1 00:00:05,480 --> 00:00:09,520 Speaker 1: Welcome to Get It to Dutch, a screenwriters podcast. I'm Mark, 2 00:00:09,880 --> 00:00:12,800 Speaker 1: I'm Greg, I'm Brendan, and we are a team of 3 00:00:12,880 --> 00:00:15,840 Speaker 1: Hollywood screenwriters who meet every week to read from an 4 00:00:15,880 --> 00:00:18,560 Speaker 1: original screenplay that one of us has written. We give 5 00:00:18,640 --> 00:00:20,680 Speaker 1: notes and rank the scripts, and at the end of 6 00:00:20,680 --> 00:00:23,000 Speaker 1: the season, we're going to pitch the best script to 7 00:00:23,120 --> 00:00:25,760 Speaker 1: big time Hollywood producer Dutch Huxley. 8 00:00:25,880 --> 00:00:28,200 Speaker 2: WHOA, there we go. I can't wait. 9 00:00:28,320 --> 00:00:31,240 Speaker 1: We're all very excited. So let's start with a little 10 00:00:31,240 --> 00:00:32,000 Speaker 1: bit about us. 11 00:00:32,200 --> 00:00:34,880 Speaker 3: Sure, well, we met in a three car pile up 12 00:00:35,120 --> 00:00:38,600 Speaker 3: on the one oh one, and yep, it's true. 13 00:00:38,920 --> 00:00:40,160 Speaker 2: I was the butt end of it. 14 00:00:40,440 --> 00:00:42,640 Speaker 3: That's right. I was first in line, so technically not 15 00:00:42,720 --> 00:00:43,560 Speaker 3: at fault, and. 16 00:00:43,479 --> 00:00:45,199 Speaker 1: I was the meat of the sandwich, so I can 17 00:00:45,240 --> 00:00:46,680 Speaker 1: blame everybody, that's right. 18 00:00:46,920 --> 00:00:49,600 Speaker 2: I think trial is gonna tell us the answer to 19 00:00:49,640 --> 00:00:50,640 Speaker 2: all these questions. 20 00:00:50,440 --> 00:00:52,120 Speaker 3: We are in current litigation. 21 00:00:52,800 --> 00:00:55,840 Speaker 1: I don't think we should actually talk about the lawsuit. 22 00:00:55,920 --> 00:00:57,680 Speaker 2: The lawsuits, Okay, good call. 23 00:00:57,880 --> 00:01:00,920 Speaker 1: I will say though, if on the record, if I'm 24 00:01:01,000 --> 00:01:03,080 Speaker 1: hit from behind, I should not be at fault for 25 00:01:03,160 --> 00:01:06,199 Speaker 1: hitting somebody in front of me, especially if they slowed 26 00:01:06,240 --> 00:01:06,959 Speaker 1: down too fast. 27 00:01:07,160 --> 00:01:08,520 Speaker 2: That's what she just said, and then that's the end 28 00:01:08,560 --> 00:01:08,720 Speaker 2: of it. 29 00:01:08,800 --> 00:01:10,039 Speaker 1: That's the end of it. 30 00:01:10,080 --> 00:01:13,240 Speaker 2: You guys watched the office, that's what she said, didn't 31 00:01:13,240 --> 00:01:13,600 Speaker 2: see it. 32 00:01:13,720 --> 00:01:16,560 Speaker 3: Yeah, Well, and I was driving a well borrowing for 33 00:01:16,640 --> 00:01:21,640 Speaker 3: the day, a very nice car, and Mark's crappy Jetta 34 00:01:21,800 --> 00:01:24,440 Speaker 3: sort of didn't rear end me. It more drove up 35 00:01:24,480 --> 00:01:25,760 Speaker 3: onto the tail. 36 00:01:25,600 --> 00:01:28,200 Speaker 1: Part I did. I ramped you, you. 37 00:01:28,240 --> 00:01:31,240 Speaker 3: Ramped me, and then Brendan's car went under yours. So 38 00:01:31,280 --> 00:01:32,760 Speaker 3: it was kind of like it was it a three 39 00:01:32,760 --> 00:01:33,840 Speaker 3: car pile up more. 40 00:01:33,640 --> 00:01:36,560 Speaker 1: Of a I was piled up on top of sort 41 00:01:36,600 --> 00:01:39,760 Speaker 1: of like a triangular bridge between the two of you 42 00:01:39,840 --> 00:01:40,440 Speaker 1: at one point. 43 00:01:40,640 --> 00:01:41,080 Speaker 3: That's right. 44 00:01:41,360 --> 00:01:42,600 Speaker 1: I don't know if car is important. 45 00:01:42,680 --> 00:01:44,680 Speaker 2: I was in the four Tourists. I was born in 46 00:01:45,319 --> 00:01:49,320 Speaker 2: so family car that will come out in trial. Well, 47 00:01:49,480 --> 00:01:52,000 Speaker 2: I think we should probably set the setting for where 48 00:01:52,040 --> 00:01:52,480 Speaker 2: we are. 49 00:01:52,600 --> 00:01:54,720 Speaker 3: Yeah, let's go ahead and give folks a little idea 50 00:01:54,720 --> 00:01:59,520 Speaker 3: of where we are. Interior Mark's crappy apartment in North Hollywood. 51 00:01:59,680 --> 00:02:01,320 Speaker 2: Day and is this North Hollywood? 52 00:02:01,440 --> 00:02:02,520 Speaker 3: I don't know it's far. 53 00:02:02,760 --> 00:02:05,080 Speaker 2: According to the La Metro, it is not. Because I 54 00:02:05,120 --> 00:02:07,400 Speaker 2: went to the last stop in North Hollywood. Bus driver 55 00:02:07,520 --> 00:02:09,400 Speaker 2: kicked me off and I walked another forty five minutes 56 00:02:09,440 --> 00:02:10,840 Speaker 2: to get here. What is this neighborhood? 57 00:02:10,880 --> 00:02:14,280 Speaker 1: Is it's North Hollywood adjacent. It's deep North Hollywood. Yeah. 58 00:02:14,360 --> 00:02:17,040 Speaker 3: Yeah, this definitely feels like we're not in California anymore. 59 00:02:16,760 --> 00:02:19,600 Speaker 1: Toto, Well we are. We're in California. We're in Hollywood 60 00:02:19,600 --> 00:02:23,880 Speaker 1: technically adjacent, which is appropriate for this podcast. And we 61 00:02:23,919 --> 00:02:26,240 Speaker 1: don't have to talk anymore about my apartment, which I love, 62 00:02:26,720 --> 00:02:28,520 Speaker 1: which is set up exactly how I want it. 63 00:02:28,600 --> 00:02:30,880 Speaker 3: I'm sitting on a weight bench, and I'm sitting on 64 00:02:31,000 --> 00:02:34,480 Speaker 3: an old crate of Teeto's and looking at a good 65 00:02:34,480 --> 00:02:35,160 Speaker 3: Fellow's poster. 66 00:02:35,760 --> 00:02:39,120 Speaker 1: It's also I hung sanely dark. Yeah, it is dark. 67 00:02:39,160 --> 00:02:40,880 Speaker 2: It's dark and hot, blazingly hot. 68 00:02:40,960 --> 00:02:42,079 Speaker 3: It's very hot in here. 69 00:02:42,200 --> 00:02:44,880 Speaker 1: Well, this is the reason it's dark. Is I blacked 70 00:02:44,880 --> 00:02:46,640 Speaker 1: out the windows so that I could film in here 71 00:02:46,960 --> 00:02:47,799 Speaker 1: at the drop of a hat. 72 00:02:47,800 --> 00:02:49,400 Speaker 3: Why did you need to black out the windows? You 73 00:02:49,600 --> 00:02:51,400 Speaker 3: have a what is this a basement apartment? 74 00:02:51,639 --> 00:02:53,360 Speaker 1: Yeah, it's called it. It's a garden apartment. 75 00:02:53,400 --> 00:02:54,280 Speaker 3: Well where's the garden? 76 00:02:54,560 --> 00:02:58,520 Speaker 1: They took it out, but this could be a location. Also, Greg, 77 00:02:58,560 --> 00:03:01,959 Speaker 1: you're staying on my couch, so you don't have to room, 78 00:03:02,400 --> 00:03:03,560 Speaker 1: trash the apartment. 79 00:03:03,600 --> 00:03:06,240 Speaker 3: Well, I've not trashed this apartment, and believe me, it 80 00:03:06,280 --> 00:03:08,799 Speaker 3: looked like this when I came in. And I'm just 81 00:03:08,840 --> 00:03:10,119 Speaker 3: staying for a while, and I would. 82 00:03:10,000 --> 00:03:10,920 Speaker 2: Sell anything us. 83 00:03:11,400 --> 00:03:14,440 Speaker 1: Yeah, I do. Actually, that's great. I have some screenwriting books. Yeah, 84 00:03:14,680 --> 00:03:16,560 Speaker 1: I probably have everyone you could imagine. 85 00:03:16,600 --> 00:03:17,000 Speaker 2: That's right. 86 00:03:17,120 --> 00:03:21,160 Speaker 3: There's a story, of course, Robert McKee. You've got fifty 87 00:03:21,160 --> 00:03:25,520 Speaker 3: two Points of Light by Jamison Flanders. What's that one about. 88 00:03:25,720 --> 00:03:28,680 Speaker 1: It's just a different structure, Okay. It breaks a movie 89 00:03:28,680 --> 00:03:33,080 Speaker 1: down into fifty two points. Okay, So it's basically like 90 00:03:33,360 --> 00:03:36,400 Speaker 1: two and three quarters pages per point. Okay, So it's 91 00:03:36,440 --> 00:03:37,760 Speaker 1: just an easier way to think of it. 92 00:03:37,920 --> 00:03:39,720 Speaker 3: Yeah, you got to save the cat, of course. But 93 00:03:40,200 --> 00:03:42,800 Speaker 3: I think he died, Blake Snyder. Blake Snyder, he. 94 00:03:42,760 --> 00:03:45,800 Speaker 1: Did, he died, Okay. He left us a wealth of 95 00:03:45,920 --> 00:03:48,600 Speaker 1: knowledge for screenwriting, which I appreciate. 96 00:03:48,640 --> 00:03:49,840 Speaker 3: What else do we get here? 97 00:03:50,200 --> 00:03:51,040 Speaker 1: That's probably enough? 98 00:03:51,160 --> 00:03:53,240 Speaker 2: Oh well, look at all the photos that fell out 99 00:03:53,280 --> 00:03:55,360 Speaker 2: of that one. Well, no, no, hold on, hold on, give 100 00:03:55,400 --> 00:03:55,680 Speaker 2: me those. 101 00:03:55,800 --> 00:03:58,880 Speaker 3: Sorry, A bunch of polaroids of a naked lady fell 102 00:03:58,880 --> 00:03:59,160 Speaker 3: out of that. 103 00:03:59,400 --> 00:04:02,600 Speaker 1: So just let's not we don't have to discuss what 104 00:04:02,760 --> 00:04:04,360 Speaker 1: fell out of the artist's way. 105 00:04:04,440 --> 00:04:05,680 Speaker 2: Can you put them back in order? 106 00:04:05,680 --> 00:04:06,000 Speaker 1: Please? 107 00:04:06,160 --> 00:04:06,920 Speaker 2: They were in order? 