1 00:00:03,000 --> 00:00:05,400 Speaker 1: Welcome to Stuff to Blow Your Mind production of My 2 00:00:05,480 --> 00:00:15,319 Speaker 1: Heart Radio. Hey, welcome to Weird House Cinema. This is 3 00:00:15,440 --> 00:00:18,680 Speaker 1: Rob Lamb and I'm Joe McCormick. And today we're entering 4 00:00:18,800 --> 00:00:25,240 Speaker 1: door if Topia because today's film is the ninety fire 5 00:00:25,280 --> 00:00:30,000 Speaker 1: themed horror movie Spontaneous Combustion, directed by Toby Hooper. And 6 00:00:30,040 --> 00:00:32,199 Speaker 1: I'm so excited about this one because this is one 7 00:00:32,280 --> 00:00:35,240 Speaker 1: that that I watched a long time ago, back when 8 00:00:35,240 --> 00:00:38,519 Speaker 1: we were doing those live stream of the trailer talk videos. 9 00:00:38,640 --> 00:00:40,960 Speaker 1: And I don't remember what the context was. We were 10 00:00:41,000 --> 00:00:44,000 Speaker 1: talking about Pyrokinesis movies or something. We end up watching 11 00:00:44,000 --> 00:00:47,240 Speaker 1: fire Starter too. Ah yeah, I don't. I don't remember 12 00:00:47,240 --> 00:00:49,800 Speaker 1: exactly how we happened upon it. Maybe we were celebrating 13 00:00:49,840 --> 00:00:52,680 Speaker 1: Toby Hooper in general. I'm not sure. That might have 14 00:00:52,680 --> 00:00:55,400 Speaker 1: been around the time that he had passed. Oh yeah, 15 00:00:55,840 --> 00:00:57,920 Speaker 1: but but but yeah, it was. It's it's fun to 16 00:00:58,000 --> 00:01:01,160 Speaker 1: come back to this one. My my inspiration for this 17 00:01:01,520 --> 00:01:03,280 Speaker 1: was I just I just got it really excited about 18 00:01:03,320 --> 00:01:06,360 Speaker 1: Brad Dorrith Pictures, and so I came to you and 19 00:01:06,400 --> 00:01:08,560 Speaker 1: I said, Hey, what what do you think we could 20 00:01:08,560 --> 00:01:12,560 Speaker 1: do Graveyard Shift, We could do Wise Blood, we could 21 00:01:12,600 --> 00:01:17,280 Speaker 1: do spontaneous combustion. We ended up deciding on some spontaneous combustion. 22 00:01:17,280 --> 00:01:20,560 Speaker 1: But I watched all three this week anyway, so I'll 23 00:01:20,640 --> 00:01:22,600 Speaker 1: refer back to those since those are those are fresh 24 00:01:22,680 --> 00:01:25,399 Speaker 1: on my mind. But yeah, I'm excited to revisit this 25 00:01:25,440 --> 00:01:28,399 Speaker 1: one and just to talk about Brad Dorriff in general, 26 00:01:28,800 --> 00:01:31,640 Speaker 1: because I think he's he's one of the more amazing 27 00:01:31,800 --> 00:01:36,440 Speaker 1: weird actors, uh, of earlier of that we have today 28 00:01:36,760 --> 00:01:39,440 Speaker 1: that's still working today, of certainly of of recent decades. 29 00:01:39,880 --> 00:01:42,200 Speaker 1: I think I would I would be tempted to compare 30 00:01:42,280 --> 00:01:45,800 Speaker 1: him to Peter lorii uh to a certain extent. I 31 00:01:45,800 --> 00:01:49,800 Speaker 1: mean they're not, you know, not not a similar physical presence, 32 00:01:49,800 --> 00:01:53,280 Speaker 1: but in terms of actors who were capable of creating 33 00:01:53,280 --> 00:01:57,760 Speaker 1: a certain weird aura, were drawn to weird parts and 34 00:01:57,880 --> 00:02:00,320 Speaker 1: we're able to really bring them alive on screen. But 35 00:02:00,360 --> 00:02:02,440 Speaker 1: so you've watched all three of these movies and what 36 00:02:02,520 --> 00:02:05,040 Speaker 1: the last like forty eight hours, so you're you're grail 37 00:02:05,240 --> 00:02:08,840 Speaker 1: overflow with with dorif juice right now. Yeah. I was 38 00:02:08,840 --> 00:02:11,400 Speaker 1: pretty lucky to have to take my automobile to the 39 00:02:11,400 --> 00:02:14,560 Speaker 1: shop two days in a row, and for whatever reason, 40 00:02:14,600 --> 00:02:17,720 Speaker 1: the lounge there was just the perfect place to watch 41 00:02:17,760 --> 00:02:20,240 Speaker 1: Brad Dorriff movies as opposed to doing any kind of 42 00:02:20,280 --> 00:02:24,560 Speaker 1: like rigorous research instead of reading what kind of magazines 43 00:02:24,639 --> 00:02:27,639 Speaker 1: they gotten there? They don't have any magazines. It's all. 44 00:02:27,639 --> 00:02:30,000 Speaker 1: It's a it's a brand new facility, so this is 45 00:02:30,400 --> 00:02:33,480 Speaker 1: it was like being in a brand new airport. I 46 00:02:33,560 --> 00:02:37,200 Speaker 1: just had TV screens and stack machines and no magazines. Well, 47 00:02:37,240 --> 00:02:38,960 Speaker 1: that sounds like a barren waste. I'm glad you were 48 00:02:39,000 --> 00:02:41,880 Speaker 1: able to bring Brad Doriff with you. But but we 49 00:02:41,880 --> 00:02:44,440 Speaker 1: should also not ignore the fact that once again, this 50 00:02:44,520 --> 00:02:47,680 Speaker 1: is a film that was directed by Toby Hooper, and 51 00:02:47,760 --> 00:02:50,600 Speaker 1: yet most people, probably even most horror fans, have never 52 00:02:50,680 --> 00:02:53,320 Speaker 1: heard of this movie. Uh and so this is actually 53 00:02:53,320 --> 00:02:55,960 Speaker 1: one of my favorite kinds of movies to talk about 54 00:02:56,080 --> 00:03:00,400 Speaker 1: the bizarre, lesser known works of somebody who is amos 55 00:03:00,440 --> 00:03:04,160 Speaker 1: for other stuff. Now, I think it's undeniable that Toby 56 00:03:04,200 --> 00:03:07,800 Speaker 1: Hooper was one of the most revered and influential horror 57 00:03:07,840 --> 00:03:10,359 Speaker 1: filmmakers of all time. You know you've got He made 58 00:03:10,360 --> 00:03:14,480 Speaker 1: The Texas Chainsaw Massacre, which the influence of that movie 59 00:03:14,520 --> 00:03:17,280 Speaker 1: on the generation of horror movies that followed really cannot 60 00:03:17,280 --> 00:03:21,120 Speaker 1: be overstated, but he was also very versatile as a filmmaker, 61 00:03:21,240 --> 00:03:24,360 Speaker 1: so he made that, But he also made Poultergeist. And 62 00:03:24,400 --> 00:03:27,280 Speaker 1: it's really hard to think of two horror movies more 63 00:03:27,400 --> 00:03:30,480 Speaker 1: different in style and tone than those two. But they 64 00:03:30,480 --> 00:03:33,200 Speaker 1: were certainly very, very influential, and I feel like each 65 00:03:33,240 --> 00:03:38,160 Speaker 1: one had its its impact generationally. You know, like people 66 00:03:38,200 --> 00:03:41,640 Speaker 1: older than me, we're very much in the blast zone 67 00:03:41,720 --> 00:03:44,960 Speaker 1: of of the original TCM, whereas I I was just 68 00:03:45,040 --> 00:03:47,480 Speaker 1: old enough to be in the blast zone of Poultergeist. 69 00:03:48,240 --> 00:03:50,640 Speaker 1: So so I was I was more scarred by poulter 70 00:03:50,680 --> 00:03:53,280 Speaker 1: Geist and then came to appreciate a Texas chainsaw massacre 71 00:03:53,320 --> 00:03:55,440 Speaker 1: at a later point. But it's funny because I think 72 00:03:55,600 --> 00:03:59,440 Speaker 1: this movie combines elements of both. So Texas Chainsaw Massacre 73 00:03:59,560 --> 00:04:04,480 Speaker 1: is shocking, brutal, disgusting. In terms of cinematography, it's very 74 00:04:04,520 --> 00:04:10,279 Speaker 1: cold and detached. People often compare it cinematography to documentary filmmaking, 75 00:04:10,600 --> 00:04:14,160 Speaker 1: while Poultergeist is is almost in the Spielberg ea zone. 76 00:04:14,320 --> 00:04:18,800 Speaker 1: It's warm, familiar, lived in almost kind of sentimental um. 77 00:04:18,800 --> 00:04:21,839 Speaker 1: It has that that suburban you know, bikes on the 78 00:04:21,880 --> 00:04:25,680 Speaker 1: sidewalks at dusk, kind of Spielberg thing. Going on, Yeah, 79 00:04:25,720 --> 00:04:29,040 Speaker 1: Craig T. Nelson throwing his TV out to the sidewalk. 80 00:04:29,240 --> 00:04:31,040 Speaker 1: But so you've got those two movies and then you've 81 00:04:31,040 --> 00:04:34,640 Speaker 1: got Spontaneous Combustion released in nineteen nine, so this would 82 00:04:34,680 --> 00:04:38,679 Speaker 1: have been eight years after Poultergeist, starring the Wild Eyed 83 00:04:38,880 --> 00:04:42,760 Speaker 1: jack Rabbit virtuoso Brad Dorriff as a man who cannot 84 00:04:42,839 --> 00:04:46,080 Speaker 1: stop setting things on fire with his brain. Yeah, and 85 00:04:46,279 --> 00:04:49,800 Speaker 1: and we'll talk about about Dora that length, because I 86 00:04:49,800 --> 00:04:51,720 Speaker 1: think one of the great things about this film is 87 00:04:51,760 --> 00:04:54,440 Speaker 1: that it it does present something of a showcase for 88 00:04:54,520 --> 00:04:57,520 Speaker 1: Brad Dorriff. That's not to say that that this is 89 00:04:57,520 --> 00:05:01,640 Speaker 1: a perfect film or that his character arc is perfectly structured, 90 00:05:02,040 --> 00:05:05,360 Speaker 1: but you get to see a fair amount of range 91 00:05:05,440 --> 00:05:07,880 Speaker 1: from him in this. You get to see him play 92 00:05:07,920 --> 00:05:10,360 Speaker 1: a serious and relatable human being. You get to see 93 00:05:10,440 --> 00:05:14,760 Speaker 1: him dealing with just extreme outbursts of emotion and by 94 00:05:14,800 --> 00:05:17,240 Speaker 1: the end of the film essentially becoming a movie monster 95 00:05:17,320 --> 00:05:20,240 Speaker 1: as well. These are all things that he that he 96 00:05:20,240 --> 00:05:23,960 Speaker 1: has done, uh, you know sometimes in Isolation and other pictures, 97 00:05:24,520 --> 00:05:26,200 Speaker 1: but in this, yeah, he gets to do the whole thing. 98 00:05:26,560 --> 00:05:29,000 Speaker 1: I think it might be good to introduce this one 99 00:05:29,080 --> 00:05:31,400 Speaker 1: if you're cool with this by reading a short review 100 00:05:31,600 --> 00:05:34,960 Speaker 1: of the movie from film critic Tie Burr in Spin 101 00:05:35,120 --> 00:05:40,799 Speaker 1: in Okay. Burr writes, quote, no one makes bad movies 102 00:05:40,839 --> 00:05:45,120 Speaker 1: as deliriously entertaining as Toby Hooper, whose career continues at 103 00:05:45,200 --> 00:05:50,279 Speaker 1: spectacular downhill slide with spontaneous combustion. The man who reached 104 00:05:50,320 --> 00:05:53,160 Speaker 1: a genre peak with the Texas Chainsaw Massacre and a 105 00:05:53,160 --> 00:05:57,800 Speaker 1: commercial peak with Poltergeist now offers this completely incoherent tale 106 00:05:57,839 --> 00:06:01,599 Speaker 1: of David Bell twitchingly play by Brad Duriff, the son 107 00:06:01,640 --> 00:06:04,960 Speaker 1: of a couple subjected to radiation experiments in the fifties. 108 00:06:05,240 --> 00:06:09,560 Speaker 1: Apparently the tests lower the human bodies immunity to perfectly 109 00:06:09,680 --> 00:06:13,800 Speaker 1: natural spontaneous combustion, or, in the words of the German 110 00:06:13,880 --> 00:06:17,240 Speaker 1: scientist with an eye patch, the human body is the 111 00:06:17,279 --> 00:06:22,520 Speaker 1: most complex electrically spoked combustion engine Vinov, and that is 112 00:06:22,520 --> 00:06:25,680 Speaker 1: a quote directly from the film I checked. Burr continues 113 00:06:26,120 --> 00:06:29,560 Speaker 1: that means that whenever things get tense, Brad spouts flames 114 00:06:29,560 --> 00:06:32,360 Speaker 1: from his elbow. He can also make enemies burn up 115 00:06:32,360 --> 00:06:35,400 Speaker 1: over the phone. Spontaneous combustion is a lot of fun. 116 00:06:35,720 --> 00:06:38,279 Speaker 1: It's got far too many subplots, a nice sense of 117 00:06:38,320 --> 00:06:41,640 Speaker 1: paranoia effects that are both ikey and ridiculous, and it 118 00:06:41,720 --> 00:06:46,480 Speaker 1: moves too fast for logic beat that trauma. I gotta say, 119 00:06:46,520 --> 00:06:48,360 Speaker 1: I think I think Burr's kind of dead on here. 120 00:06:49,120 --> 00:06:52,919 Speaker 1: Um this I don't know, he manages to I. I 121 00:06:52,960 --> 00:06:56,440 Speaker 1: agree with him completely, and I also disagree with him. Okay, 122 00:06:56,800 --> 00:06:59,440 Speaker 1: so I'll cut Tie some slack because he's he's not 123 00:06:59,640 --> 00:07:02,320 Speaker 1: the kind of critic who is you know, just about 124 00:07:02,360 --> 00:07:04,960 Speaker 1: the art films. I looked. I looked into, like, well, 125 00:07:05,000 --> 00:07:09,280 Speaker 1: what he admires, and he does list Reanimator as as 126 00:07:09,320 --> 00:07:11,560 Speaker 1: one of his favorite films, quote one of the secret 127 00:07:11,560 --> 00:07:14,000 Speaker 1: best films in the nineties. So I can't I can't 128 00:07:14,080 --> 00:07:16,200 Speaker 1: argue with that. Like he he does have an appreciation 129 00:07:16,280 --> 00:07:19,880 Speaker 1: for the weird. But um, I mean, on one hand, 130 00:07:20,160 --> 00:07:22,840 Speaker 1: as I've said before, I feel like we've we've kind 131 00:07:22,880 --> 00:07:24,080 Speaker 1: of reached the point where I think we have to 132 00:07:24,120 --> 00:07:27,760 Speaker 1: rethink what we mean when we say bad movie. Um. 133 00:07:27,840 --> 00:07:31,160 Speaker 1: And then and then also, I've seen this this critique 134 00:07:31,200 --> 00:07:33,840 Speaker 1: a few different times. That's that spontaneous combustion doesn't make 135 00:07:33,880 --> 00:07:36,240 Speaker 1: any sense. Um, you know where that is, you know, 136 00:07:36,240 --> 00:07:39,240 Speaker 1: completely illogical. I don't think that's the case at all. 137 00:07:39,360 --> 00:07:44,200 Speaker 1: I I think it has Oh well, I can explain 138 00:07:44,240 --> 00:07:46,680 Speaker 1: the first I can explain aspects of it. It's just 139 00:07:46,720 --> 00:07:49,600 Speaker 1: not completely confusing. It has a kind of a train 140 00:07:49,640 --> 00:07:54,080 Speaker 1: wreck of of of a third act. But um, you know, um, 141 00:07:54,800 --> 00:07:56,320 Speaker 1: I don't know. Maybe maybe part of it is I'm 142 00:07:56,360 --> 00:08:02,080 Speaker 1: used to watching films that are, I don't know, logically challenged, 143 00:08:02,280 --> 00:08:04,320 Speaker 1: and I know that I need to bring my own 144 00:08:04,360 --> 00:08:06,680 Speaker 1: logic into it. I need to help unravel it a bit. 145 00:08:07,360 --> 00:08:10,000 Speaker 1: So I mean, it's it's it's basically one of these 146 00:08:10,040 --> 00:08:14,160 Speaker 1: stories of of a of an individual looking at his 147 00:08:14,200 --> 00:08:17,760 Speaker 1: own his own past, his own upbringing, and then on on, 148 00:08:18,120 --> 00:08:20,600 Speaker 1: you know, revealing the conspiracy of it all, and and 149 00:08:21,400 --> 00:08:23,120 Speaker 1: it will get into into what all that means in 150 00:08:23,160 --> 00:08:25,000 Speaker 1: the plot of this this film. But yeah, I don't 151 00:08:25,000 --> 00:08:30,160 Speaker 1: think it's completely illogical, um well, nor incoherent. I mean 152 00:08:30,200 --> 00:08:35,520 Speaker 1: it it's it's got its problems, but but complete incoherency 153 00:08:35,600 --> 00:08:37,839 Speaker 1: is is not one of them. Okay, well, I'm ready 154 00:08:37,840 --> 00:08:40,360 Speaker 1: to hear you preach its virtues. I have an open heart, 155 00:08:40,360 --> 00:08:42,680 Speaker 1: in an open mind. And by the way, no, I 156 00:08:42,679 --> 00:08:44,800 Speaker 1: mean I'm with Burr on the fact that this movie, 157 00:08:45,280 --> 00:08:48,840 Speaker 1: I mean, I think in some conventional senses my reaction was, well, yeah, 158 00:08:48,880 --> 00:08:51,800 Speaker 1: this is a bad movie, and that it has some uh, 159 00:08:52,240 --> 00:08:55,000 Speaker 1: elements of the plot just don't really gel together, and 160 00:08:55,040 --> 00:08:57,959 Speaker 1: it feels like multiple different movies sort of crammed together 161 00:08:58,040 --> 00:09:00,280 Speaker 1: as one, and it doesn't really embrace in of the 162 00:09:00,320 --> 00:09:03,959 Speaker 1: directions fully and I think there was a strange mismatch, 163 00:09:04,000 --> 00:09:06,760 Speaker 1: and just in terms of the raw sort of mechanics 164 00:09:06,760 --> 00:09:10,400 Speaker 1: of filmmaking, Like, in some ways this movie has some 165 00:09:10,559 --> 00:09:15,439 Speaker 1: like really good and effective set pieces and and special effects, 166 00:09:15,559 --> 00:09:18,320 Speaker 1: and in other cases it looks really cheap, like daytime 167 00:09:18,360 --> 00:09:22,160 Speaker 1: TV kind of stuff. Yeah, I guess here's my criteria 168 00:09:22,280 --> 00:09:25,120 Speaker 1: for for truly bad film in the in the sense 169 00:09:25,160 --> 00:09:26,600 Speaker 1: that it is bad and we're not just saying, oh 170 00:09:26,600 --> 00:09:29,319 Speaker 1: I love bad movies. Is can I drive it off 171 00:09:29,360 --> 00:09:32,120 Speaker 1: the lot? Does it? Does it function enough? Is there 172 00:09:32,240 --> 00:09:34,320 Speaker 1: something that is that is actually going to bring this 173 00:09:34,360 --> 00:09:38,480 Speaker 1: baby to a stop? Um? And you know, like for 174 00:09:38,520 --> 00:09:40,839 Speaker 1: an example, that would be something like like Trouble in Mind, 175 00:09:41,200 --> 00:09:43,560 Speaker 1: which is a film I watched in recent months, and 176 00:09:43,559 --> 00:09:46,720 Speaker 1: it has so many wonderful aspects of it, uh to it, 177 00:09:47,120 --> 00:09:49,560 Speaker 1: some some great performances in it, some great style, some 178 00:09:49,600 --> 00:09:53,280 Speaker 1: great music, but it has what was for me as 179 00:09:53,280 --> 00:09:56,680 Speaker 1: a viewer like a real tragic flaw and in the 180 00:09:56,760 --> 00:10:00,320 Speaker 1: establishment of one of its characters in his motivations, just 181 00:10:00,559 --> 00:10:04,200 Speaker 1: left me unable to drive this picture off the lot. 182 00:10:04,320 --> 00:10:06,679 Speaker 1: You know, this one's easy to drive. I mean, this 183 00:10:06,679 --> 00:10:09,840 Speaker 1: one will drive for you. This is a self driving car. Yeah, 184 00:10:10,120 --> 00:10:12,160 Speaker 1: So I guess that's how I tend. I tend to 185 00:10:12,200 --> 00:10:15,720 Speaker 1: look at things. Um. Likewise, there's some there's some perfectly 186 00:10:16,040 --> 00:10:19,520 Speaker 1: fine cinematic automobiles out there, and you know that there 187 00:10:19,640 --> 00:10:23,040 Speaker 1: they have all the parts, but they just they have 188 00:10:23,120 --> 00:10:27,160 Speaker 1: no momentum. For me. I can't drive him off the lot. So, uh, 189 00:10:27,200 --> 00:10:30,560 Speaker 1: that's that's where I fall in the matter. Fair enough now, 190 00:10:30,679 --> 00:10:33,840 Speaker 1: um it was to be fair though when it comes 191 00:10:33,840 --> 00:10:37,640 Speaker 1: to criticism, all this picture it's critics do include Brad 192 00:10:37,679 --> 00:10:41,959 Speaker 1: Dorriff himself. Um and and I like the way he 193 00:10:42,280 --> 00:10:45,200 Speaker 1: looked at it. Sometimes it's I think a little uh, 194 00:10:45,440 --> 00:10:46,920 Speaker 1: it can be a little more authentic, I guess to 195 00:10:47,080 --> 00:10:49,560 Speaker 1: you know, to look at from the inside out, you know. 196 00:10:50,040 --> 00:10:54,439 Speaker 1: Um and Uh. Dora apparently wasn't pleased with the final results. 