1 00:00:01,000 --> 00:00:03,880 Speaker 1: Dear listeners of hollywood Land, does it feel like you're 2 00:00:03,880 --> 00:00:07,160 Speaker 1: stuck in limbo? Standing under a flickering street light at 3 00:00:07,160 --> 00:00:09,880 Speaker 1: the corner of Hollywood and True Crime, waiting for the 4 00:00:09,920 --> 00:00:13,159 Speaker 1: next episode of hollywood Land to drop. I got you. 5 00:00:13,960 --> 00:00:29,720 Speaker 1: Welcome to hollywood Land, the Rap Party. What is the 6 00:00:29,760 --> 00:00:32,680 Speaker 1: good word? My good people of hollywood Land. We are 7 00:00:32,680 --> 00:00:35,040 Speaker 1: back at it once again, back in the saddle, back 8 00:00:35,080 --> 00:00:37,640 Speaker 1: in this thing we call the Rap Party. This is 9 00:00:37,680 --> 00:00:39,519 Speaker 1: the show that gets you from one full episode of 10 00:00:39,520 --> 00:00:42,440 Speaker 1: hollywood Land to the next. The place for obsessives just 11 00:00:42,560 --> 00:00:45,519 Speaker 1: like you, the movie geeks, the true crime freaks, the 12 00:00:45,560 --> 00:00:47,879 Speaker 1: ones who liked our movie history with a side of 13 00:00:47,920 --> 00:00:50,960 Speaker 1: grit and grime. My name is Zeph Lundy, writer at 14 00:00:50,960 --> 00:00:54,600 Speaker 1: Double Elvis, showrunner for hollywood Land, the sister show to 15 00:00:54,640 --> 00:00:58,320 Speaker 1: Disgrace Land, the og Music and True Crime Pod. And 16 00:00:58,360 --> 00:01:01,560 Speaker 1: on this bonus episode of hollywood Lands, we are talking 17 00:01:01,560 --> 00:01:05,320 Speaker 1: about this week's full episode subject Jody Foster. We are 18 00:01:05,360 --> 00:01:09,000 Speaker 1: previewing next week's episode on Hugh Grant. We're talking movie 19 00:01:09,040 --> 00:01:11,720 Speaker 1: and music recommendations, and of course we're gonna check out 20 00:01:11,720 --> 00:01:14,560 Speaker 1: your text, your DMS, your emails. So come on, everybody, 21 00:01:14,840 --> 00:01:32,960 Speaker 1: let's party Earlier this week in your Hollywood Land Feed, 22 00:01:33,080 --> 00:01:37,440 Speaker 1: you got our episode on Jody Foster, specifically about John 23 00:01:37,520 --> 00:01:40,440 Speaker 1: Hinckley Junior, the man who was obsessed with the movie 24 00:01:40,520 --> 00:01:44,280 Speaker 1: Taxi Driver, obsessed with the character of Travis Bickle played 25 00:01:44,280 --> 00:01:47,280 Speaker 1: by Robert de Niro, and most of all, obsessed with 26 00:01:47,400 --> 00:01:51,240 Speaker 1: Jody Foster, not only wanting to be with her, which 27 00:01:51,280 --> 00:01:53,600 Speaker 1: is already all kinds of gross because he was in 28 00:01:53,640 --> 00:01:57,080 Speaker 1: his twenties she was barely a teenager, but also wanting 29 00:01:57,120 --> 00:02:01,160 Speaker 1: to save her like Travis quote unquote saved her, saved 30 00:02:01,160 --> 00:02:04,160 Speaker 1: her in his mind that is in the film. Now. 31 00:02:04,160 --> 00:02:06,400 Speaker 1: I know that most of you have seen Taxi Driver. 32 00:02:06,920 --> 00:02:10,280 Speaker 1: We've talked about it before on this show Disgraceland as well, 33 00:02:10,720 --> 00:02:14,160 Speaker 1: But for those who haven't, this was Martin Scorsesei's fifth 34 00:02:14,280 --> 00:02:18,320 Speaker 1: full length feature film, written by Paul Schrader, in which 35 00:02:18,400 --> 00:02:20,799 Speaker 1: Travis Bickle, a guy can't sleep, a guy who is 36 00:02:20,840 --> 00:02:24,160 Speaker 1: this lonely outcast. He starts driving a cab in New 37 00:02:24,240 --> 00:02:26,520 Speaker 1: York City at night, and he descends into madness, a 38 00:02:26,520 --> 00:02:29,320 Speaker 1: madness which is reflected in the porn theaters and the 39 00:02:29,360 --> 00:02:32,680 Speaker 1: politicians and the wet city streets full of trash, pimps 40 00:02:32,680 --> 00:02:36,160 Speaker 1: and prostitutes that he's surrounded by. It's a little reductive, 41 00:02:36,200 --> 00:02:38,000 Speaker 1: I guess, but it's true. You know, he's a cab driver. 42 00:02:38,040 --> 00:02:40,120 Speaker 1: He feels alienated from the world around him, and eventually 43 00:02:40,200 --> 00:02:42,440 Speaker 1: he comes to the psychotic conclusion of what he can 44 00:02:42,480 --> 00:02:44,640 Speaker 1: do in order to make things better, to be the 45 00:02:44,800 --> 00:02:49,079 Speaker 1: quote unquote hero in a world that he sees lacking heroes, 46 00:02:49,120 --> 00:02:52,440 Speaker 1: and to do it by any means necessary. Paul Schrader, 47 00:02:52,520 --> 00:02:58,480 Speaker 1: the screenwriter, once said, quote characters like Travis are justified 48 00:02:58,639 --> 00:03:02,880 Speaker 1: by publicity unquote. That how when Lynette from Squeaky Frome 49 00:03:02,919 --> 00:03:05,320 Speaker 1: from the Manson Family, when she made the cover of 50 00:03:05,400 --> 00:03:09,959 Speaker 1: Newsweek magazine for attempting to assassinate President Ford, that by 51 00:03:10,040 --> 00:03:13,119 Speaker 1: doing that, by making that cover, she was therefore made important. 52 00:03:13,240 --> 00:03:15,920 Speaker 1: Didn't matter what she did to become important, if it 53 00:03:15,960 --> 00:03:19,720 Speaker 1: was good or bad, she was just important. I remember 54 00:03:20,560 --> 00:03:22,160 Speaker 1: watching this for the first time when I was in 55 00:03:22,200 --> 00:03:24,840 Speaker 1: high school and being, you know, first of all, being 56 00:03:24,880 --> 00:03:28,400 Speaker 1: shocked by the violence of the film, by the transgressive 57 00:03:28,480 --> 00:03:30,799 Speaker 1: nature of the film. But I think, what I like 58 00:03:30,919 --> 00:03:32,840 Speaker 1: so much about it, and I still like so much 59 00:03:32,840 --> 00:03:37,160 Speaker 1: about it, is how poetic it is. And just to 60 00:03:37,200 --> 00:03:40,240 Speaker 1: be clear, you know, poetic can be ugly. Poetic can 61 00:03:40,280 --> 00:03:44,080 Speaker 1: mean ugly. Poetic can can be disturbing, it can challenge us. 62 00:03:44,400 --> 00:03:46,520 Speaker 1: So I'm not using poetic as some sort of stand 63 00:03:46,560 --> 00:03:48,760 Speaker 1: in term for beautiful. Okay, so don't get that twisted. 64 00:03:48,760 --> 00:03:51,760 Speaker 1: But I find the film to be genuinely poetic and 65 00:03:51,800 --> 00:03:54,240 Speaker 1: how it shot, how it looks, how it feels. It 66 00:03:54,280 --> 00:03:56,320 Speaker 1: does have a plot, of course, it has a narrative, 67 00:03:56,360 --> 00:03:58,840 Speaker 1: but the plot is really driven by what is going 68 00:03:58,880 --> 00:04:01,960 Speaker 1: on in Travis his head, in the way that scarcese 69 00:04:02,160 --> 00:04:05,360 Speaker 1: renders this, the way he drops us directly into the 70 00:04:05,360 --> 00:04:08,120 Speaker 1: pov of Travis. You know, I'm not sure that I 71 00:04:08,160 --> 00:04:10,240 Speaker 1: had ever seen something like this, and I'm not sure 72 00:04:10,240 --> 00:04:12,520 Speaker 1: that I have sense there's a lot of imitators out 73 00:04:12,520 --> 00:04:15,720 Speaker 1: there and no duplicators. I can't think of another film 74 00:04:15,720 --> 00:04:18,960 Speaker 1: that mashes together crime and grime with a poetic sensibility 75 00:04:19,000 --> 00:04:22,200 Speaker 1: like this, and which then gives you this final product, 76 00:04:22,240 --> 00:04:27,680 Speaker 1: which feels both incredibly real but also dreamlike. Speaking of reactions, 77 00:04:27,720 --> 00:04:29,480 Speaker 1: you know, a lot of people had reactions to this 