108 00:04:07,040 --> 00:04:08,600 Speaker 1: Well, there's numbers on the back. 109 00:04:08,920 --> 00:04:09,560 Speaker 2: Oh my god. 110 00:04:09,600 --> 00:04:11,760 Speaker 1: Wow, Just let's not talk about it. 111 00:04:12,120 --> 00:04:13,800 Speaker 2: Did you find the polaroids in the book? 112 00:04:13,960 --> 00:04:17,080 Speaker 1: I don't want to tell you anything about the polaroids? 113 00:04:17,279 --> 00:04:19,840 Speaker 3: Okay, the pile up. 114 00:04:19,880 --> 00:04:22,680 Speaker 2: Don't talk about it. Don't talk about the naked polaroids. 115 00:04:22,720 --> 00:04:24,120 Speaker 3: Yeah, don't talk about where we are? 116 00:04:24,880 --> 00:04:25,560 Speaker 4: What this is? 117 00:04:25,680 --> 00:04:27,679 Speaker 2: I mean, what are we going to talk about? 118 00:04:28,120 --> 00:04:31,200 Speaker 1: Sorry, guys, can we say something nice about my apartment? 119 00:04:31,839 --> 00:04:32,359 Speaker 3: Huh? 120 00:04:32,720 --> 00:04:35,440 Speaker 2: Yeah, you know what. Okay, I'll say something nice about 121 00:04:35,440 --> 00:04:37,560 Speaker 2: your apartment. I wish I lived here. 122 00:04:37,720 --> 00:04:41,080 Speaker 1: There you go tell me more. You don't have an apartment. 123 00:04:41,080 --> 00:04:42,600 Speaker 1: You kind of have an apartment. 124 00:04:42,680 --> 00:04:44,720 Speaker 2: I have a night lease on a place in Hollywood. 125 00:04:44,839 --> 00:04:47,440 Speaker 2: How does that work? Well, the guy who has the 126 00:04:47,520 --> 00:04:50,160 Speaker 2: day lease, he is there all day and then at 127 00:04:50,240 --> 00:04:54,800 Speaker 2: night somewhere around nine, usually around eleven. That mostly no 128 00:04:54,920 --> 00:04:57,960 Speaker 2: later than twelve am. I get in there. I'm allowed to, 129 00:04:58,080 --> 00:04:59,880 Speaker 2: you know, put my sheets on a bed, I go 130 00:04:59,880 --> 00:05:02,200 Speaker 2: to sleep, and then I'm a heart out at six. Oh. 131 00:05:02,200 --> 00:05:03,800 Speaker 3: I was wondering why you're carrying your sheets with you? 132 00:05:03,960 --> 00:05:05,840 Speaker 2: Yes, okay, so, yeah, you guys will notice. I got 133 00:05:05,839 --> 00:05:07,760 Speaker 2: a big old backpack I take with me everywhere, and 134 00:05:07,800 --> 00:05:10,239 Speaker 2: it's got my sheets, it's got my computer for writing, 135 00:05:10,480 --> 00:05:13,320 Speaker 2: and you know, I just spend the day traveling up 136 00:05:13,320 --> 00:05:16,040 Speaker 2: and down Hollywood Boulevard, the heart of the action here 137 00:05:16,040 --> 00:05:19,800 Speaker 2: in Hollywood Troubadour. Yeah, what does the roommate do He 138 00:05:19,839 --> 00:05:23,560 Speaker 2: works all night, Gus, he won't tell me. Honestly, I'm 139 00:05:23,560 --> 00:05:26,160 Speaker 2: not allowed to have faces to faces with him. Oh yeah, 140 00:05:26,200 --> 00:05:28,160 Speaker 2: if he shows up, I need to be out of there. 141 00:05:28,240 --> 00:05:30,520 Speaker 2: He throws intotal rage if he sees me at all. 142 00:05:30,800 --> 00:05:33,039 Speaker 2: So I'm sorry about them. He's a mean guy. 143 00:05:33,320 --> 00:05:34,159 Speaker 1: Yeah, sorry about that. 144 00:05:34,160 --> 00:05:36,599 Speaker 2: Hell me less? Yeah, yeah, I wish I could. But 145 00:05:36,760 --> 00:05:39,480 Speaker 2: so there you go, Mark, I wish I had your apartment. 146 00:05:39,520 --> 00:05:41,320 Speaker 2: And if you're looking for a third to jump up 147 00:05:41,360 --> 00:05:44,000 Speaker 2: in this turn, Nope, nope, nope, nope. Yeah. 148 00:05:44,080 --> 00:05:47,279 Speaker 3: Well right, well, I can assure you don't want to 149 00:05:47,480 --> 00:05:47,920 Speaker 3: stay here. 150 00:05:47,960 --> 00:05:48,880 Speaker 2: It's pretty rough. 151 00:05:49,160 --> 00:05:53,159 Speaker 1: Well okay, fair enough. So that leads us into our 152 00:05:53,279 --> 00:05:58,039 Speaker 1: first segment, which we call the industry Minute. Now, this 153 00:05:58,200 --> 00:05:59,920 Speaker 1: is the part of the show where we break down 154 00:06:00,120 --> 00:06:04,080 Speaker 1: all the important buzzwords and catch phrases that you need 155 00:06:04,120 --> 00:06:05,960 Speaker 1: to succeed in the business. 156 00:06:06,279 --> 00:06:10,520 Speaker 2: And the topic of today's Industry Minute is connections. 157 00:06:10,839 --> 00:06:14,039 Speaker 3: Connections. You don't have connections. You're not getting anywhere in 158 00:06:14,040 --> 00:06:14,320 Speaker 3: this town. 159 00:06:14,360 --> 00:06:16,440 Speaker 1: You got nothing. I mean, this is a networking town. 160 00:06:16,480 --> 00:06:18,159 Speaker 1: You need to be able to have a large network. 161 00:06:18,200 --> 00:06:19,440 Speaker 1: You got to be able to make friends. 162 00:06:20,160 --> 00:06:21,960 Speaker 2: And Mark's got a big one. 163 00:06:22,040 --> 00:06:26,000 Speaker 1: I have I reeled in a big fish. It's who 164 00:06:26,040 --> 00:06:30,159 Speaker 1: you know and I know through one degree of separation. 165 00:06:30,640 --> 00:06:35,240 Speaker 1: Maybe the greatest, most legendary of all Hollywood producers, the 166 00:06:35,279 --> 00:06:37,320 Speaker 1: man himself, Sir Dutch Huxley. 167 00:06:37,360 --> 00:06:40,000 Speaker 2: Wow, that's why we call the podcast what we call it, 168 00:06:40,040 --> 00:06:42,799 Speaker 2: get it to Dutch. And we're gonna get it to Dutch. 169 00:06:42,960 --> 00:06:44,080 Speaker 2: What is your connection there? 170 00:06:44,279 --> 00:06:47,160 Speaker 1: A family friend of mine is friends. 171 00:06:47,279 --> 00:06:47,920 Speaker 2: Well that's one. 172 00:06:48,279 --> 00:06:51,160 Speaker 1: Yeah, it's friends with a guy who knows Dutch. 173 00:06:51,200 --> 00:06:53,320 Speaker 3: So that's two connect You're actually two steps away. 174 00:06:53,520 --> 00:06:54,320 Speaker 2: That's two degrees. 175 00:06:54,400 --> 00:06:56,279 Speaker 3: Yeah, that's two degrees of separation. 176 00:06:55,960 --> 00:06:58,080 Speaker 2: But still a connection. You know what they say, two 177 00:06:58,120 --> 00:07:00,640 Speaker 2: degrees below zero is still freezing. 178 00:07:00,800 --> 00:07:03,120 Speaker 1: Yeah, and if your eyes cold, I mean, it's helpful 179 00:07:03,160 --> 00:07:03,679 Speaker 1: or not helpful. 180 00:07:03,800 --> 00:07:05,960 Speaker 2: Well, you guys, okay, how close are you to Dutch? 181 00:07:06,040 --> 00:07:09,960 Speaker 2: You guys don't know Dutch? I walk his dog, really yeah, 182 00:07:10,000 --> 00:07:11,640 Speaker 2: every day, but I wouldn't say I know him. He 183 00:07:11,760 --> 00:07:15,440 Speaker 2: just calls me Benjamin or Brick anything with a be. 184 00:07:15,920 --> 00:07:18,880 Speaker 2: Never Brendan, though oddly enough, I had no idea that's great. 185 00:07:18,920 --> 00:07:21,920 Speaker 2: Brick is such a swing and a miss from Brendan. 186 00:07:22,040 --> 00:07:26,440 Speaker 2: Like he calls brickmated everything you think he'd say Brendan 187 00:07:26,480 --> 00:07:29,600 Speaker 2: before he said Brick. I don't think it matters. He's 188 00:07:29,640 --> 00:07:30,600 Speaker 2: a guy who doesn't think. 189 00:07:30,720 --> 00:07:33,600 Speaker 3: He just goes Honestly, if he calls you anything, it 190 00:07:33,600 --> 00:07:35,720 Speaker 3: doesn't matter. You're one degree of separation if you know 191 00:07:35,760 --> 00:07:36,080 Speaker 3: his dog. 192 00:07:36,200 --> 00:07:39,040 Speaker 2: Oh my god, so am I running the podcast? Now? 193 00:07:39,440 --> 00:07:42,640 Speaker 1: Seems like nobody's running the podcast. This is an equal 194 00:07:43,040 --> 00:07:47,720 Speaker 1: opportunity situation. I happen to know Dutch. I think maybe 195 00:07:47,800 --> 00:07:51,360 Speaker 1: five percent more because my connections are human. Yeah, they 196 00:07:51,400 --> 00:07:55,720 Speaker 1: actually have a sort of consciousness that is able to recognize. 197 00:07:55,840 --> 00:07:59,560 Speaker 2: But I'd pick his best friend, not mel Gibson the dog. 198 00:07:59,720 --> 00:08:01,760 Speaker 2: I don't know if I was clear about that. 199 00:08:01,840 --> 00:08:05,400 Speaker 1: It's an important distinction, it really is. It's important that 200 00:08:05,440 --> 00:08:08,559 Speaker 1: you mentioned that. Now, if you don't know Dutch, you 201 00:08:08,600 --> 00:08:13,120 Speaker 1: certainly know his movie for sure. The guy has done everything, 202 00:08:13,320 --> 00:08:18,040 Speaker 1: every genre, every category, He started with westerns Now. Some 203 00:08:18,080 --> 00:08:23,720 Speaker 1: of the titles you'll recognize Hard Sunset Ryan. He actually 204 00:08:23,760 --> 00:08:26,000 Speaker 1: got mad if you didn't scream the title all caps 205 00:08:26,000 --> 00:08:29,000 Speaker 1: with an exclamation point. He did a Conflict at two fifteen. 206 00:08:29,640 --> 00:08:32,520 Speaker 3: That was his actual That was his second highest grossing Western. 207 00:08:33,160 --> 00:08:36,360 Speaker 3: That was actually his second highest grossing Western of all 208 00:08:36,400 --> 00:08:39,600 Speaker 3: time until, of course, he made Minors Versus Horse Right, 209 00:08:39,679 --> 00:08:42,839 Speaker 3: which blew the doors off of the today. 