197 00:10:54,440 --> 00:10:57,360 Speaker 1: He spoke about it in the edition of Fan Gloria. 198 00:10:58,120 --> 00:11:02,240 Speaker 1: There's an interview in that he cited on the IMDb page, 199 00:11:02,280 --> 00:11:04,480 Speaker 1: but we looked up the full interview as well, which 200 00:11:04,640 --> 00:11:07,880 Speaker 1: can be found at archive dot org. Uh, but but 201 00:11:08,040 --> 00:11:10,080 Speaker 1: I want to read what he had to say. He says, quote, 202 00:11:10,240 --> 00:11:12,160 Speaker 1: you see me playing my heart out and scenes that 203 00:11:12,200 --> 00:11:14,680 Speaker 1: are not working, and the reason they're not working is 204 00:11:14,760 --> 00:11:17,440 Speaker 1: that movie doesn't make sense. Okay, So so he would 205 00:11:17,440 --> 00:11:19,400 Speaker 1: agree that it does make it. I I disagree. I 206 00:11:19,440 --> 00:11:22,080 Speaker 1: think it makes a certain amount of sense. He says, 207 00:11:22,160 --> 00:11:24,440 Speaker 1: it's almost funny. As a matter of fact, the better 208 00:11:24,480 --> 00:11:26,200 Speaker 1: my acting was in some of the later scenes, the 209 00:11:26,200 --> 00:11:28,120 Speaker 1: funnier of the film was I found myself at the 210 00:11:28,120 --> 00:11:30,400 Speaker 1: mercy of people who didn't know what they were doing. 211 00:11:30,480 --> 00:11:32,600 Speaker 1: I probably shouldn't be saying this, but my feeling is 212 00:11:32,840 --> 00:11:35,840 Speaker 1: the producers destroyed it. Toby could have made three different 213 00:11:35,880 --> 00:11:38,520 Speaker 1: movies with the material he had, and each one would 214 00:11:38,520 --> 00:11:40,679 Speaker 1: have worked. But by the time he got it, it 215 00:11:40,720 --> 00:11:43,040 Speaker 1: had changed from a love story to a suspense thriller 216 00:11:43,040 --> 00:11:46,080 Speaker 1: about my character's paranoid fantasy, to a guy goes crazy 217 00:11:46,080 --> 00:11:48,840 Speaker 1: film about this insane killer who becomes a destructive force. 218 00:11:48,880 --> 00:11:51,440 Speaker 1: It's going to wipe out mankind. We went back and 219 00:11:51,520 --> 00:11:53,520 Speaker 1: kind of restructured it as a love story, but it 220 00:11:53,559 --> 00:11:56,040 Speaker 1: didn't really help. The beginning of the film was great, 221 00:11:56,200 --> 00:11:58,400 Speaker 1: and a certain portion of my stuff was fine, but 222 00:11:58,440 --> 00:12:01,040 Speaker 1: then it became stupid when all the stuff started out 223 00:12:01,520 --> 00:12:06,760 Speaker 1: and all the flame stuff. But uh, so I think 224 00:12:06,800 --> 00:12:09,680 Speaker 1: he's too hard on him on himself certainly, I think 225 00:12:09,960 --> 00:12:12,400 Speaker 1: I think Brad Dorff is great in parts of this 226 00:12:12,480 --> 00:12:17,800 Speaker 1: film and and is able to to do far more 227 00:12:18,000 --> 00:12:21,240 Speaker 1: with this part and tries far harder with this part 228 00:12:21,480 --> 00:12:25,120 Speaker 1: than a lot of other actors would have been capable of. Um. 229 00:12:25,200 --> 00:12:27,520 Speaker 1: But but he's also he's also right. The beginning is 230 00:12:27,520 --> 00:12:29,280 Speaker 1: is really really good, and I wonder what it might 231 00:12:29,280 --> 00:12:32,079 Speaker 1: have looked like had they actually had a coherent vision 232 00:12:32,120 --> 00:12:34,080 Speaker 1: for the picture, if they had like stuck to the 233 00:12:34,120 --> 00:12:37,200 Speaker 1: love story aspect. You know, well, to whatever extent there's 234 00:12:37,240 --> 00:12:40,680 Speaker 1: anything wrong with spontaneous combustion, it is not Brad Dorriff. 235 00:12:40,720 --> 00:12:43,000 Speaker 1: So I I don't I don't think anybody would say 236 00:12:43,000 --> 00:12:45,440 Speaker 1: that the problem with this movie is that Brad is 237 00:12:45,480 --> 00:12:48,600 Speaker 1: not up to par. Right, Like my elevator pitch for 238 00:12:48,640 --> 00:12:51,439 Speaker 1: this is it's a conspiracy movie, it's a love story, 239 00:12:51,520 --> 00:12:54,760 Speaker 1: it's a rage flick. It's it's all over the place, 240 00:12:54,840 --> 00:13:00,160 Speaker 1: and it has these extreme pivots and Brad Dorriff is 241 00:13:00,200 --> 00:13:03,000 Speaker 1: able to keep the car on the road at those pivots, 242 00:13:03,440 --> 00:13:08,760 Speaker 1: at those those extreme you know, turns uh to an 243 00:13:08,840 --> 00:13:13,319 Speaker 1: amazing degree. There's a towards the end, it's it's very difficult. 244 00:13:13,360 --> 00:13:15,240 Speaker 1: I think he probably you know, he does as well 245 00:13:15,280 --> 00:13:18,880 Speaker 1: as he can. But but yeah, the plot really veers 246 00:13:18,960 --> 00:13:21,120 Speaker 1: in the final act of this film. Can I give 247 00:13:21,240 --> 00:13:24,760 Speaker 1: my alternate elevator pitch? Okay, go for it. It's The 248 00:13:24,800 --> 00:13:30,200 Speaker 1: Incredible Hulk, except instead of green muscles, it's just fire. Yeah. 249 00:13:30,360 --> 00:13:33,160 Speaker 1: I think that's good. And you know what, I think 250 00:13:33,200 --> 00:13:37,160 Speaker 1: this is the concept here is ultimately better than The 251 00:13:37,160 --> 00:13:41,720 Speaker 1: Incredible Hulk because with with Hulk, his rage is both 252 00:13:41,960 --> 00:13:44,360 Speaker 1: a curse and uh in a in a superpower. It's 253 00:13:44,400 --> 00:13:47,560 Speaker 1: literally the way he defeats his enemies. And I think 254 00:13:47,600 --> 00:13:50,000 Speaker 1: one of the things that does work in this film 255 00:13:50,160 --> 00:13:53,199 Speaker 1: is that you have you do have some really terrifying 256 00:13:53,280 --> 00:13:58,040 Speaker 1: pyrotechnic u effects with with fire shooting out of people 257 00:13:58,200 --> 00:14:01,920 Speaker 1: and being digitally placed people. And then you have Dorris 258 00:14:01,920 --> 00:14:05,319 Speaker 1: performance which is as as he often isn't in films, 259 00:14:05,400 --> 00:14:09,280 Speaker 1: just very explosive and emotional. And so there is the 260 00:14:09,559 --> 00:14:12,480 Speaker 1: combined there is this element of just um, you know, 261 00:14:12,559 --> 00:14:18,800 Speaker 1: extreme emotional outburst. Um, in a way that is that 262 00:14:18,920 --> 00:14:22,360 Speaker 1: is uncontrollable, that is that is not beneficial, that cannot 263 00:14:22,400 --> 00:14:26,560 Speaker 1: be utilized, that can't be claimed as a positive attribute 264 00:14:26,600 --> 00:14:29,880 Speaker 1: of himself or controlled by other people. And um, and 265 00:14:29,920 --> 00:14:32,440 Speaker 1: I don't know, there's something about that that feels more authentic. 266 00:14:32,480 --> 00:14:37,320 Speaker 1: You know. It's like, this is the extreme emotion as 267 00:14:37,560 --> 00:14:41,720 Speaker 1: as a pure detriment as opposed to something that you 268 00:14:41,760 --> 00:14:43,800 Speaker 1: know is bad, but also is the way you defeat 269 00:14:43,840 --> 00:14:46,240 Speaker 1: the enemy like that the there is no defeating the 270 00:14:46,280 --> 00:14:49,400 Speaker 1: adversary using this superpower. Well, yeah, I agree with you 271 00:14:49,440 --> 00:14:52,520 Speaker 1: in spirit and the but he does in fact use 272 00:14:52,720 --> 00:14:55,880 Speaker 1: his his pyrokinesis to defeat the villains at the end 273 00:14:55,880 --> 00:14:58,720 Speaker 1: of the movie. Well, but not the way that doesn't 274 00:14:58,760 --> 00:15:01,440 Speaker 1: feel meaningful. I mean, not in a way that feels 275 00:15:01,480 --> 00:15:04,880 Speaker 1: meaningful and not in a way that it really redeems 276 00:15:04,920 --> 00:15:10,480 Speaker 1: his character, him and everyone around him. Yeah, should we 277 00:15:10,560 --> 00:15:14,640 Speaker 1: hit some trailer audio? Yeah, let's hear the trailer. Toby Hooper, 278 00:15:14,720 --> 00:15:19,200 Speaker 1: the director of Poltergeist, Toby Hooper, the modern master of 279 00:15:19,280 --> 00:15:25,960 Speaker 1: the maccabre, now brings you his greatest achievement In the 280 00:15:26,000 --> 00:15:32,240 Speaker 1: Spring of n Okay. Bryan Peggy very soon, Ready Ready, 281 00:15:34,280 --> 00:15:46,640 Speaker 1: A secret experiment began, an experiment that left one survivor perfect. 282 00:15:46,920 --> 00:15:50,960 Speaker 1: There's no size of radiation. Now the child has become 283 00:15:51,040 --> 00:15:58,200 Speaker 1: a man can live a slight favor a man who 284 00:15:58,240 --> 00:16:08,480 Speaker 1: doesn't know the secret of his pasked Spontaneous Combustion starring 285 00:16:08,480 --> 00:16:13,000 Speaker 1: Academy Award nominee Brad do Reef, Melinda Dylon, and Cynthia 286 00:16:13,040 --> 00:16:33,080 Speaker 1: Baine Damiel. Spontaneous Combustion wait to Actually haven't listened to 287 00:16:33,160 --> 00:16:35,560 Speaker 1: this thing? Does it have a good narrator voice? I 288 00:16:35,560 --> 00:16:38,040 Speaker 1: think it has a pretty good narrator voice. Yeah, in 289 00:16:38,080 --> 00:16:40,360 Speaker 1: a world where a man can call you on the 290 00:16:40,400 --> 00:16:45,000 Speaker 1: phone and make fire come out of your nose, it 291 00:16:45,080 --> 00:16:47,720 Speaker 1: does have some pretty good phone sequences right right up 292 00:16:47,720 --> 00:16:50,360 Speaker 1: there with which Freddie movie had the phone in it. 293 00:16:51,200 --> 00:16:53,440 Speaker 1: Freddie the first movie. I think a tongue comes out 294 00:16:53,480 --> 00:16:56,560 Speaker 1: of the phone. Okay, that was the original original nightmare 295 00:16:56,560 --> 00:16:59,080 Speaker 1: then okay, but it also this movie has a few 296 00:16:59,080 --> 00:17:01,840 Speaker 1: things in common with scanners, you know, and scanners. When 297 00:17:02,040 --> 00:17:04,320 Speaker 1: there's the part where he calls the computer on the 298 00:17:04,400 --> 00:17:08,000 Speaker 1: telephone and then reads the computer's mind. Oh yeah, I 299 00:17:08,000 --> 00:17:09,840 Speaker 1: mean that's that's something we have to keep in mind 300 00:17:09,880 --> 00:17:12,320 Speaker 1: with with psychic pictures is that, Yeah, we we often 301 00:17:12,320 --> 00:17:14,639 Speaker 1: hold Scanners up as a as a great example, but 302 00:17:14,680 --> 00:17:17,000 Speaker 1: I always always had a problem with with that, like cool, 303 00:17:17,040 --> 00:17:19,399 Speaker 1: why is his mind working on the computer? Why is 304 00:17:19,440 --> 00:17:23,359 Speaker 1: he able to psychically do computer things? But yeah, I agree, 305 00:17:23,400 --> 00:17:26,080 Speaker 1: I mean Scanners is great, but it also has parts 306 00:17:26,119 --> 00:17:36,760 Speaker 1: that do not make any sense. All right, Well, let's 307 00:17:36,760 --> 00:17:38,760 Speaker 1: talk about the people involved in this, so we'll get 308 00:17:38,760 --> 00:17:40,919 Speaker 1: back to door in a second, but first let's just 309 00:17:41,359 --> 00:17:45,560 Speaker 1: briefly discussed Toby Hooper, one more time director screenwriter on 310 00:17:45,600 --> 00:17:50,040 Speaker 1: this who live nine through and uh, yeah, he's probably 311 00:17:50,040 --> 00:17:54,639 Speaker 1: best remembered for ninety four is the Texas Chainsaw massacre. Um. 312 00:17:54,760 --> 00:17:57,720 Speaker 1: You often see this argument that his subsequent work like 313 00:17:57,840 --> 00:18:01,080 Speaker 1: never achieve that level, that even though even Poulter Guys 314 00:18:01,160 --> 00:18:03,840 Speaker 1: being a commercial hit was like was part of an 315 00:18:04,119 --> 00:18:08,200 Speaker 1: artistic descent. But you know, he he worked a lot. 316 00:18:08,359 --> 00:18:10,640 Speaker 1: He did a lot of TV and film projects, and 317 00:18:10,680 --> 00:18:12,960 Speaker 1: I think the quality is maybe up and down. I 318 00:18:12,960 --> 00:18:15,959 Speaker 1: think that's fair to say. But he put out stuff like, Uh, 319 00:18:16,600 --> 00:18:18,960 Speaker 1: in addition to Poulter guyst and TCMI did Life Force 320 00:18:19,000 --> 00:18:23,080 Speaker 1: Invaders from mars Um, Texas Chainsaw Masker, Too, which I 321 00:18:23,119 --> 00:18:26,359 Speaker 1: would argue is pretty close to pure genius. Texas Chainsaw 322 00:18:26,400 --> 00:18:30,399 Speaker 1: Masker two is a disgusting horror comedy. It's almost a 323 00:18:30,480 --> 00:18:33,439 Speaker 1: satirical reimagining of the first movie, kind of in the 324 00:18:33,440 --> 00:18:36,119 Speaker 1: way that, um, have you ever seen Evil Dead and 325 00:18:36,240 --> 00:18:39,679 Speaker 1: Evil Dead Too? You know, the similar relationship with Texas 326 00:18:39,720 --> 00:18:42,359 Speaker 1: Chainsaw and Texas Chainsaw Too. Yeah, I mean, I I 327 00:18:42,640 --> 00:18:45,600 Speaker 1: ultimately think t c M Too was was a great direction. 328 00:18:46,040 --> 00:18:48,960 Speaker 1: He seemed on some level to realize, Okay, we we 329 00:18:49,000 --> 00:18:51,720 Speaker 1: can't just reproduce what we did before, we need to 330 00:18:52,440 --> 00:18:57,119 Speaker 1: lean more into the grim gallows humor aspects of the 331 00:18:57,160 --> 00:19:00,280 Speaker 1: first film and creates something that takes on old really 332 00:19:00,440 --> 00:19:04,560 Speaker 1: a more comedic um air. Uh So yeah, TC him 333 00:19:04,760 --> 00:19:06,040 Speaker 1: is a lot of fun. That's one we could come 334 00:19:06,040 --> 00:19:09,080 Speaker 1: back to on the show because it's certainly weird now. Um. 335 00:19:09,520 --> 00:19:12,720 Speaker 1: The co screenwriter and this was Howard Goldberg born in 336 00:19:12,800 --> 00:19:16,520 Speaker 1: n not a ton of film writing credits. He'd written 337 00:19:16,640 --> 00:19:20,240 Speaker 1: apple Pie in Nive in a series of this is 338 00:19:20,280 --> 00:19:22,520 Speaker 1: kind of a series of vignettes I'm to understand with 339 00:19:22,640 --> 00:19:25,320 Speaker 1: kind of a secret wild life of Walter Middy kind 340 00:19:25,320 --> 00:19:28,760 Speaker 1: of vibe. Um. He wrote and directed it, and I 341 00:19:28,800 --> 00:19:30,439 Speaker 1: was looking at the people involved in it, and I 342 00:19:30,480 --> 00:19:34,720 Speaker 1: did notice it. Brother Theodore was in it. Yeah, well 343 00:19:34,760 --> 00:19:37,320 Speaker 1: your gods are dead and the rats are screaming. Yeah. 344 00:19:37,400 --> 00:19:39,399 Speaker 1: So I don't know if that comes that just virtue 345 00:19:39,400 --> 00:19:41,200 Speaker 1: of it being like a New York picture of that day, 346 00:19:41,320 --> 00:19:43,480 Speaker 1: or if you were filming out in the open in 347 00:19:43,560 --> 00:19:46,399 Speaker 1: New York, brother Theodore would just appear and start screaming. 348 00:19:46,440 --> 00:19:49,119 Speaker 1: I'm not sure which. He went on to write and 349 00:19:49,160 --> 00:19:53,080 Speaker 1: direct two more films, Eden in nineteen six and Jake 350 00:19:53,160 --> 00:19:57,840 Speaker 1: Squared and Eaton was part of a Sun Dance Institute fellowship. 351 00:19:58,359 --> 00:20:00,919 Speaker 1: Uh So, Goldberg's done quite a bit of work, some 352 00:20:00,920 --> 00:20:05,439 Speaker 1: commercial work, but also off Broadway musicals. So this, you know, 353 00:20:05,480 --> 00:20:07,520 Speaker 1: he did a lot more, but this seems to be 354 00:20:07,560 --> 00:20:11,679 Speaker 1: his only foray into paranormal thriller screenwriting. Okay, but I 355 00:20:11,720 --> 00:20:13,760 Speaker 1: think we need to get to the main attraction here. 356 00:20:13,840 --> 00:20:18,480 Speaker 1: What's the reason to watch spontaneous Combustion? It's Brad Dorriff baby, Yeah, 357 00:20:18,520 --> 00:20:22,199 Speaker 1: Brad Dorriff born nineteen fifty. Still still very active. It 358 00:20:22,240 --> 00:20:24,879 Speaker 1: seems like a guy who who works a lot. I 359 00:20:24,880 --> 00:20:26,639 Speaker 1: don't know if it's too much, that's that's not for 360 00:20:26,680 --> 00:20:29,640 Speaker 1: me to judge, but but he works a lot. He's 361 00:20:29,680 --> 00:20:32,639 Speaker 1: been in a lot of projects over the years. Um, 362 00:20:32,680 --> 00:20:35,199 Speaker 1: and he is. He is openly. I've seen him describe 363 00:20:35,240 --> 00:20:38,880 Speaker 1: himself in interviews as an odd duck who often gravitates 364 00:20:38,880 --> 00:20:42,800 Speaker 1: to disturbed and strange characters. Uh, and into a certain extent. 365 00:20:42,920 --> 00:20:46,159 Speaker 1: Is also you know, he's been so successful in certain 366 00:20:46,240 --> 00:20:49,600 Speaker 1: roles that people keep coming back and offering him those 367 00:20:49,640 --> 00:20:53,880 Speaker 1: parts too. Uh. But uh, he's able to bring these 368 00:20:53,920 --> 00:20:56,640 Speaker 1: weird characters to life in an amazing way. So he's 369 00:20:56,640 --> 00:20:59,280 Speaker 1: been in, He's been in great films and TV products. 370 00:20:59,400 --> 00:21:02,640 Speaker 1: He's been in he's been in heavily flawed films. Um, 371 00:21:02,720 --> 00:21:05,680 Speaker 1: he's been certainly been in worse films than this. You'll 372 00:21:05,720 --> 00:21:09,240 Speaker 1: find him an independent and international motion pictures. You'll find 373 00:21:09,280 --> 00:21:12,399 Speaker 1: him in major blockbusters. You'll find him in various horror 374 00:21:12,400 --> 00:21:16,040 Speaker 1: and sci fi films of just about every caliber. Did 375 00:21:16,119 --> 00:21:19,280 Speaker 1: you realize that this came out the same year as 376 00:21:19,359 --> 00:21:22,520 Speaker 1: The Exorcist three? Um? I think I didn't realize it 377 00:21:22,600 --> 00:21:26,160 Speaker 1: until I was reading that Fangoria interview, because I think 378 00:21:26,200 --> 00:21:28,720 Speaker 1: that was to promote Exorcist. And then they also asked 379 00:21:28,800 --> 00:21:33,080 Speaker 1: him about this picture. Oh okay, yeah, he now he 380 00:21:33,119 --> 00:21:37,000 Speaker 1: placed the Gemini killer right, and he's captivating in in 381 00:21:37,080 --> 00:21:40,280 Speaker 1: Exorcist three. Exorcist three is a movie that, um, you 382 00:21:40,359 --> 00:21:42,320 Speaker 1: might just assume if you haven't seen it, well, it's 383 00:21:42,359 --> 00:21:44,680 Speaker 1: the third sequel to a movie that did not need 384 00:21:44,720 --> 00:21:47,280 Speaker 1: a sequel at all, how could it be good? But actually, 385 00:21:47,320 --> 00:21:48,879 Speaker 1: I mean I haven't seen it in several years, but 386 00:21:48,920 --> 00:21:52,280 Speaker 1: I remember the Exorcist three actually being quite good. Yeah, 387 00:21:52,320 --> 00:21:54,320 Speaker 1: I think if I was to rewatch an Exorcist film, 388 00:21:54,320 --> 00:21:57,080 Speaker 1: it would be three. I think I think I've I've 389 00:21:57,160 --> 00:22:01,239 Speaker 1: I've done Exorcist Part one enough I would probably come 390 00:22:01,280 --> 00:22:03,359 Speaker 1: back for three. But yeah, Doriff is great in it 391 00:22:03,440 --> 00:22:07,080 Speaker 1: and is captivating. I would say that he is often 392 00:22:07,600 --> 00:22:10,360 Speaker 1: one off, if not the most captivating things about any 393 00:22:10,400 --> 00:22:13,080 Speaker 1: picture he's in, you know. I mean, sometimes he's in 394 00:22:13,119 --> 00:22:15,760 Speaker 1: there with a lot of talented and or weird actors 395 00:22:15,760 --> 00:22:18,600 Speaker 1: that are you know, competing for that that honor. But 396 00:22:19,280 --> 00:22:21,840 Speaker 1: there are numerous examples that come to mind where it's like, oh, yeah, 397 00:22:21,880 --> 00:22:23,760 Speaker 1: Brad Dorriff's in it. He will make you he will 398 00:22:23,800 --> 00:22:26,399 Speaker 1: make you remember his part if you forget everything else. 399 00:22:27,560 --> 00:22:29,880 Speaker 1: For the past couple of days, I just haven't been 400 00:22:29,920 --> 00:22:33,439 Speaker 1: able to think about anything really except Brad Dorriff leaving 401 00:22:33,480 --> 00:22:36,240 Speaker 1: the set of Lord of the Rings in character is 402 00:22:36,320 --> 00:22:39,359 Speaker 1: Grima worm Tongue to get lunch at Subway or something. 