78 00:04:29,560 --> 00:04:32,159 Speaker 1: movie back in nineteen seventy six when it came out 79 00:04:32,839 --> 00:04:34,920 Speaker 1: a lot of people are still having reactions to this 80 00:04:35,000 --> 00:04:39,240 Speaker 1: movie today. Still discourse going on online and elsewhere about 81 00:04:39,240 --> 00:04:43,640 Speaker 1: this movie, especially now with this new Mister Scorsese series 82 00:04:43,680 --> 00:04:46,839 Speaker 1: that came out and the revelation of this story that 83 00:04:46,880 --> 00:04:51,080 Speaker 1: we told actually over in Disgraceland about the night that 84 00:04:51,680 --> 00:04:54,479 Speaker 1: Martin Scorsese hold himself up in his house and called 85 00:04:54,480 --> 00:04:56,680 Speaker 1: his other director friends to come over, and he had 86 00:04:56,720 --> 00:04:59,160 Speaker 1: a loaded gun and he wanted to he wanted to 87 00:04:59,200 --> 00:05:01,920 Speaker 1: shoot the Studi president for trying to take his film 88 00:05:01,920 --> 00:05:04,720 Speaker 1: away from him. The stories that we told in an 89 00:05:04,720 --> 00:05:06,479 Speaker 1: episode disgraced Land is sort of out there in the 90 00:05:06,480 --> 00:05:10,200 Speaker 1: world now via this new series. But no one's reaction 91 00:05:10,400 --> 00:05:13,000 Speaker 1: to this movie is as fucked up and disturbing as 92 00:05:13,120 --> 00:05:16,120 Speaker 1: the one that John Hinckley Junior had because he eventually 93 00:05:16,200 --> 00:05:20,240 Speaker 1: attempted to assassinate President Reagan due to this twisted obsession 94 00:05:20,240 --> 00:05:22,480 Speaker 1: with this movie. And again you can hear all about 95 00:05:22,520 --> 00:05:25,240 Speaker 1: that in this week's full episode of Hollywood Land. But 96 00:05:25,839 --> 00:05:28,559 Speaker 1: when Taxi Driver made its debut at the can Film 97 00:05:28,560 --> 00:05:32,680 Speaker 1: Festival in nineteen seventy six, many in the crowd were 98 00:05:32,720 --> 00:05:36,960 Speaker 1: prepared to hate it sight unseen because of its provocative nature, 99 00:05:37,240 --> 00:05:41,480 Speaker 1: and also because that provocative nature could be interpreted as 100 00:05:41,520 --> 00:05:45,000 Speaker 1: reckless because just one year prior, at the nineteen seventy 101 00:05:45,040 --> 00:05:49,480 Speaker 1: five can Film Festival, a two pound bomb exploded behind 102 00:05:49,520 --> 00:05:53,120 Speaker 1: the Cinema Palace, which is the primary venue there, on 103 00:05:53,279 --> 00:05:56,680 Speaker 1: the morning of the festival's opening day. Nobody was injured, 104 00:05:56,960 --> 00:05:59,599 Speaker 1: but two trucks were destroyed and it damaged the side 105 00:05:59,640 --> 00:06:02,160 Speaker 1: of the build. And I don't know that anyone who 106 00:06:02,160 --> 00:06:04,240 Speaker 1: was ever arrested for this, but apparently the group behind 107 00:06:04,279 --> 00:06:08,720 Speaker 1: it called themselves the People Struggle against the Perversion of Humanity, 108 00:06:10,400 --> 00:06:13,680 Speaker 1: which kind of reminds me of the Dragnet movie that 109 00:06:13,760 --> 00:06:16,480 Speaker 1: was made in the eighties with Dan Aykroyd and Tom Hanks, 110 00:06:16,480 --> 00:06:19,880 Speaker 1: and how Pagan stands for people against goodness and normality. 111 00:06:21,160 --> 00:06:22,440 Speaker 1: I don't know why they made me think of that, 112 00:06:22,480 --> 00:06:26,080 Speaker 1: but anyways, the People Struggle against the Perversion of humanity. 113 00:06:26,400 --> 00:06:30,000 Speaker 1: I can find very almost nothing about this group online. 114 00:06:30,960 --> 00:06:32,640 Speaker 1: Did a search for this before I came in to 115 00:06:32,680 --> 00:06:35,400 Speaker 1: the microphone today, and I literally cannot find anything else 116 00:06:35,440 --> 00:06:38,960 Speaker 1: beyond they're mentioned in an article about this. But the 117 00:06:38,960 --> 00:06:41,680 Speaker 1: festival did go on in nineteen seventy five, and you 118 00:06:41,720 --> 00:06:44,560 Speaker 1: know Cydebar here, it probably went on because not to 119 00:06:44,560 --> 00:06:47,480 Speaker 1: be too dismissive about the real and present dangers out 120 00:06:47,520 --> 00:06:49,520 Speaker 1: there in the world. But this was at a time 121 00:06:49,560 --> 00:06:53,160 Speaker 1: in which political and protest bombings were commonplace. You know, 122 00:06:53,480 --> 00:06:58,880 Speaker 1: you had outfits like the Weather Underground, the Symbionese Liberation Army. 123 00:06:59,480 --> 00:07:02,559 Speaker 1: They were literally setting off hundreds of bombs so during 124 00:07:02,960 --> 00:07:05,359 Speaker 1: the decade of the seventies. So I don't doubt that 125 00:07:05,400 --> 00:07:07,680 Speaker 1: it was easy to become a little immune to it all. 126 00:07:07,720 --> 00:07:10,600 Speaker 1: But at any rate, this happened. It had happened right 127 00:07:10,600 --> 00:07:12,760 Speaker 1: there at this spot Rate and Can, where they were 128 00:07:12,760 --> 00:07:15,480 Speaker 1: showing this film, and for that reason, many of the 129 00:07:15,520 --> 00:07:19,600 Speaker 1: festival goers nerves were completely shot. There was great anxiety 130 00:07:20,000 --> 00:07:22,320 Speaker 1: not only in seventy five, but again in seventy six 131 00:07:22,560 --> 00:07:25,960 Speaker 1: when here comes this American filmmaker with this movie that 132 00:07:26,040 --> 00:07:29,760 Speaker 1: has this extremely violent Dan Neumont at its center. And 133 00:07:29,840 --> 00:07:33,920 Speaker 1: for this reason, taxi driver was booed. It was booed 134 00:07:34,120 --> 00:07:37,960 Speaker 1: at Can. One of the film's producers, Michael Chapman, later 135 00:07:38,000 --> 00:07:40,000 Speaker 1: recalled that half of the audience was on their feet 136 00:07:40,080 --> 00:07:43,400 Speaker 1: cheering and the other half were booing. Can you imagine 137 00:07:43,400 --> 00:07:47,920 Speaker 1: this because of this is happening, Scorsese, de Niro, They're 138 00:07:47,960 --> 00:07:51,239 Speaker 1: all just like laying low in France while their film 139 00:07:51,320 --> 00:07:54,559 Speaker 1: was playing this festival just like staying in their hotel rooms, 140 00:07:54,600 --> 00:07:57,920 Speaker 1: because they were viewed by half of the people that 141 00:07:57,960 --> 00:08:00,680 Speaker 1: attended this festival at the half people want them there. 142 00:08:01,320 --> 00:08:04,560 Speaker 1: But you know what's really interesting about this movie? Quentin 143 00:08:04,560 --> 00:08:06,880 Speaker 1: Tarantino points this out in his He's Got a great 144 00:08:06,880 --> 00:08:09,480 Speaker 1: book called Cinema Speculation that came on a few years ago. 145 00:08:09,880 --> 00:08:12,560 Speaker 1: If you haven't read this, it's like part autobiography, part 146 00:08:12,600 --> 00:08:16,720 Speaker 1: film criticism. Tarantino gets into his life as a kid 147 00:08:17,160 --> 00:08:19,280 Speaker 1: and how he got into movies and the kinds of 148 00:08:19,320 --> 00:08:21,720 Speaker 1: movies he was watching as a kid, and then he 149 00:08:21,760 --> 00:08:23,800 Speaker 1: basically goes through a bunch of movies in the seventies 150 00:08:23,800 --> 00:08:28,160 Speaker 1: and breaks down some of his favorites, some expected, some unexpected. 