210 00:08:42,920 --> 00:08:45,160 Speaker 1: Yeah, absolutely not. He went on to make some of 211 00:08:45,200 --> 00:08:48,240 Speaker 1: the greatest romance films of the sixties and seventies, including 212 00:08:48,400 --> 00:08:51,440 Speaker 1: The Secret Diary of Betsy Ross, which is very controversial 213 00:08:51,440 --> 00:08:55,320 Speaker 1: in his day, Rigid Jeans, and then yeah, he had 214 00:08:55,360 --> 00:08:58,320 Speaker 1: some Oscar contenders. He did Horse Hearts. 215 00:08:58,640 --> 00:08:59,880 Speaker 2: Go Blom Oscar nominated. 216 00:09:00,040 --> 00:09:02,080 Speaker 1: Yeah, he's sure. He was a young man in that one. 217 00:09:02,679 --> 00:09:04,079 Speaker 1: My wife Marcy is dead. 218 00:09:04,360 --> 00:09:05,600 Speaker 3: Carl Maldon, who could forget? 219 00:09:05,840 --> 00:09:09,160 Speaker 1: Who could forget him? I can't remember him? A Woman's 220 00:09:09,200 --> 00:09:11,960 Speaker 1: War he did, Greg. You were a big fan of 221 00:09:11,960 --> 00:09:13,480 Speaker 1: Philip Sand's Big Brass Band? 222 00:09:13,600 --> 00:09:15,640 Speaker 3: Yes, I love I love a movie musical. 223 00:09:15,920 --> 00:09:17,720 Speaker 1: Yeah, did you do that in high school? 224 00:09:18,120 --> 00:09:18,320 Speaker 2: Yeah? 225 00:09:18,360 --> 00:09:23,400 Speaker 3: I did play. I played Philip Sand. Wow, there we go, Well, 226 00:09:23,400 --> 00:09:26,200 Speaker 3: old Philip Sand at the end That's cool, which was 227 00:09:26,240 --> 00:09:28,240 Speaker 3: weird for a sophomore. 228 00:09:27,840 --> 00:09:29,679 Speaker 1: Just to rattle off a couple others. Where did all 229 00:09:29,679 --> 00:09:32,719 Speaker 1: the Nazis go? Some will call him Jesus. I mean 230 00:09:32,760 --> 00:09:34,720 Speaker 1: he had hit some of our favorites. We've talked about 231 00:09:34,720 --> 00:09:37,280 Speaker 1: this in the sports category. Did it ends in a tie? 232 00:09:37,720 --> 00:09:41,000 Speaker 1: Love that the forty year old little leaguer. He even 233 00:09:41,040 --> 00:09:43,480 Speaker 1: did that Christian movie Coma. 234 00:09:43,320 --> 00:09:45,120 Speaker 2: Oh yeah, what was that about? 235 00:09:45,400 --> 00:09:48,240 Speaker 1: That was about the power of prayer and how it 236 00:09:48,360 --> 00:09:52,320 Speaker 1: kept one gay teen in a coma Wow. Then, of 237 00:09:52,320 --> 00:09:54,559 Speaker 1: course he launched the Raunchy Boys. 238 00:09:54,320 --> 00:09:57,600 Speaker 2: Franchise, Oh My all time fav just class. 239 00:09:57,760 --> 00:10:00,400 Speaker 1: And some say that that tarnished his star, but I 240 00:10:00,480 --> 00:10:03,240 Speaker 1: begged to day dan Addy. We all grew up on 241 00:10:03,280 --> 00:10:03,920 Speaker 1: those movies. 242 00:10:04,240 --> 00:10:07,600 Speaker 2: Hamburg, Hamburger Shack, Returned to Hamburger, Shock, Turn. 243 00:10:07,480 --> 00:10:10,880 Speaker 1: To Hamburger, Hamburger Shack three, Back to the Beach, which 244 00:10:10,920 --> 00:10:13,640 Speaker 1: is strange because they were never at the beach. 245 00:10:13,960 --> 00:10:15,120 Speaker 2: There's a cabin in the woods. 246 00:10:15,120 --> 00:10:18,160 Speaker 1: There's a cabin, so to return to go back, it's insane, 247 00:10:18,160 --> 00:10:19,160 Speaker 1: but you know they were great. 248 00:10:19,440 --> 00:10:23,160 Speaker 2: Do yourself a favor, go to this man's IMDb page 249 00:10:23,240 --> 00:10:24,199 Speaker 2: and just soak it in. 250 00:10:24,760 --> 00:10:27,080 Speaker 1: Done everything Now he hasn't done a ton since the 251 00:10:27,160 --> 00:10:31,040 Speaker 1: early odds, but he's still arguably the most legendary producer 252 00:10:31,080 --> 00:10:31,680 Speaker 1: of all time. 253 00:10:31,960 --> 00:10:35,439 Speaker 2: And he is a connection connection. 254 00:10:37,360 --> 00:10:37,640 Speaker 1: Yeah. 255 00:10:37,679 --> 00:10:39,160 Speaker 3: And so if there's one person we're going to get 256 00:10:39,160 --> 00:10:41,400 Speaker 3: a script to, it is Dutch because he'll know what 257 00:10:41,440 --> 00:10:43,320 Speaker 3: to do with it. And our job is to get 258 00:10:43,400 --> 00:10:44,320 Speaker 3: him a great script. 259 00:10:44,400 --> 00:10:46,959 Speaker 1: And just for Clarity's sake, I will get him the script. 260 00:10:47,000 --> 00:10:50,480 Speaker 2: Okay, okay, let's tell you about if you don't know. 261 00:10:50,520 --> 00:10:52,920 Speaker 2: Do you want any of these? By the way, peanuts, 262 00:10:53,080 --> 00:10:57,439 Speaker 2: that's my stuff, man, these I went to Costco for that. 263 00:10:58,240 --> 00:11:01,960 Speaker 3: I found these in my I covered well you left 264 00:11:02,000 --> 00:11:03,760 Speaker 3: them on top. I thought they were just lost? 265 00:11:03,840 --> 00:11:04,280 Speaker 2: All right? 266 00:11:04,679 --> 00:11:07,120 Speaker 1: Do we have to go over ground rules? Do I 267 00:11:07,160 --> 00:11:10,600 Speaker 1: have to print my name on the things that are mine? 268 00:11:10,679 --> 00:11:12,000 Speaker 2: Well, your name is printed on here. 269 00:11:12,360 --> 00:11:16,000 Speaker 1: You're allowed to have some, but just replenish the stash. 270 00:11:16,559 --> 00:11:18,559 Speaker 1: Be a good guest, is all I'm asking. 271 00:11:18,640 --> 00:11:20,840 Speaker 3: All I'm asking is you not get the peanut ones. 272 00:11:20,880 --> 00:11:22,760 Speaker 3: Nobody likes these, the I like them. 273 00:11:22,800 --> 00:11:25,400 Speaker 1: Don't finger them. Just let them be. 274 00:11:25,880 --> 00:11:28,840 Speaker 3: Finger fondl whatever. I'm not gonna eat all these, Brendan, Who. 275 00:11:28,720 --> 00:11:30,319 Speaker 2: Do I have to ask to keep eating these? 276 00:11:30,760 --> 00:11:35,080 Speaker 1: You can eat them. Thank you, dudees bring your own snacks. 277 00:11:36,080 --> 00:11:36,800 Speaker 2: We write that down. 278 00:11:44,600 --> 00:11:45,720 Speaker 1: Can we get into the script? 279 00:11:45,960 --> 00:11:46,440 Speaker 3: Let's do it. 280 00:11:46,720 --> 00:11:51,280 Speaker 2: What do we got? But before we dive into Brendan's script? 281 00:11:51,400 --> 00:11:54,720 Speaker 1: Yes, a little note about scripts. Each week we're going 282 00:11:54,800 --> 00:11:59,000 Speaker 1: to rotate whose script it is. This week it's Brendan's 283 00:11:59,000 --> 00:12:01,920 Speaker 1: turn you and you'll notice we're not going to read 284 00:12:01,960 --> 00:12:05,640 Speaker 1: the entire script, all one hundred and twenty pages or 285 00:12:05,640 --> 00:12:06,280 Speaker 1: whatever it is. 286 00:12:06,400 --> 00:12:08,839 Speaker 2: Well, this one's four seventy five. 287 00:12:08,760 --> 00:12:13,880 Speaker 1: Four seventy five. That wow, So thankfully, we're only going 288 00:12:13,960 --> 00:12:17,839 Speaker 1: to read select scenes to give you the general arc 289 00:12:17,920 --> 00:12:20,959 Speaker 1: of the story beginning, middle of an end, and afterwards 290 00:12:21,000 --> 00:12:23,839 Speaker 1: we'll let you into our writing process as we give 291 00:12:23,880 --> 00:12:27,520 Speaker 1: each other notes. Yes, because screenwriting is sort of it's 292 00:12:27,559 --> 00:12:30,600 Speaker 1: like a river, it's sort of always changing, it's never ending. 293 00:12:30,800 --> 00:12:34,000 Speaker 1: You're gonna have to customize your vision to some degree. 294 00:12:34,320 --> 00:12:37,040 Speaker 1: And I might add some sound effects to the script 295 00:12:37,160 --> 00:12:39,280 Speaker 1: to punch it up and give it a little pizazz. 296 00:12:39,920 --> 00:12:42,439 Speaker 1: So Brendan, set up your script, take us into your world. 297 00:12:42,480 --> 00:12:44,760 Speaker 1: What do we need to know before we get into it? Yes, 298 00:12:44,960 --> 00:12:49,200 Speaker 1: I have written favorite genre of mine, fantasy. When Lord 299 00:12:49,200 --> 00:12:51,200 Speaker 1: of the Rings came out changed my life. 300 00:12:51,360 --> 00:12:54,920 Speaker 2: I loved the books, I absolutely adored the movies, and 301 00:12:54,960 --> 00:12:59,760 Speaker 2: so this is my take on a grand epic fantasy. 302 00:13:00,040 --> 00:13:04,240 Speaker 2: It's called The Winds of Beleanore, cool excellent, and it 303 00:13:04,320 --> 00:13:08,360 Speaker 2: follows our hero Thorgar half Man, who is a half 304 00:13:08,440 --> 00:13:11,679 Speaker 2: man half halfling, which is a hobbit for those of 305 00:13:11,679 --> 00:13:15,200 Speaker 2: you not in the know. Half man, half halfling, half 306 00:13:15,760 --> 00:13:18,439 Speaker 2: a halfling is just just half lining. Okay, So a 307 00:13:19,160 --> 00:13:22,000 Speaker 2: hobbit is a halfling, a half is a halfling, so 308 00:13:22,160 --> 00:13:23,560 Speaker 2: he's half a half link. 309 00:13:23,559 --> 00:13:26,080 Speaker 1: But his last name is half man half man. Okay, 310 00:13:26,440 --> 00:13:28,400 Speaker 1: so a half man is a hobbit, or a halfling 311 00:13:28,520 --> 00:13:29,160 Speaker 1: is a half. 312 00:13:29,000 --> 00:13:30,720 Speaker 2: Well, Thorgar half man is half hobbit. 