403 00:22:39,800 --> 00:22:43,520 Speaker 1: So he's going into the Starbucks and and they're writing 404 00:22:43,760 --> 00:22:46,879 Speaker 1: worm Tongue on the cop and oh, man did they 405 00:22:46,920 --> 00:22:48,760 Speaker 1: do that? Did they have to go to Starbucks? And no, 406 00:22:48,880 --> 00:22:50,520 Speaker 1: I don't know. I mean that'd be Oh. I guess 407 00:22:50,520 --> 00:22:52,960 Speaker 1: they probably had catering at the on the set, So 408 00:22:53,000 --> 00:22:55,640 Speaker 1: that really ruins my fantasy here. No, No, I think 409 00:22:55,640 --> 00:22:57,960 Speaker 1: the fantasy is still good if if it's like worm 410 00:22:57,960 --> 00:23:01,000 Speaker 1: Tongue going to catering, it's still still pretty craft services. 411 00:23:01,320 --> 00:23:03,000 Speaker 1: Oh did they have to address him as like, oh, 412 00:23:03,000 --> 00:23:06,399 Speaker 1: would you like another you know, chicken leg, mr, worm Tongue? 413 00:23:08,680 --> 00:23:11,080 Speaker 1: It would have been cool if if, if they if 414 00:23:11,119 --> 00:23:14,399 Speaker 1: they made sure that they had Middle Earth appropriate craft 415 00:23:14,440 --> 00:23:17,439 Speaker 1: services for everybody, So if you wanted to stay in character, 416 00:23:17,560 --> 00:23:19,840 Speaker 1: you could. You know, you're not gonna have mac and cheese, 417 00:23:19,840 --> 00:23:23,400 Speaker 1: You're gonna have traditional shire fair. I don't know. Wait 418 00:23:23,440 --> 00:23:25,680 Speaker 1: a minute, worm Tongue. Would he eat savory pies that 419 00:23:25,760 --> 00:23:29,680 Speaker 1: seems too warm and comforting to him? Yeah, it would 420 00:23:29,680 --> 00:23:32,800 Speaker 1: be well, I think eel would be I don't know 421 00:23:32,800 --> 00:23:35,280 Speaker 1: if they were you know, I I it's been a while. 422 00:23:35,320 --> 00:23:37,040 Speaker 1: I don't remember what they were eating, and it was 423 00:23:37,080 --> 00:23:40,520 Speaker 1: a gondour well no worm tongue was the advisor to 424 00:23:40,600 --> 00:23:45,119 Speaker 1: King theoden Atas of the horse lords of Rohan. Okay, 425 00:23:45,119 --> 00:23:48,199 Speaker 1: they were eating like horse cheese and stuff horse cheese? 426 00:23:48,320 --> 00:23:51,280 Speaker 1: Is that really? Maybe? I don't know, I don't remember 427 00:23:51,320 --> 00:23:53,159 Speaker 1: what they were eating it, and that it's been a 428 00:23:53,160 --> 00:23:55,560 Speaker 1: long time since I've read The Two Towers, but every 429 00:23:55,600 --> 00:24:00,520 Speaker 1: single meal surfeit of Lamprey's. Yeah, all right, well, let's 430 00:24:00,760 --> 00:24:04,040 Speaker 1: let's talk about Brad Dorriff. So he what does he 431 00:24:04,080 --> 00:24:07,160 Speaker 1: look like? He tends to have this rather gaunt look, um, 432 00:24:07,280 --> 00:24:10,240 Speaker 1: often a kind of boyish quality about him, especially for 433 00:24:10,359 --> 00:24:11,840 Speaker 1: I mean for really for the most of his career, 434 00:24:11,920 --> 00:24:16,919 Speaker 1: he able to be retained this kind of unnatural youthful um, 435 00:24:16,960 --> 00:24:21,160 Speaker 1: but also kind of sickly power at times. Um. And 436 00:24:21,680 --> 00:24:27,080 Speaker 1: he uh, his eyes are are generally very earnest and intense. Uh. 437 00:24:27,280 --> 00:24:28,679 Speaker 1: But but I don't want to limit it to just 438 00:24:28,720 --> 00:24:31,320 Speaker 1: his eyes, because he tends to really embody a character 439 00:24:31,359 --> 00:24:33,960 Speaker 1: when he plays it. Uh, you know, it's it's like 440 00:24:34,000 --> 00:24:37,960 Speaker 1: a full body possession. And his natural voice is this 441 00:24:38,080 --> 00:24:41,840 Speaker 1: kind of soft spoken um voice with a kind of 442 00:24:41,840 --> 00:24:45,640 Speaker 1: a slight West Virginian accent to it. But but he's 443 00:24:45,640 --> 00:24:48,080 Speaker 1: capable of taking on other other accents as well, and 444 00:24:48,119 --> 00:24:51,040 Speaker 1: can really also ramp it up. He can. He has 445 00:24:51,040 --> 00:24:53,040 Speaker 1: a has a lot of range in terms of his 446 00:24:53,359 --> 00:24:57,119 Speaker 1: his vocal performance totally. There was a fun bio published 447 00:24:57,240 --> 00:25:00,359 Speaker 1: in The Independent back in two thousand two titles Brad 448 00:25:00,400 --> 00:25:03,200 Speaker 1: Dora of how Weird is Brad? Which is a wonderful, 449 00:25:03,600 --> 00:25:08,280 Speaker 1: wonderful name, And it includes this wonderful quote he says, uh, quote, 450 00:25:08,320 --> 00:25:10,760 Speaker 1: give me a camera and a paycheck, and I'm there. 451 00:25:11,200 --> 00:25:13,320 Speaker 1: You start out reading the script and you say, I 452 00:25:13,359 --> 00:25:15,919 Speaker 1: don't know. Then as you're making it, you think, no, 453 00:25:16,080 --> 00:25:18,680 Speaker 1: this is really cool. I was wrong. Then you see 454 00:25:18,680 --> 00:25:20,800 Speaker 1: the movie and you're like, oh, forget it. You were 455 00:25:20,840 --> 00:25:24,240 Speaker 1: totally right at the start. This is a man after 456 00:25:24,320 --> 00:25:28,560 Speaker 1: our own hearts. Yeah, but I think it's also revealing, revealing, 457 00:25:28,600 --> 00:25:30,320 Speaker 1: like he seems to like when he when you're in 458 00:25:30,359 --> 00:25:33,240 Speaker 1: the part, you're in the part, you know, and uh, 459 00:25:33,240 --> 00:25:36,920 Speaker 1: it's it's a different situation than the finished piece. And ultimately, 460 00:25:36,920 --> 00:25:38,800 Speaker 1: I like, you're the actor. You don't have control over that. 461 00:25:38,920 --> 00:25:41,960 Speaker 1: All you have control over, Uh, is your own performance, 462 00:25:42,000 --> 00:25:44,440 Speaker 1: in your own interactions. I think this is actually key 463 00:25:44,440 --> 00:25:46,520 Speaker 1: to what makes him such a great actor, and especially 464 00:25:46,560 --> 00:25:49,320 Speaker 1: a lot of these sort of maybe lower grade genre movies, 465 00:25:49,400 --> 00:25:51,480 Speaker 1: like you never get the sense like he feels he's 466 00:25:51,520 --> 00:25:54,440 Speaker 1: too good for a part, even if the movie ends 467 00:25:54,520 --> 00:25:56,920 Speaker 1: up being bad or heavily flawed in some way, even 468 00:25:56,960 --> 00:25:59,920 Speaker 1: if the scenes he's acting out are ridiculous. He's commit 469 00:26:00,080 --> 00:26:02,840 Speaker 1: did He's there, He's in character, and you don't he's 470 00:26:02,880 --> 00:26:06,160 Speaker 1: not too cool to play the guy who's like elbows 471 00:26:06,160 --> 00:26:09,160 Speaker 1: are on fire and who's calling into a radio show 472 00:26:09,160 --> 00:26:12,560 Speaker 1: with like a psychic psychiatrist to make the call screener 473 00:26:12,720 --> 00:26:16,440 Speaker 1: erupt in flames. Yeah, yeah, totally. So he has I think, 474 00:26:16,640 --> 00:26:19,639 Speaker 1: uh a hundred and seventy three credits on IMDb right now, 475 00:26:19,720 --> 00:26:22,119 Speaker 1: and he's again been just acting for decades. I'm not 476 00:26:22,160 --> 00:26:24,040 Speaker 1: gonna list all of his credits here, but I thought 477 00:26:24,040 --> 00:26:26,800 Speaker 1: I might roll through some standouts and we can talk 478 00:26:26,840 --> 00:26:28,840 Speaker 1: a little bit about some of them as the spirit 479 00:26:28,920 --> 00:26:32,720 Speaker 1: hits us. So he was in One Flew Over the 480 00:26:32,720 --> 00:26:35,600 Speaker 1: Cuckoo's Nest, all right, He was Billy in that one. 481 00:26:36,160 --> 00:26:40,120 Speaker 1: YEA great great ensemble cast in that that picture for sure. Uh. 482 00:26:40,160 --> 00:26:43,360 Speaker 1: He In nineteen seventy nine, he was in Wise Blood, 483 00:26:43,560 --> 00:26:46,720 Speaker 1: playing the character Hazel Moats, which we were just talking about. 484 00:26:46,760 --> 00:26:49,080 Speaker 1: I've never seen this one, but I've I've heard that 485 00:26:49,080 --> 00:26:51,639 Speaker 1: it's great. So it's based on the Flannery O'Connor novel 486 00:26:51,720 --> 00:26:54,320 Speaker 1: and it was directed by John Houston. Wasn't it yep? 487 00:26:54,480 --> 00:26:57,840 Speaker 1: Directed by John Houston, and uh, yeah, it's I just 488 00:26:57,920 --> 00:27:02,680 Speaker 1: finished watching it this morning. It's it's weird, dark, unpleasant, 489 00:27:02,920 --> 00:27:07,480 Speaker 1: occasionally occasionally funny. It has some comedic scenes and uh, yeah, 490 00:27:07,520 --> 00:27:11,879 Speaker 1: Dora has just that great intensity in this. Coupled with this, 491 00:27:12,000 --> 00:27:13,479 Speaker 1: you know, again he's very young and then I think 492 00:27:13,480 --> 00:27:17,000 Speaker 1: he's twenty nine, and you know he looks even younger. Um, 493 00:27:17,119 --> 00:27:19,320 Speaker 1: but he's a yeah, he's a real live wire in this. 494 00:27:19,400 --> 00:27:21,359 Speaker 1: And on on top of that, you also have he 495 00:27:21,400 --> 00:27:24,480 Speaker 1: has scenes with Harry Dean Stanton, uh, numerous scenes with 496 00:27:24,520 --> 00:27:28,160 Speaker 1: Amy Right, who's wonderful in it, ned batty. William Hickey 497 00:27:28,720 --> 00:27:31,959 Speaker 1: shows up, Um, a younger William Hickey than I'm I'm 498 00:27:32,040 --> 00:27:34,639 Speaker 1: used to seeing, but but not youthful. I don't know 499 00:27:34,720 --> 00:27:40,400 Speaker 1: if a youthful William Hickey actually ever existed. That defies physics. Yeah, 500 00:27:40,400 --> 00:27:45,280 Speaker 1: but yeah, it's a wise Blood is certainly a Brad 501 00:27:45,359 --> 00:27:47,359 Speaker 1: Dorif picture that's often held up is a is a 502 00:27:47,400 --> 00:27:50,800 Speaker 1: truly great film like a uh not like a genre 503 00:27:50,920 --> 00:27:53,439 Speaker 1: film where you have a cool performance in it, but 504 00:27:53,240 --> 00:27:56,280 Speaker 1: a but a really solid motion picture. Uh and and 505 00:27:56,280 --> 00:27:58,840 Speaker 1: and I would agree with that with one caveat, and 506 00:27:58,880 --> 00:28:02,479 Speaker 1: that is that the music is occasionally really distracting. It 507 00:28:02,480 --> 00:28:06,680 Speaker 1: has this uh this kind of wacky semi electric hayseed 508 00:28:06,760 --> 00:28:10,360 Speaker 1: music playing at times, but only in the comedics sections, 509 00:28:10,400 --> 00:28:14,920 Speaker 1: not in the generally not in the dialogue driven interactions. Okay, 510 00:28:15,160 --> 00:28:17,320 Speaker 1: now wait a minute before we we can't forget to 511 00:28:17,359 --> 00:28:20,120 Speaker 1: mention Dune, right that the David Lynch Dune, the one 512 00:28:20,200 --> 00:28:23,280 Speaker 1: with the pug. Yeah, that's right. He plays uh the 513 00:28:23,320 --> 00:28:27,080 Speaker 1: twisted mint at Peter de Vry. Let's say, what is it, 514 00:28:27,160 --> 00:28:29,879 Speaker 1: Devrise Devise. I can't remember, however, I think it's maybe 515 00:28:29,920 --> 00:28:32,919 Speaker 1: Peter de Vries, but it looks like his name is 516 00:28:32,920 --> 00:28:37,639 Speaker 1: spelled like piter. Yeah. Yeah, yeah, yeah. So he has 517 00:28:37,680 --> 00:28:40,040 Speaker 1: the big bushy eyebrows like all the Mintet's and the 518 00:28:40,360 --> 00:28:44,480 Speaker 1: Lynch version vision of Dune. Uh yeah, yeah, he's he's 519 00:28:44,560 --> 00:28:46,720 Speaker 1: he's funny. It's not a huge part, he didn't last 520 00:28:46,760 --> 00:28:49,640 Speaker 1: that long. And of course he is surrounded by so 521 00:28:49,840 --> 00:28:55,120 Speaker 1: much weirdness and so many charismatic actors in that picture. Um, 522 00:28:55,160 --> 00:28:57,360 Speaker 1: you know, there's a lot to look at. And even 523 00:28:57,400 --> 00:29:00,920 Speaker 1: if that picture is ultimately flawed as well, I don't 524 00:29:01,000 --> 00:29:03,160 Speaker 1: know what flaws you're talking about. David Lynch is doing 525 00:29:03,320 --> 00:29:08,240 Speaker 1: is a perfect film. T The pacing is incredible, perfect. 526 00:29:09,760 --> 00:29:13,520 Speaker 1: So let's see six. He was in Blue Velvet. Um, 527 00:29:13,720 --> 00:29:16,360 Speaker 1: we have to mention, of course, he was in almost 528 00:29:16,400 --> 00:29:18,320 Speaker 1: all of the Child's Play movies. I mean, he is 529 00:29:18,440 --> 00:29:21,280 Speaker 1: the voice of Chucky. Um. Oh, is he even in 530 00:29:21,320 --> 00:29:25,120 Speaker 1: the weird recent ones they did? Um no, that's I think, 531 00:29:25,400 --> 00:29:28,800 Speaker 1: um Mark Hamill jumped in to do that one. But 532 00:29:29,240 --> 00:29:32,440 Speaker 1: he's been in everything else. And there's like an upcoming 533 00:29:32,480 --> 00:29:35,960 Speaker 1: sci fi series of Child's Play and he's back in that. 534 00:29:36,080 --> 00:29:38,160 Speaker 1: Brad Dorriff is back in that. So they gotten into 535 00:29:38,200 --> 00:29:40,680 Speaker 1: time travel and that when the time Chucky, I don't 536 00:29:40,680 --> 00:29:43,160 Speaker 1: think so. I don't think he's going to space either. Okay, 537 00:29:43,480 --> 00:29:46,440 Speaker 1: holding out for the Old West Chucky. Now that that 538 00:29:46,480 --> 00:29:50,240 Speaker 1: could be good. Uh, let's see. Um we already mentioned 539 00:29:50,280 --> 00:29:53,360 Speaker 1: The Exorcist three in nineteen ninety, but also in nineteen 540 00:29:53,440 --> 00:29:56,280 Speaker 1: nine Graveyard Shift. Wait wait, wait wait? Was it was 541 00:29:56,320 --> 00:30:01,720 Speaker 1: a wait, Exorcist three, Spontaneous Combust and Graveyard Shift all 542 00:30:01,760 --> 00:30:05,000 Speaker 1: in the same year. Yes, it would seem he's working, 543 00:30:05,160 --> 00:30:10,120 Speaker 1: he's work, he's good to work. So Graveyard Shift, which 544 00:30:10,160 --> 00:30:12,480 Speaker 1: is based on a Stephen King short story, really a 545 00:30:12,560 --> 00:30:16,200 Speaker 1: terrific short story. Um, I I watched I rewatched this 546 00:30:16,200 --> 00:30:20,160 Speaker 1: this week as well. That's basically a giant mutant rat picture. 547 00:30:21,280 --> 00:30:23,240 Speaker 1: Is it? Is it a rat or a bat? What? 548 00:30:23,480 --> 00:30:25,560 Speaker 1: It's been so long, but this was one of those 549 00:30:25,600 --> 00:30:27,280 Speaker 1: I think I watched late at night on T and 550 00:30:27,320 --> 00:30:29,360 Speaker 1: T when I was way too young to do that. 551 00:30:29,760 --> 00:30:32,800 Speaker 1: And uh, did it have wings in the end or something? Yeah, 552 00:30:32,840 --> 00:30:36,760 Speaker 1: it's like basically all the gross rodent type things you 553 00:30:36,880 --> 00:30:40,360 Speaker 1: that fill your nightmares have like bread with each other 554 00:30:40,520 --> 00:30:43,880 Speaker 1: in the darkness beneath the mill and the result or 555 00:30:43,960 --> 00:30:47,880 Speaker 1: these is this this big, grotesque monstrosity that has elements 556 00:30:47,880 --> 00:30:51,760 Speaker 1: of all the creatures. Okay, and um, and I think 557 00:30:51,760 --> 00:30:53,800 Speaker 1: it was I can't. I don't recall a fan. I 558 00:30:53,800 --> 00:30:56,440 Speaker 1: think it was more than just one creature, uh in 559 00:30:56,600 --> 00:30:59,320 Speaker 1: the story, but in this it's like one big creature 560 00:30:59,360 --> 00:31:01,000 Speaker 1: and it has a lot of rats. Working for it, 561 00:31:01,640 --> 00:31:04,440 Speaker 1: but um, it's ah, it's pretty fun. It's a you know, 562 00:31:04,440 --> 00:31:07,920 Speaker 1: it's a monster flick. It has um Stephen um Mocked 563 00:31:07,920 --> 00:31:10,360 Speaker 1: in it, who is pretty good in it. He was 564 00:31:10,400 --> 00:31:13,240 Speaker 1: in Transfers three through five as well. Uh. It also 565 00:31:13,280 --> 00:31:16,160 Speaker 1: has Andrew Divoff who was in Wish Master. And I've 566 00:31:16,160 --> 00:31:19,320 Speaker 1: seen Stephen King dismiss it as an exploitation flick, but 567 00:31:19,440 --> 00:31:22,080 Speaker 1: I I feel like that's kind of the perfect zone 568 00:31:22,120 --> 00:31:24,240 Speaker 1: for a giant monster rat movie. I mean, what are 569 00:31:24,240 --> 00:31:26,840 Speaker 1: you what are you looking for? I wanted more character 570 00:31:26,960 --> 00:31:31,600 Speaker 1: nuance in my giant rat movie. Yeah, but performance wise, 571 00:31:32,040 --> 00:31:34,400 Speaker 1: Doraf is the most memorable thing he has this His 572 00:31:34,480 --> 00:31:36,720 Speaker 1: character is really not that important. He basically is just 573 00:31:36,800 --> 00:31:39,360 Speaker 1: a weird character. It comes along to, I think, take 574 00:31:39,440 --> 00:31:41,960 Speaker 1: up space in the movie and have some interactions with 575 00:31:41,960 --> 00:31:45,120 Speaker 1: their main characters. But he plays a Vietnam vet who's 576 00:31:45,120 --> 00:31:48,400 Speaker 1: also an exterminator, who's quick to tell you that he's 577 00:31:48,400 --> 00:31:51,040 Speaker 1: not some burnout like a character Bruce Dern would play, 578 00:31:51,720 --> 00:31:55,120 Speaker 1: which is amazing. But yeah, he's he's just um, he's 579 00:31:55,160 --> 00:31:58,520 Speaker 1: like chewing and spitting Tobacca and um, it's just in 580 00:31:58,680 --> 00:32:02,160 Speaker 1: ranting uh and and killing rats. He's he's a lot 581 00:32:02,160 --> 00:32:04,040 Speaker 1: of fun in that. Yep, it sounds like that would 582 00:32:04,080 --> 00:32:06,920 Speaker 1: work better as in nineteen seventies style character studies starring 583 00:32:07,000 --> 00:32:12,920 Speaker 1: John Kazaleah, let's see. Uh. Doroff was in Jungle Fever 584 00:32:13,000 --> 00:32:18,240 Speaker 1: in Creators four. In um he was in that excellent 585 00:32:18,320 --> 00:32:22,320 Speaker 1: episode of Tales from the Crypt with Bill Paxton, people 586 00:32:22,320 --> 00:32:24,600 Speaker 1: who live in brass horses. I don't know this one. 587 00:32:24,640 --> 00:32:26,880 Speaker 1: I'm sorry. He was on He was on the X Files. 