151 00:08:28,680 --> 00:08:30,880 Speaker 1: In this book he talks about how tax Driver, in 152 00:08:30,880 --> 00:08:33,720 Speaker 1: a way, wasn't all that different from all these other 153 00:08:33,800 --> 00:08:37,000 Speaker 1: revenge movies that were all the rage at this time 154 00:08:37,400 --> 00:08:39,840 Speaker 1: in the nineteen seventies. Now, of course, tax Driver is 155 00:08:39,840 --> 00:08:42,400 Speaker 1: different than a lot of these. It was a deeper movie. 156 00:08:42,400 --> 00:08:44,040 Speaker 1: It was a better made movie. But what I mean, 157 00:08:44,240 --> 00:08:47,559 Speaker 1: what Tarantino means is that it's subject matter fits right 158 00:08:47,640 --> 00:08:51,840 Speaker 1: into this revenge movie vigilante trope. Right, you got movies 159 00:08:51,880 --> 00:08:54,640 Speaker 1: like Dirty Harry in nineteen seventy one with Clint Eastwood. 160 00:08:55,120 --> 00:08:57,600 Speaker 1: There was Walking Tall with Joe Don Baker in nineteen 161 00:08:57,640 --> 00:09:01,160 Speaker 1: seventy three. Of course Death Wish starring Charles Bronson in 162 00:09:01,200 --> 00:09:04,600 Speaker 1: nineteen seventy four. Sam Peckhampalm made one called The Killer 163 00:09:04,640 --> 00:09:07,600 Speaker 1: Elite with James Cohn and Robert Duval in seventy five, 164 00:09:07,920 --> 00:09:10,160 Speaker 1: and then in nineteen seventy six, Chris Christofferson started in 165 00:09:10,160 --> 00:09:13,520 Speaker 1: a movie called Vigilante Force. And so, as Tarantino points out, 166 00:09:13,520 --> 00:09:16,640 Speaker 1: despite the fact that Taxi Driver was an artier film 167 00:09:16,720 --> 00:09:18,760 Speaker 1: than any of those examples, despite the fact that it 168 00:09:18,800 --> 00:09:21,240 Speaker 1: won the Palm Door it can and got all these 169 00:09:21,280 --> 00:09:24,000 Speaker 1: great reviews and has now considered a classic, and it's 170 00:09:24,040 --> 00:09:27,520 Speaker 1: elevated all those other movies I've mentioned. At the time, 171 00:09:27,840 --> 00:09:31,520 Speaker 1: Columbia Pictures may have intended to produce simply another vigilante 172 00:09:31,559 --> 00:09:34,440 Speaker 1: revenge fantasy film that they could pair with a like 173 00:09:34,480 --> 00:09:37,120 Speaker 1: minded effort on a double feature bill, and they did 174 00:09:37,320 --> 00:09:40,200 Speaker 1: just that in nineteen seventy seven. They programmed it with 175 00:09:40,280 --> 00:09:43,520 Speaker 1: a movie called The Farmer, and they ran this as 176 00:09:43,559 --> 00:09:46,720 Speaker 1: a double feature in grindhouse theaters. And Tarantino talks about 177 00:09:46,720 --> 00:09:48,760 Speaker 1: how this is the way he first saw the movie 178 00:09:48,800 --> 00:09:50,960 Speaker 1: as part of that double feature with the Farmer, Which 179 00:09:51,000 --> 00:09:52,880 Speaker 1: is fascinating to me because when I first saw a 180 00:09:52,920 --> 00:09:55,840 Speaker 1: Taxi Driver, I was probably aware of death wish. I 181 00:09:55,880 --> 00:09:58,440 Speaker 1: know I was aware of death wish. I can visualize 182 00:09:58,240 --> 00:10:01,520 Speaker 1: the cover of that vide cassette at the video rental place, 183 00:10:01,520 --> 00:10:03,480 Speaker 1: when you're looking at the wall, there's Charles Bronson with 184 00:10:03,480 --> 00:10:06,080 Speaker 1: the gun on the front of that VHS box. But 185 00:10:06,760 --> 00:10:08,960 Speaker 1: never in a million years would I have lumped Taxi 186 00:10:09,040 --> 00:10:11,520 Speaker 1: Driver in with that. Nor was I aware at the 187 00:10:11,600 --> 00:10:14,760 Speaker 1: time that there was this whole string of vigilante films 188 00:10:14,760 --> 00:10:17,120 Speaker 1: from that time. I mean, I guess these have always 189 00:10:17,120 --> 00:10:19,000 Speaker 1: been a thing. You know. It's like the Jason Statham 190 00:10:19,400 --> 00:10:21,440 Speaker 1: Liam Neeson era we're living in right now, you know, 191 00:10:21,520 --> 00:10:25,360 Speaker 1: like the Beekeeper is in a way a spiritual descendant 192 00:10:25,360 --> 00:10:27,720 Speaker 1: of all these films, which, of course there all of 193 00:10:27,720 --> 00:10:31,320 Speaker 1: them are spiritual descendants of the granddaddy of vigilante revenge films, 194 00:10:31,320 --> 00:10:34,720 Speaker 1: The Searchers, on which Taxi Driver, for one, was based, 195 00:10:35,480 --> 00:10:39,160 Speaker 1: and the Searchers, you know, likewise is famously more than 196 00:10:39,200 --> 00:10:42,200 Speaker 1: just another Western just like Texti Drivers is more than 197 00:10:42,240 --> 00:10:44,920 Speaker 1: just another vigilanti movie. But what happens when the so 198 00:10:45,040 --> 00:10:48,479 Speaker 1: called vigilante justice that has delivered on screen is reflected 199 00:10:48,559 --> 00:10:52,000 Speaker 1: in real life? What happens then? In nineteen eighty one, 200 00:10:52,400 --> 00:10:56,120 Speaker 1: when John Hinckley Junior attempted to assassinate President Reagan, and 201 00:10:56,240 --> 00:10:59,120 Speaker 1: newspapers all over the country began asking the question, or 202 00:10:59,160 --> 00:11:02,840 Speaker 1: re asking the question, do the arts inspire violence in 203 00:11:02,920 --> 00:11:05,440 Speaker 1: real life? That's a headline from the New York Times 204 00:11:05,440 --> 00:11:08,360 Speaker 1: at the time. By the way, Paul Schrader had this 205 00:11:08,400 --> 00:11:10,880 Speaker 1: to say, this is a quote. It isn't the violence 206 00:11:10,880 --> 00:11:13,880 Speaker 1: that's the problem. It's the depth of the psychological portrait. 207 00:11:14,440 --> 00:11:18,120 Speaker 1: The only reason that man connected with that film is 208 00:11:18,120 --> 00:11:20,960 Speaker 1: that the pathology of the character was so accurate that 209 00:11:21,040 --> 00:11:23,600 Speaker 1: he identified with it. If you want to stop someone 210 00:11:23,640 --> 00:11:26,520 Speaker 1: from connecting with violence, either you can't portray criminals on 211 00:11:26,600 --> 00:11:29,600 Speaker 1: screen at all, so sick people won't identify with them, 212 00:11:29,800 --> 00:11:32,600 Speaker 1: or you can only do it two dimensionally so no 213 00:11:32,640 --> 00:11:36,280 Speaker 1: one can really get inside the character's head. I'll be 214 00:11:36,360 --> 00:12:07,040 Speaker 1: right back after this. Oh key dopey, we are back. 215 00:12:07,040 --> 00:12:09,240 Speaker 1: We got a lot of conversations going on with all 216 00:12:09,280 --> 00:12:11,200 Speaker 1: of you this week. Got a lot to get to, 217 00:12:11,320 --> 00:12:14,720 Speaker 1: So let's dive right in. Shall we Last week our 218 00:12:14,800 --> 00:12:19,400 Speaker 1: episode was on Humphrey Bogart and we got this email 219 00:12:19,440 --> 00:12:23,240 Speaker 1: in response from Jason. Jason writes, maybe I missed you 220 00:12:23,280 --> 00:12:25,920 Speaker 1: talking about it as I was making Chinese food while listening, 221 00:12:25,960 --> 00:12:29,520 Speaker 1: But you did mention he was not a physically tough guy. 222 00:12:29,559 --> 00:12:31,640 Speaker 1: But don't think you mentioned he was a very upper 223 00:12:31,679 --> 00:12:36,000 Speaker 1: middle class kid and was a baby model. That laugh 224 00:12:36,080 --> 00:12:39,400 Speaker 1: was mine and also Jason's. Jason goes on, so his 225 00:12:39,440 --> 00:12:42,360 Speaker 1: working class Joe persona was all great acting and created 226 00:12:42,360 --> 00:12:45,000 Speaker 1: by the Hollywood pr machine. When he was a struggling 227 00:12:45,000 --> 00:12:47,719 Speaker 1: Broadway actor, he usually played the young upper crust guy. 228 00:12:47,760 --> 