313 00:13:31,040 --> 00:13:34,439 Speaker 3: Okay, he's a quarter hobbit. 314 00:13:34,640 --> 00:13:36,880 Speaker 1: Hold on, if a halfling is a hobbit, he's half 315 00:13:36,880 --> 00:13:39,800 Speaker 1: a halfling. He's a he's a quarter hobbit, half a man. 316 00:13:39,920 --> 00:13:41,600 Speaker 2: Let me look it up and I'll try to figure 317 00:13:41,600 --> 00:13:44,160 Speaker 2: it out before the end of this. But he's half man, 318 00:13:44,240 --> 00:13:47,760 Speaker 2: half halfling, and basically he's the most unlikely hero and 319 00:13:47,800 --> 00:13:50,240 Speaker 2: a land of heroes that you'll ever see. Awesome, And 320 00:13:50,280 --> 00:13:52,800 Speaker 2: he sets out on an adventure to save the land 321 00:13:52,880 --> 00:13:55,400 Speaker 2: of Beleanor all right, and I thought we could start 322 00:13:55,440 --> 00:13:57,560 Speaker 2: actually right off the top from the beginning, get a 323 00:13:57,559 --> 00:14:00,840 Speaker 2: beautiful glimpse of the landor. 324 00:14:01,040 --> 00:14:03,160 Speaker 1: Do you want to sign some parts? Oh yeah, here 325 00:14:03,160 --> 00:14:04,720 Speaker 1: are your scripts. Mark. 326 00:14:04,800 --> 00:14:08,679 Speaker 2: You are going to read everything in forest green, please, Greggy, 327 00:14:08,960 --> 00:14:11,679 Speaker 2: everything in light green, awesome. And I'm just going to 328 00:14:11,720 --> 00:14:14,800 Speaker 2: take straight up kermit the fraul green baby great. 329 00:14:15,200 --> 00:14:16,040 Speaker 3: I am We're. 330 00:14:15,960 --> 00:14:18,600 Speaker 1: Blind, so this is difficult and this is a blue 331 00:14:19,160 --> 00:14:19,680 Speaker 1: blue page. 332 00:14:19,680 --> 00:14:22,400 Speaker 2: All right, how about I I'll wave at Greg and 333 00:14:22,480 --> 00:14:24,240 Speaker 2: I'll jab Mark with my finger. 334 00:14:24,320 --> 00:14:26,920 Speaker 1: Okay, okay, all right, here we go. I guess I'll 335 00:14:26,920 --> 00:14:30,040 Speaker 1: be reading ouch ow, I get it. I'll read the 336 00:14:30,080 --> 00:14:34,960 Speaker 1: stage strata now, okay. Scene one, Exterior Belenore Day. We 337 00:14:35,080 --> 00:14:40,320 Speaker 1: zoom over the wondrous land of Belenore, over mountains, fields, rivers, 338 00:14:40,360 --> 00:14:44,280 Speaker 1: and forest. As our narrator, he who knows All, tells 339 00:14:44,360 --> 00:14:48,120 Speaker 1: us the tale of what fate awaits this wondrous place. 340 00:14:48,040 --> 00:14:52,200 Speaker 2: Beleanore, a world of enchantment and wonder that has best 341 00:14:52,280 --> 00:14:55,120 Speaker 2: in the goodness of light for one hundred billion and 342 00:14:55,280 --> 00:14:56,160 Speaker 2: million years. 343 00:14:56,840 --> 00:15:02,640 Speaker 1: But where there is light darkness O Exterior mount Hunax. 344 00:15:02,840 --> 00:15:05,920 Speaker 1: We swoop towards a giant mountain and into a cave 345 00:15:06,120 --> 00:15:10,680 Speaker 1: higher top. We continue in deep into its center. A 346 00:15:10,840 --> 00:15:15,640 Speaker 1: large pile of gold lies still. Then a giant eye 347 00:15:15,720 --> 00:15:19,400 Speaker 1: of a dragon hidden in the treasure opens match cut 348 00:15:19,520 --> 00:15:24,080 Speaker 1: Thorgar's eye. He's covered in flour. Suddenly he sneezes, launching 349 00:15:24,160 --> 00:15:27,520 Speaker 1: his tiny body backwards into a cart of pies, sending 350 00:15:27,520 --> 00:15:32,160 Speaker 1: the treats crashing all over the floor of interior Thorgar's bakery. 351 00:15:32,280 --> 00:15:36,560 Speaker 1: Day the tiny bakery is packed with customers. Thorgar stands 352 00:15:36,600 --> 00:15:39,320 Speaker 1: up from his mess of pies, slips and falls into 353 00:15:39,360 --> 00:15:42,760 Speaker 1: a large tray of bread, sending them to the floor 354 00:15:42,800 --> 00:15:43,280 Speaker 1: as well. 355 00:15:43,480 --> 00:15:45,520 Speaker 3: Oh, I guess I'm angry crone here yep. 356 00:15:45,480 --> 00:15:48,040 Speaker 2: Okay, greenl sticks and muggin's tears. 357 00:15:48,160 --> 00:15:51,880 Speaker 4: Thorgar, you've ruined half the inventory with your mumbling ways. 358 00:15:52,040 --> 00:15:54,880 Speaker 2: A billion parton, my dear friends, get me but four 359 00:15:54,920 --> 00:15:57,440 Speaker 2: to five hours and I'll have your pies and breads 360 00:15:57,440 --> 00:15:58,960 Speaker 2: for you on the house. 361 00:15:59,080 --> 00:16:02,560 Speaker 5: Swirl whipped up, can't you see? Whipped up to a froth? 362 00:16:02,720 --> 00:16:03,600 Speaker 5: We should kill him. 363 00:16:03,720 --> 00:16:05,760 Speaker 2: Cut off his thumbs. That's the only way to get 364 00:16:05,760 --> 00:16:07,800 Speaker 2: his thumb out of his asses. To cut it off. 365 00:16:07,960 --> 00:16:11,760 Speaker 1: Let thorg God be you bullying nippets. We see Merryweather 366 00:16:11,800 --> 00:16:15,000 Speaker 1: honeycuffs the most beautiful and smart woman, and all of 367 00:16:15,040 --> 00:16:16,720 Speaker 1: Beleinor emerge from the crowd. 368 00:16:16,880 --> 00:16:19,240 Speaker 2: But he's messed up the pies on the day of 369 00:16:19,240 --> 00:16:22,080 Speaker 2: the festival. Nonetheless, he oweses his thumbs. 370 00:16:22,320 --> 00:16:25,880 Speaker 1: Merriweather pulls a dagger from her bodice. You take his 371 00:16:25,960 --> 00:16:28,800 Speaker 1: thumbs and I'll have your nipples. Wear him on a 372 00:16:28,920 --> 00:16:33,120 Speaker 1: chain around my neck. I will The frightened crowd stampedes 373 00:16:33,160 --> 00:16:34,000 Speaker 1: out of the breakery. 374 00:16:34,760 --> 00:16:38,000 Speaker 5: Well, that's twelve score of pies. I won't be selling today. 375 00:16:38,280 --> 00:16:41,760 Speaker 1: Worry not, Thorgar, They'll all be clamoring for pies after 376 00:16:41,800 --> 00:16:46,240 Speaker 1: the King's Tournament of Champions. She takes his hands, brushes 377 00:16:46,280 --> 00:16:48,760 Speaker 1: the flour from his thumbs, and looks into his eyes, 378 00:16:49,320 --> 00:16:52,960 Speaker 1: a palpable and tender longing between them. Just then the 379 00:16:53,000 --> 00:16:55,560 Speaker 1: door of the bakery smashes open, and in walks the 380 00:16:55,640 --> 00:16:59,600 Speaker 1: hulking Dastain iron Horn, with a sword the size of 381 00:16:59,640 --> 00:17:02,520 Speaker 1: a large yard's leg dangling at his side. 382 00:17:02,920 --> 00:17:06,960 Speaker 4: Here I am Dastain iron On the great Maplewood himself. 383 00:17:07,200 --> 00:17:09,840 Speaker 3: Hurry with those pies, Merriweather, for I need. 384 00:17:09,680 --> 00:17:12,840 Speaker 4: A full belly before I win the champions tournaments. 385 00:17:12,920 --> 00:17:15,960 Speaker 1: Oh yes, right away, Dastaane, I was just taking pity 386 00:17:16,000 --> 00:17:18,880 Speaker 1: on this simple minded duf kicked in the head by 387 00:17:18,920 --> 00:17:21,840 Speaker 1: the horses of the gods. I say, run along to me, 388 00:17:21,960 --> 00:17:25,159 Speaker 1: then girl, She runs to him and he pulls her close. 389 00:17:25,680 --> 00:17:31,000 Speaker 1: Then they furiously make out, tongues sloppily tumbling and lapping 390 00:17:31,080 --> 00:17:31,760 Speaker 1: over each other. 391 00:17:31,920 --> 00:17:33,120 Speaker 5: God's dastane. 392 00:17:33,560 --> 00:17:38,800 Speaker 4: She's my sister, step sister, halfman and dusley to creed 393 00:17:38,840 --> 00:17:41,399 Speaker 4: a single, and being a single leaves her open for 394 00:17:41,480 --> 00:17:43,920 Speaker 4: wooing by another single such as I. 395 00:17:44,680 --> 00:17:47,600 Speaker 2: Speak not of our traditions of marriage to me, I 396 00:17:47,640 --> 00:17:51,160 Speaker 2: know them, I say, sees my sister hole and dust 397 00:17:51,240 --> 00:17:52,439 Speaker 2: leave my betrothed. 398 00:17:52,480 --> 00:17:54,920 Speaker 3: One more Dustley from youth Organ, I'll have your guts 399 00:17:54,920 --> 00:17:55,479 Speaker 3: in a muffin. 400 00:17:55,800 --> 00:17:58,399 Speaker 4: Come on, Merryweather, help me put on my armor for 401 00:17:58,440 --> 00:18:01,160 Speaker 4: the competition tonight, and can help me take it off 402 00:18:01,240 --> 00:18:01,800 Speaker 4: later too. 403 00:18:03,240 --> 00:18:06,720 Speaker 1: With wet, dewey eyes, Meriweather looks back at her stepbrother 404 00:18:06,840 --> 00:18:08,280 Speaker 1: as she leaves with ironhorn. 405 00:18:08,400 --> 00:18:11,960 Speaker 5: Oh, would I be a man hole in these hands? 406 00:18:12,040 --> 00:18:20,720 Speaker 2: Not soft of baking flower, I might could slay a dragon. Wow. 407 00:18:21,080 --> 00:18:22,080 Speaker 5: I like it nice. 408 00:18:22,920 --> 00:18:25,679 Speaker 2: Start to hear it out loud and not just have 409 00:18:25,760 --> 00:18:27,520 Speaker 2: to read it with your own dumb eyes and great 410 00:18:27,600 --> 00:18:28,320 Speaker 2: character voices. 411 00:18:28,359 --> 00:18:30,920 Speaker 1: Guys, that really brings it to life. I like the world. 