 2>So they're very similar in a lot of ways, they're

0:24:57.720 --> 0:25:00.480
<v Speaker 2>very structurally different. What's interesting is obviously army and presents

0:25:00.480 --> 0:25:02.720
<v Speaker 2>itself as an action movie. Deep Impact is effectively a

0:25:02.800 --> 0:25:04.840
<v Speaker 2>soap opera. It's a melodrama at the end of the day.

0:25:05.000 --> 0:25:07.520
<v Speaker 2>But it is interesting both were very successful. Armageddon was

0:25:07.600 --> 0:25:11.320
<v Speaker 2>more successful at the box office ultimately, and the I

0:25:11.359 --> 0:25:12.920
<v Speaker 2>don't know if you guys came across this advice. Some

0:25:13.080 --> 0:25:15.200
<v Speaker 2>executive at one point say, you know, when you're dealing

0:25:15.240 --> 0:25:17.119
<v Speaker 2>with the twin film situation, the key is to come

0:25:17.160 --> 0:25:20.280
<v Speaker 2>out first. But the more I looked into it, I

0:25:20.359 --> 0:25:22.919
<v Speaker 2>don't think that's really the case. The key is, if

0:25:23.000 --> 0:25:26.439
<v Speaker 2>you're the lesser of the two films, come out.

0:25:26.760 --> 0:25:27.360
<v Speaker 5>Come out first.

0:25:28.280 --> 0:25:30.240
<v Speaker 2>What's more important, meaning like, if you don't have the

0:25:30.320 --> 0:25:32.760
<v Speaker 2>star power, if you don't think you have the marketing punch,

0:25:33.119 --> 0:25:35.440
<v Speaker 2>maybe you don't think your movies is good, you should

0:25:35.440 --> 0:25:38.240
<v Speaker 2>probably land first. That that might be good advice.

0:25:38.800 --> 0:25:41.119
<v Speaker 4>You know, as I was watching Ants and a Bugs

0:25:41.200 --> 0:25:43.920
<v Speaker 4>Life and also thinking about Deep In, Back to Armageddon

0:25:43.960 --> 0:25:45.719
<v Speaker 4>and so many of these other twin films, it does

0:25:45.800 --> 0:25:49.920
<v Speaker 4>seem to me that the dichotomy is often one of them.

0:25:50.280 --> 0:25:52.840
<v Speaker 4>As you explain this, Manny, one of them is set

0:25:52.920 --> 0:25:55.399
<v Speaker 4>up as like this is the smart movie, like this

0:25:55.600 --> 0:25:57.560
<v Speaker 4>is the one for all the smart people, and the

0:25:57.640 --> 0:26:00.200
<v Speaker 4>other ones like this is the big dumb one, this

0:26:00.400 --> 0:26:02.600
<v Speaker 4>is the big dump gun one, And that seems to

0:26:02.680 --> 0:26:04.840
<v Speaker 4>be true kind of across a lot of these, and

0:26:05.160 --> 0:26:08.040
<v Speaker 4>I just wonder why, Like, is that just how they

0:26:08.080 --> 0:26:10.240
<v Speaker 4>start to differentiate them as they realize that they're on

0:26:10.400 --> 0:26:11.240
<v Speaker 4>parallel paths.

0:26:11.280 --> 0:26:11.760
<v Speaker 5>But I don't know.

0:26:12.040 --> 0:26:13.160
<v Speaker 4>I'm curious what you guys think.

0:26:13.400 --> 0:26:15.440
<v Speaker 1>It's a great question, especially thinking about some of the

0:26:15.520 --> 0:26:20.080
<v Speaker 1>other popular twin films examples, Like we were talking earlier

0:26:20.080 --> 0:26:24.960
<v Speaker 1>about Dante's Peak versus Volcano and talking about how like

0:26:25.200 --> 0:26:27.760
<v Speaker 1>in some of these instances, one of the movie just

0:26:27.840 --> 0:26:30.480
<v Speaker 1>becomes way more popular and famous than the other one.

0:26:30.720 --> 0:26:33.800
<v Speaker 1>I actually hadn't heard of Volcano until I was researching

0:26:33.880 --> 0:26:36.880
<v Speaker 1>twin films movies. But it's not like a no name

0:26:36.960 --> 0:26:39.240
<v Speaker 1>movie like Tommy Lee Jones is the star of it.

0:26:39.400 --> 0:26:41.280
<v Speaker 1>So I haven't seen Volcano. I don't know if that

0:26:41.400 --> 0:26:46.280
<v Speaker 1>one is branded or marketed as like a dumber or okay, dumb?

0:26:46.520 --> 0:26:48.080
<v Speaker 4>Is it as dumb as Dante's Peak.

0:26:48.800 --> 0:26:51.240
<v Speaker 2>It's dumber in the sense that Dante's Peak is making

0:26:51.280 --> 0:26:54.160
<v Speaker 2>an attempt to model itself after the eruption of Mount

0:26:54.200 --> 0:26:57.920
<v Speaker 2>Saint Helens and Volcano is there's a volcano in La

0:26:58.200 --> 0:26:59.399
<v Speaker 2>This is crazy.

0:27:00.080 --> 0:27:03.800
<v Speaker 1>That come from? So wait, what is the story behind

0:27:04.000 --> 0:27:06.639
<v Speaker 1>Armageddon and Deep Impact? How did those come out at

0:27:06.680 --> 0:27:07.200
<v Speaker 1>the same time.

0:27:07.440 --> 0:27:09.639
<v Speaker 2>Well, this one's really interesting. A lot of twin films

0:27:10.320 --> 0:27:14.480
<v Speaker 2>are disaster films, not surprisingly, and you know, Hollywood, the

0:27:14.520 --> 0:27:17.119
<v Speaker 2>peak of disaster films in Hollywood was the nineteen seventies, right.