00:12:50,240 Speaker 1: From what I understand, I read the great Eric lax 229 00:12:50,280 --> 00:12:52,800 Speaker 1: bio twenty years ago, so it's a bit fuzzy Jason 230 00:12:52,920 --> 00:12:56,200 Speaker 1: in the eight four five. Yeah, Jason, thank you so 231 00:12:56,280 --> 00:12:59,040 Speaker 1: much for the message. I think I read that Eric 232 00:12:59,120 --> 00:13:01,800 Speaker 1: lax bio. When I researched the episode, I read a few. 233 00:13:01,840 --> 00:13:04,640 Speaker 1: I did read one called Tough without a Gun, which 234 00:13:04,679 --> 00:13:07,520 Speaker 1: plays into what you're talking about. And you know, our 235 00:13:07,520 --> 00:13:10,520 Speaker 1: full episode on Humphrey Bogart is all about toughness, about 236 00:13:10,520 --> 00:13:13,719 Speaker 1: perceived toughness and the facade of toughness and I think 237 00:13:13,720 --> 00:13:15,960 Speaker 1: I got into the toughness at the core of his character, 238 00:13:16,920 --> 00:13:18,640 Speaker 1: but now I'm veering off a little too far into 239 00:13:18,679 --> 00:13:22,760 Speaker 1: Professor Lundie territory here, so while I'll stop. But I 240 00:13:22,800 --> 00:13:24,400 Speaker 1: either forgot or I didn't know that he was a 241 00:13:24,400 --> 00:13:28,320 Speaker 1: baby model, which is amazing. I'm visioning this little baby 242 00:13:28,360 --> 00:13:33,080 Speaker 1: with Bogart's adult grizzled face like the baby and who 243 00:13:33,120 --> 00:13:36,000 Speaker 1: framed Roger Rabbit like smoking a cigar, just saying lines 244 00:13:36,040 --> 00:13:38,720 Speaker 1: like you know, here's looking at you too, funny. Jason, 245 00:13:38,760 --> 00:13:42,320 Speaker 1: Thanks so much for reaching out and chiming in on that. Okay, 246 00:13:42,440 --> 00:13:45,280 Speaker 1: last week I talked about I was talking about watching 247 00:13:45,280 --> 00:13:49,920 Speaker 1: Trainspotting recently, and also about the great electronic group Underworld, 248 00:13:49,960 --> 00:13:53,119 Speaker 1: which has a couple of iconic songs on that soundtrack. 249 00:13:53,640 --> 00:13:55,480 Speaker 1: So I got this text from the five to three 250 00:13:55,559 --> 00:13:59,679 Speaker 1: to oh zeth Underworld. Wow. I was just mentioning them 251 00:13:59,760 --> 00:14:03,680 Speaker 1: last night in a nostalgic electronic music conversation. A friend 252 00:14:03,720 --> 00:14:06,920 Speaker 1: and I attended Moby's Area One festival at Shorelines, San 253 00:14:06,960 --> 00:14:10,720 Speaker 1: Francisco in two thousand and one. Paul Oakenfold the orb 254 00:14:10,920 --> 00:14:15,640 Speaker 1: Outcast New Order with Billy Corgan Moby Moore. What a 255 00:14:15,679 --> 00:14:18,520 Speaker 1: lineup that was it's time to visit some nineties electronic 256 00:14:18,600 --> 00:14:22,920 Speaker 1: music here. Thanks, Yeah, five three zero always a good 257 00:14:22,960 --> 00:14:26,160 Speaker 1: time for some nineties electronic music. You know, I've been 258 00:14:26,160 --> 00:14:30,520 Speaker 1: listening to so much Underworld when I write that my 259 00:14:30,640 --> 00:14:33,320 Speaker 1: year end wrap up listening habits on Apple Music. You 260 00:14:33,360 --> 00:14:35,160 Speaker 1: know when you get those the end of the year, 261 00:14:36,120 --> 00:14:38,400 Speaker 1: what you listen to the most on Spotify or Apple? 262 00:14:38,600 --> 00:14:40,800 Speaker 1: I use Apple, But when I get that at the 263 00:14:40,840 --> 00:14:42,880 Speaker 1: end of the year, like the songs I listened to that, 264 00:14:42,920 --> 00:14:47,080 Speaker 1: it's gonna be like two Underworld songs. Somebody looked at that, 265 00:14:47,080 --> 00:14:48,960 Speaker 1: they'd be like, wow, man, you're a huge Underworld fan. 266 00:14:49,120 --> 00:14:50,600 Speaker 1: It's just the best stuff to write to. And I 267 00:14:50,600 --> 00:14:53,160 Speaker 1: don't mean that in a dismissive way either, you know, 268 00:14:53,840 --> 00:14:55,280 Speaker 1: I don't know if they still do it. People used 269 00:14:55,280 --> 00:14:57,400 Speaker 1: to call out when you say, like, oh, that music 270 00:14:57,440 --> 00:15:00,880 Speaker 1: it's good for doing dishes too, or or that's music 271 00:15:00,880 --> 00:15:02,960 Speaker 1: for making dinner too, as if that was a bad thing. 272 00:15:03,400 --> 00:15:05,960 Speaker 1: Is this some sort of snobbish holdover from the days 273 00:15:05,960 --> 00:15:08,760 Speaker 1: when we would put on a record and put our 274 00:15:08,760 --> 00:15:10,480 Speaker 1: headphones on and sit down in front of the record 275 00:15:10,520 --> 00:15:13,080 Speaker 1: player or the stereo, the CD player or whatever. Follow 276 00:15:13,160 --> 00:15:15,720 Speaker 1: on the lyric sheet. That was the only way that 277 00:15:15,760 --> 00:15:19,560 Speaker 1: a true music lover could consume their music. Listen. I'm 278 00:15:19,560 --> 00:15:21,960 Speaker 1: an adult, I've got shit to do. Rarely do I 279 00:15:21,960 --> 00:15:25,280 Speaker 1: find myself able to indulge in the luxury of stopping 280 00:15:25,320 --> 00:15:27,200 Speaker 1: the world and focusing one hundred percent in the music 281 00:15:27,640 --> 00:15:30,680 Speaker 1: that I'm listening to. I'm driving, I'm unloading the dishwasher, 282 00:15:30,880 --> 00:15:33,800 Speaker 1: I'm cutting up veggies, I'm writing, and hell yeah, man, 283 00:15:33,800 --> 00:15:35,400 Speaker 1: I'm listening to music while I'm doing it. And that 284 00:15:35,440 --> 00:15:38,120 Speaker 1: ain't no diss. You know this five to three oh, 285 00:15:38,720 --> 00:15:41,320 Speaker 1: And I'm sorry that you set me off onto this 286 00:15:41,440 --> 00:15:44,240 Speaker 1: rant about doing stuff while you listen to music. But 287 00:15:44,280 --> 00:15:47,560 Speaker 1: that's my favorite thing about cooking dinner is put music 288 00:15:47,600 --> 00:15:49,800 Speaker 1: on while I do it. You also you mentioned New 289 00:15:49,880 --> 00:15:52,320 Speaker 1: Order with Billy Corgan, and I just got to say this. 290 00:15:52,400 --> 00:15:54,280 Speaker 1: That festival that show you went to must have been 291 00:15:54,320 --> 00:15:57,280 Speaker 1: around the time that New Order put out that record 292 00:15:57,320 --> 00:15:59,840 Speaker 1: that Billy Corgan is on. I think he co wrote 293 00:15:59,880 --> 00:16:01,480 Speaker 1: some of the songs on that. I forget the name 294 00:16:01,520 --> 00:16:04,600 Speaker 1: of that album, but the song Crystal from that is 295 00:16:04,600 --> 00:16:08,400 Speaker 1: one of the greatest New Order tracks ever. Man, so good. 296 00:16:08,440 --> 00:16:10,480 Speaker 1: I gotta go crank that after I finished recording, so 297 00:16:10,640 --> 00:16:12,520 Speaker 1: five oh three, thank you for the reminder. On that. 298 00:16:14,200 --> 00:16:17,280 Speaker 1: Last week, also, we were talking about what movie we 299 00:16:17,280 --> 00:16:21,240 Speaker 1: should remake with the Muppets in it over on Patreon. 300 00:16:21,880 --> 00:16:25,200 Speaker 1: Becky said Murder on the Orient Express with Kermit as 301 00:16:25,480 --> 00:16:29,760 Speaker 1: Hercule Poirot. Curtis said we should get us a Muppet 302 00:16:29,800 --> 00:16:32,320 Speaker 1: smoking in the bandit with Sam the Eagle as Buford 303 00:16:32,320 --> 00:16:36,720 Speaker 1: t Justice, and Christa Kaye said a knives out style? 