588 00:32:26,960 --> 00:32:28,240 Speaker 1: Now you can speak to this. He was in an 589 00:32:28,280 --> 00:32:31,560 Speaker 1: episode called Beyond the Sea. Do you remember this? Oh? Yeah, 590 00:32:31,880 --> 00:32:36,040 Speaker 1: Beyond the Sea. Which one was this? Okay, I just 591 00:32:36,040 --> 00:32:39,680 Speaker 1: looked it up. This one was in the first season, though. 592 00:32:39,760 --> 00:32:43,600 Speaker 1: I honestly I don't recall this one. And maybe maybe 593 00:32:43,600 --> 00:32:46,160 Speaker 1: if I saw a part of it. Uh man, it's 594 00:32:46,160 --> 00:32:48,280 Speaker 1: got a it's got a big Wikipedia page. It looks 595 00:32:48,280 --> 00:32:50,800 Speaker 1: like it's going have been an important episode. Oh I 596 00:32:50,840 --> 00:32:54,440 Speaker 1: think this This one had some like character development where 597 00:32:54,440 --> 00:32:58,440 Speaker 1: you learned about Molder and Scully's back stories. Okay, alright. 598 00:32:58,440 --> 00:33:01,000 Speaker 1: He was in Death Machine in nineteen He was an 599 00:33:01,040 --> 00:33:04,880 Speaker 1: alien resurrection And I like the way you just paused 600 00:33:04,880 --> 00:33:08,320 Speaker 1: on this one, like you're you're waiting for me to Okay, 601 00:33:08,440 --> 00:33:11,640 Speaker 1: Alien Resurrection, I have to admit, is a movie that 602 00:33:11,760 --> 00:33:14,440 Speaker 1: I don't just hate, but it like literally makes me 603 00:33:14,480 --> 00:33:17,479 Speaker 1: feel sick to think about. I'm not even kidding, just 604 00:33:17,560 --> 00:33:20,880 Speaker 1: the concept of alien resurrection. Someone's a kind of like 605 00:33:21,520 --> 00:33:26,160 Speaker 1: winding mountain road, backseat car sickness, h y asthma to 606 00:33:26,240 --> 00:33:29,440 Speaker 1: come over my brain. I'm literally not joking. It is 607 00:33:29,480 --> 00:33:33,520 Speaker 1: packed with weird actors. You have to give it that, Yeah, yeah, alright, 608 00:33:33,760 --> 00:33:39,400 Speaker 1: Ron Pearlman, right yeah, Ron Pearlman, um uh, Michael Wincott, um, 609 00:33:39,520 --> 00:33:43,040 Speaker 1: Dan Hidea. It's a it's gotta it has a fun cast. Okay, 610 00:33:43,080 --> 00:33:46,680 Speaker 1: let's let's move on though. Okay, The Prophecy three, The Ascent. 611 00:33:47,000 --> 00:33:49,160 Speaker 1: Didn't see that one in two thousand, but then of 612 00:33:49,200 --> 00:33:51,200 Speaker 1: course the Lord of the Rings the Two Towers in 613 00:33:51,320 --> 00:33:54,160 Speaker 1: two thousand and two. Right, yeah, there you go. He 614 00:33:54,240 --> 00:33:58,280 Speaker 1: was on Deadwood, memorable role there. He's worked with Werner 615 00:33:58,360 --> 00:34:02,160 Speaker 1: Herzog several times, including My Son, My Son, What have 616 00:34:02,280 --> 00:34:05,400 Speaker 1: You Done? From two thousand and nine. I haven't seen 617 00:34:05,480 --> 00:34:08,880 Speaker 1: that one, but this started to make me wonder is 618 00:34:08,920 --> 00:34:12,400 Speaker 1: there any overlap with with Kinsky here? Does Doriff almost 619 00:34:12,480 --> 00:34:17,280 Speaker 1: have some some very slight notes of Kinsky Barry about him. Um. 620 00:34:17,320 --> 00:34:20,480 Speaker 1: I mean certainly insofar as Herzog worked with him on 621 00:34:20,920 --> 00:34:23,799 Speaker 1: several times, and he does have that kind of natural intensity. 622 00:34:23,920 --> 00:34:27,160 Speaker 1: But I don't think it's fair to compare anybody to 623 00:34:27,160 --> 00:34:31,319 Speaker 1: to klas Kinsky. Um. No, I'm not, no, no, no, 624 00:34:31,520 --> 00:34:34,960 Speaker 1: for I'm not suggesting a moral comparison or that or 625 00:34:35,000 --> 00:34:37,279 Speaker 1: that Brad Douroff would have been known for, you know, 626 00:34:37,600 --> 00:34:41,120 Speaker 1: bellowing freak outs about the catering or something, coming back 627 00:34:41,120 --> 00:34:44,719 Speaker 1: to the catering once again. But an a right, yeah, Well, 628 00:34:44,760 --> 00:34:47,440 Speaker 1: I guess I'll stop the expansive list at this point. 629 00:34:47,480 --> 00:34:50,680 Speaker 1: But basically, he's worked with a number of of of 630 00:34:50,719 --> 00:34:54,759 Speaker 1: great actors and great directors, um and um, and it 631 00:34:54,800 --> 00:34:57,760 Speaker 1: seems to continue to do so. Interestingly enough, the actor 632 00:34:57,760 --> 00:35:00,600 Speaker 1: of Fiona Doroff is his daughter. She seems to be 633 00:35:00,600 --> 00:35:04,880 Speaker 1: carrying on the tradition of playing both weird and serious roles. Um. 634 00:35:05,000 --> 00:35:08,600 Speaker 1: She's been in the stand she played Uh. I'm to 635 00:35:08,680 --> 00:35:11,840 Speaker 1: understand kind of a strange character in that she was 636 00:35:11,880 --> 00:35:14,880 Speaker 1: in Tenant and she's also a part of the Chucky 637 00:35:14,880 --> 00:35:17,239 Speaker 1: franchise now, so that's kind of cool keeping it in 638 00:35:17,280 --> 00:35:19,239 Speaker 1: the family. Although I'm trying to look at who she 639 00:35:19,320 --> 00:35:21,680 Speaker 1: was in Tenant. I haven't seen I have not seen 640 00:35:21,680 --> 00:35:25,080 Speaker 1: it yet. Oh Tenant, Um, Okay, I don't recall which 641 00:35:25,160 --> 00:35:27,600 Speaker 1: character she played, but Tenant. It's one of those movies 642 00:35:27,640 --> 00:35:30,040 Speaker 1: I know. I've talked about ones like this on the 643 00:35:30,040 --> 00:35:33,160 Speaker 1: show before that are almost everything that comes to mind 644 00:35:33,200 --> 00:35:35,560 Speaker 1: to say about it is a criticism, and yet I 645 00:35:35,640 --> 00:35:40,080 Speaker 1: really enjoyed it. It was. It's it's very fun. It 646 00:35:40,160 --> 00:35:43,799 Speaker 1: has that great Christopher Nolan action style, just like each 647 00:35:43,840 --> 00:35:48,000 Speaker 1: set piece is enormously enjoyable and attack till sense. But 648 00:35:48,440 --> 00:35:51,680 Speaker 1: I think you could lever some quite legitimate criticisms against 649 00:35:51,680 --> 00:35:55,439 Speaker 1: the coherence of the plot to revisit a theme from earlier. Okay, well, 650 00:35:55,440 --> 00:35:57,279 Speaker 1: I'll probably get to it at some point next time. 651 00:35:57,320 --> 00:36:00,960 Speaker 1: I'm in the mood for a cerebral yet incoherent time 652 00:36:01,000 --> 00:36:13,840 Speaker 1: travel adventure. Yeah, it's a lot of fun. Now, Brat 653 00:36:13,880 --> 00:36:16,719 Speaker 1: Dorriff is not the only actor in this picture. There 654 00:36:16,760 --> 00:36:21,480 Speaker 1: are some other people of note. What if he was, though, Well, 655 00:36:22,520 --> 00:36:25,240 Speaker 1: that would be something. Um. I mean, I think there's 656 00:36:25,360 --> 00:36:27,960 Speaker 1: at least one Werner Herzog picture where he's the only actor, 657 00:36:28,640 --> 00:36:30,880 Speaker 1: if I'm remembering correctly. It's more it's not a traditional 658 00:36:31,200 --> 00:36:34,320 Speaker 1: narrative type thing. But he can go it alone. Okay, 659 00:36:34,360 --> 00:36:36,799 Speaker 1: but who else? Is? One thing I gotta say before 660 00:36:36,800 --> 00:36:38,920 Speaker 1: we get into the cast is this movie has way 661 00:36:38,920 --> 00:36:43,160 Speaker 1: too many generals in it. This is overloaded with these 662 00:36:43,200 --> 00:36:47,360 Speaker 1: like old men standing around, you know, scheming about whatever 663 00:36:47,400 --> 00:36:50,040 Speaker 1: this this conspiracy is. Yeah, it's hard to keep track 664 00:36:50,080 --> 00:36:55,120 Speaker 1: of of who the villain is, who the sub villain is. Ultimately, 665 00:36:55,280 --> 00:36:58,200 Speaker 1: especially if it's like a conspiracy mad science yarn. You 666 00:36:58,280 --> 00:37:01,360 Speaker 1: need that mad scientist like that, you need your central villain, 667 00:37:01,400 --> 00:37:03,719 Speaker 1: and this this film is you can get lost trying 668 00:37:03,719 --> 00:37:05,840 Speaker 1: to figure out who that is supposed to be. I agree. 669 00:37:05,840 --> 00:37:07,919 Speaker 1: I think that could have been one way to significantly 670 00:37:07,960 --> 00:37:11,240 Speaker 1: improve this film, just to lockdown who is the villain 671 00:37:11,560 --> 00:37:16,080 Speaker 1: of like one central villain who maybe has a recognizable henchman, 672 00:37:16,440 --> 00:37:20,560 Speaker 1: instead of this sort of gaggle of skunkworks dudes, who 673 00:37:20,560 --> 00:37:23,040 Speaker 1: are you know showing up in various points and you're 674 00:37:23,040 --> 00:37:25,080 Speaker 1: trying to remember is that the guy from earlier? Is 675 00:37:25,120 --> 00:37:28,040 Speaker 1: that somebody different? Yeah? Yeah, And I guess the the 676 00:37:28,040 --> 00:37:30,320 Speaker 1: counter argument would be, well, it's supposed to be about 677 00:37:30,320 --> 00:37:33,680 Speaker 1: paranoia and conspiracy and that involves you know, it involves 678 00:37:33,719 --> 00:37:37,239 Speaker 1: everyone in your life. But yeah, I I still think 679 00:37:37,239 --> 00:37:39,319 Speaker 1: it would have. It would have been a smoother ride 680 00:37:39,360 --> 00:37:41,480 Speaker 1: had we had it focused more on a single villain. 681 00:37:42,120 --> 00:37:46,480 Speaker 1: But anyway, the first person of note is the love interest. Uh. 682 00:37:46,520 --> 00:37:49,960 Speaker 1: The character is Lisa Wilcock, Sam's new girlfriend. Sam is 683 00:37:50,080 --> 00:37:53,160 Speaker 1: um is Brad Dorrith's character played by Cynthia Bain who 684 00:37:53,160 --> 00:37:57,520 Speaker 1: was born in nineteen sixty three. She played Tracy Pumpkinhead 685 00:37:58,040 --> 00:38:01,080 Speaker 1: and she did a lot of TV work as well. Pumpkinhead. 686 00:38:01,120 --> 00:38:04,439 Speaker 1: That's a movie with a creature that deserves a better 687 00:38:04,520 --> 00:38:08,200 Speaker 1: movie to live in. Ultimately, it's not a great film, 688 00:38:08,239 --> 00:38:13,080 Speaker 1: but a really beautiful monster design. Oh yeah, beautiful monster. Um. 689 00:38:13,120 --> 00:38:18,080 Speaker 1: Now Cynthia Bayne, it's interesting. She eventually transitioned into into 690 00:38:18,080 --> 00:38:21,319 Speaker 1: being an acting coach and she runs Cynthia Bayne's Young 691 00:38:21,360 --> 00:38:25,040 Speaker 1: Actors Studio in Studio City, California. Uh so, yeah, it 692 00:38:25,080 --> 00:38:28,120 Speaker 1: seems to be her. Her whole thing eventually became helping 693 00:38:28,200 --> 00:38:33,200 Speaker 1: young actors improve their craft. Cool alright. Um. The first 694 00:38:33,239 --> 00:38:36,239 Speaker 1: of the mini villains in this um we have the 695 00:38:36,320 --> 00:38:40,760 Speaker 1: character Dr. John Marsh played by John Cipher for nWo 696 00:38:41,920 --> 00:38:45,960 Speaker 1: veteran actor. I'd say the most the role that I 697 00:38:46,040 --> 00:38:48,839 Speaker 1: knew him from previously was he played man at arms 698 00:38:48,880 --> 00:38:51,800 Speaker 1: in the Seven Masters at the Universe movie, had a 699 00:38:51,880 --> 00:38:54,040 Speaker 1: mustache in that. Do you remember him? Yes, yes, yes, 700 00:38:54,080 --> 00:38:56,640 Speaker 1: I do remember him. He You know what, I was 701 00:38:56,719 --> 00:38:59,279 Speaker 1: comparing him a little bit to Leslie Nielsen while I 702 00:38:59,320 --> 00:39:02,719 Speaker 1: was watching this. He has notes of Nielsen Berry, he does, 703 00:39:02,840 --> 00:39:07,520 Speaker 1: he does, because yeah, Leslie Nielsen, Um, especially if you 704 00:39:07,520 --> 00:39:12,359 Speaker 1: think of Leslie Nielsen pre naked gun like, pre police squad. Uh. 705 00:39:12,400 --> 00:39:16,000 Speaker 1: He had that that very serious tone that was maybe 706 00:39:16,000 --> 00:39:17,840 Speaker 1: a little a little too dry, and that's why it 707 00:39:17,920 --> 00:39:21,440 Speaker 1: ultimately lent itself so well to parody. All Right, we 708 00:39:21,560 --> 00:39:25,760 Speaker 1: have d Young playing Rachel Sam's ex wife. Born nineteen 709 00:39:25,800 --> 00:39:28,719 Speaker 1: fifty five, Multiple star trek Roles, a lot of TV work, 710 00:39:28,960 --> 00:39:32,360 Speaker 1: played Dr Irene Shulman on melrose Place, so that means 711 00:39:32,680 --> 00:39:35,640 Speaker 1: anything to anybody, But she was also She also had 712 00:39:35,680 --> 00:39:38,640 Speaker 1: small parts in Spaceballs and The Running Man. Now this 713 00:39:38,840 --> 00:39:41,480 Speaker 1: next guy, I was trying to remember what it was 714 00:39:41,560 --> 00:39:44,200 Speaker 1: I recognized him from, and I couldn't figure it out 715 00:39:44,400 --> 00:39:46,839 Speaker 1: unless I was just recognizing him from the last time 716 00:39:46,880 --> 00:39:50,879 Speaker 1: I watched this movie. Yeah. William Prince, who plays lou 717 00:39:51,120 --> 00:39:54,440 Speaker 1: Or Lander the father figure and his ex wife's grandfather. 718 00:39:54,800 --> 00:39:58,680 Speaker 1: The thenections between the characters gets a little weird at times. Anyway, 719 00:39:58,719 --> 00:40:03,920 Speaker 1: he lived nineteen thirteen. Uh, he's our shadowy conspiracy villain. 720 00:40:03,960 --> 00:40:07,400 Speaker 1: I think he's supposed to be the top villain, but 721 00:40:07,480 --> 00:40:09,600 Speaker 1: it takes us a while to get to that revelation. 722 00:40:10,160 --> 00:40:12,280 Speaker 1: He was a character actor with roles on The Stepford 723 00:40:12,280 --> 00:40:15,799 Speaker 1: Wives Network, a lot of TV across the decade. I 724 00:40:15,840 --> 00:40:18,760 Speaker 1: think one of the things that was I was getting 725 00:40:18,800 --> 00:40:20,920 Speaker 1: the same having the same lights come on from me. 726 00:40:20,960 --> 00:40:22,680 Speaker 1: I'm like, what if I seen this guy in And 727 00:40:22,719 --> 00:40:25,200 Speaker 1: I don't think I had really seen him in anything else, 728 00:40:25,320 --> 00:40:27,759 Speaker 1: remembered him from anything else. But he kind of has 729 00:40:27,840 --> 00:40:31,719 Speaker 1: similar notes to William Hickey. He's like William Hickey light 730 00:40:32,320 --> 00:40:35,880 Speaker 1: notes of Hicky Berry. Yeah, of course I've seen Network, 731 00:40:35,920 --> 00:40:37,320 Speaker 1: so I might have seen him in that, but I 732 00:40:37,840 --> 00:40:40,840 Speaker 1: just don't remember him from Network. You know, there are 733 00:40:40,840 --> 00:40:44,239 Speaker 1: other other stars burn a lot brighter in Network. Right. 734 00:40:44,640 --> 00:40:47,000 Speaker 1: So one of the funny things though about William Prince's 735 00:40:47,040 --> 00:40:51,279 Speaker 1: character in this movie is that there's no there like, 736 00:40:51,719 --> 00:40:53,719 Speaker 1: is no question at all when you first meet him 737 00:40:53,719 --> 00:40:55,799 Speaker 1: whether he's going to end up being the villain of 738 00:40:55,840 --> 00:40:58,759 Speaker 1: the film, because when you first meet him, they won't 739 00:40:58,840 --> 00:41:01,360 Speaker 1: let you see his face. He's like he could be 740 00:41:01,400 --> 00:41:04,120 Speaker 1: a Dick Tracy villain called shadow Face. He's just sitting 741 00:41:04,160 --> 00:41:07,200 Speaker 1: in a room where every other actor is fully lit 742 00:41:07,239 --> 00:41:10,480 Speaker 1: and perfectly visible, but he's covered in a complete shroud 743 00:41:10,480 --> 00:41:15,880 Speaker 1: of darkness, which looked extremely funny to me. Alright, another character, 744 00:41:15,920 --> 00:41:19,040 Speaker 1: and this is another scientist character, uh is Nina the 745 00:41:19,080 --> 00:41:24,920 Speaker 1: German Scientists played by Melinda Dillon born nine probably most 746 00:41:24,960 --> 00:41:29,120 Speaker 1: famous and visible as Ralphie's mom from the three film 747 00:41:29,200 --> 00:41:33,279 Speaker 1: A Christmas Story. Yep, interesting casting decision, yeah, but she 748 00:41:33,320 --> 00:41:35,879 Speaker 1: also had memorable roles in Close Encounters of the Third Kind, 749 00:41:35,960 --> 00:41:40,440 Speaker 1: Magnolia and of course Harry and the Henderson's. Um, we 750 00:41:40,520 --> 00:41:45,280 Speaker 1: have a general character show up? Yeah, this is probably 751 00:41:45,320 --> 00:41:49,239 Speaker 1: by Dale Dy who was born nineteen four. Um. He 752 00:41:49,280 --> 00:41:52,920 Speaker 1: should basically your gray haired mustachio general in this uh. 753 00:41:53,000 --> 00:41:55,480 Speaker 1: In real life a former marine, so he played a 754 00:41:55,520 --> 00:41:57,600 Speaker 1: lot of characters like this. Anytime you need like a 755 00:41:57,600 --> 00:42:01,799 Speaker 1: stiff military authority figure year, you would often often turn 756 00:42:01,840 --> 00:42:04,800 Speaker 1: to Dale Die, who was in Platoon Band of Brothers 757 00:42:04,880 --> 00:42:08,560 Speaker 1: born on the fourth that you lie, Um, and you 758 00:42:08,680 --> 00:42:11,840 Speaker 1: list platoon twice? Did I mentioned that? Did did I 759 00:42:11,920 --> 00:42:13,759 Speaker 1: say it twice? Or just listed twice? So you just 760 00:42:13,800 --> 00:42:16,359 Speaker 1: listed it twice, which is appropriate. Oh well, I mean 761 00:42:16,400 --> 00:42:18,640 Speaker 1: it was. It was a big one though. That's interesting. 