0:27:17.119 --> 0:27:20.800
<v Speaker 2>You had Airport exclamation Point in nineteen seventy, which shockingly

0:27:20.840 --> 0:27:23.679
<v Speaker 2>made a ton of money. Things kind of hit their

0:27:23.800 --> 0:27:28.119
<v Speaker 2>zenis with Towering Inferno, which actually was competing twin films

0:27:28.160 --> 0:27:31.240
<v Speaker 2>that came together from two different studios. Irwin Allen was

0:27:31.280 --> 0:27:34.200
<v Speaker 2>the producer behind a lot of these big, big disaster movies,

0:27:34.400 --> 0:27:36.480
<v Speaker 2>and they were really an exploration of the peak of

0:27:36.600 --> 0:27:40.680
<v Speaker 2>what could be done with modern special effects, miniatures, incredible

0:27:40.760 --> 0:27:43.359
<v Speaker 2>stage builds, et cetera. That tails off at the end

0:27:43.359 --> 0:27:45.600
<v Speaker 2>of the nineteen seventies. You have some attempts at eco

0:27:45.640 --> 0:27:48.080
<v Speaker 2>horror like Swarm and stuff like that, and then we

0:27:48.160 --> 0:27:50.439
<v Speaker 2>get into like action blockbusters of the eighties. But then

0:27:50.480 --> 0:27:53.200
<v Speaker 2>you have a new technological revolution with Jurassic Park in

0:27:53.240 --> 0:27:54.879
<v Speaker 2>the early nineteen nineties, and all of a sudden, we

0:27:54.920 --> 0:27:56.800
<v Speaker 2>have all these new tools in our toolbox that we

0:27:56.840 --> 0:27:59.000
<v Speaker 2>can play with, and so then you get this new

0:27:59.119 --> 0:28:02.760
<v Speaker 2>renaissance of disaster films. You know, Twister with Jon Debant,

0:28:02.840 --> 0:28:05.880
<v Speaker 2>Titanic for example, and obviously Deep Impact and Army Again.

0:28:06.000 --> 0:28:08.320
<v Speaker 2>And so what's interesting is one of the films has

0:28:08.359 --> 0:28:12.399
<v Speaker 2>its roots in the nineteen seventies. Deep Impact is Xanak

0:28:12.440 --> 0:28:15.000
<v Speaker 2>and Brown who had produced Jaws and a number of

0:28:15.040 --> 0:28:16.680
<v Speaker 2>other films, and they were going to do an adaptation

0:28:16.760 --> 0:28:19.480
<v Speaker 2>of When World's Collide, which was a very famous book

0:28:19.480 --> 0:28:23.359
<v Speaker 2>about another planet hitting Earth. And I think the problem

0:28:23.480 --> 0:28:28.399
<v Speaker 2>was development kind of spiraled until the disaster film renaissance

0:28:28.440 --> 0:28:30.119
<v Speaker 2>had run its course at the end of the seventies.

0:28:30.160 --> 0:28:33.399
<v Speaker 2>They put the script in a drawer. Early nineties, they

0:28:33.480 --> 0:28:35.480
<v Speaker 2>pulled the script out of the drawer. They kind of

0:28:35.520 --> 0:28:37.320
<v Speaker 2>stopped working together, but they say, hey, we're going to

0:28:37.359 --> 0:28:38.800
<v Speaker 2>come back for one last hurrah. They take it to

0:28:38.880 --> 0:28:42.440
<v Speaker 2>Steven Spielberg at DreamWorks, who says, great, I'm going to

0:28:42.480 --> 0:28:45.320
<v Speaker 2>direct this, and we have all these brand new technological tools.

0:28:45.360 --> 0:28:47.800
<v Speaker 2>He's just done Jurassic Park, like, we can actually show

0:28:48.200 --> 0:28:51.360
<v Speaker 2>an asteroid hitting the Earth. And then Lizzie, maybe you

0:28:51.440 --> 0:28:53.880
<v Speaker 2>can talk a little bit about how this idea may

0:28:53.960 --> 0:28:57.680
<v Speaker 2>have found its way to rival Studio Disney in the

0:28:57.760 --> 0:28:58.760
<v Speaker 2>mid nineteen nineties.

0:28:59.000 --> 0:29:03.000
<v Speaker 4>This is another dream Works in Disney rivalry across these

0:29:03.040 --> 0:29:07.520
<v Speaker 4>two movies, but so unconfirmed, but there is reason to

0:29:07.640 --> 0:29:11.600
<v Speaker 4>believe that the screenwriter for Uh, Deep Impact, one of

0:29:11.600 --> 0:29:16.760
<v Speaker 4>the screenwriters may have had lunch with Michael Ovitz.

0:29:17.320 --> 0:29:22.960
<v Speaker 2>We lunch with an unnamed president of Disney, yes, and

0:29:23.120 --> 0:29:25.640
<v Speaker 2>we believe it might be Michael Ovitz.

0:29:25.520 --> 0:29:29.000
<v Speaker 4>Right, and this is Bruce Joel Rubin. It could be

0:29:29.120 --> 0:29:32.840
<v Speaker 4>Michael Ovitz. But regardless, they sat down, they had lunch,

0:29:32.920 --> 0:29:36.160
<v Speaker 4>and you know, he asks Bruce what he's working on?

0:29:36.600 --> 0:29:39.040
<v Speaker 4>What are you working on? And Bruce is like, wow,

0:29:39.080 --> 0:29:41.800
<v Speaker 4>you know, I probably shouldn't tell you. It's for dream

0:29:42.240 --> 0:29:45.240
<v Speaker 4>for It's for DreamWorks. And he's like, we're buddies. We're

0:29:45.280 --> 0:29:47.200
<v Speaker 4>buddies here, you know, we're just guys, just a couple

0:29:47.200 --> 0:29:47.400
<v Speaker 4>of guys.

0:29:47.880 --> 0:29:52.920
<v Speaker 2>Michael Ovitz formerly Steven Spielberg's agent, so maybe said to him, Hey,

0:29:53.000 --> 0:29:57.000
<v Speaker 2>I've worked with Steve for you know, twenty years. We're friends.