304 00:16:36,760 --> 00:16:39,360 Speaker 1: Who done it? But you keep Daniel Craig in there 305 00:16:39,360 --> 00:16:41,360 Speaker 1: with the rest of the cast being Muppets. I love 306 00:16:41,400 --> 00:16:44,160 Speaker 1: all those ideas. Thank you so much. Also, we got 307 00:16:44,240 --> 00:16:46,600 Speaker 1: this text on the same subject from the eight four 308 00:16:46,640 --> 00:16:49,560 Speaker 1: to three, Hey guys, Charlie from the eight four to 309 00:16:49,560 --> 00:16:52,360 Speaker 1: three in Charleston, South Carolina, just listening to the most 310 00:16:52,360 --> 00:16:55,520 Speaker 1: recent episode awesome. By the way, Also, did you know 311 00:16:55,560 --> 00:16:57,840 Speaker 1: that in order to be allowed to make The Dark Crystal, 312 00:16:57,920 --> 00:17:00,880 Speaker 1: Jim Henson first had to agree to an other Muppet movie, 313 00:17:01,040 --> 00:17:04,560 Speaker 1: which just so happened to be The Great Muppet Caper. Charlie, 314 00:17:04,680 --> 00:17:08,199 Speaker 1: I did not know that particular piece of trivia. But 315 00:17:08,520 --> 00:17:11,119 Speaker 1: what I do know is that The Dark Crystal scared 316 00:17:11,160 --> 00:17:13,000 Speaker 1: the ever loving shit out of me when I was 317 00:17:13,000 --> 00:17:14,920 Speaker 1: a kid. I'm talking more than just the skecks he's 318 00:17:14,920 --> 00:17:18,120 Speaker 1: there the I'm talking about the oracle that one eye 319 00:17:18,160 --> 00:17:21,120 Speaker 1: she can take out. And the giant beetles. Jesus Christ, 320 00:17:21,160 --> 00:17:24,960 Speaker 1: those fucking beetles. Those freaked me out as much as 321 00:17:25,160 --> 00:17:27,240 Speaker 1: Job of the Hut freaked me out. Who I thought 322 00:17:27,320 --> 00:17:29,960 Speaker 1: one night was crawling up the exterior wall of our 323 00:17:30,000 --> 00:17:34,200 Speaker 1: house outside my bedroom window, coming to get me. Obviously 324 00:17:34,240 --> 00:17:37,399 Speaker 1: I did not fully understand the sedentary essence of Jaba 325 00:17:37,480 --> 00:17:39,320 Speaker 1: at the time, or I would have realized that him 326 00:17:39,359 --> 00:17:44,119 Speaker 1: scaling a wall was just physically impossible. This is before 327 00:17:44,160 --> 00:17:46,359 Speaker 1: I had Job of the Hut shampoo. Apparently, maybe it 328 00:17:46,400 --> 00:17:47,840 Speaker 1: was when I had Job of the Hut shampoo, and 329 00:17:47,840 --> 00:17:50,320 Speaker 1: this contributed to my fear. There was for all you 330 00:17:50,400 --> 00:17:52,040 Speaker 1: gen extras out there, if you remember, there was this 331 00:17:52,080 --> 00:17:56,640 Speaker 1: shampoo that was the bottle was Job of the Hut, 332 00:17:56,720 --> 00:17:58,679 Speaker 1: just like you know, laying there on the on the 333 00:17:58,880 --> 00:18:01,560 Speaker 1: on the floor as he want to do, and then 334 00:18:01,600 --> 00:18:04,240 Speaker 1: you'd screw off his head, you know, so it's like 335 00:18:04,280 --> 00:18:08,359 Speaker 1: this horizontal shape. But then you'd unscrew the head and 336 00:18:08,400 --> 00:18:11,439 Speaker 1: that's where the shampoo came out of. Anyways, let me know, 337 00:18:11,520 --> 00:18:13,879 Speaker 1: hit me up. Did you have job of that hut? Boo? 338 00:18:15,720 --> 00:18:17,840 Speaker 1: What did that smell like? I don't know. I can 339 00:18:17,880 --> 00:18:20,720 Speaker 1: only imagine. I don't know. Man, Am I scarred because 340 00:18:20,720 --> 00:18:22,160 Speaker 1: of all this shit that I saw as a kid? 341 00:18:22,200 --> 00:18:24,760 Speaker 1: Is that why we are the way we are? Charlie? 342 00:18:24,800 --> 00:18:27,600 Speaker 1: Let me know. Give me your input on this. Did 343 00:18:27,600 --> 00:18:29,720 Speaker 1: that stuff freak you out? Were you freaked out by 344 00:18:29,760 --> 00:18:32,360 Speaker 1: the dark crystal, by job of the hut? Or were 345 00:18:32,359 --> 00:18:34,720 Speaker 1: you cool with it? All? Right? Speaking of scary stuff, 346 00:18:34,800 --> 00:18:38,560 Speaker 1: let's do one more text here. This is from the 347 00:18:38,920 --> 00:18:41,760 Speaker 1: three one seven, but really the two eight. It's a 348 00:18:41,800 --> 00:18:44,919 Speaker 1: response to my thoughts about the new show Welcome to 349 00:18:45,000 --> 00:18:47,800 Speaker 1: darry hey Zeth. This is Lauren from the two o eight, 350 00:18:47,840 --> 00:18:50,200 Speaker 1: but with a three one seven area code. I can't 351 00:18:50,200 --> 00:18:53,200 Speaker 1: agree with you more about Welcome to Dairy. That opening 352 00:18:53,240 --> 00:18:56,119 Speaker 1: on Holy Birth was just too much for me. I 353 00:18:56,160 --> 00:18:58,239 Speaker 1: think that our minds have a much bigger impact on 354 00:18:58,280 --> 00:19:01,159 Speaker 1: how scary something can be. Going over the top like 355 00:19:01,200 --> 00:19:04,440 Speaker 1: that scene wasn't scary for me, just gross. I think 356 00:19:04,480 --> 00:19:07,000 Speaker 1: that's why Stephen King's books are better read than seen 357 00:19:07,119 --> 00:19:09,960 Speaker 1: on the screen. The Shining is an exception, maybe because 358 00:19:09,960 --> 00:19:11,960 Speaker 1: it does deviate from the book, and maybe because King 359 00:19:12,000 --> 00:19:14,119 Speaker 1: hated it when it came out. My two cents on that. 360 00:19:14,640 --> 00:19:17,800 Speaker 1: Thanks for doing what you do and always keeping me entertained. Hey, 361 00:19:18,200 --> 00:19:22,240 Speaker 1: l Laurien, you got it anytime. I appreciate you reaching 362 00:19:22,280 --> 00:19:24,800 Speaker 1: out and getting in touch. And I'm glad that I'm 363 00:19:24,840 --> 00:19:27,040 Speaker 1: not the only person who thinks that this show is 364 00:19:27,160 --> 00:19:29,879 Speaker 1: In the words of Jimmy stewart Off, it's not. I 365 00:19:29,880 --> 00:19:31,280 Speaker 1: think you've hit the nail on the head here. Though 366 00:19:31,280 --> 00:19:34,560 Speaker 1: I don't want gross, I want scary. There's so much 367 00:19:34,600 --> 00:19:37,200 Speaker 1: more power in what is not shown than what is shown. 368 00:19:37,720 --> 00:19:40,960 Speaker 1: That feeling of dread, of not knowing what's lurking around 369 00:19:40,960 --> 00:19:45,000 Speaker 1: the corner. It's so powerful, and there's this impulse, it's 370 00:19:45,000 --> 00:19:47,840 Speaker 1: a human impulse to want to know what that is, 371 00:19:47,960 --> 00:19:51,080 Speaker 1: what it looks like, why it's there. When the truly 372 00:19:51,119 --> 00:19:52,880 Speaker 1: scary shit is the shit that you just don't get 373 00:19:52,920 --> 00:19:55,879 Speaker 1: answers to. It's just it's just there. You can feel it, 374 00:19:55,920 --> 00:19:58,160 Speaker 1: you can sense it. You don't know why, you don't 375 00:19:58,200 --> 00:20:00,480 Speaker 1: know how. Anyway, sounds like we agree on the Stephen 376 00:20:00,520 --> 00:20:02,040 Speaker 1: King thing. I mean, I think most of my favorite 377 00:20:02,080 --> 00:20:05,399 Speaker 1: Stephen King adaptations are not the quote unquote scary books, 378 00:20:05,480 --> 00:20:07,840 Speaker 1: right and I'm I'm still so surprised that he did 379 00:20:08,040 --> 00:20:09,840 Speaker 1: dislike The Shining as much as he did. You know, 380 00:20:09,880 --> 00:20:12,919 Speaker 1: he didn't like Jack Nicholson in it. He thought Shelley 381 00:20:12,920 --> 00:20:16,640 Speaker 1: Devall's character just became a screaming mess, which I guess 382 00:20:16,720 --> 00:20:19,440 Speaker 1: she did. He thought the movie was cold, which I mean, 383 00:20:19,480 --> 00:20:23,320 Speaker 1: come man, all kuber movies are cold. Well, can't win 384 00:20:23,320 --> 00:20:26,520 Speaker 1: them all, Kenya Stanley, Speaking of Kubrick, I've got this 385 00:20:26,640 --> 00:20:29,840 Speaker 1: brand new four K criterion restoration of his film Barry 386 00:20:29,920 --> 00:20:33,440 Speaker 1: Lindon sitting on my TV stand, and it's waiting for 387 00:20:33,440 --> 00:20:36,000 Speaker 1: me to find three solid hours of my life that 388 00:20:36,040 --> 00:20:38,119 Speaker 1: I can carve out. Shut off all I want to 389 00:20:38,119 --> 00:20:40,679 Speaker 1: shut off all distractions. I don't want my phone near me. 390 00:20:40,760 --> 00:20:44,160 Speaker 1: I just want to be into this movie. It's the 391 00:20:44,200 --> 00:20:48,000 Speaker 1: only Kubrick film I've never seen, part of my effort 392 00:20:48,040 --> 00:20:50,320 Speaker 1: to catch up on a bunch of my movie blind spots. 