412 00:18:31,000 --> 00:18:33,080 Speaker 1: I like how you brought us in the Dragon's Eye 413 00:18:33,240 --> 00:18:34,080 Speaker 1: match cut. 414 00:18:33,840 --> 00:18:35,919 Speaker 2: Like, this is some really cool stuff. So just a 415 00:18:35,920 --> 00:18:38,960 Speaker 2: couple of questions. Now here is Here's where we want 416 00:18:38,960 --> 00:18:42,840 Speaker 2: to bring the listener into our notes process, so we 417 00:18:43,040 --> 00:18:45,199 Speaker 2: help elevate these scripts. Welcome. 418 00:18:46,240 --> 00:18:53,160 Speaker 1: First question, the stepsister whole sister situation. Yes, that's gross 419 00:18:53,359 --> 00:18:53,600 Speaker 1: to me. 420 00:18:53,760 --> 00:18:57,159 Speaker 3: That's just as they say in Hollywood it bumped. 421 00:18:57,280 --> 00:19:00,679 Speaker 2: Well, it's just that's part of the landt additions. A 422 00:19:01,040 --> 00:19:03,800 Speaker 2: sister is born for a brother to wed right, so 423 00:19:03,960 --> 00:19:06,000 Speaker 2: just change that. Yeah, don't do it. 424 00:19:06,080 --> 00:19:08,920 Speaker 1: I don't know if it's cross, it's disgusting. Okay, Well, 425 00:19:08,960 --> 00:19:09,800 Speaker 1: full disclosure. 426 00:19:10,480 --> 00:19:14,680 Speaker 2: Uh. This is based off the erotic Lord of the 427 00:19:14,760 --> 00:19:18,040 Speaker 2: Rings fan fictions of Url Tulou. Of course, if you're 428 00:19:18,240 --> 00:19:20,919 Speaker 2: a Tulou head, you know that he eventually went so 429 00:19:21,000 --> 00:19:23,119 Speaker 2: far that he broke away from the Lord of the 430 00:19:23,200 --> 00:19:25,240 Speaker 2: Ring stuff, and kind of he is kind of the 431 00:19:25,280 --> 00:19:28,840 Speaker 2: founding father of Bellanor so I couldn't actually change any 432 00:19:28,880 --> 00:19:30,359 Speaker 2: of that without his approval. 433 00:19:30,440 --> 00:19:32,520 Speaker 3: Oh, have you gotten clearance from him to actually use 434 00:19:32,560 --> 00:19:34,680 Speaker 3: this idea? Maybe that's a good question for. 435 00:19:34,680 --> 00:19:38,439 Speaker 1: Al al is al Bingo, our lawyer. Bingo's not his 436 00:19:38,520 --> 00:19:40,439 Speaker 1: real name. It's a good question. Are you allowed to 437 00:19:40,560 --> 00:19:41,399 Speaker 1: write this now? 438 00:19:41,520 --> 00:19:43,840 Speaker 2: Actually he's a fugitive from the law, so I don't 439 00:19:43,840 --> 00:19:46,600 Speaker 2: know what What does that do to trademarking rights? 440 00:19:46,840 --> 00:19:48,400 Speaker 1: Wow, I think it's up for grabs. 441 00:19:48,400 --> 00:19:52,040 Speaker 2: Actually, really, yeah, what did he do? He murdered a 442 00:19:52,080 --> 00:19:55,600 Speaker 2: couple of kids? Really? Oh lord? Did I say kids? 443 00:19:55,640 --> 00:19:56,800 Speaker 2: I mean like twenty year olds? 444 00:19:56,760 --> 00:19:58,679 Speaker 1: Wait? So would we have to would we have to 445 00:19:58,720 --> 00:19:59,560 Speaker 1: say his name? 446 00:20:00,200 --> 00:20:00,880 Speaker 5: What? 447 00:20:00,880 --> 00:20:02,520 Speaker 1: What we have to We don't want to be associated 448 00:20:02,520 --> 00:20:03,680 Speaker 1: with a kid killer? Oh? 449 00:20:03,800 --> 00:20:06,440 Speaker 2: Well, again, when I say kids, I'm kind of saying 450 00:20:06,480 --> 00:20:08,119 Speaker 2: it in that youthful way of like it was a 451 00:20:08,119 --> 00:20:11,359 Speaker 2: couple of twenty year olds. I guess that softens the landing, 452 00:20:12,480 --> 00:20:14,480 Speaker 2: right Yeah, yeah, right, So I don't want you to 453 00:20:14,480 --> 00:20:17,200 Speaker 2: think children children, because I would never but a couple 454 00:20:17,200 --> 00:20:20,080 Speaker 2: of twenty year olds you certainly would headlong dive into 455 00:20:20,119 --> 00:20:24,400 Speaker 2: his This is definitely kind of pulled from the ideas 456 00:20:24,480 --> 00:20:26,480 Speaker 2: that he was coming up when there's an erotic fan 457 00:20:26,520 --> 00:20:29,520 Speaker 2: fiction that he never put a name to, you know, so, uh, 458 00:20:29,680 --> 00:20:32,520 Speaker 2: he mentions Beleanora, I've kind of made the world a 459 00:20:32,520 --> 00:20:34,919 Speaker 2: little bit holder, but this is one thing that he 460 00:20:35,040 --> 00:20:38,440 Speaker 2: is definitely written down. A sister is born for a 461 00:20:38,520 --> 00:20:41,800 Speaker 2: brother to wed is. See, that's the part that's fucking 462 00:20:41,920 --> 00:20:44,640 Speaker 2: gross to me. It's so sick that I don't want 463 00:20:44,640 --> 00:20:46,520 Speaker 2: to even have anything to do with it in a script. 464 00:20:46,520 --> 00:20:47,600 Speaker 2: It's just disgusting. 465 00:20:47,840 --> 00:20:50,080 Speaker 3: Yeah, I'm not going to go as far as get 466 00:20:50,320 --> 00:20:51,560 Speaker 3: that mad about it. 467 00:20:53,359 --> 00:20:56,560 Speaker 1: Repulsed. It's not like anger. It's just the black Oh yeah, okay. 468 00:20:56,560 --> 00:21:00,199 Speaker 1: Otherwise great, minus the like those huge chunks of what 469 00:21:00,280 --> 00:21:02,840 Speaker 1: it like most of the scene, it's really good. 470 00:21:02,920 --> 00:21:06,040 Speaker 2: And for the listener, you're gonna get notes sometimes I 471 00:21:06,119 --> 00:21:08,600 Speaker 2: accept these notes. I say thank you to the people 472 00:21:08,640 --> 00:21:10,880 Speaker 2: giving them, and I either take them or I don't 473 00:21:10,880 --> 00:21:11,399 Speaker 2: take them. 474 00:21:11,920 --> 00:21:13,440 Speaker 1: That's if you're not going to take them. But if 475 00:21:13,440 --> 00:21:16,280 Speaker 1: you don't, I mean I wouldn't think it's over to Dutch, 476 00:21:16,400 --> 00:21:16,600 Speaker 1: is all. 477 00:21:16,680 --> 00:21:17,080 Speaker 4: It's. 478 00:21:17,200 --> 00:21:18,680 Speaker 2: Oh you have to. 479 00:21:18,760 --> 00:21:20,280 Speaker 1: I mean you got to make some changes. 480 00:21:20,320 --> 00:21:22,920 Speaker 2: Okay, before you'll allow Dutch to see it. I thought 481 00:21:22,960 --> 00:21:24,000 Speaker 2: we're all equal partners. 482 00:21:24,119 --> 00:21:26,240 Speaker 1: We're all equal partners. But I'll be the guy that 483 00:21:26,320 --> 00:21:27,040 Speaker 1: gives it to Dutch. 484 00:21:27,960 --> 00:21:28,959 Speaker 3: Don't be a gatekeeper. 485 00:21:29,280 --> 00:21:31,520 Speaker 1: Well they exist for a reason, but. 486 00:21:31,520 --> 00:21:33,680 Speaker 3: You don't gatekeep each other from the thing that we're 487 00:21:33,680 --> 00:21:34,280 Speaker 3: all trying to get. 488 00:21:34,400 --> 00:21:36,040 Speaker 1: No, we'll all have our name on the script, and 489 00:21:36,080 --> 00:21:38,000 Speaker 1: I will hand it over. I'll be the one who 490 00:21:38,040 --> 00:21:40,639 Speaker 1: is the messenger. It's not a gatekeeper, it's a messenger. 491 00:21:40,760 --> 00:21:42,240 Speaker 1: He's the gatekeeper for. 492 00:21:42,240 --> 00:21:45,600 Speaker 2: The messenger gets killed, right, Well, don't kill the messenger, 493 00:21:45,600 --> 00:21:46,280 Speaker 2: I think is what it is. 494 00:21:46,359 --> 00:21:47,280 Speaker 1: I think that's the phrase. 495 00:21:47,400 --> 00:21:48,960 Speaker 2: Wait, do you have any more of these pretzel things? 496 00:21:49,119 --> 00:21:49,760 Speaker 4: You ate them? 497 00:21:49,960 --> 00:21:54,800 Speaker 3: Well, they're this four pound bucket. Man, that was not 498 00:21:55,000 --> 00:21:57,240 Speaker 3: a four pound bucket. It was half empty when I 499 00:21:57,240 --> 00:21:57,560 Speaker 3: got to. 500 00:21:57,480 --> 00:21:59,200 Speaker 1: It, because you ate half of it yesterday. 501 00:21:59,640 --> 00:22:02,640 Speaker 2: Let's let's just jump into the next one. I think, yes, 502 00:22:02,800 --> 00:22:04,480 Speaker 2: I have the next Actually, I was hoping to take 503 00:22:04,560 --> 00:22:06,480 Speaker 2: you guys, if you guys can all jump ahead to 504 00:22:06,560 --> 00:22:10,480 Speaker 2: page twenty seven here, I wanted to take you guys 505 00:22:10,480 --> 00:22:13,280 Speaker 2: to the moment where Thorgar is finally leaving his simple 506 00:22:13,320 --> 00:22:16,240 Speaker 2: life behind and he's stepping out into a world of adventure. 507 00:22:16,440 --> 00:22:18,560 Speaker 1: Great, so this is the sort of end of the 508 00:22:18,560 --> 00:22:22,080 Speaker 1: first act, crossing the threshold. Yes, great, love it all? Right, 509 00:22:22,080 --> 00:22:26,920 Speaker 1: here we go exterior Thorgar's house, Sunrise, Thorgar half man 510 00:22:26,960 --> 00:22:29,359 Speaker 1: shuts the door to his couint hovel and shoulders his 511 00:22:29,440 --> 00:22:33,960 Speaker 1: heavy backpack. He gazes across the rooftops of the other gentlefolk, 512 00:22:34,480 --> 00:22:36,399 Speaker 1: a sad smile on his face. 513 00:22:36,680 --> 00:22:39,399 Speaker 2: I do hope I say this old place again. But 514 00:22:39,640 --> 00:22:41,240 Speaker 2: now adventure awaits. 515 00:22:41,680 --> 00:22:43,240 Speaker 5: Oh I almost forgot it. 516 00:22:43,320 --> 00:22:47,600 Speaker 1: Cut two Interior Thorgar's kitchen. Moments later, Thorgar checks each 517 00:22:47,680 --> 00:22:48,800 Speaker 1: knob on his stove. 