762 00:42:18,680 --> 00:42:21,280 Speaker 1: He kicked off his his acting career in eighty six 763 00:42:21,880 --> 00:42:26,080 Speaker 1: in both Platoon and Toby Hooper's Invaders from Mars, so 764 00:42:26,719 --> 00:42:31,080 Speaker 1: like one foot in both both lanes. I guess Invaders 765 00:42:31,080 --> 00:42:34,160 Speaker 1: from Mars is a little scene Toby Hooper movie. But 766 00:42:34,280 --> 00:42:37,680 Speaker 1: if I recall, it's like a an alien invasion movie, 767 00:42:37,719 --> 00:42:39,680 Speaker 1: but it's sort of for kids. It's like a you know, 768 00:42:39,920 --> 00:42:44,080 Speaker 1: childhood adventure movie. I remember getting the vibe. It's been 769 00:42:44,080 --> 00:42:46,000 Speaker 1: a long time since I watched it, but I got 770 00:42:46,040 --> 00:42:49,160 Speaker 1: this sort of for kids vibe for it, like as 771 00:42:49,200 --> 00:42:52,279 Speaker 1: a child watching it. I wasn't sure how how I 772 00:42:52,320 --> 00:42:54,799 Speaker 1: was supposed to feel about it, And I don't know 773 00:42:54,840 --> 00:42:58,840 Speaker 1: if that was intentional or if it was just miscalibrated. Um. 774 00:42:58,920 --> 00:43:00,560 Speaker 1: But then again, that was also of a thing back 775 00:43:00,560 --> 00:43:02,000 Speaker 1: in the day, right, I mean, I would I would 776 00:43:02,000 --> 00:43:05,400 Speaker 1: classify Gremlins, um, even though it is often held up, 777 00:43:05,400 --> 00:43:08,319 Speaker 1: I guess is a classic. I think that one is 778 00:43:08,360 --> 00:43:11,920 Speaker 1: totally all over the place. Oh yeah, I actually I saw. 779 00:43:11,960 --> 00:43:15,120 Speaker 1: I quite love Grimlins, but I absolutely agreed it's totally 780 00:43:15,200 --> 00:43:17,880 Speaker 1: all over the place. But you know what I love, Rob, 781 00:43:17,960 --> 00:43:21,040 Speaker 1: I love the fact that we're not out of generals yet. No. No, 782 00:43:21,120 --> 00:43:24,680 Speaker 1: we have a lieutenant general and it's he has no name, 783 00:43:25,360 --> 00:43:30,239 Speaker 1: but he's played by Dick Buckus Buds Yes, yep, yep, 784 00:43:30,520 --> 00:43:34,680 Speaker 1: born two American football Edge and Dick Buckus of the Bears, 785 00:43:35,239 --> 00:43:38,280 Speaker 1: um who was in Gremlins too, by the way, along 786 00:43:38,280 --> 00:43:40,440 Speaker 1: with various other TV shows. I think he tends to 787 00:43:40,480 --> 00:43:43,960 Speaker 1: sort of play himself, if not actually play himself. Is 788 00:43:44,040 --> 00:43:46,680 Speaker 1: this the general who in the hospital scenes was just 789 00:43:46,760 --> 00:43:49,919 Speaker 1: like eating a big play to Buffalo Wings. I don't 790 00:43:50,000 --> 00:43:53,080 Speaker 1: remember him at all, but that sounds right, That sounds 791 00:43:53,120 --> 00:43:56,520 Speaker 1: app like appropriate use of the actor Dick Buckus. So, 792 00:43:56,640 --> 00:43:58,799 Speaker 1: Brian and Peggy are on fire and he's like, I 793 00:43:58,800 --> 00:44:02,840 Speaker 1: need more blue cheese. All right, We're almost done with 794 00:44:02,840 --> 00:44:04,720 Speaker 1: the cast here, but we have just a few essentially 795 00:44:04,760 --> 00:44:07,640 Speaker 1: cameos to point out here. The first of all, we 796 00:44:07,719 --> 00:44:11,120 Speaker 1: have John Landis of the director, who has a cameo 797 00:44:11,160 --> 00:44:14,560 Speaker 1: as a radio technician who catches on fire. John Landis 798 00:44:14,560 --> 00:44:18,560 Speaker 1: who who directed like American Werewolf in London and stuff. Yeah, 799 00:44:18,680 --> 00:44:21,200 Speaker 1: so he he spits fire out of his mouth because 800 00:44:21,320 --> 00:44:24,120 Speaker 1: Brad Doorff calls him on the phone and gets mad. Yeah, 801 00:44:24,320 --> 00:44:27,120 Speaker 1: though he's not even mad at Landis's character. He's mad 802 00:44:27,120 --> 00:44:31,400 Speaker 1: in another it's at Landis. Landis's cameo character here is 803 00:44:31,440 --> 00:44:33,279 Speaker 1: just the in the wrong place, at the wrong time, 804 00:44:33,360 --> 00:44:37,080 Speaker 1: caught in the cross fire. This is also a Dick 805 00:44:37,120 --> 00:44:40,440 Speaker 1: Warlock picture. By the way, God love Dick Warlock. Every 806 00:44:40,480 --> 00:44:43,479 Speaker 1: time I see his name in the credits, I get excited. Yeah. 807 00:44:43,520 --> 00:44:46,120 Speaker 1: He he plays Mr Fitzpatrick in this. I'm not sure 808 00:44:46,120 --> 00:44:49,080 Speaker 1: who that is, but basically he's a stunt player. Um 809 00:44:49,120 --> 00:44:51,400 Speaker 1: and you you do see him show up in films 810 00:44:51,400 --> 00:44:54,880 Speaker 1: of the day of that period, and it's generally just 811 00:44:54,920 --> 00:44:57,720 Speaker 1: notable because he has just such a fun name. Yeah. 812 00:44:57,960 --> 00:45:01,439 Speaker 1: He was also part of the extended Carpenter hallo verse. 813 00:45:01,560 --> 00:45:04,880 Speaker 1: He was in Halloween two. He may well have played 814 00:45:04,960 --> 00:45:08,440 Speaker 1: Michael Myers in Halloween two. Um, I might be remembering 815 00:45:08,440 --> 00:45:11,439 Speaker 1: that wrong, but he's definitely in Halloween three, in which 816 00:45:11,480 --> 00:45:16,800 Speaker 1: he plays an ancient Druid robot assassin. Now this is 817 00:45:16,840 --> 00:45:20,440 Speaker 1: an interesting because of the next cameo is another director, 818 00:45:20,680 --> 00:45:25,520 Speaker 1: like like Landis, but this director's cameo serves as this 819 00:45:25,960 --> 00:45:29,920 Speaker 1: director's only acting credit. Uh. And this is the director 820 00:45:30,120 --> 00:45:33,680 Speaker 1: Andre de tof Um, who has it. It's Cameo playing 821 00:45:33,800 --> 00:45:37,800 Speaker 1: doctor VanderMeer in this what I was supposed to I 822 00:45:37,800 --> 00:45:39,880 Speaker 1: think he's supposed to be a European or a German 823 00:45:40,080 --> 00:45:42,160 Speaker 1: scientist of some sort that shows up in the early 824 00:45:42,160 --> 00:45:45,879 Speaker 1: stages of the picture. Um, but he has He has 825 00:45:46,120 --> 00:45:48,520 Speaker 1: several lines like it's not just a walk on walk 826 00:45:48,560 --> 00:45:52,040 Speaker 1: off situation. He has some really fun lines in this picture. 827 00:45:52,640 --> 00:45:56,440 Speaker 1: He has the most ludicrous monologue in the film. Yeah, 828 00:45:56,520 --> 00:45:59,120 Speaker 1: and he was. He was not an actor. He's primarily 829 00:45:59,719 --> 00:46:03,560 Speaker 1: right a director. He was. He was born in Hungary. Um, 830 00:46:03,640 --> 00:46:08,200 Speaker 1: he's He directed various pictures, including nineteen fifty three's House 831 00:46:08,239 --> 00:46:11,400 Speaker 1: of Wax starring Vincent Price. One thing I read about 832 00:46:11,440 --> 00:46:14,040 Speaker 1: this was that so this was a very prominent three 833 00:46:14,120 --> 00:46:18,600 Speaker 1: D movie. But I believe it's the case that he 834 00:46:18,640 --> 00:46:21,960 Speaker 1: actually couldn't see He couldn't perceive three D films because 835 00:46:22,000 --> 00:46:24,600 Speaker 1: he was missing one of his eyes. Right. He wore 836 00:46:24,600 --> 00:46:26,640 Speaker 1: an iPad like he wears an eyepatch in this picture. 837 00:46:26,640 --> 00:46:28,040 Speaker 1: And you if you didn't know anything about him, he 838 00:46:28,120 --> 00:46:29,960 Speaker 1: might assume that's just part of the character. But I 839 00:46:30,000 --> 00:46:34,160 Speaker 1: know that that was really war one. Um. He was. 840 00:46:34,280 --> 00:46:36,400 Speaker 1: He was also a writer. He wrote the story that 841 00:46:37,040 --> 00:46:40,440 Speaker 1: nineteen fifties The Gunfighter starring Gregory Peck was based on, 842 00:46:40,920 --> 00:46:44,680 Speaker 1: and he served as second unit director on seventy eight, Superman, 843 00:46:44,840 --> 00:46:49,239 Speaker 1: nineteen sixty five, Thunderball in nineteen sixty two, Lawrence of Arabia. 844 00:46:49,719 --> 00:46:55,279 Speaker 1: Wow Um. As far as music goes, Graham Revel did 845 00:46:55,480 --> 00:46:59,280 Speaker 1: the music composer here born nineteen fifty five, an established 846 00:46:59,280 --> 00:47:02,480 Speaker 1: film score come poser who I don't think I recognized 847 00:47:02,520 --> 00:47:06,000 Speaker 1: his name, but I've seen plenty of pictures that he scored. Um. 848 00:47:06,120 --> 00:47:09,360 Speaker 1: We briefly discussed him on the episode for Ghost in 849 00:47:09,400 --> 00:47:12,320 Speaker 1: the Machine. That's right, Yeah, that was one Ghost in 850 00:47:12,360 --> 00:47:14,560 Speaker 1: the Machine. I cannot remember what we even said about 851 00:47:14,600 --> 00:47:16,400 Speaker 1: the score for Ghost of the Machine, if it was 852 00:47:16,480 --> 00:47:18,640 Speaker 1: good or bad or just kind of you know, I 853 00:47:18,640 --> 00:47:21,120 Speaker 1: think you were mostly unimpressed. I think you were like 854 00:47:21,840 --> 00:47:24,640 Speaker 1: I would have liked it, Cynthia. Yeah, that's well, that's 855 00:47:24,640 --> 00:47:27,719 Speaker 1: you know, that's often my note on things, And yeah, 856 00:47:27,719 --> 00:47:30,040 Speaker 1: that's that's basically the same here that though he worked 857 00:47:30,040 --> 00:47:33,399 Speaker 1: on films like The Crow, The Chronicles of Riddick, which 858 00:47:33,440 --> 00:47:35,319 Speaker 1: is a picture I really enjoy, but I also don't 859 00:47:35,320 --> 00:47:38,719 Speaker 1: remember it's um it's music at all, So not that 860 00:47:38,800 --> 00:47:42,400 Speaker 1: you obviously need to notice the music so much in 861 00:47:42,440 --> 00:47:45,120 Speaker 1: emotion picture. I guess there's an argument to be made 862 00:47:45,160 --> 00:47:47,720 Speaker 1: for the music doing it's a job and not standing 863 00:47:47,719 --> 00:47:49,799 Speaker 1: out too much, but I don't know. For me, I 864 00:47:49,880 --> 00:47:52,440 Speaker 1: like it to stand out. The score that plays over 865 00:47:52,480 --> 00:47:55,719 Speaker 1: the opening credits has a moment in it that reminds 866 00:47:55,760 --> 00:47:58,200 Speaker 1: me of a moment from the score in Aliens. There's 867 00:47:58,239 --> 00:48:04,800 Speaker 1: sort of a two beat pulse that like done Dune skittering. Alright, 868 00:48:04,840 --> 00:48:07,120 Speaker 1: I'll mention one more person involved in this, and that's 869 00:48:07,160 --> 00:48:08,759 Speaker 1: because it has a lot of This picture has a 870 00:48:08,800 --> 00:48:11,640 Speaker 1: lot of fire special effects in it, and it's often 871 00:48:11,920 --> 00:48:14,440 Speaker 1: pinpointed as being one of the more notable things about 872 00:48:14,440 --> 00:48:18,280 Speaker 1: the picture. Michael Weldon in The Psychotronic Video Guide praises 873 00:48:18,320 --> 00:48:21,279 Speaker 1: the fire effects. So it appears to be there was 874 00:48:21,280 --> 00:48:25,040 Speaker 1: a whole crew here, but it appears to be. Uh 875 00:48:25,080 --> 00:48:27,440 Speaker 1: in a large part of the work of Stephen David Brooks, 876 00:48:27,480 --> 00:48:30,399 Speaker 1: who is optical and visual effects supervisor and second unit 877 00:48:30,480 --> 00:48:34,160 Speaker 1: director on this film, and he went on to write uh. 878 00:48:34,239 --> 00:48:38,360 Speaker 1: Toby Hooper's adaptation of Stephen King's The Mangler, m Okay, 879 00:48:38,719 --> 00:48:41,640 Speaker 1: I've never seen that one, but that is about a 880 00:48:41,760 --> 00:48:46,120 Speaker 1: killer industrial Laundry Machine. I think, yes, yeah, it has 881 00:48:46,160 --> 00:48:48,560 Speaker 1: I think it has Robert England in it, and I 882 00:48:48,600 --> 00:48:51,719 Speaker 1: think that one is Stephen King approved it. It gets 883 00:48:51,800 --> 00:48:54,440 Speaker 1: kind of weird when you get into like which adaptation 884 00:48:54,560 --> 00:48:57,800 Speaker 1: Stephen King likes and doesn't like. And granted it's totally 885 00:48:57,840 --> 00:49:01,239 Speaker 1: his his place to to make those judgments, Um, you know, 886 00:49:01,320 --> 00:49:04,279 Speaker 1: not not not saying it isn't, but sometimes it can 887 00:49:04,320 --> 00:49:07,319 Speaker 1: feel a little uneven on us. Doesn't really correlate to 888 00:49:07,360 --> 00:49:10,520 Speaker 1: how good the movies are. Yeah, yeah, Like sometimes I 889 00:49:10,560 --> 00:49:13,799 Speaker 1: think it's like, to what degree he had input in it? 890 00:49:13,920 --> 00:49:15,960 Speaker 1: And you know something, it's and it's It also comes 891 00:49:15,960 --> 00:49:18,000 Speaker 1: back to what we're talking about with with Dora earlier. 892 00:49:18,239 --> 00:49:21,280 Speaker 1: When you're on the inside of something, your your perspective 893 00:49:21,320 --> 00:49:23,799 Speaker 1: is different. So the thing that isn't important to them 894 00:49:23,840 --> 00:49:26,160 Speaker 1: may not actually come through to your experience of it, 895 00:49:26,239 --> 00:49:30,000 Speaker 1: but it was important to their initial creation or their 896 00:49:30,040 --> 00:49:33,200 Speaker 1: performance in the picture. Yeah. Uh, but I gotta say 897 00:49:33,239 --> 00:49:37,239 Speaker 1: so this was made the effects budget doesn't appear to 898 00:49:37,320 --> 00:49:40,600 Speaker 1: have been the the greatest of all time, but I'd 899 00:49:40,640 --> 00:49:43,040 Speaker 1: say the effects are pretty strong. Like they are, even 900 00:49:43,120 --> 00:49:47,399 Speaker 1: if they don't necessarily always look realistic, they are effective 901 00:49:47,640 --> 00:49:52,120 Speaker 1: for the staginess of the story. Yeah. I one thing 902 00:49:52,160 --> 00:49:56,759 Speaker 1: I'd forgotten about this picture was just how terrifying some 903 00:49:56,840 --> 00:50:01,560 Speaker 1: of the fire effects are. Um Like, they feel dangerous, 904 00:50:01,600 --> 00:50:04,920 Speaker 1: they feel unsafe. I mean not in a sense where 905 00:50:04,960 --> 00:50:07,120 Speaker 1: I'm I'm second guessing the work of the stunt people, 906 00:50:07,120 --> 00:50:09,480 Speaker 1: but just in like, within the context of the movie, 907 00:50:09,800 --> 00:50:12,960 Speaker 1: fire feels like a dangerous thing. And a lot of 908 00:50:13,160 --> 00:50:15,680 Speaker 1: times you can in pictures, you you get so used 909 00:50:15,719 --> 00:50:20,279 Speaker 1: to seeing like a a burning burning man effect, a 910 00:50:20,320 --> 00:50:23,600 Speaker 1: fire suit effect, you know, a man on fire, and 911 00:50:23,880 --> 00:50:26,320 Speaker 1: at times if you're not familiar with what is involved 912 00:50:26,360 --> 00:50:28,880 Speaker 1: in that, if you don't become like a connoisseur of 913 00:50:28,960 --> 00:50:32,600 Speaker 1: the man on fire, you can forget like how impressive 914 00:50:32,680 --> 00:50:36,520 Speaker 1: that stunt is, how dangerous that stunt is, and um 915 00:50:36,800 --> 00:50:39,120 Speaker 1: and to a certain extent, you can lose respect for 916 00:50:40,120 --> 00:50:43,440 Speaker 1: just how dangerous fire itself is. Sure. And then of 917 00:50:43,480 --> 00:50:47,200 Speaker 1: course Brad Dorriff is often screaming and and fully emoting 918 00:50:47,239 --> 00:50:50,000 Speaker 1: in these fire scenes, which I think adds to the effect. Right. 919 00:50:50,440 --> 00:50:53,279 Speaker 1: That actually maybe the most blood curdling aspect of it. 920 00:50:53,239 --> 00:50:56,800 Speaker 1: It is more so than the visual effects. Yeah, Brad 921 00:50:56,840 --> 00:51:08,120 Speaker 1: dorf crossing the red line. Yeah, all right, Well, I 922 00:51:08,160 --> 00:51:10,759 Speaker 1: guess it's high time to get into the plot on 923 00:51:10,800 --> 00:51:13,120 Speaker 1: this one, all right. Well, in keeping with some of 924 00:51:13,120 --> 00:51:14,880 Speaker 1: the recent episodes, I don't think we're gonna do like 925 00:51:14,920 --> 00:51:17,400 Speaker 1: a scene by scene of the entire movie, but but 926 00:51:17,440 --> 00:51:20,040 Speaker 1: I think it does help to uh look a little 927 00:51:20,040 --> 00:51:22,040 Speaker 1: bit more closely at the beginning, which is one of 928 00:51:22,040 --> 00:51:24,640 Speaker 1: the strongest parts of the film. So we we open 929 00:51:24,719 --> 00:51:28,399 Speaker 1: in the fifties with some nuclear testing. Yeah, it has 930 00:51:28,440 --> 00:51:34,440 Speaker 1: an extended prologue. Takes opens up in nineteen Nevada Desert 931 00:51:34,520 --> 00:51:38,959 Speaker 1: hydrogen bomb testing site, and we have the classics song 932 00:51:39,040 --> 00:51:40,839 Speaker 1: I Don't Want to Set the World on Fire by 933 00:51:40,840 --> 00:51:45,160 Speaker 1: the ink spots hit playing in the background, which is 934 00:51:45,560 --> 00:51:49,640 Speaker 1: a bit on the nose but also just perfect. Um. 935 00:51:49,680 --> 00:51:51,960 Speaker 1: This would, of course, the same song would be utilized 936 00:51:51,960 --> 00:51:56,200 Speaker 1: in a very similar way much later by the Fallout games. 937 00:51:56,520 --> 00:51:59,279 Speaker 1: I think in the commercials are opening videos for for 938 00:52:00,000 --> 00:52:02,759 Speaker 1: one of those games. Uh So, I don't know if 939 00:52:02,760 --> 00:52:06,600 Speaker 1: this actually inspired them or if it's just pure coincidence, 940 00:52:06,640 --> 00:52:09,600 Speaker 1: but it's it's well used in this picture that I 941 00:52:09,640 --> 00:52:12,560 Speaker 1: was wondering the exact same thing, whether this movie might 942 00:52:12,640 --> 00:52:17,080 Speaker 1: have somehow inspired the cheeky atomic age parody style of 943 00:52:17,120 --> 00:52:19,600 Speaker 1: the fallout games. Yeah, yeah, because we see some of 944 00:52:19,640 --> 00:52:23,520 Speaker 1: that here, Like they're establishing and a certain to a 945 00:52:23,560 --> 00:52:27,239 Speaker 1: certain extent, you know, this idealized version of what the 946 00:52:27,239 --> 00:52:30,200 Speaker 1: fifties were. Like. We have these these two love birds, 947 00:52:30,239 --> 00:52:33,600 Speaker 1: Brian and Peggy Bell. They've been injected with a special 948 00:52:33,640 --> 00:52:37,320 Speaker 1: serum serum. They're very much in love. Generals and German 949 00:52:37,360 --> 00:52:42,480 Speaker 1: scientists are watching on there somehow connected to this um 950 00:52:42,920 --> 00:52:45,719 Speaker 1: atomic detonation that's about to happen there in some sort 951 00:52:45,760 --> 00:52:48,680 Speaker 1: of a bunker, and we see that this is the 952 00:52:48,760 --> 00:52:52,040 Speaker 1: Samson Project. Yeah, this is the Samson Projects. So they're 953 00:52:52,040 --> 00:52:56,800 Speaker 1: like in a fallout shelter underneath this this bomb test range. 954 00:52:57,440 --> 00:52:59,480 Speaker 1: And uh and one thing that was funny here was 955 00:52:59,600 --> 00:53:02,960 Speaker 1: they have to inject themselves with some kind of serum 956 00:53:03,080 --> 00:53:05,400 Speaker 1: right before the bomb goes off while they're strapped to 957 00:53:05,440 --> 00:53:08,440 Speaker 1: these chairs. And you see them just like jam in 958 00:53:08,560 --> 00:53:12,920 Speaker 1: just a stabbing motion with the needles into their own arms. Yeah, 959 00:53:12,960 --> 00:53:16,200 Speaker 1: there are multiple scenes with injection. This This is not 960 00:53:16,239 --> 00:53:20,600 Speaker 1: a good film for people who have needle phobias, especially 961 00:53:20,600 --> 00:53:24,560 Speaker 1: because some of the needles are full of glowing green goop. Yeah. 962 00:53:24,640 --> 00:53:26,239 Speaker 1: Well the green the green glow is how you know 963 00:53:26,320 --> 00:53:30,080 Speaker 1: it works right. Another thing I wanted to mention though, 964 00:53:30,239 --> 00:53:35,200 Speaker 1: which is I already alluded to the sort of wildly 965 00:53:35,440 --> 00:53:39,440 Speaker 1: varying visual qualities of this film. Some things and it 966 00:53:39,480 --> 00:53:42,720 Speaker 1: look really good, and some things in it look very cheap. 