393 00:20:50,760 --> 00:20:52,439 Speaker 1: I don't know if any of you out there have 394 00:20:52,920 --> 00:20:55,159 Speaker 1: seen this one or have any thoughts on it. If 395 00:20:55,200 --> 00:20:57,640 Speaker 1: you do, please let me know. I'm going to try 396 00:20:57,680 --> 00:21:01,520 Speaker 1: to see this before next week's after party. But more importantly, 397 00:21:01,520 --> 00:21:03,680 Speaker 1: I want to know what movie or TV show freaked 398 00:21:03,720 --> 00:21:05,719 Speaker 1: you out as a kid. What kept you up at 399 00:21:05,840 --> 00:21:08,800 Speaker 1: night the light on, making sure you kept all your 400 00:21:08,800 --> 00:21:11,520 Speaker 1: fingers and toes under the blanket, because if you didn't, 401 00:21:11,880 --> 00:21:14,240 Speaker 1: you know, Java or the skick Sees, they're going to 402 00:21:14,320 --> 00:21:16,360 Speaker 1: come and get you. I want to know. Six one 403 00:21:16,440 --> 00:21:20,000 Speaker 1: seven nine oh six six six three eight, call me, 404 00:21:20,359 --> 00:21:22,240 Speaker 1: leave me a voicemail, send me a text. You can 405 00:21:22,280 --> 00:21:26,120 Speaker 1: also email me at Disgrace lampod at gmail dot com. 406 00:21:26,359 --> 00:21:28,359 Speaker 1: While you're doing that, I want to take a quick break. 407 00:21:28,400 --> 00:21:45,200 Speaker 1: I'll be right back with some recommendations. Oh right, everybody, 408 00:21:45,200 --> 00:21:47,560 Speaker 1: Welcome back to the wrap parties. Zeth Lundy here once 409 00:21:47,600 --> 00:21:51,919 Speaker 1: again talking about what I've been watching, listening to, and reading. Okay, 410 00:21:51,960 --> 00:21:54,080 Speaker 1: so I'm not going to keep talking about Stephen King here, 411 00:21:54,119 --> 00:21:56,440 Speaker 1: but I need to real quick in order to set 412 00:21:56,520 --> 00:21:59,359 Speaker 1: up what why I watched what I watched this past week. 413 00:21:59,640 --> 00:22:02,199 Speaker 1: There's a new film adaptation of The Running Man that 414 00:22:02,280 --> 00:22:04,000 Speaker 1: just came out last week. I'm sure you all know 415 00:22:04,080 --> 00:22:06,160 Speaker 1: this Running Man, of course, is based on the Stephen 416 00:22:06,240 --> 00:22:09,480 Speaker 1: King novel. Technically it was written under his pseudonym Richard Backman. 417 00:22:09,800 --> 00:22:12,000 Speaker 1: They made a movie version of this first in the eighties, 418 00:22:12,080 --> 00:22:14,320 Speaker 1: right the eighties, early nineties, I think the eighties with 419 00:22:14,480 --> 00:22:17,240 Speaker 1: Arnold Schwarzeneger, but this new one stars Glenn Powell and 420 00:22:17,359 --> 00:22:20,040 Speaker 1: is directed by Edgar Wright, who is a favorite of mine. 421 00:22:20,760 --> 00:22:22,879 Speaker 1: So in preparation of going to see that on the 422 00:22:22,880 --> 00:22:25,919 Speaker 1: big screen, I wanted to revisit some of Edgar Wright's 423 00:22:25,920 --> 00:22:29,120 Speaker 1: films in advance. My favorite Eggar Wright, by the way, 424 00:22:29,160 --> 00:22:30,520 Speaker 1: I know you didn't ask what I'm going to tell 425 00:22:30,560 --> 00:22:33,760 Speaker 1: you is Baby Driver, which I know is some basic 426 00:22:33,800 --> 00:22:37,000 Speaker 1: bitch stuff because it's so obviously in my wheelhouse, as 427 00:22:37,000 --> 00:22:39,959 Speaker 1: I'm sure it isn't a lot of yours. Music is 428 00:22:40,040 --> 00:22:43,720 Speaker 1: the DNA of that film. The soundtrack, my god, it's 429 00:22:43,760 --> 00:22:47,280 Speaker 1: so incredible, so many genres, so many killer deep cuts. 430 00:22:47,280 --> 00:22:49,399 Speaker 1: It's like one of the best mixtapes of all time. 431 00:22:49,880 --> 00:22:52,280 Speaker 1: And speaking of cuts, every beat and every rhythm is 432 00:22:52,320 --> 00:22:55,199 Speaker 1: cut to the action that's happening visually. It is just 433 00:22:55,240 --> 00:22:58,200 Speaker 1: a masterpiece. If you have not seen Baby Driver, you've 434 00:22:58,280 --> 00:23:00,520 Speaker 1: got to check this out. It's such a great movie. 435 00:23:00,600 --> 00:23:02,640 Speaker 1: It hits all the things that we're interested in. It's 436 00:23:03,000 --> 00:23:06,200 Speaker 1: music is at its core. It's about a getaway driver 437 00:23:06,720 --> 00:23:10,200 Speaker 1: who has to listen to songs on his iPod while 438 00:23:10,240 --> 00:23:13,920 Speaker 1: he's doing the getaway driving. And so he chooses certain 439 00:23:13,960 --> 00:23:16,000 Speaker 1: songs in order to get himself in and out of 440 00:23:16,000 --> 00:23:19,360 Speaker 1: certain situations. And then the music just it's more than 441 00:23:19,440 --> 00:23:23,520 Speaker 1: just the getaway driving moments of the movie. It's throughout, 442 00:23:23,720 --> 00:23:27,399 Speaker 1: and the music is always mirroring what's going on, not 443 00:23:27,560 --> 00:23:29,800 Speaker 1: just in the story, in the narrative, but in the 444 00:23:29,840 --> 00:23:33,679 Speaker 1: frame of the film. And it's just so so infectious. 445 00:23:33,760 --> 00:23:37,720 Speaker 1: It's just it's the definition of infectious filmmaking. Check out 446 00:23:37,800 --> 00:23:41,879 Speaker 1: Baby Driver. Anyways, I did not rewatch Baby Driver. What 447 00:23:41,960 --> 00:23:43,919 Speaker 1: I wanted to do is go back to Edgar Wright's 448 00:23:43,960 --> 00:23:47,080 Speaker 1: Big Three, so to speak, his so called Cornetto trilogy, 449 00:23:47,520 --> 00:23:50,160 Speaker 1: the movies he made with Simon Pegg and Nick Frost, 450 00:23:50,240 --> 00:23:52,920 Speaker 1: and these, of course are Sean of the Dead, Hot 451 00:23:52,960 --> 00:23:56,120 Speaker 1: Fuzz in the World's End. I don't know if there 452 00:23:56,119 --> 00:23:58,800 Speaker 1: are any other movies that are quite like these, because 453 00:23:58,840 --> 00:24:00,640 Speaker 1: on the one hand, you could say that these are 454 00:24:00,720 --> 00:24:04,840 Speaker 1: send ups, parodies whatever of zombie films, of cop films, 455 00:24:04,840 --> 00:24:08,639 Speaker 1: of alien invasion films, respectively. But on the other hand, 456 00:24:08,920 --> 00:24:11,920 Speaker 1: they stand up as great zombie films, as great cop 457 00:24:11,960 --> 00:24:15,320 Speaker 1: films and alien invasion films in their own right. I mean, 458 00:24:15,359 --> 00:24:18,520 Speaker 1: they're funny as hell, but they also deliver horror film thrills, 459 00:24:18,600 --> 00:24:21,880 Speaker 1: cop film action, all that kind of stuff. Of course, 460 00:24:21,920 --> 00:24:24,760 Speaker 1: they've got bigger ideas than simple parody. You know, there 461 00:24:24,760 --> 00:24:27,600 Speaker 1: are films about the banality of modern life, about what's 462 00:24:27,640 --> 00:24:30,520 Speaker 1: really going on underneath the facade of small town life. 463 00:24:30,560 --> 00:24:33,840 Speaker 1: And again, did I mention they're funny. They're so funny. 