0:29:57.120 --> 0:29:59.680
<v Speaker 4>I'm a safe space. So anyway, they have this lunch,

0:30:00.520 --> 0:30:03.240
<v Speaker 4>Bruce explains what he's working on. He you know, gives

0:30:03.280 --> 0:30:07.520
<v Speaker 4>the full elevator pitch and more for Deep Impact, and

0:30:07.680 --> 0:30:15.040
<v Speaker 4>then taking notes during the lunch, which at that point

0:30:15.080 --> 0:30:21.120
<v Speaker 4>you should probably stop talking yes, that's how I remember

0:30:21.280 --> 0:30:25.280
<v Speaker 4>what I like about my friends. You know, it's so

0:30:25.480 --> 0:30:32.280
<v Speaker 4>funny because shortly thereafter, Michael Bay and Jonathan Hensley go

0:30:32.560 --> 0:30:37.800
<v Speaker 4>in to pitch Armageddon and they have like the loosest

0:30:38.040 --> 0:30:43.719
<v Speaker 4>of loose napkin scribbled ideas for this movie and they

0:30:43.840 --> 0:30:48.520
<v Speaker 4>go in and the pitch is so fast. Disney's like, yes, Greenlit,

0:30:49.280 --> 0:30:51.440
<v Speaker 4>it's happening. We're doing it. And by the way, it's

0:30:51.440 --> 0:30:53.280
<v Speaker 4>called Armageddon, and you're gonna be in the theaters in

0:30:53.520 --> 0:30:56.440
<v Speaker 4>you know, a year. And the theory is that, you know,

0:30:56.640 --> 0:30:59.840
<v Speaker 4>perhaps they were already noodling this after that lunch, and

0:31:00.000 --> 0:31:01.840
<v Speaker 4>so when Michael Bay came in and he was like, uh,

0:31:01.960 --> 0:31:05.440
<v Speaker 4>what about astronauts and oil drillers, they were like, done, done, Michael,

0:31:05.480 --> 0:31:05.800
<v Speaker 4>we love it.

0:31:05.920 --> 0:31:06.400
<v Speaker 5>I can't wait.

0:31:07.280 --> 0:31:09.560
<v Speaker 2>And what's funny is Armageddon is the production that worked

0:31:09.640 --> 0:31:12.160
<v Speaker 2>closely with NASA, and so it's.

0:31:12.080 --> 0:31:14.320
<v Speaker 4>The one that they had to have approved by NASA

0:31:14.400 --> 0:31:16.040
<v Speaker 4>for scientific accuracy.

0:31:16.360 --> 0:31:18.280
<v Speaker 2>And what is interesting too, Lizzie, you know, as we

0:31:18.320 --> 0:31:20.320
<v Speaker 2>talked about in our episode, is there were two other

0:31:20.560 --> 0:31:25.240
<v Speaker 2>asteroid related projects in development. So James Cameron's Bright Angel

0:31:25.280 --> 0:31:27.760
<v Speaker 2>Falling was set up at I believe twentieth century Fox

0:31:27.800 --> 0:31:31.120
<v Speaker 2>at the time, with Peter Hyams maybe set to direct.

0:31:31.160 --> 0:31:33.440
<v Speaker 2>That never went anywhere, but if you can read the script.

0:31:33.560 --> 0:31:36.400
<v Speaker 2>I found a copy of it, and it's clear somebody

0:31:36.480 --> 0:31:39.840
<v Speaker 2>ripped off somebody because between Armagedon, armag has thown so

0:31:40.000 --> 0:31:43.680
<v Speaker 2>much from Bright Angel Falling or vice versa. And then

0:31:43.760 --> 0:31:47.240
<v Speaker 2>you also have Asteroid, which becomes an NBC mini series

0:31:47.320 --> 0:31:49.320
<v Speaker 2>that's released I think in the back half of nineteen

0:31:49.400 --> 0:31:49.880
<v Speaker 2>ninety seven.

0:31:49.960 --> 0:31:52.000
<v Speaker 1>And all of this isn't coming out of thin air, right,

0:31:52.160 --> 0:31:54.640
<v Speaker 1>Like all of these all of these movies and TV

0:31:54.760 --> 0:31:58.320
<v Speaker 1>shows about asteroids were inspired by the news of a

0:31:58.640 --> 0:32:00.960
<v Speaker 1>comet that NASA foundin Yeah.

0:32:00.800 --> 0:32:04.600
<v Speaker 2>The Shoemaker Levy comet had hit Jupiter, and there was

0:32:04.600 --> 0:32:05.960
<v Speaker 2>all of this imagery of it, and we all of

0:32:05.960 --> 0:32:08.880
<v Speaker 2>a sudden, really is holy shit. Outer space is like

0:32:08.960 --> 0:32:11.880
<v Speaker 2>a shooting gallery, and there are asteroids flying by us

0:32:11.960 --> 0:32:14.120
<v Speaker 2>and comets flying by us all the time that we've

0:32:14.160 --> 0:32:16.960
<v Speaker 2>been unaware of. And also, you know, this hypothesis that

0:32:17.000 --> 0:32:20.520
<v Speaker 2>the dinosaurs had been destroyed by asteroid or comet hitting

0:32:20.520 --> 0:32:23.760
<v Speaker 2>the Earth had been formulated in nineteen eighty five, but

0:32:23.800 --> 0:32:27.800
<v Speaker 2>I think had really permeated the popular culture in the

0:32:27.880 --> 0:32:30.560
<v Speaker 2>early nineties with the advent of something like Jurassic Park,

0:32:30.600 --> 0:32:33.280
<v Speaker 2>for example, dinosaurs ares top of mind. So again, I

0:32:33.360 --> 0:32:36.120
<v Speaker 2>do think it's there are a lot of minds in

0:32:36.160 --> 0:32:39.120
<v Speaker 2>Hollywood and we're all processing the same information at the

0:32:39.200 --> 0:32:41.080
<v Speaker 2>end of the day, and so it does make sense

0:32:41.160 --> 0:32:44.440
<v Speaker 2>that these ideas, maybe they're stolen from time to time.