518 00:22:49,000 --> 00:22:52,400 Speaker 2: This is on one, two three four, it's off. This 519 00:22:52,640 --> 00:22:56,520 Speaker 2: is off one, two three four on again, this is on, 520 00:22:57,080 --> 00:22:58,080 Speaker 2: but it must be off. 521 00:22:58,280 --> 00:23:02,000 Speaker 5: So one two three fur this is off. All the 522 00:23:02,040 --> 00:23:05,400 Speaker 5: burners are off, and all is well. Now to adventure. 523 00:23:05,920 --> 00:23:09,480 Speaker 1: Exterior Thorgar's house. Mid day, Thorgar climbs the hill and 524 00:23:09,560 --> 00:23:13,880 Speaker 1: looks back over the land of gentlefolk. He sighs, I. 525 00:23:13,920 --> 00:23:16,240 Speaker 5: Show miss the smell of the glasses here at the 526 00:23:16,320 --> 00:23:19,080 Speaker 5: high noon. Just one more thing to do. 527 00:23:19,400 --> 00:23:21,520 Speaker 1: Cut to interior Thorgar's kitchen. 528 00:23:21,880 --> 00:23:24,440 Speaker 5: This is off on two three four, it's off. 529 00:23:24,640 --> 00:23:26,600 Speaker 3: Does this go on for a while because it just 530 00:23:26,600 --> 00:23:28,520 Speaker 3: seems Yeah, I'm flipping pages. 531 00:23:28,720 --> 00:23:32,200 Speaker 2: It's a lot of this, Yes, yeah, yeah, maybe if 532 00:23:32,359 --> 00:23:35,000 Speaker 2: we He just goes back and checks his stove. Yeah, 533 00:23:35,000 --> 00:23:37,160 Speaker 2: I thought this was over of like launch to adventure. 534 00:23:37,520 --> 00:23:39,840 Speaker 1: Yeah you know, well wait, I got a little something. 535 00:23:39,880 --> 00:23:42,359 Speaker 2: So what's there? So there's a big fireball on page 536 00:23:42,400 --> 00:23:45,720 Speaker 2: thirty five. Oh yes, that's old Chip barley Wine's house. 537 00:23:45,720 --> 00:23:48,360 Speaker 2: He forgot the checks of them before he went to Okay. 538 00:23:48,119 --> 00:23:51,680 Speaker 1: Well, so I'm let's see twelve pages ahead. 539 00:23:51,720 --> 00:23:57,200 Speaker 2: On what is this thirty forty one Meadows of Crandor Yeah, yeah, okay, 540 00:23:57,440 --> 00:24:01,760 Speaker 2: exterior the Meadows of Crandor. The next evening, Thorgar sits 541 00:24:01,800 --> 00:24:04,639 Speaker 2: by a fire, rubbing his feet. In the distance, we 542 00:24:04,720 --> 00:24:07,840 Speaker 2: hear the pounding of horse hooves and the raised voices 543 00:24:07,840 --> 00:24:08,200 Speaker 2: of men. 544 00:24:08,800 --> 00:24:14,840 Speaker 1: Thorgar's eyes wide. It no cut two interior Thorgar's kitchen. 545 00:24:14,640 --> 00:24:17,600 Speaker 5: One, two, three, four it's off. Oh, let's give it 546 00:24:17,600 --> 00:24:18,520 Speaker 5: a lick to be sure. 547 00:24:18,840 --> 00:24:21,520 Speaker 1: So so, okay, so he can't check the knobs of 548 00:24:21,520 --> 00:24:24,880 Speaker 1: his stove for fifteen sixteen? How many pages does this 549 00:24:24,960 --> 00:24:27,440 Speaker 1: go on for? He has to check the knob, so 550 00:24:27,520 --> 00:24:30,000 Speaker 1: this can be cut. Can let's just go to where 551 00:24:30,040 --> 00:24:34,199 Speaker 1: the momentum is pushing him across the threshold. It's like 552 00:24:34,240 --> 00:24:37,680 Speaker 1: he's getting right there and then can I ask edging 553 00:24:37,720 --> 00:24:38,440 Speaker 1: the reed, what. 554 00:24:38,400 --> 00:24:41,000 Speaker 2: About the audience? What about the audience? Who sees this 555 00:24:41,040 --> 00:24:43,200 Speaker 2: guy take off and they go. He never even checked 556 00:24:43,240 --> 00:24:43,639 Speaker 2: the stove. 557 00:24:44,080 --> 00:24:46,040 Speaker 1: Nobody cares, Nobody does that. 558 00:24:46,200 --> 00:24:47,960 Speaker 3: I didn't even think they would have stoves in a 559 00:24:48,040 --> 00:24:50,480 Speaker 3: land like this. Of course they did a gas stove. 560 00:24:50,560 --> 00:24:53,600 Speaker 2: It's a Lanta fantasy. It's not a land of magic. Yeah, right, 561 00:24:53,640 --> 00:24:56,720 Speaker 2: it's like everybody else's house. Right when I leave the house, 562 00:24:56,880 --> 00:24:59,399 Speaker 2: I gotta check that burner because if it's left on, 563 00:24:59,480 --> 00:25:00,880 Speaker 2: I'm in tru you know what I mean. 564 00:25:01,160 --> 00:25:03,880 Speaker 1: And be that ad as it may, I would say, 565 00:25:03,880 --> 00:25:08,520 Speaker 1: you're in the minority. I don't think people spend this much. 566 00:25:08,800 --> 00:25:11,240 Speaker 2: I was having a hard time breathing. I mean, think 567 00:25:11,280 --> 00:25:13,680 Speaker 2: about it. Thorgar walks out of there, he doesn't check 568 00:25:13,680 --> 00:25:16,640 Speaker 2: his oven. He's gone for months, maybe years at a time, 569 00:25:16,680 --> 00:25:20,399 Speaker 2: and that thing's just maybe comes home to ash everything 570 00:25:20,400 --> 00:25:22,520 Speaker 2: he worked for gone. 571 00:25:24,280 --> 00:25:26,359 Speaker 1: Is that what you think about when you watch movies 572 00:25:26,400 --> 00:25:28,840 Speaker 1: of like wait Where? Like that must be exhausting? 573 00:25:29,080 --> 00:25:29,520 Speaker 2: My god. 574 00:25:29,840 --> 00:25:30,159 Speaker 1: Yeah. 575 00:25:30,200 --> 00:25:32,520 Speaker 2: Every time Indiana Jones took off in that Red Line, 576 00:25:32,520 --> 00:25:35,240 Speaker 2: I'm like, that guy's just fucking going to Indonesia and 577 00:25:35,240 --> 00:25:36,800 Speaker 2: he never went back to his house to check on 578 00:25:36,840 --> 00:25:37,200 Speaker 2: the oven. 579 00:25:38,840 --> 00:25:51,879 Speaker 1: Wow, okay, well let's move on. We'll go on to 580 00:25:51,920 --> 00:25:52,640 Speaker 1: the next. 581 00:25:52,520 --> 00:25:56,119 Speaker 2: Well, how about some action. Yes, great, please, this is 582 00:25:56,160 --> 00:25:58,480 Speaker 2: what we're waiting for. Let's flip all the way towards 583 00:25:58,520 --> 00:26:00,960 Speaker 2: the end. I want to take you to the final moment, 584 00:26:01,000 --> 00:26:04,159 Speaker 2: the final scene, the last image that the audience is 585 00:26:04,160 --> 00:26:07,160 Speaker 2: going to see what we've been building up for. Thorgar 586 00:26:07,280 --> 00:26:11,160 Speaker 2: has now assembled a band of brothers, a fellowship of friends, 587 00:26:11,600 --> 00:26:15,359 Speaker 2: and they approach Gore Buzzle's cave. Okay, now we got Thorigard. 588 00:26:15,680 --> 00:26:18,760 Speaker 2: You guys know him half man, half halfling. I got 589 00:26:18,800 --> 00:26:20,920 Speaker 2: to check the math on that. Totally ripped, of course, 590 00:26:20,960 --> 00:26:22,760 Speaker 2: that's why he wears the sleeveless tea. 591 00:26:22,840 --> 00:26:23,480 Speaker 1: Oh he's ripped. 592 00:26:23,640 --> 00:26:26,439 Speaker 2: Cool. Yeah, just so you guys know, they're all ripped here. 593 00:26:26,480 --> 00:26:29,280 Speaker 2: They all wear sleeveless teas. Oh I didn't read that, 594 00:26:29,160 --> 00:26:31,720 Speaker 2: and I think we had teas. Are you writing for 595 00:26:31,800 --> 00:26:33,520 Speaker 2: costuming or do you put that in a script? Don't 596 00:26:33,520 --> 00:26:37,040 Speaker 2: worry about costuming. I think, Yeah, these guys and there's 597 00:26:37,040 --> 00:26:38,919 Speaker 2: not a single guy in this thing that's wearing a 598 00:26:38,960 --> 00:26:40,320 Speaker 2: T shirt and a pool you know what I mean. 599 00:26:40,400 --> 00:26:41,520 Speaker 2: They're proud of what they made. 600 00:26:41,760 --> 00:26:42,640 Speaker 1: There's pools here. 601 00:26:43,119 --> 00:26:46,320 Speaker 2: Well, there's stoves. Mark, Yeah, that's kind of my love 602 00:26:46,400 --> 00:26:49,040 Speaker 2: letter to the Northeast. I would believe a stove before 603 00:26:49,080 --> 00:26:51,840 Speaker 2: I believe like t shirts and a pool. You know, 604 00:26:51,880 --> 00:26:54,040 Speaker 2: I grew up on Long Island, so this, you know, 605 00:26:54,359 --> 00:26:58,640 Speaker 2: Tolkien created Lord of the Rings as a mythology for England. 606 00:26:58,720 --> 00:26:59,639 Speaker 1: Who's Tolkien? 607 00:27:00,480 --> 00:27:01,679 Speaker 2: J j R. R. 608 00:27:02,200 --> 00:27:04,560 Speaker 1: J R. R. Tolkien Tolkien. 609 00:27:05,520 --> 00:27:06,879 Speaker 2: That's how I say it? On Long Island? 610 00:27:07,640 --> 00:27:08,639 Speaker 1: Is it on Long Island? 611 00:27:09,400 --> 00:27:11,520 Speaker 2: I would never go to on Long Island if you're there, 612 00:27:12,119 --> 00:27:14,120 Speaker 2: And so this is kind of my love letter to them. 613 00:27:14,200 --> 00:27:16,400 Speaker 2: Everybody kind of is like the guys I grew up with. 614 00:27:16,880 --> 00:27:19,760 Speaker 2: They're all here. You know, when the great wizard Gandolfini 615 00:27:19,840 --> 00:27:21,320 Speaker 2: shows up. I think that's really clear. 616 00:27:21,160 --> 00:27:24,400 Speaker 1: Because Gandolfini, yeah, like James. 617 00:27:24,200 --> 00:27:27,280 Speaker 2: Yeah, he I hope my dream is that he plays it. 618 00:27:27,320 --> 00:27:31,159 Speaker 2: How would you do that? Ai? Okay, his son, the 619 00:27:31,200 --> 00:27:34,280 Speaker 2: powers of gandolf the attitude of Gandelfini. 