464 00:24:34,359 --> 00:24:37,360 Speaker 1: There are these smash cuts and extreme zooms and stuff 465 00:24:37,440 --> 00:24:40,800 Speaker 1: on like boring police paperwork or just taking a piss 466 00:24:40,800 --> 00:24:42,480 Speaker 1: and getting ready to go to your boring job. You know. 467 00:24:42,520 --> 00:24:46,440 Speaker 1: In Hot Fuzz, these action movie making tropes are employed 468 00:24:47,119 --> 00:24:53,280 Speaker 1: to demonstrate extremely undramatic things like Simon Peg being reassigned 469 00:24:53,280 --> 00:24:55,600 Speaker 1: from a role in the city to a thankless job 470 00:24:55,720 --> 00:24:58,000 Speaker 1: in the country, in a place that has won Village 471 00:24:58,040 --> 00:24:59,720 Speaker 1: of the Year. I don't know how many times he 472 00:24:59,760 --> 00:25:02,200 Speaker 1: played like he's in one of these movies. He's in 473 00:25:02,280 --> 00:25:04,679 Speaker 1: Bad Boys Too, or Point Break, as the joke goes, 474 00:25:05,000 --> 00:25:07,720 Speaker 1: But the movie is playing along until the third act 475 00:25:07,760 --> 00:25:10,240 Speaker 1: when we are suddenly in that movie and it's just 476 00:25:10,280 --> 00:25:13,480 Speaker 1: an incredible payoff. I haven't rewatched The World's End yet, 477 00:25:13,520 --> 00:25:16,200 Speaker 1: but I did watch the other two. Sean is great, 478 00:25:16,240 --> 00:25:19,280 Speaker 1: but Hot Fuzz is still my favorite. The whole thing 479 00:25:19,359 --> 00:25:22,160 Speaker 1: just rips that that scene where Simon Pegg is sort 480 00:25:22,160 --> 00:25:26,959 Speaker 1: of simultaneously promoted and demoted by Martin Freeman, Steve Coogan 481 00:25:27,040 --> 00:25:31,160 Speaker 1: and Bill Knight is like peak British comedy, peak comedy. Also, 482 00:25:31,200 --> 00:25:33,159 Speaker 1: I keep forgetting to mention this, but I'm continuing to 483 00:25:33,200 --> 00:25:37,040 Speaker 1: watch Chair Company on HBO, which, speaking of comedy, is 484 00:25:37,080 --> 00:25:40,919 Speaker 1: Tim Robinson's bizarro comedy series about this guy who has 485 00:25:40,960 --> 00:25:42,840 Speaker 1: an accident at work and it causes him to descend 486 00:25:42,920 --> 00:25:47,000 Speaker 1: into this wild conspiracy rabbit hole. And the thing about 487 00:25:47,040 --> 00:25:51,560 Speaker 1: the show, besides having Tim Robinson's absolutely batshit sense of humor, 488 00:25:52,960 --> 00:25:55,919 Speaker 1: the humor is so great because the whole conceit of 489 00:25:55,960 --> 00:26:01,960 Speaker 1: the show is that this guy got embarrassed for He 490 00:26:02,040 --> 00:26:04,200 Speaker 1: got embarrassed at work because the chair he was sitting 491 00:26:04,240 --> 00:26:08,600 Speaker 1: him broke and he was so embarrassed that that embarrassment 492 00:26:08,640 --> 00:26:10,800 Speaker 1: turns into anger and he wants someone to sort of 493 00:26:10,840 --> 00:26:14,040 Speaker 1: like pay for it, so he starts to investigate the 494 00:26:14,080 --> 00:26:16,640 Speaker 1: company that made the chair, and it goes into this 495 00:26:16,840 --> 00:26:21,000 Speaker 1: fucking crazy I mean, that's it. So anyways, the other 496 00:26:21,040 --> 00:26:23,040 Speaker 1: thing about this show, besides this sense of humor, is 497 00:26:23,040 --> 00:26:24,840 Speaker 1: that you just you don't know where it's going to go. 498 00:26:25,320 --> 00:26:28,560 Speaker 1: I still haven't watched the latest episode, but the episode 499 00:26:28,560 --> 00:26:31,320 Speaker 1: from the previous week made that last point really clear. 500 00:26:31,400 --> 00:26:33,760 Speaker 1: I mean, if you guys saw that, you know I'm 501 00:26:33,800 --> 00:26:35,840 Speaker 1: talking about where that episode went at the end with 502 00:26:35,880 --> 00:26:38,760 Speaker 1: the Scrooge the Christmas Carol thing like, oh my god. 503 00:26:39,480 --> 00:26:41,240 Speaker 1: Matt here at Double Elvis, he and I talk about 504 00:26:41,240 --> 00:26:44,359 Speaker 1: the show every week. I don't know, Matt, I was 505 00:26:44,400 --> 00:26:46,399 Speaker 1: just thinking, when the show, when the season wraps up 506 00:26:46,400 --> 00:26:48,480 Speaker 1: in a week or two whenever that is, you should 507 00:26:48,480 --> 00:26:50,720 Speaker 1: come on the wrap party and we can like talk 508 00:26:50,760 --> 00:26:53,120 Speaker 1: about talk about it in detail. That could be fun 509 00:26:53,119 --> 00:26:54,479 Speaker 1: because you know, I don't know, Matt and I have 510 00:26:54,480 --> 00:26:57,239 Speaker 1: been friends for decades and this is right up our 511 00:26:57,280 --> 00:26:59,600 Speaker 1: alley as far as the ven diagram of things that 512 00:27:00,040 --> 00:27:02,080 Speaker 1: we both like, and it's the kind of shit we 513 00:27:02,160 --> 00:27:04,560 Speaker 1: used to watch and talk about to death back in 514 00:27:04,600 --> 00:27:07,840 Speaker 1: the day. So anyways, imitations there, man, and you know, 515 00:27:07,960 --> 00:27:10,639 Speaker 1: God bless whoever greenlit this thing, you know over at HBO, 516 00:27:10,760 --> 00:27:13,880 Speaker 1: stay weird, guys. What I've been reading. I'm still reading 517 00:27:13,960 --> 00:27:16,600 Speaker 1: Utopia Avenue by David Mitchell, but I had a hold 518 00:27:17,160 --> 00:27:20,159 Speaker 1: on Mark Ronson's new memoir The Library, and that came in, 519 00:27:20,240 --> 00:27:22,520 Speaker 1: so I had to take a brief detour from Utopia 520 00:27:22,560 --> 00:27:25,760 Speaker 1: Avenue over to read this one real quick. It's called 521 00:27:25,880 --> 00:27:28,320 Speaker 1: Night People, How to Be a DJ in nineties New 522 00:27:28,440 --> 00:27:31,320 Speaker 1: York City. You know Mark Ronson as the guy behind 523 00:27:31,359 --> 00:27:35,800 Speaker 1: I'm Just Ken from Barbie Uptown Funk with Bruno mars Amy, 524 00:27:35,840 --> 00:27:39,560 Speaker 1: Winehouse's Best Stuff, that great cover of Radioheads just featuring 525 00:27:39,680 --> 00:27:43,240 Speaker 1: Phantom Planet, the Apple TV series watched the sound My 526 00:27:43,359 --> 00:27:45,160 Speaker 1: son knows him as the guy who made his least 527 00:27:45,200 --> 00:27:48,160 Speaker 1: favorite Queens of the Stone Age album. But this book 528 00:27:48,320 --> 00:27:50,720 Speaker 1: is all about his origin story, so to speak, his 529 00:27:50,800 --> 00:27:53,159 Speaker 1: time coming up as a DJ, and so it's like 530 00:27:53,160 --> 00:27:56,320 Speaker 1: a coming of age stories set against this backdrop. I'm 531 00:27:56,320 --> 00:27:58,920 Speaker 1: halfway through it. It's going really fast, and it reminds 532 00:27:58,960 --> 00:28:01,639 Speaker 1: me a lot of reading the Beastie Boys book, and 533 00:28:01,720 --> 00:28:03,760 Speaker 1: you know how they were hanging out in dance Tyia 534 00:28:03,840 --> 00:28:06,159 Speaker 1: next to Madonna and everyone in the eighties. This is 535 00:28:06,240 --> 00:28:08,280 Speaker 1: kind of like the nineties version of that. It blows 536 00:28:08,320 --> 00:28:10,639 Speaker 1: me away the kinds of things that Mark Ronson had 537 00:28:10,720 --> 00:28:13,240 Speaker 1: access to as a teenager. The clubs he went to, 538 00:28:13,280 --> 00:28:15,320 Speaker 1: the people he rubbed elbows with, the drugs he did, 539 00:28:15,720 --> 00:28:19,120 Speaker 1: the scene that he inserted himself into. But more than that, 540 00:28:19,840 --> 00:28:22,639 Speaker 1: the thing I love about this book is how he 541 00:28:22,720 --> 00:28:25,320 Speaker 1: learned to do what he does. He talks a lot 542 00:28:25,320 --> 00:28:26,720 Speaker 1: about that. He talks a lot about how he learned 543 00:28:26,720 --> 00:28:29,000 Speaker 1: to mix records, how he learned to properly program that 544 00:28:29,119 --> 00:28:31,439 Speaker 1: night's set, what records to spend, and what to do 545 00:28:31,480 --> 00:28:34,600 Speaker 1: when you're losing the crowd. Maybe you've DJed, maybe you haven't. 546 00:28:34,640 --> 00:28:37,520 Speaker 1: But if you've made a playlist or you've made a mixtape, 547 00:28:37,560 --> 00:28:42,640 Speaker 1: it's a really great insight into the creativity of that process. 