0:32:44.640 --> 0:32:48.120
<v Speaker 2>But what seems more likely is, like asteroids, there are

0:32:48.160 --> 0:32:50.560
<v Speaker 2>so many hurling past us in any given moment, and

0:32:50.680 --> 0:32:54.600
<v Speaker 2>what's more unusual is that two studios have the hubris

0:32:54.720 --> 0:32:57.360
<v Speaker 2>to play the game of chicken and decide to go

0:32:57.520 --> 0:33:01.320
<v Speaker 2>head to head with developing these movies. And so to me,

0:33:01.440 --> 0:33:03.600
<v Speaker 2>it's like the way possibly to think about it is

0:33:03.640 --> 0:33:06.240
<v Speaker 2>that there is actually a lot of potential for twin

0:33:06.360 --> 0:33:08.720
<v Speaker 2>films at any given moment, and the reason that we

0:33:08.800 --> 0:33:11.320
<v Speaker 2>don't have them is that studios tend to back away

0:33:11.720 --> 0:33:14.000
<v Speaker 2>from going head to head with one another with a

0:33:14.080 --> 0:33:17.080
<v Speaker 2>given film because it's incredibly risky. And I mean, Lizzie

0:33:17.080 --> 0:33:18.600
<v Speaker 2>and I talk about this all the time. Studios, you know,

0:33:18.680 --> 0:33:21.240
<v Speaker 2>they move movies off of certain weekends because they don't

0:33:21.240 --> 0:33:24.080
<v Speaker 2>want to compete with a different movie that may overlap

0:33:24.160 --> 0:33:27.320
<v Speaker 2>in terms of audience. And so one way to think

0:33:27.320 --> 0:33:30.000
<v Speaker 2>about it might be less I'm going to shoot another bullet,

0:33:30.080 --> 0:33:33.080
<v Speaker 2>you know, with my gun in mid air, and instead say,

0:33:33.240 --> 0:33:35.000
<v Speaker 2>there are so many bullets traveling through the air at

0:33:35.000 --> 0:33:38.040
<v Speaker 2>all times, I'm actually going to remove my other bullets,

0:33:38.080 --> 0:33:39.880
<v Speaker 2>you know, from time to time, so they don't you

0:33:40.120 --> 0:33:41.320
<v Speaker 2>interfere with the other studio.

0:33:41.960 --> 0:33:44.360
<v Speaker 4>I actually really like twin films. I like watching them.

0:33:44.360 --> 0:33:46.480
<v Speaker 4>I'm not mad at their existence at all because there's

0:33:46.520 --> 0:33:50.840
<v Speaker 4>such a great example of it's not about the story

0:33:50.960 --> 0:33:53.560
<v Speaker 4>or the idea, it's how you tell it. And it's

0:33:53.600 --> 0:33:57.800
<v Speaker 4>so fascinating to see two completely different directors like Michael

0:33:57.840 --> 0:34:00.120
<v Speaker 4>Bay and Mimi Leader. You can't get more different than

0:34:00.160 --> 0:34:03.600
<v Speaker 4>those two in terms of armageddon and deep impact telling

0:34:03.720 --> 0:34:06.920
<v Speaker 4>what is a very similar story, and yet the movies

0:34:06.920 --> 0:34:11.640
<v Speaker 4>are so different and they are individually enjoyable, And I

0:34:12.760 --> 0:34:15.600
<v Speaker 4>like when studios plow ahead with this and like, yes,

0:34:15.680 --> 0:34:18.840
<v Speaker 4>I'm sure there's borrowing, you know, there's osmosis of ideas

0:34:18.880 --> 0:34:22.480
<v Speaker 4>all the time everywhere. I don't know that that's necessarily

0:34:22.520 --> 0:34:24.279
<v Speaker 4>a bad thing, because they're not going to be the

0:34:24.360 --> 0:34:26.600
<v Speaker 4>same movie if it's different people making them.

0:34:27.000 --> 0:34:31.280
<v Speaker 1>So what I'm hearing is that to us it feels

0:34:31.440 --> 0:34:35.480
<v Speaker 1>like twin films are happening so frequently, But what you

0:34:35.600 --> 0:34:39.520
<v Speaker 1>two are saying is that, actually, considering the way films

0:34:39.560 --> 0:34:44.759
<v Speaker 1>are produced, twin films could be occurring way more frequently

0:34:44.880 --> 0:34:45.359
<v Speaker 1>than they are.

0:34:49.560 --> 0:34:52.040
<v Speaker 2>So the way I maybe encourage people to think about

0:34:52.040 --> 0:34:54.040
<v Speaker 2>it after looking into this a bit is, you know,

0:34:54.239 --> 0:34:56.960
<v Speaker 2>historically a classic form of twin film has been like

0:34:57.040 --> 0:34:59.160
<v Speaker 2>the A feature in the B feature, right, and so

0:34:59.440 --> 0:35:01.800
<v Speaker 2>sometimes this has been on the big screen, and sometimes

0:35:01.880 --> 0:35:04.200
<v Speaker 2>it's either the big screen versus the small screen. So

0:35:04.360 --> 0:35:08.719
<v Speaker 2>like post disaster film renaissance, you would oftentimes see an

0:35:08.800 --> 0:35:11.560
<v Speaker 2>A picture in theaters and either a mini series or

0:35:11.640 --> 0:35:14.920
<v Speaker 2>a television B picture on television. And I think the

0:35:15.000 --> 0:35:18.360
<v Speaker 2>thinking here is there is an idea that has seemingly

0:35:18.440 --> 0:35:23.040
<v Speaker 2>captured the zeitgeist, and the television corollary to the studio

0:35:23.239 --> 0:35:26.320
<v Speaker 2>is saying, we are going to make our low budget,

0:35:26.600 --> 0:35:29.120
<v Speaker 2>very fast, cheap and dirty version of this, you know,

0:35:29.360 --> 0:35:32.880
<v Speaker 2>Tornado versus Twister, the television two part mini series of

0:35:32.920 --> 0:35:36.040
<v Speaker 2>Titanic in ninety six versus James Cameron's epic in ninety seven.