967 00:53:42,920 --> 00:53:45,839 Speaker 1: And so some of the things in the early part 968 00:53:45,840 --> 00:53:48,239 Speaker 1: of the movie, which overall the beginning I think is 969 00:53:48,320 --> 00:53:52,640 Speaker 1: very effective and funny and works well, but it instantly 970 00:53:52,680 --> 00:53:56,120 Speaker 1: also looks like a movie made in nine and I 971 00:53:56,120 --> 00:53:58,680 Speaker 1: was wondering, like, what is that quality that so many 972 00:53:58,719 --> 00:54:01,440 Speaker 1: movies even want a good movie vs of the early 973 00:54:01,560 --> 00:54:04,600 Speaker 1: nineties have this look. It's almost kind of a TV 974 00:54:04,960 --> 00:54:09,600 Speaker 1: style cinematography. I would compare it to some of the 975 00:54:09,680 --> 00:54:13,080 Speaker 1: kind of velveta sets and camera behavior that we saw 976 00:54:13,120 --> 00:54:17,040 Speaker 1: in those Charles Band movies. Yeah, yeah, yeah, it certainly 977 00:54:17,080 --> 00:54:20,040 Speaker 1: does um that. But at the same time, they have 978 00:54:20,239 --> 00:54:24,759 Speaker 1: this atomic age news short that that plays in this 979 00:54:24,840 --> 00:54:27,640 Speaker 1: portion of the film where they yeah, where they create 980 00:54:27,880 --> 00:54:31,000 Speaker 1: this uh, this kind of retro news vibe, you know, 981 00:54:31,080 --> 00:54:34,360 Speaker 1: like like today we have Brian and Peggy involved in this, 982 00:54:34,640 --> 00:54:37,160 Speaker 1: you know, with the you know, the the nice overdone narration, 983 00:54:37,640 --> 00:54:41,600 Speaker 1: and it's like Starship Troopers. They're doing their part. Yeah, yeah, 984 00:54:41,640 --> 00:54:44,479 Speaker 1: it's like you know, military propaganda, and it's really well done. 985 00:54:44,520 --> 00:54:48,600 Speaker 1: It it feels more or less authentic to the fifties 986 00:54:48,680 --> 00:54:52,759 Speaker 1: and less. But Okay, there's a nuclear test, bomb goes off. 987 00:54:52,840 --> 00:54:55,680 Speaker 1: They've injected themselves with the serum man and Brian and 988 00:54:55,680 --> 00:54:59,279 Speaker 1: Peggy survive. And then they find out, oh, after the 989 00:54:59,520 --> 00:55:02,719 Speaker 1: after the test, they're going to have a son. Uh. 990 00:55:02,760 --> 00:55:05,319 Speaker 1: So we we cut to them in the hospital with 991 00:55:05,480 --> 00:55:09,000 Speaker 1: their with their newborn baby, and Brian brings in a 992 00:55:09,040 --> 00:55:12,760 Speaker 1: plastic merry go round as a gift for the child, 993 00:55:13,360 --> 00:55:15,520 Speaker 1: uh and and a little note that says, like to 994 00:55:15,719 --> 00:55:18,080 Speaker 1: my son, and then it says, for my son on 995 00:55:18,080 --> 00:55:20,239 Speaker 1: the day of his birth, may your life always be 996 00:55:20,280 --> 00:55:23,239 Speaker 1: a merry go Round. And as he's like handing this 997 00:55:23,280 --> 00:55:26,080 Speaker 1: to his wife, Brian's like, isn't it amazing what they're 998 00:55:26,080 --> 00:55:30,880 Speaker 1: doing with plastic these days? A strange comment, I thought, 999 00:55:32,560 --> 00:55:34,799 Speaker 1: But it's got doctors in the hospital like running a 1000 00:55:34,800 --> 00:55:37,560 Speaker 1: Geiger counter over the baby. Obviously they think, you know, 1001 00:55:37,680 --> 00:55:41,280 Speaker 1: something's up. I guess with all of the anti radiation 1002 00:55:41,400 --> 00:55:44,680 Speaker 1: serum that these people have been taking um and they're 1003 00:55:44,719 --> 00:55:47,160 Speaker 1: running a Geiger counter over the baby, and they're like, wow, 1004 00:55:47,320 --> 00:55:49,600 Speaker 1: normal as can be. But they note that there is 1005 00:55:49,640 --> 00:55:53,400 Speaker 1: a perfectly circular birthmark on the back of the baby's hand, 1006 00:55:54,600 --> 00:55:57,439 Speaker 1: and this will come into play as the movie goes 1007 00:55:57,560 --> 00:56:01,479 Speaker 1: later on. But so anyway, we're seeing the parents and 1008 00:56:01,480 --> 00:56:04,720 Speaker 1: and their baby interact. Baby baby do Iff is visiting 1009 00:56:04,719 --> 00:56:08,239 Speaker 1: with his mom, and then oh, the nurse comes to 1010 00:56:08,320 --> 00:56:11,920 Speaker 1: take the baby away, and then something happens. This is 1011 00:56:11,960 --> 00:56:15,319 Speaker 1: like the we get the inciting childhood trauma scene that 1012 00:56:15,360 --> 00:56:17,600 Speaker 1: you have to have in so many movies these days. 1013 00:56:17,600 --> 00:56:20,600 Speaker 1: So you know where Bruce Wayne's parents they're murdered with 1014 00:56:20,640 --> 00:56:23,480 Speaker 1: a gun in crime alley, and in this movie, Brad 1015 00:56:23,560 --> 00:56:28,399 Speaker 1: Douroff's parents are murdered by fire by a pyrokinetic baby. 1016 00:56:28,440 --> 00:56:30,279 Speaker 1: I will say that this is what it feels like 1017 00:56:30,320 --> 00:56:33,680 Speaker 1: the first time your child cries uncontrollably, though, it feels 1018 00:56:33,680 --> 00:56:37,480 Speaker 1: like like everybody's on fire. So since this this scene 1019 00:56:37,800 --> 00:56:40,520 Speaker 1: works really well. Well wait, actually, now now that I 1020 00:56:40,560 --> 00:56:43,080 Speaker 1: step back, I have a question because here's one of 1021 00:56:43,120 --> 00:56:45,319 Speaker 1: the things that maybe you can set me right on 1022 00:56:45,400 --> 00:56:50,160 Speaker 1: that I didn't understand about the movie. The the mechanics 1023 00:56:50,239 --> 00:56:53,520 Speaker 1: of how people were getting set on fire was unclear 1024 00:56:53,560 --> 00:56:55,520 Speaker 1: to me because at first I thought it was, oh no, 1025 00:56:55,600 --> 00:56:59,320 Speaker 1: the baby's upset the baby is crying, and because the 1026 00:56:59,360 --> 00:57:03,080 Speaker 1: baby's up that the baby uses its pyrokinesis powers to 1027 00:57:03,120 --> 00:57:06,759 Speaker 1: set its parents on fire. But also there's stuff about 1028 00:57:06,840 --> 00:57:12,720 Speaker 1: how people just naturally spontaneously combust and that the serum 1029 00:57:12,760 --> 00:57:15,560 Speaker 1: that the parents were taking might have made that happen 1030 00:57:15,640 --> 00:57:19,040 Speaker 1: to them. So could it be that actually the baby 1031 00:57:19,040 --> 00:57:23,040 Speaker 1: Brad Douriff, didn't do it, and they just spontaneously combusted 1032 00:57:23,080 --> 00:57:29,480 Speaker 1: because they had taken the injections. Um, I guess it's possible. Yeah, Um, 1033 00:57:29,640 --> 00:57:31,480 Speaker 1: I don't know. The way I read it was that 1034 00:57:31,560 --> 00:57:35,520 Speaker 1: it's very much the baby, but but it's but it's 1035 00:57:35,520 --> 00:57:38,240 Speaker 1: like if you have some sort of like you know, 1036 00:57:38,360 --> 00:57:43,160 Speaker 1: firepower that is attached to your um emotional states. I mean, 1037 00:57:43,400 --> 00:57:45,920 Speaker 1: a baby is the exactly the wrong creature to have 1038 00:57:46,000 --> 00:57:50,200 Speaker 1: that power. You know. It's it's it's just going to 1039 00:57:50,400 --> 00:57:54,360 Speaker 1: experience its emotional states. It's just a maximum level with 1040 00:57:54,360 --> 00:57:58,280 Speaker 1: with with no regard for the safety of anyone else 1041 00:57:58,320 --> 00:58:01,160 Speaker 1: in the vicinity. Um So, it would be the kind 1042 00:58:01,160 --> 00:58:03,080 Speaker 1: of thing where it would just you know, catch everybody 1043 00:58:03,080 --> 00:58:06,200 Speaker 1: on fire. Um So. I mean, to a certain extent, 1044 00:58:06,240 --> 00:58:10,120 Speaker 1: I feel like this the film's extended metaphor of emotional 1045 00:58:10,160 --> 00:58:14,200 Speaker 1: outbursts as a fire, and um, you know, and and 1046 00:58:14,280 --> 00:58:18,760 Speaker 1: the idea that when we're engaging emotionally, you know, we're 1047 00:58:18,760 --> 00:58:22,880 Speaker 1: having an impact on other people, either visibly present or 1048 00:58:22,920 --> 00:58:25,400 Speaker 1: you know, even over the telephone. I think it to 1049 00:58:25,400 --> 00:58:27,960 Speaker 1: a certain extent makes sense, but I also realized that 1050 00:58:28,040 --> 00:58:31,080 Speaker 1: maybe reading too much into it. Sure. Uh so we're 1051 00:58:31,080 --> 00:58:34,000 Speaker 1: in a shadowy room now where the this this burning 1052 00:58:34,040 --> 00:58:36,480 Speaker 1: has happened, but Brian and Peggy have burned up, and 1053 00:58:36,520 --> 00:58:40,120 Speaker 1: they're just like charcoal bodies now, and you've got a 1054 00:58:40,200 --> 00:58:43,440 Speaker 1: circle of top brass and these and these skunkworks dudes 1055 00:58:43,480 --> 00:58:46,920 Speaker 1: all chatting. They're standing around chattering about the flame child. 1056 00:58:47,280 --> 00:58:50,200 Speaker 1: They're saying like it's unbelievable. All the boister is gone, 1057 00:58:50,240 --> 00:58:52,880 Speaker 1: even the mirrow. And then another one says, it would 1058 00:58:52,920 --> 00:58:55,880 Speaker 1: take a temperature of six thousand degrees syntegrade to do 1059 00:58:56,000 --> 00:58:59,360 Speaker 1: something like this. It's the cleanest kill I ever saw. 1060 00:59:00,080 --> 00:59:02,040 Speaker 1: And that line gets repeated in the movie, and I 1061 00:59:02,080 --> 00:59:04,440 Speaker 1: don't understand because it doesn't look clean at all. It 1062 00:59:04,440 --> 00:59:07,760 Speaker 1: looks like a total mess. Yeah, it's a it's a 1063 00:59:07,800 --> 00:59:11,720 Speaker 1: weird it's a weird critique to have the whole scenario. Boy, 1064 00:59:11,720 --> 00:59:13,640 Speaker 1: that's a clean kill. But then again, we're not part 1065 00:59:13,640 --> 00:59:16,720 Speaker 1: of the military industrial complex, so maybe maybe maybe within 1066 00:59:16,840 --> 00:59:20,320 Speaker 1: that realm, it makes more sense to say this, I guess. 1067 00:59:20,320 --> 00:59:22,520 Speaker 1: But then so they're standing around doing this. But then 1068 00:59:22,600 --> 00:59:26,640 Speaker 1: the best possible thing happens. Andre to Toath comes in. 1069 00:59:27,600 --> 00:59:30,400 Speaker 1: They introduced him as Dr Vandermeir. He just comes kind 1070 00:59:30,400 --> 00:59:34,720 Speaker 1: of creeping into the room delivering this amazing monologue. He 1071 00:59:34,760 --> 00:59:37,800 Speaker 1: starts off saying, was there any plastic in the area 1072 00:59:37,960 --> 00:59:40,560 Speaker 1: this would affect it? And they were like, yes, it 1073 00:59:40,640 --> 00:59:44,480 Speaker 1: all melted. And they say how would you know? And 1074 00:59:44,520 --> 00:59:47,120 Speaker 1: they say, well, this is Dr Vandermeir, you know, like 1075 00:59:47,240 --> 00:59:50,440 Speaker 1: obviously that's how he knows he's Dr VanderMeer. Yeah, and 1076 00:59:50,480 --> 00:59:52,560 Speaker 1: he has this wonderful line, one of my favorites. Way 1077 00:59:52,560 --> 00:59:57,200 Speaker 1: he says, the bodies burned from the inside with fury, 1078 00:59:57,360 --> 01:00:02,040 Speaker 1: and the sound the sound like an angel screen is 1079 01:00:02,440 --> 01:00:04,920 Speaker 1: like he typing it up in his report, Like that 1080 01:00:05,080 --> 01:00:08,080 Speaker 1: is that what when they declassify these documents from I 1081 01:00:08,120 --> 01:00:10,360 Speaker 1: don't know whatever kind of program Darper or whatever this 1082 01:00:10,440 --> 01:00:13,520 Speaker 1: is it is? Is he that how he's talking in them? 1083 01:00:13,960 --> 01:00:17,200 Speaker 1: I guess? So, yeah, Um, it's not the most unnatural 1084 01:00:17,200 --> 01:00:20,720 Speaker 1: thing I've heard in the movie this year, but it's 1085 01:00:20,760 --> 01:00:23,320 Speaker 1: it's but I like it. I like it, So he says, 1086 01:00:23,720 --> 01:00:27,440 Speaker 1: we get this amazing monologue. He says, the plastic melts, 1087 01:00:27,480 --> 01:00:31,520 Speaker 1: everything else remains with little or no damage. Bed covers, 1088 01:00:31,640 --> 01:00:37,040 Speaker 1: clothing articles made of cotton are particularly invulnerable. The human body, 1089 01:00:37,120 --> 01:00:41,720 Speaker 1: you see is the most complex electrically sparked combustion engine 1090 01:00:41,800 --> 01:00:45,040 Speaker 1: we know of. It is difficult for us to comprehend 1091 01:00:45,200 --> 01:00:49,680 Speaker 1: spontaneous combustion. We would not have the same reaction to 1092 01:00:49,800 --> 01:00:53,479 Speaker 1: a radio catching fire s c H. And he says 1093 01:00:53,640 --> 01:00:55,880 Speaker 1: s c H several times. S c H is a 1094 01:00:56,040 --> 01:01:00,000 Speaker 1: naturally occurring phenomenon, but the odds of its striking any 1095 01:00:59,760 --> 01:01:04,680 Speaker 1: particular individual are millions to one. I believe the complex 1096 01:01:04,680 --> 01:01:09,160 Speaker 1: series of vaccines your subjects were given, combined with radiation 1097 01:01:09,240 --> 01:01:13,959 Speaker 1: from the blast, dramatically reduced those odds to one to one. 1098 01:01:15,360 --> 01:01:19,160 Speaker 1: He's absolutely certain. Yes, it was just a hundred percent 1099 01:01:19,280 --> 01:01:23,080 Speaker 1: chance you will spontaneously combust which the way he's introducing 1100 01:01:23,080 --> 01:01:26,600 Speaker 1: it here, it's the The pseudoscience of the movie is that, 1101 01:01:27,360 --> 01:01:32,120 Speaker 1: like the body's natural tendency is towards spontaneous combustion, and 1102 01:01:32,160 --> 01:01:35,000 Speaker 1: if you don't always have some kind of process going 1103 01:01:35,040 --> 01:01:38,240 Speaker 1: on inside that prevents you from catching on fire. It's 1104 01:01:38,280 --> 01:01:41,720 Speaker 1: just going to happen. And so these injections to protect 1105 01:01:41,760 --> 01:01:45,760 Speaker 1: them from radiation, uh, suddenly changed all that got away 1106 01:01:45,800 --> 01:01:48,920 Speaker 1: with the body's natural defenses. But it's funny. After all, 1107 01:01:48,960 --> 01:01:50,920 Speaker 1: this one of the one of the skunk buddies standing 1108 01:01:50,960 --> 01:01:54,680 Speaker 1: around the bed. He just goes like yes, and then 1109 01:01:55,080 --> 01:01:58,920 Speaker 1: Dr Vandermere says, oh, you've got this line here, Oh 1110 01:01:59,040 --> 01:02:02,240 Speaker 1: the fire from heav and he's certainly here today. What 1111 01:02:02,360 --> 01:02:05,920 Speaker 1: does it mean? I don't know, but so he and 1112 01:02:05,960 --> 01:02:08,240 Speaker 1: then he gets back on the acronym again. He's like 1113 01:02:08,320 --> 01:02:12,760 Speaker 1: so excited. He says s h c uh. And then 1114 01:02:12,800 --> 01:02:16,040 Speaker 1: he starts stabbing at one of the charcoal heads with 1115 01:02:16,080 --> 01:02:18,280 Speaker 1: a fountain pen and he kind of digs around in 1116 01:02:18,320 --> 01:02:21,040 Speaker 1: there a bit and then pulls out a skull, which 1117 01:02:21,080 --> 01:02:23,600 Speaker 1: I might add is really tiny, even though it is 1118 01:02:23,640 --> 01:02:26,880 Speaker 1: supposed to belong to an adult, and it's obviously like 1119 01:02:26,920 --> 01:02:30,120 Speaker 1: a toy skull of some kind. And he says like 1120 01:02:30,200 --> 01:02:32,840 Speaker 1: he's got this big you know, lotto ticket winner smile, 1121 01:02:32,880 --> 01:02:38,600 Speaker 1: and he says spontaneous human combustion. Yeah. The size of 1122 01:02:38,640 --> 01:02:41,280 Speaker 1: the skull freaked me out. When when I watched this 1123 01:02:41,440 --> 01:02:46,640 Speaker 1: both times, I think because it's like the baby may 1124 01:02:46,680 --> 01:02:48,880 Speaker 1: have burned the people up, and then he's like pulling 1125 01:02:48,880 --> 01:02:52,800 Speaker 1: a baby skull out of the like the mother's remains. 1126 01:02:52,840 --> 01:02:55,120 Speaker 1: It's like, it's it's very weird, and it takes took 1127 01:02:55,160 --> 01:02:58,040 Speaker 1: me a little while to figure out both times that oh, 1128 01:02:58,080 --> 01:03:00,920 Speaker 1: it's just supposed to be a normal human skull is 1129 01:03:00,960 --> 01:03:05,160 Speaker 1: just too small. Yeah. And then meanwhile you cut to 1130 01:03:05,200 --> 01:03:08,720 Speaker 1: the flame child himself. He's alone in a hospital bassonet, 1131 01:03:08,840 --> 01:03:12,040 Speaker 1: crying into the darkness. You feel for this child, but 1132 01:03:12,120 --> 01:03:15,560 Speaker 1: we immediately get one of those fade to adulthood transitions, 1133 01:03:15,600 --> 01:03:18,800 Speaker 1: and this flame child is now a grown man, complete 1134 01:03:18,800 --> 01:03:21,200 Speaker 1: with They show you his circular birthmark on the back 1135 01:03:21,200 --> 01:03:22,960 Speaker 1: of his hands, so you know it's him, and he 1136 01:03:23,000 --> 01:03:26,120 Speaker 1: has grown up to be Brad Douriff and he's auditioning 1137 01:03:26,280 --> 01:03:28,920 Speaker 1: to play in the Shakespeare Show. And this is this 1138 01:03:29,000 --> 01:03:32,320 Speaker 1: is a wonderful scene for for several reasons. First of all, 1139 01:03:32,560 --> 01:03:36,320 Speaker 1: you have you have Brad Dorriff, who who's a great actor, 1140 01:03:37,480 --> 01:03:41,920 Speaker 1: playing a guy who is maybe an okay actor right 1141 01:03:42,120 --> 01:03:44,600 Speaker 1: like he's or at least a guy who's like doing 1142 01:03:44,640 --> 01:03:47,000 Speaker 1: a read of a script. So It's always kind of 1143 01:03:47,080 --> 01:03:49,840 Speaker 1: interesting when you see that, like some like a really 1144 01:03:49,880 --> 01:03:53,400 Speaker 1: talented actor playing a scene where they are they're playing 1145 01:03:53,440 --> 01:03:57,280 Speaker 1: an actor who is not fully comfortable with the material yet, 1146 01:03:57,480 --> 01:04:00,160 Speaker 1: and also kind of like breaking up halfway through it 1147 01:04:00,240 --> 01:04:05,400 Speaker 1: and laughing. It's also a very humanizing scene. Like this film, 1148 01:04:05,560 --> 01:04:08,000 Speaker 1: more than a lot of horror pictures and thriller pictures 1149 01:04:08,000 --> 01:04:12,360 Speaker 1: I've seen, it introduced our protagonist, and I instantly care 1150 01:04:12,400 --> 01:04:15,360 Speaker 1: about him, like I'm instantly invested, Like this guy seems alright, 1151 01:04:15,400 --> 01:04:17,600 Speaker 1: he seems normal. Look at all this this this fun 1152 01:04:17,680 --> 01:04:20,040 Speaker 1: in life in him. Yeah. Sure, I mean I think 1153 01:04:20,080 --> 01:04:22,640 Speaker 1: we're supposed to understand that he is a bad actor, 1154 01:04:22,680 --> 01:04:27,960 Speaker 1: not just not as great as Brad Dorriff. Yeah, yeah, 1155 01:04:28,000 --> 01:04:29,600 Speaker 1: but you're you're probably right. I think he's supposed to 1156 01:04:29,640 --> 01:04:32,640 Speaker 1: be a teacher right at this uh this college, Yeah, 1157 01:04:32,760 --> 01:04:34,880 Speaker 1: I think. So they don't say what he teaches, or 1158 01:04:34,920 --> 01:04:36,960 Speaker 1: if they do, I missed it. Is he the theater 1159 01:04:37,040 --> 01:04:41,240 Speaker 1: teacher or is he just he's just gonna be no, no, no, no, okay. 1160 01:04:41,640 --> 01:04:44,760 Speaker 1: But so here's a question I had at this audition. 