1 00:00:19,000 --> 00:00:22,239 Speaker 1: What's happening, dudes, and do thats of Hollywood Land. My 2 00:00:22,360 --> 00:00:25,240 Speaker 1: name is Zeth Lundi, writer, showrunner, and good doctor here 3 00:00:25,280 --> 00:00:28,400 Speaker 1: at Double Elvis and welcome to another installment of a 4 00:00:28,400 --> 00:00:31,200 Speaker 1: little thing we like to call the Screening Room. This 5 00:00:31,240 --> 00:00:33,600 Speaker 1: is our weekly episode of the pod in which I 6 00:00:33,680 --> 00:00:37,199 Speaker 1: take you into a deep dive into one movie that 7 00:00:37,240 --> 00:00:40,720 Speaker 1: connects with our subject this week. Hollywood Land, as you know, 8 00:00:41,159 --> 00:00:43,720 Speaker 1: is the podcast that explores the lives of our most 9 00:00:43,720 --> 00:00:47,920 Speaker 1: celebrated actors and actresses and directors through the true crimes 10 00:00:48,000 --> 00:00:51,440 Speaker 1: that have impacted them. And as you also know, back 11 00:00:51,479 --> 00:00:54,720 Speaker 1: on Monday, we had John Houston in the hot seat here. 12 00:00:54,800 --> 00:00:58,240 Speaker 1: John Houston not an auteur director in the parlance of 13 00:00:58,280 --> 00:01:01,400 Speaker 1: our times. He was from the general before. So he 14 00:01:01,440 --> 00:01:04,200 Speaker 1: made movie flavored movies, you know, movies that were reliant 15 00:01:04,280 --> 00:01:07,800 Speaker 1: on story and character, movies that you could say had 16 00:01:07,880 --> 00:01:11,520 Speaker 1: good bones. He directed pretty much all the major actors 17 00:01:11,600 --> 00:01:16,440 Speaker 1: of the mid twentieth century, Bogart, Bacall, Monroe, Gregory peck, 18 00:01:16,760 --> 00:01:20,360 Speaker 1: Bert Lancaster, Audrey Hepburn, Kirk Douglas. They have a gardener, Brando, 19 00:01:20,600 --> 00:01:24,480 Speaker 1: Liz Taylor, Paul Newman, Sean Connery, Michael Caine. The list 20 00:01:24,600 --> 00:01:28,920 Speaker 1: goes on and on. He acted sometimes occasionally too, sometimes 21 00:01:28,920 --> 00:01:31,800 Speaker 1: these small roles in his own films, and sometimes he'd 22 00:01:31,800 --> 00:01:34,319 Speaker 1: take on the roles in the films of other directors 23 00:01:34,319 --> 00:01:37,319 Speaker 1: as well. So in the early nineteen seventies, John Houston's 24 00:01:37,360 --> 00:01:42,360 Speaker 1: daughter Angelica started dating Jack Nicholson. Jack by that point 25 00:01:43,040 --> 00:01:45,440 Speaker 1: was becoming something of a known quantity, though he wasn't 26 00:01:45,480 --> 00:01:47,680 Speaker 1: a megastar quite yet. He had been an easy writer, 27 00:01:48,320 --> 00:01:53,160 Speaker 1: Five Easy Pieces, Carnal Knowledge, The King of Marvin Gardens, 28 00:01:53,600 --> 00:01:56,680 Speaker 1: just to name a few. He'd also co written the 29 00:01:56,760 --> 00:02:00,640 Speaker 1: monkeys movie called Head, which is a wild story to 30 00:02:00,680 --> 00:02:03,640 Speaker 1: hear about Jack Nicholson just smoking tons of grass with 31 00:02:03,680 --> 00:02:07,920 Speaker 1: the monkeys and writing a movie. He's basically though at 32 00:02:07,960 --> 00:02:11,240 Speaker 1: the start of this incredible run throughout the nineteen seventies 33 00:02:11,240 --> 00:02:13,960 Speaker 1: that will include some of his greatest performances and greatest 34 00:02:13,960 --> 00:02:17,000 Speaker 1: films of all time, like One Flew Over the Kucka's 35 00:02:17,000 --> 00:02:21,720 Speaker 1: Nest and like the movie We're going to talk about today, Chinatown. 36 00:02:21,919 --> 00:02:27,440 Speaker 1: Chinatown is the nineteen seventy four film directed by Roman Polansky, 37 00:02:28,280 --> 00:02:34,000 Speaker 1: starring Jack Nicholson, starring Fade Donaway, co starring John Houston, 38 00:02:34,840 --> 00:02:38,160 Speaker 1: and Let's get into it. Okay, there's I've read some 39 00:02:38,280 --> 00:02:42,880 Speaker 1: places online that John Houston, before he got the role 40 00:02:42,960 --> 00:02:46,080 Speaker 1: as Noah Cross in this movie, the role of the villain, 41 00:02:46,760 --> 00:02:49,399 Speaker 1: that he was offered to direct Chinatown. But I don't 42 00:02:49,440 --> 00:02:53,000 Speaker 1: think that's true. I think it's bogus internet information. I'm 43 00:02:53,000 --> 00:02:56,760 Speaker 1: pretty sure that they wanted Roman Polanski from the start. Though. 