0:35:36.640 --> 0:35:41.000
<v Speaker 2>Because a we think that if an audience is interested

0:35:41.040 --> 0:35:43.080
<v Speaker 2>in the big feature version, maybe they'll just watch this

0:35:43.280 --> 0:35:46.320
<v Speaker 2>because they're also interested in this, but also be we

0:35:46.400 --> 0:35:49.840
<v Speaker 2>could capture a section of the market that that studio

0:35:49.960 --> 0:35:51.480
<v Speaker 2>is not going to be able to capitalize on, which

0:35:51.520 --> 0:35:52.759
<v Speaker 2>are the people that are not going to go to

0:35:52.800 --> 0:35:54.680
<v Speaker 2>the theater necessarily, the people that are just going to

0:35:54.719 --> 0:35:57.400
<v Speaker 2>stay home and watch it on television. And this is

0:35:57.480 --> 0:36:01.560
<v Speaker 2>kind of morphed over time into the Blockbuster more recently,

0:36:01.760 --> 0:36:04.600
<v Speaker 2>which you guys might you know the guys who do Sharknado, etc.

0:36:04.840 --> 0:36:08.120
<v Speaker 2>And they do things like transmorphers and paranormal entity and

0:36:08.200 --> 0:36:10.440
<v Speaker 2>it almost seems like the movie, but it's not the

0:36:10.520 --> 0:36:13.160
<v Speaker 2>movie that was really born out of two thousand and

0:36:13.160 --> 0:36:15.160
<v Speaker 2>six as War of the World. Spielberg was doing an

0:36:15.200 --> 0:36:17.080
<v Speaker 2>adaptation of World the World's at the same time that

0:36:17.160 --> 0:36:20.279
<v Speaker 2>these producers, who are kind of Roger kormanesque are trying

0:36:20.320 --> 0:36:22.279
<v Speaker 2>to do their version of War the Worlds because it's

0:36:22.400 --> 0:36:27.279
<v Speaker 2>public domain. This ip they realize, wait, a second Blockbuster

0:36:27.400 --> 0:36:31.759
<v Speaker 2>has ordered one hundred thousand copies of our vhs, mistakenly

0:36:31.880 --> 0:36:35.239
<v Speaker 2>thinking they've ordered the Steven at Bilberg one. There's a

0:36:35.280 --> 0:36:38.799
<v Speaker 2>business opportunity here, and so I think that's that makes

0:36:38.840 --> 0:36:41.200
<v Speaker 2>sense from a business perspective, and like what you're saying,

0:36:41.280 --> 0:36:46.120
<v Speaker 2>is the more rare instances to kaiju, you know, going

0:36:46.239 --> 0:36:49.640
<v Speaker 2>at it in the water, like Olympus has fallen and

0:36:49.760 --> 0:36:54.560
<v Speaker 2>White House down, for example, And those are rare. I

0:36:54.680 --> 0:36:59.919
<v Speaker 2>think again, not because the inception of those ideas is rare.

0:37:00.120 --> 0:37:02.880
<v Speaker 2>They're actually incredibly common. It's that usually one of the

0:37:02.960 --> 0:37:05.520
<v Speaker 2>drivers pulls out of the skin and says like, I

0:37:05.520 --> 0:37:06.960
<v Speaker 2>don't want our cars to hit head on.

0:37:09.360 --> 0:37:13.560
<v Speaker 1>Just to kind of distill the reasons why we think

0:37:13.640 --> 0:37:17.520
<v Speaker 1>twin films are happening in two kind of easily consumable explanations.

0:37:18.000 --> 0:37:20.600
<v Speaker 1>What I'm hearing so far in this conversation is one

0:37:20.680 --> 0:37:26.600
<v Speaker 1>reason is, you know, literal intellectual theft. Another reason is

0:37:26.719 --> 0:37:30.600
<v Speaker 1>that something happened in the Zeitgei said influenced multiple films

0:37:30.680 --> 0:37:33.560
<v Speaker 1>to be developed at the same time. Example of that

0:37:33.600 --> 0:37:36.239
<v Speaker 1>would be like Steve Jobs dying and then there's two

0:37:36.320 --> 0:37:39.479
<v Speaker 1>biopics happening all of a sudden. And then the third

0:37:39.520 --> 0:37:41.239
<v Speaker 1>reason we were talking about is kind of just like

0:37:41.320 --> 0:37:46.680
<v Speaker 1>technological limitations or breakthroughs, like on the breakthroughs.

0:37:46.840 --> 0:37:48.880
<v Speaker 4>I think that's exactly right. I think it's a confluence

0:37:48.920 --> 0:37:51.640
<v Speaker 4>of those three things. And I also just think, you know,

0:37:51.840 --> 0:37:56.000
<v Speaker 4>it's it's so tempting to think you stole my idea.

0:37:56.960 --> 0:37:59.840
<v Speaker 4>You know, it's something that we've probably all experienced. But

0:38:00.360 --> 0:38:02.640
<v Speaker 4>the thing that's harder to come to terms with is

0:38:02.719 --> 0:38:05.680
<v Speaker 4>that I don't know that any of our ideas are

0:38:05.719 --> 0:38:10.000
<v Speaker 4>actually that individual when you break them down, and there's

0:38:10.360 --> 0:38:12.640
<v Speaker 4>there is kind of a collective, unconscious pool I think

0:38:12.680 --> 0:38:15.200
<v Speaker 4>we're always pulling from, and I do think that's where

0:38:15.239 --> 0:38:18.320
<v Speaker 4>twin films come from. Like, yes, sometimes you go to

0:38:18.400 --> 0:38:21.600
<v Speaker 4>lunch with your quote unquote friend who's taking notes, probably

0:38:21.680 --> 0:38:26.239
<v Speaker 4>kicking your idea, but there's other times where it's just