1161 01:04:44,800 --> 01:04:48,040 Speaker 1: There are five characters in the scene, and every single 1162 01:04:48,080 --> 01:04:50,960 Speaker 1: one of them is wearing an anti nuclear arm band, 1163 01:04:51,600 --> 01:04:53,800 Speaker 1: which is so it's an arm band that's like a 1164 01:04:53,840 --> 01:04:57,040 Speaker 1: no smoking sign, but with the radiation symbol instead of 1165 01:04:57,080 --> 01:04:59,880 Speaker 1: the cigarette. So is this a gathering of like the 1166 01:05:00,040 --> 01:05:03,760 Speaker 1: anti nuclear repertory company? Why is this an anti nuclear 1167 01:05:03,840 --> 01:05:06,840 Speaker 1: theater troupe? I mean, I guess it's just supposed to 1168 01:05:06,880 --> 01:05:10,120 Speaker 1: be the vibe on campus. I don't know. I know 1169 01:05:10,200 --> 01:05:14,280 Speaker 1: Toby Hooper taught at one point, Um, what in Austin? 1170 01:05:14,320 --> 01:05:16,200 Speaker 1: I think, so, I don't know if he's like pulling 1171 01:05:16,240 --> 01:05:19,280 Speaker 1: in some of that. I also had the feeling throughout 1172 01:05:19,360 --> 01:05:22,040 Speaker 1: the film, especially I think from this point on that 1173 01:05:22,160 --> 01:05:27,080 Speaker 1: this picture was trying to say something about nuclear energy, 1174 01:05:27,280 --> 01:05:29,760 Speaker 1: was trying to be to to to make a statement, 1175 01:05:29,840 --> 01:05:35,320 Speaker 1: like an anti nuke statement, in ways that never completely 1176 01:05:35,360 --> 01:05:38,400 Speaker 1: worked and maybe handicapped the script at times. Oh yeah, yeah, 1177 01:05:38,440 --> 01:05:40,600 Speaker 1: I think this is supposed to be an anti nuclear movie, 1178 01:05:40,920 --> 01:05:44,000 Speaker 1: and not just against nuclear weapons, which you know, there's 1179 01:05:44,000 --> 01:05:46,960 Speaker 1: a very understandable point of view. Is also clearly against 1180 01:05:47,040 --> 01:05:51,240 Speaker 1: nuclear power as an energy source, which makes me think, 1181 01:05:51,440 --> 01:05:53,480 Speaker 1: what could this movie could could have got some funding 1182 01:05:53,520 --> 01:05:58,240 Speaker 1: from big coal. Um, but he's uh so he's bad 1183 01:05:58,280 --> 01:06:00,560 Speaker 1: at acting, and he fails the audition, and and oh 1184 01:06:00,640 --> 01:06:04,200 Speaker 1: and every like everybody associated with the nuclear power plant 1185 01:06:04,280 --> 01:06:08,840 Speaker 1: in this movie is evil. Um, but he's bad at acting. 1186 01:06:08,920 --> 01:06:11,439 Speaker 1: He fails the audition. His girlfriend tells him he's bad. 1187 01:06:11,520 --> 01:06:14,360 Speaker 1: This is this is Lisa uh. At some point he 1188 01:06:14,400 --> 01:06:17,959 Speaker 1: asks her about I think he's astrological charts and she's 1189 01:06:17,960 --> 01:06:20,000 Speaker 1: got some info for him. I think she also has 1190 01:06:20,120 --> 01:06:23,160 Speaker 1: pills for him that she gives him right right, She's 1191 01:06:23,160 --> 01:06:26,400 Speaker 1: really into astrology and he doesn't completely take it seriously. 1192 01:06:26,520 --> 01:06:29,640 Speaker 1: But they have a great chemistry these two. Like this 1193 01:06:29,720 --> 01:06:32,600 Speaker 1: is thinking back to Doris quote that we read earlier. 1194 01:06:33,160 --> 01:06:35,320 Speaker 1: I I wish this had stuck to the love story 1195 01:06:35,360 --> 01:06:37,840 Speaker 1: because they had these two had some nice chemistry together 1196 01:06:37,960 --> 01:06:41,040 Speaker 1: and and I'm instantly invested. I want them to succeed 1197 01:06:41,080 --> 01:06:44,280 Speaker 1: and overcome whatever, you know, kind of fire baby stuff 1198 01:06:44,320 --> 01:06:56,720 Speaker 1: is happening in the background. So to explain the situation 1199 01:06:56,800 --> 01:06:59,120 Speaker 1: of the film, like what's generally going on, I think 1200 01:06:59,120 --> 01:07:02,400 Speaker 1: we should probably try to describe this scene at the 1201 01:07:02,800 --> 01:07:05,959 Speaker 1: at the restaurant, and then the following the like the 1202 01:07:06,000 --> 01:07:09,280 Speaker 1: outside the limo thing, because this is where you sort 1203 01:07:09,320 --> 01:07:13,040 Speaker 1: of figure out the relationships between the characters. So Sam 1204 01:07:13,400 --> 01:07:16,120 Speaker 1: correct me if I get anything wrong here. Sam has 1205 01:07:16,160 --> 01:07:22,240 Speaker 1: an ex wife named Rachel, whose grandfather uh lu oh 1206 01:07:22,360 --> 01:07:26,440 Speaker 1: Lander and that's the prince character from the beginning is 1207 01:07:26,480 --> 01:07:29,520 Speaker 1: always asking about him, always asking about his headaches and 1208 01:07:29,560 --> 01:07:36,880 Speaker 1: his migraines. But also Lou Olander uh raised Sam? Is 1209 01:07:36,920 --> 01:07:40,959 Speaker 1: that right? Yeah, he's some sort of father figure. Yeah, 1210 01:07:41,040 --> 01:07:43,760 Speaker 1: he's I don't know, I don't recall to what degree 1211 01:07:43,840 --> 01:07:45,760 Speaker 1: he was involved in raising him, but he is. He 1212 01:07:45,800 --> 01:07:52,040 Speaker 1: seems to be the most important male figure in Sam's life, Okay, 1213 01:07:52,080 --> 01:07:53,600 Speaker 1: but it was hard to figure that out. So I 1214 01:07:53,600 --> 01:07:56,960 Speaker 1: think he was basically Sam's. Um, Yeah, some kind of 1215 01:07:56,960 --> 01:08:00,680 Speaker 1: mentor figure or father figure to him. And end he's 1216 01:08:00,720 --> 01:08:04,560 Speaker 1: and he's the grandfather of Sam's ex wife. But then 1217 01:08:04,600 --> 01:08:06,800 Speaker 1: when Sam gets to the restaurant, first of all they 1218 01:08:06,880 --> 01:08:09,960 Speaker 1: try they stick him with the bill. His ex wife 1219 01:08:10,000 --> 01:08:11,720 Speaker 1: is like, I have to leave, you'll pick up the 1220 01:08:11,760 --> 01:08:15,439 Speaker 1: tab um, and then Sam follows her outside. She gets 1221 01:08:15,440 --> 01:08:20,120 Speaker 1: in a limo with the grandfather with Lou and then um, 1222 01:08:20,160 --> 01:08:23,040 Speaker 1: they see a news story on a TV that's playing 1223 01:08:23,040 --> 01:08:26,360 Speaker 1: in the limo that talks about this woman named Amy 1224 01:08:26,600 --> 01:08:30,040 Speaker 1: who had died the previous night. She has some association 1225 01:08:30,080 --> 01:08:33,559 Speaker 1: with a nuclear power plant and she had died the 1226 01:08:33,560 --> 01:08:37,040 Speaker 1: previous night after an incident resulting from smoking in bed. 1227 01:08:37,800 --> 01:08:39,920 Speaker 1: And then uh, we find out and then he's like, what, 1228 01:08:40,080 --> 01:08:42,040 Speaker 1: but I just had a heated argument with her the 1229 01:08:42,080 --> 01:08:47,400 Speaker 1: previous night, so it's really kind of telegraphing. Um. But 1230 01:08:47,479 --> 01:08:50,160 Speaker 1: then he he gets stuck with the check after they leave, 1231 01:08:50,200 --> 01:08:52,200 Speaker 1: and he's very angry about this, and then his finger 1232 01:08:52,240 --> 01:08:56,479 Speaker 1: catches fire. Yes, uh and I should It's it's pretty effective, 1233 01:08:56,520 --> 01:08:58,760 Speaker 1: I thought, because it's not just like a like a 1234 01:08:59,040 --> 01:09:01,360 Speaker 1: you know, like, oh my inger's on fire, Like it's shocking, 1235 01:09:01,439 --> 01:09:04,080 Speaker 1: it's painful. There's this it's kind of like his his 1236 01:09:04,200 --> 01:09:07,240 Speaker 1: the tip of his finger becomes phosphorus for a second. Yeah, 1237 01:09:07,320 --> 01:09:09,880 Speaker 1: Doriff's all in and it's like yeah, it's like a 1238 01:09:09,960 --> 01:09:12,600 Speaker 1: quick match, you know. Fush. So here from here, he 1239 01:09:12,640 --> 01:09:14,840 Speaker 1: goes to his doctor's office, and we find out that 1240 01:09:14,960 --> 01:09:18,240 Speaker 1: his doctor is forgetful and incompetent. It doesn't really pay 1241 01:09:18,280 --> 01:09:20,679 Speaker 1: attention to ask him the same questions over and over again. 1242 01:09:20,760 --> 01:09:23,200 Speaker 1: He says that he tried. He says that the doctor 1243 01:09:23,240 --> 01:09:25,519 Speaker 1: told him he needed to get his tonsils removed, but 1244 01:09:25,560 --> 01:09:29,240 Speaker 1: he didn't have tonsils anymore because they'd already been removed. Um. 1245 01:09:29,560 --> 01:09:33,120 Speaker 1: And so he electrically shocks the doctor, apparently by accident 1246 01:09:33,160 --> 01:09:37,080 Speaker 1: while shaking his hand, a tribute to the static electricity. Yeah, 1247 01:09:37,120 --> 01:09:40,640 Speaker 1: and I think they're setting up some recurring themes that 1248 01:09:40,720 --> 01:09:43,360 Speaker 1: will be happening throughout the rest of the plot, which 1249 01:09:43,400 --> 01:09:46,840 Speaker 1: is that Sam, first of all, keeps having little incidents 1250 01:09:46,880 --> 01:09:49,200 Speaker 1: in which like his fingers or parts of his body 1251 01:09:49,280 --> 01:09:52,559 Speaker 1: catch on fire, or he's in the vicinity of fire, 1252 01:09:52,600 --> 01:09:54,719 Speaker 1: like he lights a match or something and it blazes 1253 01:09:54,840 --> 01:09:57,679 Speaker 1: up into an inferno. And then on the other hand, 1254 01:09:57,720 --> 01:10:01,760 Speaker 1: there are repeatedly stories about somebody who Sam had a 1255 01:10:01,840 --> 01:10:04,840 Speaker 1: conflict with later turns up burned to death in their 1256 01:10:04,840 --> 01:10:08,040 Speaker 1: home right, And this this first incident of we don't 1257 01:10:08,040 --> 01:10:11,400 Speaker 1: see it, but that eventually we're seeing these sequences where yeah, 1258 01:10:11,400 --> 01:10:14,479 Speaker 1: they're they're graphically burned alive, and then he learns about 1259 01:10:14,479 --> 01:10:17,000 Speaker 1: it after the fact. Now I don't know exactly how 1260 01:10:17,080 --> 01:10:21,040 Speaker 1: this connects to the concept of spontaneous combustion, because here 1261 01:10:21,080 --> 01:10:25,120 Speaker 1: it seems like he's pyrokinetically doing this to people unconsciously, 1262 01:10:25,200 --> 01:10:27,640 Speaker 1: like he's not trying to, but it's a result of 1263 01:10:27,720 --> 01:10:31,040 Speaker 1: him getting mad at people, I guess um. And and 1264 01:10:31,120 --> 01:10:34,479 Speaker 1: yet he's driving around in his car listening to like 1265 01:10:34,640 --> 01:10:40,559 Speaker 1: the radio that's talking about these spontaneous combustion conspiracies. Yeah, 1266 01:10:40,600 --> 01:10:42,799 Speaker 1: like if it was two, if this took place today, 1267 01:10:42,800 --> 01:10:47,280 Speaker 1: he would be listening to conspiracy podcasts NonStop about things 1268 01:10:47,320 --> 01:10:50,720 Speaker 1: like spontaneous human combustion. But it's on the radio, which 1269 01:10:50,760 --> 01:10:53,120 Speaker 1: is I don't render what radio station that is. But 1270 01:10:53,240 --> 01:10:56,479 Speaker 1: also so the thing they're talking about is like they 1271 01:10:56,479 --> 01:11:00,200 Speaker 1: don't want you to know about spontaneous human combustion. You're 1272 01:11:00,200 --> 01:11:02,479 Speaker 1: not supposed to talk about it. If you know about it, 1273 01:11:02,520 --> 01:11:04,840 Speaker 1: they'll shut you up. But this is one of those 1274 01:11:04,840 --> 01:11:09,240 Speaker 1: conspiracy theories where like it doesn't even pass the uh 1275 01:11:09,240 --> 01:11:14,160 Speaker 1: okay as if plausibility test, Like what shadowy power would 1276 01:11:14,160 --> 01:11:19,160 Speaker 1: be trying to contain the secret of spontaneous combustion? Kui bono? Right? 1277 01:11:19,280 --> 01:11:21,960 Speaker 1: You know who's benefiting from keeping this a secret? Is 1278 01:11:22,000 --> 01:11:24,960 Speaker 1: this making somebody money? Or I don't know. I guess 1279 01:11:24,960 --> 01:11:29,760 Speaker 1: that if I'm being generous, I would say that, yeah, 1280 01:11:29,760 --> 01:11:31,920 Speaker 1: I'm sorry, I can't. I have nothing. No. It reminds 1281 01:11:31,960 --> 01:11:33,679 Speaker 1: me of like the people this is what I've actually 1282 01:11:33,720 --> 01:11:36,680 Speaker 1: heard before, like the people who say like flat earthers, 1283 01:11:36,680 --> 01:11:38,880 Speaker 1: who say, oh, the government wants you to think that 1284 01:11:38,920 --> 01:11:42,120 Speaker 1: the Earth is round, and it's like, oh wow, you know, 1285 01:11:42,160 --> 01:11:44,320 Speaker 1: if they can just convince us the earth is around, 1286 01:11:44,360 --> 01:11:50,200 Speaker 1: then they'll really what. I don't know, they were really powerful. Yeah, 1287 01:11:50,240 --> 01:11:51,639 Speaker 1: I mean, I don't know. Part of it, I guess 1288 01:11:51,680 --> 01:11:53,439 Speaker 1: could be the film's trying to play into the idea 1289 01:11:53,479 --> 01:11:57,280 Speaker 1: that he is, like there's there's legitimate paranoia building, but 1290 01:11:57,640 --> 01:12:00,280 Speaker 1: I guess and anytime you're crafting a fiction way or 1291 01:12:00,560 --> 01:12:03,280 Speaker 1: you you want there to be paranoia but also a 1292 01:12:03,360 --> 01:12:06,360 Speaker 1: legitimate conspiracy going on at the same time. It's kind 1293 01:12:06,400 --> 01:12:08,920 Speaker 1: of a difficult thing to bounce, especially for the viewer, 1294 01:12:09,040 --> 01:12:11,040 Speaker 1: like where are we what are we supposed to? Where 1295 01:12:11,040 --> 01:12:13,160 Speaker 1: are we supposed to cut it off? You know? Right? Well, 1296 01:12:13,200 --> 01:12:14,840 Speaker 1: this movie is very much in the spirit of the 1297 01:12:14,920 --> 01:12:17,599 Speaker 1: Nirvana song. You know, just because you're paranoia, don't mean 1298 01:12:17,640 --> 01:12:21,280 Speaker 1: they're not after you. Yeah, yeah, So yeah, he quickly 1299 01:12:21,280 --> 01:12:25,880 Speaker 1: becomes he growing paranoia throughout the picture, growing realization that 1300 01:12:25,960 --> 01:12:29,280 Speaker 1: people are burning up, that he's had um you know, 1301 01:12:29,320 --> 01:12:33,520 Speaker 1: emotional flare ups about and uh and everything just escalates 1302 01:12:33,560 --> 01:12:37,320 Speaker 1: and Doris character Sam, at the center of this um 1303 01:12:37,479 --> 01:12:40,839 Speaker 1: is just having an increasingly difficult time holding it together. 1304 01:12:41,160 --> 01:12:44,599 Speaker 1: M And I like that this movie does uh sort 1305 01:12:44,640 --> 01:12:46,800 Speaker 1: of emphasize the role of media here. I mean, this 1306 01:12:46,840 --> 01:12:51,160 Speaker 1: is nine, but it doesn't seem coincidental that, like literally 1307 01:12:51,240 --> 01:12:55,240 Speaker 1: every piece of TV or radio media he consumes is 1308 01:12:55,320 --> 01:12:59,759 Speaker 1: either about spontaneous combustion, paranormal stuff, or an evil nuclear 1309 01:12:59,760 --> 01:13:03,200 Speaker 1: power or plant. Yeah. Yeah, it's kind of ahead of 1310 01:13:03,240 --> 01:13:05,640 Speaker 1: its time in this picture. Then it's it's kind of 1311 01:13:05,640 --> 01:13:09,240 Speaker 1: forecasting the social media age. But eventually he ends up 1312 01:13:09,320 --> 01:13:12,439 Speaker 1: like trying to call into this radio show because Lisa 1313 01:13:12,760 --> 01:13:15,200 Speaker 1: wants him to. Lisa's like, oh, I know this guy 1314 01:13:15,240 --> 01:13:18,559 Speaker 1: who's got a radio show, dr persons. He is a 1315 01:13:18,680 --> 01:13:23,280 Speaker 1: radio call in psychic psychiatrist. Do I get that right? Yeah? 1316 01:13:23,280 --> 01:13:25,880 Speaker 1: I believe so okay, And she she has him call 1317 01:13:25,960 --> 01:13:28,360 Speaker 1: in because she specifies, She's like, you can call in. 1318 01:13:28,560 --> 01:13:32,640 Speaker 1: I'm a supporter. I donated seventy five dollars, which you 1319 01:13:32,680 --> 01:13:35,519 Speaker 1: know you have to give. You have to give otherwise 1320 01:13:35,520 --> 01:13:37,599 Speaker 1: the whole thing goes dark. But he calls in on 1321 01:13:37,680 --> 01:13:42,720 Speaker 1: this amazing like light up neon phone. Yeah, pink, I 1322 01:13:42,760 --> 01:13:48,720 Speaker 1: believe like it's an odd choice because it really dominates 1323 01:13:48,720 --> 01:13:52,040 Speaker 1: the whole scene. Now, this radio host is like, yeah, 1324 01:13:52,160 --> 01:13:54,120 Speaker 1: I can tell you got some You've got some evil 1325 01:13:54,160 --> 01:13:57,400 Speaker 1: spirits in you or something. But he wants he really 1326 01:13:57,439 --> 01:14:00,439 Speaker 1: wants to talk to the guy. Uh, and he gets 1327 01:14:00,479 --> 01:14:02,560 Speaker 1: cut off somehow, And this is how I think he 1328 01:14:02,920 --> 01:14:05,800 Speaker 1: accidentally sets John Landis on fire. What is it that 1329 01:14:05,840 --> 01:14:09,160 Speaker 1: happens here? He's like trying to call back and Landis, 1330 01:14:09,200 --> 01:14:11,840 Speaker 1: his character, answers the phone. He's like, he can't talk 1331 01:14:11,880 --> 01:14:13,840 Speaker 1: to you, he's on the air or something. And then 1332 01:14:14,000 --> 01:14:17,760 Speaker 1: like Landis is horrifically on fire, like it's a it's 1333 01:14:17,760 --> 01:14:21,720 Speaker 1: an intense fire scene. He literally breathes fire like a 1334 01:14:21,800 --> 01:14:24,000 Speaker 1: dragon shoots out of his mouth. Well yeah, well that 1335 01:14:24,040 --> 01:14:27,479 Speaker 1: part is is ludicrous. But then but then after that, 1336 01:14:27,520 --> 01:14:29,280 Speaker 1: there's a scene where he's just this like a man 1337 01:14:29,320 --> 01:14:32,799 Speaker 1: on fire in the room, like bashing into the walls 1338 01:14:32,840 --> 01:14:36,120 Speaker 1: and into the glass, And that's rather frightful, especially since 1339 01:14:36,200 --> 01:14:38,160 Speaker 1: I think there's no sound in that scene. It makes 1340 01:14:38,160 --> 01:14:40,960 Speaker 1: it even more disturbing for some reason. Now, from here, 1341 01:14:40,960 --> 01:14:44,400 Speaker 1: there's sort of a progressing revelation of the fact that 1342 01:14:45,439 --> 01:14:48,679 Speaker 1: every single person in Sam's life is like a plant 1343 01:14:48,880 --> 01:14:52,920 Speaker 1: by this conspiracy, that he really doesn't have any genuine relationships. 1344 01:14:52,960 --> 01:14:56,000 Speaker 1: Like he finds out that Lisa, his girlfriend, is a plant. 