620 00:27:34,560 --> 00:27:37,800 Speaker 1: I'm gonna I'm gonna say, I'm gonna veto that one. Okay, 621 00:27:37,920 --> 00:27:40,800 Speaker 1: you cannot call it. I mean that's too close to gandalf. 622 00:27:40,359 --> 00:27:42,800 Speaker 2: Yeah, okay, well I'll take that note veto. 623 00:27:44,080 --> 00:27:47,120 Speaker 1: His name's James Gandelfini, and he's a wizard like gandal 624 00:27:47,200 --> 00:27:48,040 Speaker 1: like it doesn't. 625 00:27:48,160 --> 00:27:53,320 Speaker 3: Call this changed your mind, Gandolphini, And then what's Gandalfini. 626 00:27:52,840 --> 00:27:56,960 Speaker 2: Like, oh what you're doing? Oh yeah, you fuck, I'm idiot. 627 00:27:57,040 --> 00:28:00,000 Speaker 1: It's just it's like Tony Soprano. Yes, there's so many 628 00:28:00,160 --> 00:28:02,600 Speaker 1: layers to that and none of it fits into this world. 629 00:28:02,720 --> 00:28:04,760 Speaker 3: Yeah, I would, I would say maybe all that needs 630 00:28:04,800 --> 00:28:06,160 Speaker 3: to get you definite. 631 00:28:05,960 --> 00:28:08,960 Speaker 2: Scandle Feena at his best the Sopranos, not Last Castle 632 00:28:09,080 --> 00:28:12,800 Speaker 2: where he talks normal with this weird lisp. All right, 633 00:28:12,920 --> 00:28:13,679 Speaker 2: I never saw that. 634 00:28:14,240 --> 00:28:15,440 Speaker 1: Let's get into the fellowship. 635 00:28:15,560 --> 00:28:19,320 Speaker 2: Yes, so we alsill have an elf. His name Isnthandral. 636 00:28:19,680 --> 00:28:23,240 Speaker 2: Now elve's in this land. Their hair is their history, 637 00:28:23,280 --> 00:28:26,040 Speaker 2: it's their magic. It is long as a river and 638 00:28:26,080 --> 00:28:29,040 Speaker 2: as strong as an oak. It's kind of the sentient 639 00:28:29,119 --> 00:28:32,920 Speaker 2: being that is always moving. So it wraps around him 640 00:28:32,920 --> 00:28:35,320 Speaker 2: and it's his clothes like he's walking around like with 641 00:28:35,359 --> 00:28:38,040 Speaker 2: a big hair diaper, you know, but every now it's 642 00:28:38,040 --> 00:28:40,440 Speaker 2: still moving, so it will like go and pluck a 643 00:28:40,440 --> 00:28:42,960 Speaker 2: berry from a tree and feed him. Yeah. There's a 644 00:28:42,960 --> 00:28:45,520 Speaker 2: great scene early on where the hair is kind of 645 00:28:45,520 --> 00:28:47,760 Speaker 2: swirling around over his crotch, but then it sees this 646 00:28:47,840 --> 00:28:50,080 Speaker 2: big juicy strawberry and he goes and grabs it, puts 647 00:28:50,080 --> 00:28:52,480 Speaker 2: it in his mouth. So do you see his Yes, 648 00:28:53,400 --> 00:28:55,800 Speaker 2: we get to see the first elf genitalia. 649 00:28:55,840 --> 00:28:57,360 Speaker 1: Oh, that would give it an X rating. 650 00:28:57,760 --> 00:28:59,840 Speaker 2: Oh no, an elf has no private parts. They're like 651 00:28:59,840 --> 00:29:01,800 Speaker 2: a ken doll. But you said you get to Oh 652 00:29:01,800 --> 00:29:03,840 Speaker 2: you see a gentitalia. But there's no giantail, so what 653 00:29:03,880 --> 00:29:04,760 Speaker 2: you're seeing is nothing. 654 00:29:05,240 --> 00:29:06,720 Speaker 1: Okay, I might even be creepier. 655 00:29:06,880 --> 00:29:08,600 Speaker 2: We also got a dwarf. Got to have a dwarf. 656 00:29:08,600 --> 00:29:10,320 Speaker 2: His name is Gunt. He's a stone humper. 657 00:29:10,360 --> 00:29:12,480 Speaker 3: Seems self explanatory, Yeah, very much. 658 00:29:12,520 --> 00:29:15,920 Speaker 1: So then that's a kind of kind of dwarf is 659 00:29:15,920 --> 00:29:17,800 Speaker 1: a stone humper, Yes. 660 00:29:17,840 --> 00:29:21,080 Speaker 3: It says right there, Gunt he humps stones as a 661 00:29:21,120 --> 00:29:21,800 Speaker 3: stone humper. 662 00:29:22,560 --> 00:29:27,040 Speaker 2: Dwarves are just all passion food. Feed me, stone, hump me. 663 00:29:27,440 --> 00:29:29,800 Speaker 1: I hump him or you know. 664 00:29:29,960 --> 00:29:34,480 Speaker 2: Yeah, okay, then we've got a little something I cooked 665 00:29:34,560 --> 00:29:36,440 Speaker 2: up that I think you guys are gonna find very cool. 666 00:29:36,960 --> 00:29:39,280 Speaker 2: A man a dial. It's the top half of a 667 00:29:39,360 --> 00:29:41,280 Speaker 2: man and the top half. 668 00:29:41,040 --> 00:29:42,560 Speaker 1: Of a crocodile. 669 00:29:42,880 --> 00:29:45,320 Speaker 2: The top of the top, top of the top half, 670 00:29:45,400 --> 00:29:47,200 Speaker 2: that's like the tip the head, the head. 671 00:29:47,400 --> 00:29:49,600 Speaker 3: So it's a man on top and a crocodile head on. 672 00:29:49,560 --> 00:29:51,720 Speaker 2: The mat and torso of a man, and then on 673 00:29:51,760 --> 00:29:53,800 Speaker 2: the bottom the head of a crocodile. 674 00:29:53,920 --> 00:29:54,680 Speaker 1: How does it walk? 675 00:29:54,920 --> 00:29:58,080 Speaker 2: Well, it can you either hop up onto the crocodile's 676 00:29:58,920 --> 00:30:01,320 Speaker 2: nose and kind of like snap its mouth and scoot 677 00:30:01,360 --> 00:30:05,880 Speaker 2: along like that, or it has to army crawl with 678 00:30:05,920 --> 00:30:06,240 Speaker 2: the man. 679 00:30:06,560 --> 00:30:07,200 Speaker 3: Seems slow. 680 00:30:07,560 --> 00:30:09,840 Speaker 2: Yeah, it's very slow. That's kind of why this thing 681 00:30:09,880 --> 00:30:11,920 Speaker 2: is all like the page count. That's why I covered 682 00:30:12,000 --> 00:30:14,520 Speaker 2: in songs. It takes a while for the Manadao to travel, 683 00:30:14,600 --> 00:30:15,920 Speaker 2: so there's a lot of songs in here. 684 00:30:16,280 --> 00:30:18,240 Speaker 1: Or you could just cut to the next place. 685 00:30:18,920 --> 00:30:21,240 Speaker 2: I could, but I think that's this kind of sloppy screenwriting. 686 00:30:21,480 --> 00:30:23,479 Speaker 2: We have a lot of hours to fill on the screen. 687 00:30:23,680 --> 00:30:25,920 Speaker 1: How long five five? 688 00:30:26,920 --> 00:30:28,800 Speaker 2: Have you ever seen the uncut versions of Lord of 689 00:30:28,800 --> 00:30:31,520 Speaker 2: the Rings? I mean, it is a day, It's a day. 690 00:30:32,040 --> 00:30:35,160 Speaker 2: So the whole gang is up there the entrance to 691 00:30:35,160 --> 00:30:38,320 Speaker 2: Gore Buzzle's cave and down comes the Mighty Beast. 692 00:30:38,640 --> 00:30:42,840 Speaker 1: Excellent, So this is great. So we're at the climactic, yes, finale, 693 00:30:43,000 --> 00:30:46,800 Speaker 1: all right, this is great. Joy Scene three exterior Mount 694 00:30:46,880 --> 00:30:50,120 Speaker 1: Hun as our heroes crouched behind a large boulder at 695 00:30:50,120 --> 00:30:53,239 Speaker 1: the entrance to gore Buzzle's layer the cower as a 696 00:30:53,280 --> 00:30:56,400 Speaker 1: hot blast of dragonfire hits the back of the rock. 697 00:30:57,120 --> 00:30:58,440 Speaker 2: I fear this is the end. 698 00:30:58,720 --> 00:31:01,200 Speaker 1: Gun to Tonthandriel cling to each other. 699 00:31:01,120 --> 00:31:03,760 Speaker 5: To think, I'll die in the arms I know. 700 00:31:04,240 --> 00:31:07,360 Speaker 1: Thorgar looks at his sword, the tip beginning to glow red. 701 00:31:07,560 --> 00:31:09,560 Speaker 1: Suddenly an idea. 702 00:31:09,520 --> 00:31:12,800 Speaker 6: Take heart, friends, though this be our darkest hour, A 703 00:31:12,960 --> 00:31:17,080 Speaker 6: light awaits hold fast, Keep the dragon busy for as 704 00:31:17,080 --> 00:31:19,320 Speaker 6: long as you can, and I'll do the rest. 705 00:31:19,480 --> 00:31:22,760 Speaker 1: Thorgar sprints off into the woods. Fly, Thorgar, fly like 706 00:31:22,800 --> 00:31:24,000 Speaker 1: the winds of Belenor. 707 00:31:24,400 --> 00:31:26,320 Speaker 5: Oh, I am hungry. 708 00:31:26,880 --> 00:31:31,560 Speaker 4: My stomach crows like a bittleswack filthy dwarf can think 709 00:31:31,600 --> 00:31:33,240 Speaker 4: of naught but his empty stomach. 710 00:31:33,520 --> 00:31:36,560 Speaker 2: I listen to my stomach, not the prattling of some 711 00:31:36,760 --> 00:31:41,160 Speaker 2: dipshit elf. The fellowship weakens. Oh where is Thorga? 712 00:31:41,280 --> 00:31:43,480 Speaker 1: Cut to Thorgar sprints through the underbrush. 713 00:31:43,560 --> 00:31:45,040 Speaker 5: I must tur it, must fly. 714 00:31:45,480 --> 00:31:48,840 Speaker 1: Cut back to another blast of dragonfire against the boulder. 715 00:31:49,200 --> 00:31:50,360 Speaker 5: Time for a snack. 716 00:31:50,880 --> 00:31:55,720 Speaker 1: Gunt plunges his broadsword into a goblin hole in the ground. Tarnation. 717 00:31:55,880 --> 00:31:58,440 Speaker 5: Gunt, I told you not to stir up the goblins. 718 00:31:58,480 --> 00:32:01,719 Speaker 2: They feast on elf meat. A wave of raccoon sized 719 00:32:01,760 --> 00:32:03,640 Speaker 2: goblins explodes from the hole. 720 00:32:03,880 --> 00:32:05,280 Speaker 5: They're climbing my hair. 721 00:32:05,960 --> 00:32:09,200 Speaker 1: The goblins chew Nathandriel's hair and strip the flesh from 722 00:32:09,200 --> 00:32:13,000 Speaker 1: his bones. His skeleton clatters to the ground. Suddenly, the 723 00:32:13,040 --> 00:32:18,600 Speaker 1: goblins go silent, then in an instant, disappear into the forest. 