0:38:27.000 --> 0:38:29.480
<v Speaker 4>asteroids and comments are in the news, or it's something

0:38:29.520 --> 0:38:31.480
<v Speaker 4>people are thinking about. It's something that's in the back

0:38:31.520 --> 0:38:33.160
<v Speaker 4>of your mind. It's something and that's in the back

0:38:33.200 --> 0:38:36.200
<v Speaker 4>of millions of people's minds, and it's something that you realize, hey,

0:38:36.880 --> 0:38:38.440
<v Speaker 4>I could make money on this, and the fact that

0:38:38.560 --> 0:38:41.040
<v Speaker 4>somebody else has that idea does not necessarily mean they

0:38:41.120 --> 0:38:44.720
<v Speaker 4>took it from you. And I think that we underestimate

0:38:45.239 --> 0:38:48.080
<v Speaker 4>our sort of common brain a bit.

0:38:48.440 --> 0:38:51.680
<v Speaker 2>There are also you know, anniversaries, for example, this would

0:38:51.680 --> 0:38:53.440
<v Speaker 2>tie into the zeitgeist thing. You know, you had fourteen

0:38:53.520 --> 0:38:56.960
<v Speaker 2>ninety two conquest of Paradise Ridley Scott. You know Christopher Columbus,

0:38:57.000 --> 0:38:59.080
<v Speaker 2>nobody saw it, and then you have Christopher Columbus the

0:38:59.120 --> 0:39:02.279
<v Speaker 2>Discovery from the producers of a bunch of Superman films.

0:39:02.400 --> 0:39:05.000
<v Speaker 2>Also nobody saw that movie. So like, nobody was really

0:39:05.040 --> 0:39:07.880
<v Speaker 2>interested in the five hundredth Anniversary of Chris, but it

0:39:07.960 --> 0:39:10.240
<v Speaker 2>was there. It was embraced by a couple of studios

0:39:10.280 --> 0:39:12.560
<v Speaker 2>to the tune of one hundred million dollars, Like Lizzie

0:39:12.640 --> 0:39:16.840
<v Speaker 2>is saying, we are all collectively filtering the same information

0:39:17.160 --> 0:39:20.440
<v Speaker 2>and looking for stories in a lot of these places,

0:39:20.840 --> 0:39:24.960
<v Speaker 2>and sometimes it's influenced by twin events inside of other

0:39:25.280 --> 0:39:27.040
<v Speaker 2>forms of media. So you know, you have like the

0:39:27.280 --> 0:39:33.080
<v Speaker 2>mid odds to twenty thirteen sort of ya dystopian future phenomena,

0:39:33.200 --> 0:39:36.160
<v Speaker 2>right where you have the Hunger Games, and you have Divergent,

0:39:36.320 --> 0:39:38.719
<v Speaker 2>and you have the Maize Runner and these are all

0:39:39.000 --> 0:39:42.640
<v Speaker 2>based on like they're all literary adaptations. But that's because

0:39:42.719 --> 0:39:46.920
<v Speaker 2>the literary landscape was very much riddled with ya dystopian

0:39:47.600 --> 0:39:50.600
<v Speaker 2>and you know novels. Well, Okay, why is the literature

0:39:50.840 --> 0:39:54.120
<v Speaker 2>landscape riddled with that? Okay, maybe it's because we're in

0:39:54.160 --> 0:39:56.040
<v Speaker 2>the middle of a recession. Right now, and all of

0:39:56.080 --> 0:39:58.960
<v Speaker 2>the you know, hope and change that everybody said Obama

0:39:59.080 --> 0:40:00.600
<v Speaker 2>is going to bring, it doesn't see to be happening

0:40:00.640 --> 0:40:02.359
<v Speaker 2>all of a sudden, and it's gonna be the Hunger Games.

0:40:02.400 --> 0:40:04.560
<v Speaker 2>And so these books are really resonant. Who knows, but

0:40:05.080 --> 0:40:08.440
<v Speaker 2>I do think Hollywood is very reactionary. At the end

0:40:08.440 --> 0:40:11.320
<v Speaker 2>of the day, We're simultaneously incredibly unique, and that the

0:40:11.960 --> 0:40:14.400
<v Speaker 2>scene to scene differences in these movies could not be

0:40:14.520 --> 0:40:17.640
<v Speaker 2>more drastic, and yet the big picture ideas that we're

0:40:17.640 --> 0:40:19.919
<v Speaker 2>coming to are very universal. I think. Yeah.

0:40:19.960 --> 0:40:23.480
<v Speaker 1>And if, for example, Devin and I wanted to make

0:40:23.680 --> 0:40:27.680
<v Speaker 1>a movie about ants separately, of course they're both gonna

0:40:27.719 --> 0:40:29.839
<v Speaker 1>have the Queen Aunt. They're both gonna have the ant

0:40:29.960 --> 0:40:34.680
<v Speaker 1>colony or the army. They're both gonna you know exactly,

0:40:35.120 --> 0:40:38.279
<v Speaker 1>I'll go. I'll see if I can get I don't know.

0:40:38.320 --> 0:40:41.560
<v Speaker 2>Who Kevin Spacey problematic.

0:40:43.880 --> 0:40:45.839
<v Speaker 1>All right, So we learned a little bit about why

0:40:46.239 --> 0:40:49.560
<v Speaker 1>Twin films happened so regularly. But after the break, I

0:40:49.680 --> 0:40:52.359
<v Speaker 1>want to return to a bugs life and see why

0:40:52.520 --> 0:40:59.360
<v Speaker 1>Chris and Lizzie think this movie works so well, Okay,

0:40:59.520 --> 0:41:02.440
<v Speaker 1>we're bad. We're still here with the hosts of what

0:41:02.680 --> 0:41:06.719
<v Speaker 1>went wrong Chris and Lizzie. At the top of our discussion,

0:41:06.960 --> 0:41:10.520
<v Speaker 1>we were talking about A Bugs Life Versus Ants, and

0:41:10.800 --> 0:41:16.200
<v Speaker 1>more broadly, these kind of Disney Pixar versus DreamWorks twin films.