1345 01:14:56,120 --> 01:14:59,400 Speaker 1: She was like put in service as his girlfriend by 1346 01:14:59,520 --> 01:15:03,040 Speaker 1: lou Lander to like, I guess, monitor him and give 1347 01:15:03,120 --> 01:15:06,479 Speaker 1: him these pills, these homeopathic pills he's been taking. So 1348 01:15:06,520 --> 01:15:10,599 Speaker 1: there's clearly a conspiracy afoot, and it encompasses every single 1349 01:15:10,680 --> 01:15:15,080 Speaker 1: aspect of Sam's life, right, um, And I would say, 1350 01:15:15,120 --> 01:15:18,080 Speaker 1: like one of the flaws in the in the final 1351 01:15:18,160 --> 01:15:20,759 Speaker 1: portions of the film is that in a conspiracy film, 1352 01:15:21,120 --> 01:15:24,000 Speaker 1: this conspiracy story, I feel like there should be uh 1353 01:15:25,200 --> 01:15:27,920 Speaker 1: an impression of narrowing as you reach the end, you know, 1354 01:15:27,960 --> 01:15:30,720 Speaker 1: the idea that, like the parent, the paranoid fantasies are real, 1355 01:15:30,840 --> 01:15:34,479 Speaker 1: the conspiracy is real, and therefore everything should take on 1356 01:15:34,520 --> 01:15:36,960 Speaker 1: this simpler form, at least to the mind of of 1357 01:15:36,960 --> 01:15:40,360 Speaker 1: the individual at the center of everything. And instead it 1358 01:15:40,560 --> 01:15:43,720 Speaker 1: I mean, things do streamline a little bit, but they're 1359 01:15:43,760 --> 01:15:45,360 Speaker 1: still kind of all over the place. You still don't 1360 01:15:45,360 --> 01:15:50,000 Speaker 1: know who is our central uh adversary for the longest Yeah, 1361 01:15:50,040 --> 01:15:51,759 Speaker 1: that's right. And in the last third of the movie 1362 01:15:51,840 --> 01:15:54,760 Speaker 1: really turns into a spiral into chaos, a kind of 1363 01:15:54,800 --> 01:15:58,160 Speaker 1: you know, a destructive spiral thing where he just Brad 1364 01:15:58,200 --> 01:16:00,719 Speaker 1: doorf just keeps like getting in raide to buy things 1365 01:16:00,760 --> 01:16:03,759 Speaker 1: and setting people and things on fire. And setting himself 1366 01:16:03,800 --> 01:16:06,719 Speaker 1: on fire, like it's also really hurting him, Like he'll 1367 01:16:06,720 --> 01:16:09,439 Speaker 1: get mad about something and and fire shoots out of 1368 01:16:09,439 --> 01:16:12,200 Speaker 1: his arm and there's like blood squirting everywhere and sparks 1369 01:16:12,240 --> 01:16:14,720 Speaker 1: coming out of his face and uh, like it's it's 1370 01:16:14,800 --> 01:16:18,000 Speaker 1: rough on him too. Yeah, And I think that's that's 1371 01:16:18,040 --> 01:16:20,360 Speaker 1: something I do like about the picture is that the 1372 01:16:20,439 --> 01:16:24,840 Speaker 1: firestarter in this is not untarnished by the flame. And 1373 01:16:24,840 --> 01:16:27,720 Speaker 1: and something about that works really well with the sort 1374 01:16:27,760 --> 01:16:31,559 Speaker 1: of loose metaphor of of unchecked emotions, you know, the 1375 01:16:31,680 --> 01:16:34,120 Speaker 1: idea that like all this is not just a matter 1376 01:16:34,160 --> 01:16:37,439 Speaker 1: of you hurting everyone else around you and having no control, 1377 01:16:37,439 --> 01:16:40,960 Speaker 1: you're also hurting yourself. You're destroying yourself in the process. Yeah, 1378 01:16:41,000 --> 01:16:43,680 Speaker 1: and that it can't be harnessed. He's not like, uh, 1379 01:16:44,080 --> 01:16:46,840 Speaker 1: he's not like the X Man guy who X Men 1380 01:16:46,840 --> 01:16:49,400 Speaker 1: guy who's got the firepower who can just like direct it, 1381 01:16:49,479 --> 01:16:52,920 Speaker 1: you know, like Magneto does. It's more like an uncontrolled 1382 01:16:52,960 --> 01:16:57,320 Speaker 1: outburst that just harms everything in its path. Yeah. So 1383 01:16:57,560 --> 01:17:00,400 Speaker 1: the Pyro emotional breakdown here really begins on an hour 1384 01:17:00,439 --> 01:17:02,720 Speaker 1: into the picture. And yeah, this is where I think 1385 01:17:02,760 --> 01:17:05,920 Speaker 1: the wheels come off quite a bit. Um dorof carries 1386 01:17:05,960 --> 01:17:09,519 Speaker 1: his character remarkably well with these pivots, and he makes 1387 01:17:09,560 --> 01:17:13,599 Speaker 1: this transition is perhaps as believable as as humanly possible 1388 01:17:13,640 --> 01:17:15,840 Speaker 1: for an actor. But it's still a rough transition because 1389 01:17:15,960 --> 01:17:18,040 Speaker 1: up and until now, I feel like we've been rooting 1390 01:17:18,080 --> 01:17:21,679 Speaker 1: for him, you know, he Dorif presents a sympathetic character 1391 01:17:21,760 --> 01:17:24,760 Speaker 1: for the most part, the one who is really struggling, 1392 01:17:25,120 --> 01:17:26,960 Speaker 1: and then when the character goes off of the rails, 1393 01:17:27,400 --> 01:17:31,160 Speaker 1: it's uncertain, like who we should be pulling for here. 1394 01:17:31,160 --> 01:17:34,360 Speaker 1: It's also uncertain whose side Lisa is on. Like there, 1395 01:17:34,400 --> 01:17:37,360 Speaker 1: there's certainly been pictures that I've seen, stories that I've 1396 01:17:37,360 --> 01:17:40,160 Speaker 1: I've I've read where you have the character you're rooting 1397 01:17:40,160 --> 01:17:44,400 Speaker 1: for and then they become the villain and there's somebody 1398 01:17:44,439 --> 01:17:47,840 Speaker 1: else who you're hoping they don't hurt um, but they 1399 01:17:47,960 --> 01:17:50,160 Speaker 1: But I feel like Lisa for the most part, feels 1400 01:17:50,200 --> 01:17:54,200 Speaker 1: that that that role. But you're also unsure is she 1401 01:17:54,280 --> 01:17:56,360 Speaker 1: in on it? Is she part of the conspiracy or not? 1402 01:17:56,560 --> 01:17:59,080 Speaker 1: Is she is she an innocent or or is she 1403 01:17:59,200 --> 01:18:01,200 Speaker 1: part of it? Well? We do, I mean so we 1404 01:18:01,240 --> 01:18:03,360 Speaker 1: know she's a plant, like she was put in his 1405 01:18:03,479 --> 01:18:06,320 Speaker 1: life in order, you know, to help manipulate him in 1406 01:18:06,360 --> 01:18:08,280 Speaker 1: this way, but you also get the feeling that she 1407 01:18:08,320 --> 01:18:10,599 Speaker 1: didn't understand the full extent of what was going on 1408 01:18:10,720 --> 01:18:14,520 Speaker 1: and that she has grown to truly love him. I think. Yeah, 1409 01:18:14,640 --> 01:18:16,439 Speaker 1: so it gets a little nudey there. But but you know, 1410 01:18:16,439 --> 01:18:18,959 Speaker 1: one of the interesting things was I watched Wise Blood 1411 01:18:19,000 --> 01:18:23,479 Speaker 1: after this, and Wise Blood has a similar trajectory with 1412 01:18:23,760 --> 01:18:26,719 Speaker 1: with a Hazel character, Because I mean, you don't, okay, 1413 01:18:26,760 --> 01:18:29,840 Speaker 1: Hazel is not as as likable a character as Sam. 1414 01:18:29,880 --> 01:18:34,960 Speaker 1: Hazel is. U is an intense and in many ways 1415 01:18:35,000 --> 01:18:39,080 Speaker 1: awful character who is obsessed with with with various things, 1416 01:18:39,680 --> 01:18:42,320 Speaker 1: but you still are on some level rooting for him 1417 01:18:42,400 --> 01:18:47,599 Speaker 1: until he goes off the rails and murder somebody. So uh, 1418 01:18:47,640 --> 01:18:50,240 Speaker 1: in a way, I guess you know, this similar trajectory 1419 01:18:50,280 --> 01:18:54,040 Speaker 1: for both characters, but with with Sam, you really do 1420 01:18:54,280 --> 01:18:56,840 Speaker 1: care about him early on in the picture, so it 1421 01:18:56,880 --> 01:18:59,840 Speaker 1: makes that pivot all the worse. I did enjoy so 1422 01:18:59,880 --> 01:19:03,640 Speaker 1: I thought that the ending of this movie was somewhat anticlimactic, 1423 01:19:03,680 --> 01:19:06,280 Speaker 1: though I also in an at least an ironic way, 1424 01:19:06,400 --> 01:19:09,759 Speaker 1: enjoyed the Uh. The the sort of Bond villain speech 1425 01:19:09,880 --> 01:19:12,880 Speaker 1: that lou Olander gives at the end. Yeah, the basic 1426 01:19:13,000 --> 01:19:16,520 Speaker 1: idea is is this whole thing with the Samson project 1427 01:19:16,640 --> 01:19:20,680 Speaker 1: with uh, with the two individuals who went into it, 1428 01:19:20,800 --> 01:19:22,640 Speaker 1: and they ultimately had this job. This was always the 1429 01:19:22,680 --> 01:19:27,040 Speaker 1: plan to produce a a fire baby, allow that fire 1430 01:19:27,040 --> 01:19:29,559 Speaker 1: baby to grow up, and harness the power of fire baby, 1431 01:19:29,600 --> 01:19:32,920 Speaker 1: control fire baby, and use those fire baby powers as 1432 01:19:32,960 --> 01:19:35,479 Speaker 1: a weapon of some sort. Right. He says, you were 1433 01:19:35,520 --> 01:19:38,800 Speaker 1: America's atomic man, you know, like the like you're the 1434 01:19:38,840 --> 01:19:42,640 Speaker 1: next uh atomic weapon. Yeah, but I don't know. I mean, like, 1435 01:19:42,680 --> 01:19:44,840 Speaker 1: even if you're just looking at this from like, what's 1436 01:19:44,880 --> 01:19:47,719 Speaker 1: the most effective weapon to destroy people with? He seems 1437 01:19:47,800 --> 01:19:51,280 Speaker 1: less useful than atomic weapons. And this makes me feel 1438 01:19:51,479 --> 01:19:54,800 Speaker 1: like this is a case where perhaps the aspirations of 1439 01:19:54,840 --> 01:19:57,559 Speaker 1: this of of the the writers here to say something 1440 01:19:57,640 --> 01:20:01,320 Speaker 1: about nuclear power and nuclear weaponry, that perhaps it got 1441 01:20:01,320 --> 01:20:04,320 Speaker 1: in the way of of crafting a better trajectory for 1442 01:20:04,360 --> 01:20:06,680 Speaker 1: the character, because I ultimately feel like it would have 1443 01:20:06,720 --> 01:20:09,479 Speaker 1: been better if we had maybe a slightly more uplifting 1444 01:20:09,600 --> 01:20:12,400 Speaker 1: ending where maybe he becomes kind of the atomic man 1445 01:20:12,479 --> 01:20:14,680 Speaker 1: and he saves the day or it becomes like a 1446 01:20:14,760 --> 01:20:17,800 Speaker 1: you know, angel of pure light and transcends or something. 1447 01:20:18,479 --> 01:20:20,280 Speaker 1: But I kind of get the sense like that they 1448 01:20:20,320 --> 01:20:23,000 Speaker 1: I can imagine a situation in the writing room or 1449 01:20:23,040 --> 01:20:25,559 Speaker 1: the you know, the writing table, where it's Toby Hooper 1450 01:20:25,600 --> 01:20:28,639 Speaker 1: and Goldberg there, and I imagine I'm saying, well, like, no, no, no, 1451 01:20:28,960 --> 01:20:31,400 Speaker 1: that's not what we want to say about about nuclear power. 1452 01:20:31,479 --> 01:20:34,000 Speaker 1: That's not what we believe about nuclear power. So we're 1453 01:20:34,240 --> 01:20:36,200 Speaker 1: we're not going to do that with the character. Maybe 1454 01:20:36,200 --> 01:20:38,240 Speaker 1: I'm totally off, but that's I couldn't help but think 1455 01:20:38,240 --> 01:20:41,960 Speaker 1: about that watching this ultimately, though, I don't really know 1456 01:20:42,080 --> 01:20:44,800 Speaker 1: if the anti nuclear thing is like a is like 1457 01:20:44,840 --> 01:20:48,559 Speaker 1: a genuine sentiment of the filmmakers and something they're trying 1458 01:20:48,600 --> 01:20:51,320 Speaker 1: to communicate to the audience, or if it's more of 1459 01:20:51,360 --> 01:20:54,439 Speaker 1: a plot device true it's yeah, or if it's just 1460 01:20:54,560 --> 01:20:56,240 Speaker 1: kind of like it was on their mind so it 1461 01:20:56,320 --> 01:20:59,760 Speaker 1: ends up filling up the background, So it's it's, it's 1462 01:20:59,760 --> 01:21:01,439 Speaker 1: it's it's kind of like if there's pepsi in the 1463 01:21:01,439 --> 01:21:03,040 Speaker 1: background a lot of the times, it doesn't mean the 1464 01:21:03,040 --> 01:21:05,639 Speaker 1: picture is trying to say something about pepsi cola versus 1465 01:21:05,640 --> 01:21:09,840 Speaker 1: Coca cola. But there's another confrontation after the confrontation with 1466 01:21:10,160 --> 01:21:13,160 Speaker 1: with lou Olander where he does the thing where he 1467 01:21:13,280 --> 01:21:15,920 Speaker 1: like melts into a puddle of light and then turns 1468 01:21:15,960 --> 01:21:18,639 Speaker 1: into a hand made of light and reaches out and 1469 01:21:18,680 --> 01:21:22,240 Speaker 1: grabs fire off of Lisa to save her. Like he says, 1470 01:21:22,320 --> 01:21:24,400 Speaker 1: I can take your fire, and he takes it, and 1471 01:21:24,439 --> 01:21:27,479 Speaker 1: then he's got that and that that scene was weird 1472 01:21:27,520 --> 01:21:30,040 Speaker 1: and kind of confusing. I like the idea. I can 1473 01:21:30,040 --> 01:21:32,000 Speaker 1: see where it would have worked really well on paper, 1474 01:21:32,120 --> 01:21:34,240 Speaker 1: you know, and even the words sound kind of nice, 1475 01:21:34,280 --> 01:21:36,400 Speaker 1: I can take your fire for you, you know. But 1476 01:21:37,680 --> 01:21:40,040 Speaker 1: at that point in the in the film, everything's going 1477 01:21:40,080 --> 01:21:42,800 Speaker 1: off the rail, so it's it's it doesn't make as 1478 01:21:42,840 --> 01:21:45,679 Speaker 1: much of an impact, but it's kind of a fire 1479 01:21:45,760 --> 01:21:48,599 Speaker 1: apotheosis at the end. And but instead of coming up, 1480 01:21:48,640 --> 01:21:51,240 Speaker 1: going up and becoming a star constellation in the sky, 1481 01:21:51,880 --> 01:21:54,360 Speaker 1: his apotheosis is melting into a puddle of light and 1482 01:21:54,400 --> 01:21:57,000 Speaker 1: becoming one with the radiation, the sparks and the fire 1483 01:21:57,040 --> 01:21:59,040 Speaker 1: at the center of the earth. Well, you put it 1484 01:21:59,080 --> 01:22:01,240 Speaker 1: like that, it sounds pretty beat of yeah, in the 1485 01:22:01,280 --> 01:22:04,760 Speaker 1: actual picture, it's not really beautiful, though there is. I 1486 01:22:04,800 --> 01:22:08,559 Speaker 1: do enjoy the sequence earlier towards the end where he's, uh, 1487 01:22:08,840 --> 01:22:11,800 Speaker 1: he's walking into the mansion there to confront Loo and 1488 01:22:11,840 --> 01:22:14,599 Speaker 1: there's all this blue light and um and Brad Doff's 1489 01:22:14,640 --> 01:22:17,000 Speaker 1: character Sam is like is he smoking? Like his whole 1490 01:22:17,040 --> 01:22:20,320 Speaker 1: body is kind of smoldering a little bit. I did 1491 01:22:20,360 --> 01:22:22,280 Speaker 1: really like that. I thought that looked pretty cool. I 1492 01:22:22,360 --> 01:22:24,719 Speaker 1: think I'm gonna stand by what I said earlier. Ultimately, 1493 01:22:24,760 --> 01:22:27,880 Speaker 1: I think this movie is pretty much incoherent, and yet 1494 01:22:27,960 --> 01:22:31,519 Speaker 1: it's absolutely a blast. I mean, Toby Hooper knows how 1495 01:22:31,560 --> 01:22:34,439 Speaker 1: to make a fun movie that is not boring. Uh 1496 01:22:34,520 --> 01:22:40,160 Speaker 1: And and Brad Doriff is tremendous. Uh. Yeah, I definitely 1497 01:22:40,200 --> 01:22:42,759 Speaker 1: agree that Brad brad Dorff is great in this Um 1498 01:22:42,920 --> 01:22:47,080 Speaker 1: though I don't know if you've never seen Brad Dorf 1499 01:22:47,120 --> 01:22:48,519 Speaker 1: in a film, I don't know where to even tell 1500 01:22:48,560 --> 01:22:50,639 Speaker 1: people to start. The thing is, you probably have seen 1501 01:22:50,640 --> 01:22:52,400 Speaker 1: Brad Dorrif in a film. He's just not the kind 1502 01:22:52,439 --> 01:22:55,400 Speaker 1: of actor that you can, um, you can avoid seeing. 1503 01:22:55,680 --> 01:22:58,799 Speaker 1: He's shown up in something, and he's probably was probably 1504 01:22:58,880 --> 01:23:01,519 Speaker 1: memorable in it. All Right. You you're probably wondering, well, 1505 01:23:01,560 --> 01:23:05,240 Speaker 1: where can I watch Spontaneous Combustion? Well, it's available on 1506 01:23:05,320 --> 01:23:08,760 Speaker 1: DVD and Blu ray from Sunset Films. Sometimes you'll find 1507 01:23:08,760 --> 01:23:12,040 Speaker 1: it on streaming as well. Um, And if you happen 1508 01:23:12,080 --> 01:23:14,200 Speaker 1: to live in Atlanta, you can go to Atlanta's only 1509 01:23:14,280 --> 01:23:16,720 Speaker 1: video store, Video Drome. They have a copy of it, 1510 01:23:16,760 --> 01:23:21,000 Speaker 1: I believe on DVD. Rent it, but do not don't 1511 01:23:21,080 --> 01:23:25,840 Speaker 1: set it ablaze with your with your psychic powers. Be 1512 01:23:25,880 --> 01:23:29,280 Speaker 1: careful with the case. They say plastic can make that happen. Yeah, yeah, 1513 01:23:29,439 --> 01:23:32,439 Speaker 1: and be careful calling into video drume about it because 1514 01:23:32,479 --> 01:23:34,600 Speaker 1: you can cause fire that way. I don't know. It 1515 01:23:34,640 --> 01:23:36,600 Speaker 1: might even be dangerous to listen to this podcast with 1516 01:23:36,640 --> 01:23:39,240 Speaker 1: those powers, because you could make us burst into flames 1517 01:23:39,320 --> 01:23:42,040 Speaker 1: right here. Please don't. All right, we're gonna go and 1518 01:23:42,080 --> 01:23:44,400 Speaker 1: close it out there, but we'd love to hear from you. 1519 01:23:44,439 --> 01:23:47,479 Speaker 1: I'd love to know what are your favorite Brad dorriff rolls. 1520 01:23:47,640 --> 01:23:50,080 Speaker 1: He's been in so much UH and there's so much 1521 01:23:50,120 --> 01:23:52,480 Speaker 1: I haven't seen him, will probably never have the opportunity 1522 01:23:52,479 --> 01:23:54,799 Speaker 1: to see. So if there's something, if there's a particular 1523 01:23:54,920 --> 01:23:58,599 Speaker 1: gym uh to be found in um in another uh 1524 01:23:58,680 --> 01:24:01,479 Speaker 1: cinematic husk out they are, If there's a there's some 1525 01:24:01,479 --> 01:24:05,160 Speaker 1: some some really prime Brad Dora, if it's worth enduring 1526 01:24:05,360 --> 01:24:08,720 Speaker 1: U the flaws in another picture for let us know 1527 01:24:08,800 --> 01:24:10,800 Speaker 1: about it. I would, I would, I would like to 1528 01:24:10,840 --> 01:24:15,760 Speaker 1: be enlightened. Please light our fire all right, if you 1529 01:24:15,760 --> 01:24:19,160 Speaker 1: want to listen to Weird House Cinema. It publishes every Friday. 1530 01:24:19,160 --> 01:24:21,800 Speaker 1: In the Stuff to Blow Your Mind podcast feed were 1531 01:24:21,800 --> 01:24:24,680 Speaker 1: primarily a science podcast, and we put out episodes on 1532 01:24:24,720 --> 01:24:28,559 Speaker 1: Tuesdays and Thursdays. We also do a short form artifact 1533 01:24:28,560 --> 01:24:30,439 Speaker 1: on Wednesdays and a listener mail on Mondays with a 1534 01:24:30,520 --> 01:24:33,160 Speaker 1: rerun on the weekend. And hey, if you want to 1535 01:24:33,200 --> 01:24:34,920 Speaker 1: go to Stuff to Blow your Mind dot com, that'll 1536 01:24:34,920 --> 01:24:37,719 Speaker 1: shoot you do the I heart page for our show. 1537 01:24:37,800 --> 01:24:40,240 Speaker 1: You'll find all the episodes there. 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