548 00:28:42,680 --> 00:28:45,520 Speaker 1: Super entertaining and by the way, for what it's worth, 549 00:28:45,600 --> 00:28:48,400 Speaker 1: it's the opposite of the New York City that we 550 00:28:48,560 --> 00:28:52,880 Speaker 1: see in Taxi Driver. Taxi Driver, I think scared me 551 00:28:52,960 --> 00:28:55,200 Speaker 1: off of like living in New York City ever, but 552 00:28:55,320 --> 00:28:57,280 Speaker 1: this this is the version of New York City that 553 00:28:57,320 --> 00:28:59,600 Speaker 1: I could actually be down with. What about you, guys, 554 00:28:59,920 --> 00:29:01,760 Speaker 1: You read Mark Ronson's book, You a big fan of 555 00:29:01,840 --> 00:29:04,200 Speaker 1: Edgar Wright, You gonna go see The Running Man? Hit 556 00:29:04,240 --> 00:29:06,520 Speaker 1: me up? Let me know your favorite quote? Uble quote 557 00:29:06,520 --> 00:29:10,240 Speaker 1: from Hot Fuzz six one seven nine oh six six 558 00:29:10,440 --> 00:29:13,880 Speaker 1: six three eight do that hop on the phone, and 559 00:29:14,240 --> 00:29:16,080 Speaker 1: while you're doing that, leaving me a voicemail. I'm just 560 00:29:16,120 --> 00:29:18,680 Speaker 1: gonna go grab a sip of water here and I'll 561 00:29:18,720 --> 00:29:45,640 Speaker 1: be right back in just a one momentom Well, all right, 562 00:29:45,920 --> 00:29:49,880 Speaker 1: all right, next week coming at you, We've got our 563 00:29:49,960 --> 00:29:53,920 Speaker 1: episode on Hugh Grant. You know Hugh Grant these days 564 00:29:54,000 --> 00:29:58,400 Speaker 1: as the patron saint of curmudgeonly British actors. Hugh just 565 00:29:58,440 --> 00:30:00,520 Speaker 1: don't give a fuck, and it's a beautiful to see, 566 00:30:00,560 --> 00:30:02,880 Speaker 1: whether it's you know, on the red carpet or as 567 00:30:02,880 --> 00:30:05,600 Speaker 1: an oompa lumpa and wonka. Okay, well, actually maybe that 568 00:30:05,640 --> 00:30:09,000 Speaker 1: wasn't such a beautiful thing to see. But listen, let 569 00:30:09,040 --> 00:30:10,720 Speaker 1: me tell you. Back in the day, when he was 570 00:30:10,760 --> 00:30:13,040 Speaker 1: just getting started as the leading man to end all 571 00:30:13,120 --> 00:30:16,160 Speaker 1: leading men, the rom com master our guy, h here 572 00:30:16,680 --> 00:30:19,320 Speaker 1: got himself into a bit of a pickle. You can 573 00:30:19,320 --> 00:30:21,200 Speaker 1: hear all about what led to his arrest in nineteen 574 00:30:21,240 --> 00:30:23,600 Speaker 1: ninety five and also to one of the most awkward 575 00:30:23,640 --> 00:30:27,760 Speaker 1: looking mug shots ever in next week's episode of Hollywood Land. 576 00:30:27,760 --> 00:30:30,600 Speaker 1: That's coming to you on Monday. And listen while I've 577 00:30:30,640 --> 00:30:33,680 Speaker 1: got you here, captive audience. You heard me talking earlier 578 00:30:33,680 --> 00:30:36,600 Speaker 1: about people chiming in over on Patreon, and if you're like, 579 00:30:36,600 --> 00:30:38,480 Speaker 1: what are you chiming in on Patreon? What are you 580 00:30:38,480 --> 00:30:41,240 Speaker 1: talking about? Maybe you're maybe you're a newer listener to 581 00:30:41,240 --> 00:30:44,840 Speaker 1: the show here, if you are welcome, stoked you are here. Listen. 582 00:30:44,880 --> 00:30:47,280 Speaker 1: We've got a thing going on over on Patreon and 583 00:30:47,320 --> 00:30:50,320 Speaker 1: also an Apple Podcasts. You can become a member of 584 00:30:50,400 --> 00:30:55,160 Speaker 1: Disgraceland All Access and that gets you ad free listening, 585 00:30:55,440 --> 00:30:57,640 Speaker 1: it gets you a lot of bonus content, and if 586 00:30:57,720 --> 00:31:00,680 Speaker 1: you join on Patreon, it gets you access to this 587 00:31:00,840 --> 00:31:03,760 Speaker 1: always on chat we've got going over there with all 588 00:31:03,840 --> 00:31:07,680 Speaker 1: you listeners. Jake Brennan's in that conversation. I'm in that conversation, 589 00:31:07,800 --> 00:31:09,640 Speaker 1: Matt who I was just talking about. We're all over there, 590 00:31:09,720 --> 00:31:12,080 Speaker 1: so listen. If you're interested, you want to become a 591 00:31:12,080 --> 00:31:13,760 Speaker 1: member of all Access, all you gotta do is go 592 00:31:13,800 --> 00:31:17,120 Speaker 1: to disgracelandpod dot com. All the information you need is 593 00:31:17,200 --> 00:31:21,080 Speaker 1: there to sign up. Okay, and with that, let's recap. 594 00:31:21,160 --> 00:31:24,040 Speaker 1: Shall we Number one available right now in your Hollywood 595 00:31:24,080 --> 00:31:27,800 Speaker 1: Land Feed. Our episode on Jody Foster, number two coming 596 00:31:27,840 --> 00:31:32,160 Speaker 1: next week on Monday, Our episode on h Grant number 597 00:31:32,160 --> 00:31:35,120 Speaker 1: three over in the Disgraced Land Feed, Our brand new 598 00:31:35,200 --> 00:31:38,360 Speaker 1: episode on Doctor John which is all about the origins 599 00:31:38,400 --> 00:31:41,040 Speaker 1: of the Good Doctor, origins which involve a shooting, a 600 00:31:41,120 --> 00:31:44,040 Speaker 1: federal prison and some voodoo healing. And then make sure 601 00:31:44,080 --> 00:31:46,440 Speaker 1: you also tune in to the after party over there 602 00:31:46,480 --> 00:31:49,760 Speaker 1: tomorrow on Thursday with My Guy, the Honorable Jake Brennan 603 00:31:49,800 --> 00:31:54,000 Speaker 1: Holding Court. And number four in honor of this week's episode, 604 00:31:54,360 --> 00:31:57,440 Speaker 1: me Reading You. The list of the top grossing films 605 00:31:57,640 --> 00:32:00,840 Speaker 1: from March nineteen eighty nine, the month that Jodie Foster 606 00:32:01,200 --> 00:32:04,360 Speaker 1: won the Academy Award for Best Actress for her role 607 00:32:04,520 --> 00:32:09,600 Speaker 1: in The Accused. Number one Lean On Me, directed by 608 00:32:09,680 --> 00:32:16,280 Speaker 1: John g Avildson. Number two rain Man, directed by Barry Levinson. 609 00:32:17,480 --> 00:32:22,320 Speaker 1: Number three, number Fletch Lives directed by Michael Richie Edward. 610 00:32:22,680 --> 00:32:26,040 Speaker 1: Number four Bill and Ted's excellent Adventureland in the Sun, 611 00:32:26,280 --> 00:32:32,080 Speaker 1: directed by Stephen Harrickson. Number five The Burbs directed directed 612 00:32:32,120 --> 00:32:36,080 Speaker 1: me by Joe Dante. Number number nine, Number six Skin 613 00:32:36,160 --> 00:32:44,160 Speaker 1: Besign Jers directed by Blake Edwards. Number Quit Talking and 614 00:32:44,360 --> 00:32:45,480 Speaker 1: Start Mixing.