0:41:16.800 --> 0:41:20.239
<v Speaker 1>I've always felt like the dream Works titles were a

0:41:20.320 --> 0:41:24.360
<v Speaker 1>little more interesting because they were weirder essentially and a

0:41:24.400 --> 0:41:28.400
<v Speaker 1>little more nuanced. But I'm curious about what makes the

0:41:28.520 --> 0:41:30.319
<v Speaker 1>Pixar movies click for you two.

0:41:30.719 --> 0:41:34.280
<v Speaker 4>I feel like the it's very tempting to call these Pixar,

0:41:34.320 --> 0:41:36.560
<v Speaker 4>if we're talking about Pixar versus DreamWorks, to call the

0:41:36.600 --> 0:41:38.840
<v Speaker 4>Pixar movies in particular Bugs Life the more sort of

0:41:38.920 --> 0:41:43.120
<v Speaker 4>simplistic ones. I actually think that they're deceptively complicated when

0:41:43.160 --> 0:41:45.480
<v Speaker 4>I watched, because I watched both A Bugs Life and

0:41:45.640 --> 0:41:51.000
<v Speaker 4>Ants back to back ahead of this, and honestly, yes,

0:41:51.160 --> 0:41:54.240
<v Speaker 4>A Bugs Life is more geared towards children for sure. However,

0:41:54.600 --> 0:41:58.200
<v Speaker 4>I think that the sort of the complex like emotional

0:41:59.160 --> 0:42:01.600
<v Speaker 4>things you have to wrangle with in A Bugs Life,

0:42:01.760 --> 0:42:04.799
<v Speaker 4>to me are a bit more complex than they are

0:42:04.960 --> 0:42:07.920
<v Speaker 4>in Ants and tells you exactly what it is upfront,

0:42:08.080 --> 0:42:11.400
<v Speaker 4>you know, it's yeah, Whitty Allen Aunt is in therapy.

0:42:12.040 --> 0:42:15.000
<v Speaker 4>They literally tell him you're insignificant. He's like, Okay, I

0:42:15.120 --> 0:42:17.279
<v Speaker 4>get it. And then he's like, maybe I'm not insignificant.

0:42:17.320 --> 0:42:19.200
<v Speaker 4>Maybe when you to start a revolution and the people.

0:42:19.280 --> 0:42:21.800
<v Speaker 4>I mean, it's like, it's listen, it's fun. I actually

0:42:21.880 --> 0:42:23.480
<v Speaker 4>I'm not. I shouldn't crap on it too much. It's

0:42:23.520 --> 0:42:26.359
<v Speaker 4>a totally fun movie, but with a bugs life. It's

0:42:26.520 --> 0:42:30.560
<v Speaker 4>more like, I think, in making something that is easier

0:42:30.680 --> 0:42:34.759
<v Speaker 4>for children to relate to, but still very smart, they

0:42:34.960 --> 0:42:39.200
<v Speaker 4>actually explore something that to me has a bit more

0:42:39.320 --> 0:42:41.920
<v Speaker 4>depth to it. And in the same and toy story, like,

0:42:42.040 --> 0:42:45.120
<v Speaker 4>the characters are actually very complex. You don't you know

0:42:45.200 --> 0:42:48.480
<v Speaker 4>Woody is the main character in that he's he's kind

0:42:48.480 --> 0:42:51.439
<v Speaker 4>of a jerk to buzz like. He's a great guy

0:42:51.800 --> 0:42:55.160
<v Speaker 4>until he's confronted with someone who could, potentially you stir

0:42:55.239 --> 0:42:57.920
<v Speaker 4>up his position, and then he's not such a great guy. Well,

0:42:57.960 --> 0:43:01.320
<v Speaker 4>if you and shown up your stupid little cardboard spaceship.

0:43:00.880 --> 0:43:03.399
<v Speaker 3>And taking away everything that was important to me, talk

0:43:03.440 --> 0:43:05.960
<v Speaker 3>to me about importance because of you, the security of

0:43:05.960 --> 0:43:07.239
<v Speaker 3>this entire universe.

0:43:06.920 --> 0:43:07.520
<v Speaker 5>Is in jeopardy.

0:43:07.880 --> 0:43:11.520
<v Speaker 4>What And it's this question of like having to wrangle

0:43:11.600 --> 0:43:14.440
<v Speaker 4>with yourself in a way that I actually think the

0:43:14.520 --> 0:43:17.640
<v Speaker 4>Pixar films explore better than some of the dream works.

0:43:17.840 --> 0:43:21.400
<v Speaker 1>Interesting. Yeah, it's like it's taking these complicated ideas and

0:43:21.480 --> 0:43:25.759
<v Speaker 1>making it digestible for kids. Is more impressive. You're saying

0:43:25.880 --> 0:43:28.160
<v Speaker 1>than this is music to Devin's ears.

0:43:30.080 --> 0:43:34.160
<v Speaker 5>Is exactly exactly the Bugs Life. They're playing around with gender.

0:43:34.280 --> 0:43:36.040
<v Speaker 5>Remember the lady.

0:43:40.880 --> 0:43:43.880
<v Speaker 4>A real bug being a lady by automatically makes me

0:43:43.960 --> 0:43:44.319
<v Speaker 4>a girl?

0:43:44.520 --> 0:43:44.840
<v Speaker 1>Is that it?

0:43:45.000 --> 0:43:45.520
<v Speaker 5>Fly boy?

0:43:46.760 --> 0:43:47.560
<v Speaker 3>She's a guy.

0:43:50.000 --> 0:43:50.200
<v Speaker 1>Time.

0:43:50.320 --> 0:43:56.319
<v Speaker 2>Also, you know self love and embody image. And I agree,

0:43:56.360 --> 0:43:57.480
<v Speaker 2>it's like that was lying.