724 00:32:18,720 --> 00:32:21,520 Speaker 1: The goblins they flee. What scares them from this place 725 00:32:22,240 --> 00:32:24,520 Speaker 1: through the trees whistles a terrifying tune. 726 00:32:24,960 --> 00:32:26,320 Speaker 5: Horror horrors. 727 00:32:27,440 --> 00:32:30,600 Speaker 2: That be the bone flue of the terror Billy Bones. 728 00:32:31,240 --> 00:32:34,520 Speaker 2: Any here is nightmare? Toon is off to the land 729 00:32:34,560 --> 00:32:35,280 Speaker 2: of Shadow. 730 00:32:35,680 --> 00:32:42,040 Speaker 1: The Menadal's two heads explode, and a seven foot skeleton 731 00:32:42,080 --> 00:32:44,720 Speaker 1: with a kingly crown upon his head dances out of 732 00:32:44,720 --> 00:32:50,160 Speaker 1: the woods, singing his tune. Gunt screams and pain explodes. 733 00:32:52,040 --> 00:32:55,360 Speaker 1: Hold on, so can we just stop for just a second. 734 00:32:56,160 --> 00:32:57,560 Speaker 1: Who is Billy Bones? 735 00:32:57,640 --> 00:32:58,280 Speaker 5: Oh man? 736 00:32:58,440 --> 00:33:01,080 Speaker 2: This is pretty much the most evil creature you can 737 00:33:01,200 --> 00:33:02,240 Speaker 2: ever imagine? 738 00:33:02,320 --> 00:33:04,160 Speaker 3: Well, I thought the dragon was the most evil creature. 739 00:33:05,040 --> 00:33:09,960 Speaker 2: That is a good point. Uh, second most evil creature 740 00:33:10,040 --> 00:33:12,120 Speaker 2: you could ever possibly imagine. 741 00:33:12,160 --> 00:33:13,280 Speaker 1: Billy Bones is the second. 742 00:33:13,320 --> 00:33:16,040 Speaker 2: Billy Bones. Yeah, okay, he's pretty bad. So it's like 743 00:33:16,080 --> 00:33:18,719 Speaker 2: he got bad, and then oh my god, the dragon 744 00:33:18,800 --> 00:33:19,560 Speaker 2: less bad is here. 745 00:33:21,200 --> 00:33:25,800 Speaker 1: Okay, interior forest, same Billy Bones cackles and dances a jig. 746 00:33:25,840 --> 00:33:30,040 Speaker 1: Then boom, he's hit with a fireball and bursts into flames. 747 00:33:30,440 --> 00:33:33,160 Speaker 1: The dragon gore Buzzle, flies up into the night sky, 748 00:33:33,280 --> 00:33:36,240 Speaker 1: his giant body silhouetted against the moon, and lets out 749 00:33:36,240 --> 00:33:42,880 Speaker 1: a terrible cry of victory. Cut to interior Thorgar's house evening. 750 00:33:43,080 --> 00:33:46,000 Speaker 5: And number four is off there. 751 00:33:46,360 --> 00:33:49,640 Speaker 1: Thorgar climbs into his warm featherbed and snuggles up under 752 00:33:49,640 --> 00:33:50,160 Speaker 1: the covers. 753 00:33:50,440 --> 00:33:52,280 Speaker 2: There's no place I'd rather. 754 00:33:52,200 --> 00:33:53,640 Speaker 6: Be than home. 755 00:33:54,400 --> 00:33:56,640 Speaker 1: Music swells, and so. 756 00:33:56,920 --> 00:34:00,600 Speaker 2: Our hero vowed to never leave his home again. What 757 00:34:00,800 --> 00:34:04,240 Speaker 2: as anyone will tell you a man who is happy 758 00:34:04,320 --> 00:34:07,760 Speaker 2: in his home as saying every dragon. 759 00:34:07,320 --> 00:34:09,760 Speaker 1: There is the end. 760 00:34:12,400 --> 00:34:18,919 Speaker 3: Fade to what happened with everyone? Okay, sorry, just to 761 00:34:18,960 --> 00:34:22,280 Speaker 3: be clear, Thorgar said, wait a minute, hold the dragon. 762 00:34:22,320 --> 00:34:23,320 Speaker 2: Then he just goes home. 763 00:34:23,400 --> 00:34:26,399 Speaker 1: He left him there to die, so they all die. 764 00:34:26,480 --> 00:34:28,760 Speaker 1: So the end of the movie is that the dragon wins. 765 00:34:29,760 --> 00:34:34,200 Speaker 1: Thorgart wins. Does he finds the greatest treasure of all 766 00:34:34,480 --> 00:34:36,680 Speaker 1: has been under his backside the whole time, and that's 767 00:34:36,719 --> 00:34:37,360 Speaker 1: a home. 768 00:34:38,200 --> 00:34:42,279 Speaker 3: Doesn't it seem like and just feedback. If you're gonna 769 00:34:42,320 --> 00:34:48,279 Speaker 3: have these cool characters Nathandriel, Gunt the Manadal, what you 770 00:34:48,400 --> 00:34:49,399 Speaker 3: just killed them all off? 771 00:34:49,680 --> 00:34:49,960 Speaker 4: Yeah? 772 00:34:50,000 --> 00:34:50,600 Speaker 1: I kind of guess. 773 00:34:50,719 --> 00:34:53,000 Speaker 2: Got bored with him, Get him out of the way. 774 00:34:53,600 --> 00:34:56,120 Speaker 2: And the thing is is that the hero of this 775 00:34:56,160 --> 00:34:59,600 Speaker 2: thing is Thorgar, right and again, so it's a good point. 776 00:35:00,120 --> 00:35:03,000 Speaker 1: I just talk about the hero's journey for a minute. Sure, 777 00:35:03,400 --> 00:35:06,799 Speaker 1: for a story like this to work, he has to 778 00:35:06,920 --> 00:35:10,960 Speaker 1: learn something. He has to step up into his sort 779 00:35:11,000 --> 00:35:15,719 Speaker 1: of heroic self. He has to grow internally to a 780 00:35:15,760 --> 00:35:20,080 Speaker 1: place of you know, triumphant heroism. He has to battle 781 00:35:20,080 --> 00:35:22,719 Speaker 1: his inner demons as well as his external demons and 782 00:35:23,080 --> 00:35:26,120 Speaker 1: face them down and defeat them and know that he 783 00:35:26,239 --> 00:35:29,280 Speaker 1: is bigger than he ever thought he could be. This story. 784 00:35:29,640 --> 00:35:32,400 Speaker 2: To that note, can I say something, Yeah, is not 785 00:35:32,600 --> 00:35:36,359 Speaker 2: the greatest hero of all one who knows exactly what 786 00:35:36,440 --> 00:35:36,920 Speaker 2: he wants? 787 00:35:37,680 --> 00:35:44,120 Speaker 1: Welcome home friend? Yeah, what do you think about that? Well? Yeah, 788 00:35:44,120 --> 00:35:46,680 Speaker 1: I mean, look, this is the script that you wanted 789 00:35:46,719 --> 00:35:49,480 Speaker 1: to write. Yeah, So all right, so that's what it is. 790 00:35:49,560 --> 00:35:54,080 Speaker 1: And I think the next segment of the podcast is 791 00:35:54,120 --> 00:35:59,200 Speaker 1: where we rate the script. We've given a few notes perfect. 792 00:35:59,480 --> 00:36:01,880 Speaker 1: So I guess you know, we could say on a 793 00:36:01,920 --> 00:36:09,880 Speaker 1: scale of yes, no, maybe, yes, yes, I'll go, I'll go. 794 00:36:10,080 --> 00:36:14,680 Speaker 2: Maybe I'm gonna say hard no, okay, hard no. You 795 00:36:14,719 --> 00:36:16,799 Speaker 2: said there was three things I'd like to be a 796 00:36:16,800 --> 00:36:17,400 Speaker 2: hard yes. 797 00:36:17,320 --> 00:36:19,800 Speaker 3: Then okay, I'm going to be a soft maybe. 798 00:36:20,320 --> 00:36:23,680 Speaker 1: Well hold on, So I guess saying the hard no 799 00:36:24,200 --> 00:36:25,960 Speaker 1: is that kind of throws it? 800 00:36:26,239 --> 00:36:26,279 Speaker 2: No? 801 00:36:26,440 --> 00:36:28,560 Speaker 1: You know what, I'm a hard no, I'm an absolute, 802 00:36:28,880 --> 00:36:29,719 Speaker 1: absolute no. 803 00:36:29,920 --> 00:36:32,480 Speaker 2: Why don't we instead of giving it I'm a rock 804 00:36:32,520 --> 00:36:33,040 Speaker 2: hard yes? 805 00:36:33,120 --> 00:36:34,640 Speaker 1: Then then I'm a rock hard no. 806 00:36:35,520 --> 00:36:38,360 Speaker 3: So that diamond studded maybe. 807 00:36:38,440 --> 00:36:41,239 Speaker 1: Which sounds hard so hard maybe feels like a no 808 00:36:41,440 --> 00:36:41,680 Speaker 1: to me? 809 00:36:42,239 --> 00:36:45,000 Speaker 3: What if we gave it numeric value? Because I think 810 00:36:45,080 --> 00:36:46,360 Speaker 3: words sometimes. 811 00:36:46,520 --> 00:36:48,960 Speaker 2: The listener can hear that and they can focus on 812 00:36:49,000 --> 00:36:52,400 Speaker 2: the number. So let's say scale one to ten. Okay, 813 00:36:52,600 --> 00:36:54,720 Speaker 2: I am a ten five? 814 00:36:55,239 --> 00:36:56,960 Speaker 1: You know what? Zero? 815 00:36:56,560 --> 00:36:59,480 Speaker 2: Okay? That puts me. 816 00:37:00,040 --> 00:37:01,840 Speaker 3: It's fifteen not bad, hey. 817 00:37:02,040 --> 00:37:04,920 Speaker 1: Fifteen, it's right right down, right down Broadway. 818 00:37:05,320 --> 00:37:08,400 Speaker 2: The leader out the gate, baby, I guess by default 819 00:37:08,480 --> 00:37:10,200 Speaker 2: everybody's chasing him. 820 00:37:10,480 --> 00:37:11,480 Speaker 1: Yeah, well this was a. 821 00:37:11,520 --> 00:37:14,440 Speaker 2: Thrill, guys. Then I think, oh boy, I'm really just 822 00:37:14,600 --> 00:37:15,760 Speaker 2: thrilled to hear it out loud. 823 00:37:16,080 --> 00:37:18,359 Speaker 1: Thank you for joining us. Please come back next week 824 00:37:18,600 --> 00:37:21,719 Speaker 1: to hear a new script from me. Hey can't wait, 825 00:37:22,120 --> 00:37:23,560 Speaker 1: my first one out of the gate. Let's see if 826 00:37:23,600 --> 00:37:24,640 Speaker 1: it beats a fifteen. 827 00:37:25,080 --> 00:37:27,719 Speaker 2: I doubt it. Well, we'll see any pretzels. 828 00:37:28,200 --> 00:37:31,759 Speaker 1: Uh No, they're gone. Okay, until next time. It's lights, 829 00:37:31,800 --> 00:37:34,320 Speaker 1: camera action, but for writing.