0:43:57.360 --> 0:43:59.239
<v Speaker 4>Out loud through all of Bugs Life. I gotta tell

0:43:59.280 --> 0:44:02.600
<v Speaker 4>you how laughing. I couldn't believe how funny that was.

0:44:03.200 --> 0:44:05.520
<v Speaker 2>Yeah, it's like in a drama, a line has to

0:44:05.600 --> 0:44:08.360
<v Speaker 2>work dramatically. In a comedy, it has to work dramatically

0:44:08.440 --> 0:44:11.200
<v Speaker 2>and comedically. Right if you're like, a Pixar film has

0:44:11.239 --> 0:44:14.000
<v Speaker 2>to work for children and adults an equal measure. And

0:44:14.160 --> 0:44:17.279
<v Speaker 2>like Lizzie's saying, that's a that's a hard target to hit.

0:44:17.360 --> 0:44:18.040
<v Speaker 1>Yeah it is.

0:44:18.120 --> 0:44:21.280
<v Speaker 4>And I think interestingly enough to me, Aunts the characters

0:44:21.360 --> 0:44:25.600
<v Speaker 4>were less dynamic and more sort of characters versus a

0:44:25.640 --> 0:44:29.239
<v Speaker 4>Bugs life. They were very complex, Like you know, the

0:44:29.400 --> 0:44:33.720
<v Speaker 4>Julia Louis Dreyfus, Princess Aunt, total jerk to Dave Foley.

0:44:33.760 --> 0:44:35.400
<v Speaker 4>I can't remember any of the actual characters names. I

0:44:35.440 --> 0:44:36.279
<v Speaker 4>just want you guys to know that.

0:44:38.400 --> 0:44:39.560
<v Speaker 2>The main character's name is Flick.

0:44:40.600 --> 0:44:43.759
<v Speaker 4>She's such a jerk to him and and she like

0:44:43.920 --> 0:44:46.879
<v Speaker 4>recognizes that in herself halfway through, which was really nice

0:44:46.920 --> 0:44:48.400
<v Speaker 4>because I was like, man, I hope he doesn't just

0:44:48.480 --> 0:44:51.520
<v Speaker 4>go for her when she's being you know, such as him.

0:44:53.200 --> 0:44:56.319
<v Speaker 4>But she turns it around and I just, uh, yeah, man,

0:44:56.440 --> 0:44:58.360
<v Speaker 4>I loved it, And the whole idea of the bird

0:44:58.560 --> 0:45:02.200
<v Speaker 4>is so clever and something you would think. Sorry, guys,

0:45:02.360 --> 0:45:03.480
<v Speaker 4>I'm really sorry.

0:45:04.200 --> 0:45:08.920
<v Speaker 1>Great points. Yeah, something I wanted to make it. Something

0:45:09.080 --> 0:45:12.120
<v Speaker 1>interesting that Noah mentioned earlier was that in the dreams

0:45:12.160 --> 0:45:15.880
<v Speaker 1>works ones like shark Tail and Ants, the characters are

0:45:16.120 --> 0:45:19.840
<v Speaker 1>often caricatures of the people voicing them. Yes, which like

0:45:19.960 --> 0:45:25.279
<v Speaker 1>you got the creator for walking exactly yeah, which I

0:45:25.320 --> 0:45:26.640
<v Speaker 1>don't know. I just thought that was interesting.

0:45:26.920 --> 0:45:27.759
<v Speaker 4>I'm not a fan of that.

0:45:28.800 --> 0:45:31.719
<v Speaker 1>You don't want to see like Christopher walking that.

0:45:32.600 --> 0:45:34.399
<v Speaker 4>I don't want to see Christopher walking and I don't

0:45:34.400 --> 0:45:35.239
<v Speaker 4>want to see its teeth.

0:45:35.440 --> 0:45:42.040
<v Speaker 1>I salon was awesome. You have to agree, Uh, well, guys,

0:45:42.080 --> 0:45:44.600
<v Speaker 1>this has been so insightful and useful. Thank you so

0:45:44.719 --> 0:45:47.040
<v Speaker 1>much for joining us and hope to chat to you

0:45:47.080 --> 0:45:47.480
<v Speaker 1>guys soon.

0:45:47.680 --> 0:45:49.320
<v Speaker 2>Thanks so much for having us. This is great. You

0:45:49.360 --> 0:45:51.320
<v Speaker 2>guys have a great show. We will be listening.

0:45:56.280 --> 0:45:59.799
<v Speaker 1>No such thing as a production of Kaleidoscope Content. Our

0:46:00.080 --> 0:46:04.680
<v Speaker 1>executive producers are Kate Osborne and Mangesh Hatakedor. The show

0:46:04.800 --> 0:46:08.200
<v Speaker 1>was created by Manny Fidel, Noah Friedman, and Devin Joseph.

0:46:08.640 --> 0:46:11.880
<v Speaker 1>The theme and credit song is by me Manny. This

0:46:12.040 --> 0:46:15.879
<v Speaker 1>episode was mixed by fran Bandy. Our guests this week

0:46:15.960 --> 0:46:19.120
<v Speaker 1>where Chris and Lizzie from the What Went Wrong Podcast.

0:46:19.520 --> 0:46:22.359
<v Speaker 1>Definitely be sure to go check that show out. It's

0:46:22.360 --> 0:46:25.000
<v Speaker 1>a lot of fun and visit No such Thing dot

0:46:25.080 --> 0:46:29.040
<v Speaker 1>show to subscribe to our newsletter. If you had feedback

0:46:29.200 --> 0:46:32.120
<v Speaker 1>or a question, our email is Manny Noah Devin at

0:46:32.200 --> 0:46:35.040
<v Speaker 1>gmail dot com. Or if you're in the US, you

0:46:35.080 --> 0:46:37.680
<v Speaker 1>can leave us a voicemail by calling the number in

0:46:37.840 --> 0:46:40.239
<v Speaker 1>our show notes. We'll see you next week.

0:46:41.000 --> 0:46:41.200
<v Speaker 2>Thay