44 00:02:56,800 --> 00:02:58,640 Speaker 1: My guess is that the way they got to John 45 00:02:58,680 --> 00:03:02,960 Speaker 1: Houston for the role of Noah Cross was via his 46 00:03:03,200 --> 00:03:05,720 Speaker 1: daughter Angelica, who again was dating Jack at the time, 47 00:03:05,880 --> 00:03:08,840 Speaker 1: which means, of course, that John Houston got to recite 48 00:03:08,880 --> 00:03:10,680 Speaker 1: one of the greatest lines from one of the greatest 49 00:03:10,680 --> 00:03:13,960 Speaker 1: scripts of all time. That line, of course, is of 50 00:03:14,000 --> 00:03:18,480 Speaker 1: course I'm respectable. I'm old. Politicians, public buildings, and whores 51 00:03:18,520 --> 00:03:22,639 Speaker 1: all get respectable if they last long enough. That line. 52 00:03:22,680 --> 00:03:26,880 Speaker 1: That script, of course, written by Robert Town, who up 53 00:03:26,919 --> 00:03:30,160 Speaker 1: till that point had written a couple of screenplays for 54 00:03:30,320 --> 00:03:33,400 Speaker 1: the low budget Pioneer Roger Corman, as well as the 55 00:03:33,400 --> 00:03:36,840 Speaker 1: screenplay for the film The Last Detail, a hal Ashby 56 00:03:36,880 --> 00:03:40,520 Speaker 1: movie that starred as good friend Jack Nicholson. Robert Town 57 00:03:40,560 --> 00:03:45,720 Speaker 1: wrote Chinatown. This Raymond Chandler old school detective noir about 58 00:03:45,800 --> 00:03:51,400 Speaker 1: deep pocket developers diverting the water of southern California for 59 00:03:51,440 --> 00:03:54,960 Speaker 1: their own nefarious purposes. With Jack Nicholson in mind as 60 00:03:55,000 --> 00:03:59,480 Speaker 1: the lead character the private detective Jake Gittis, as well 61 00:03:59,520 --> 00:04:03,480 Speaker 1: as Jane Fonda of all people to play Evelyn Cross Mulray. 62 00:04:04,200 --> 00:04:07,000 Speaker 1: That role ultimately went to faydan Away. Of course, even 63 00:04:07,040 --> 00:04:10,680 Speaker 1: though Robert Evans had a production at Paramount, wanted his 64 00:04:10,760 --> 00:04:15,119 Speaker 1: wife Ally McGraw in that role. Now, Bob Evans famously 65 00:04:15,680 --> 00:04:18,719 Speaker 1: had just taken the reins at Paramount, and Paramount was 66 00:04:18,720 --> 00:04:21,120 Speaker 1: in a really, really bad way at the time. They 67 00:04:21,160 --> 00:04:24,400 Speaker 1: were like, I think they were like ninth or tenth 68 00:04:24,800 --> 00:04:28,159 Speaker 1: as far as like success or power in the movie studios, 69 00:04:28,400 --> 00:04:30,599 Speaker 1: Which is crazy because we know Paramount is this major, 70 00:04:30,839 --> 00:04:34,560 Speaker 1: major company right now, Paramount's now involved in this one 71 00:04:34,600 --> 00:04:37,600 Speaker 1: of the biggest deals potentially in Hollywood history. But at 72 00:04:37,600 --> 00:04:42,440 Speaker 1: the time Paramount was was just they tanked. Right, Bob 73 00:04:42,480 --> 00:04:46,000 Speaker 1: Evans comes in and he single handly turns Paramount around, 74 00:04:46,120 --> 00:04:48,800 Speaker 1: taking it from one of the weakest studios in Hollywood 75 00:04:48,920 --> 00:04:52,120 Speaker 1: to one of the most successful and powerful, and to 76 00:04:52,160 --> 00:04:55,599 Speaker 1: that end, when Chinatown, when he was developing Chinatown in 77 00:04:55,640 --> 00:05:00,160 Speaker 1: nineteen seventy two, that's when Paramount drops The Godfather and 78 00:05:00,400 --> 00:05:04,880 Speaker 1: Hollywood changes forever. While you know, Hollywood changes forever as 79 00:05:05,120 --> 00:05:08,680 Speaker 1: Chinatown is in development. So Paramount's got this big hit, 80 00:05:08,960 --> 00:05:12,000 Speaker 1: The Godfather, and now they have this new Robert Town 81 00:05:12,080 --> 00:05:15,159 Speaker 1: script for Chinatown. It took Robert Town nine months to 82 00:05:15,160 --> 00:05:18,320 Speaker 1: write this thing, and his final draft was something like 83 00:05:18,360 --> 00:05:22,200 Speaker 1: one hundred and eighty pages. Translation, it's roughly one page 84 00:05:22,240 --> 00:05:23,960 Speaker 1: per minute of screen time. So this is like a 85 00:05:23,960 --> 00:05:27,600 Speaker 1: three hour film we're talking about. Town called it, in 86 00:05:27,640 --> 00:05:31,039 Speaker 1: his own words, quote, a metaphor for the futility of 87 00:05:31,080 --> 00:05:36,240 Speaker 1: good intentions. Unquote Bob Evans, though he can't figure out 88 00:05:36,520 --> 00:05:39,640 Speaker 1: the serpentine plot of this film. Okay, He's like reading it, 89 00:05:39,720 --> 00:05:42,360 Speaker 1: like what is going on? Although this is the same 90 00:05:42,400 --> 00:05:46,919 Speaker 1: guy who just could not envision al Pacino as Michael Corleone, 91 00:05:47,240 --> 00:05:50,359 Speaker 1: and who fought tooth and nail with Francis Porcoppola to 92 00:05:50,520 --> 00:05:53,000 Speaker 1: not cast al Pacino, So who the hell knows what 93 00:05:53,000 --> 00:05:56,520 Speaker 1: the guy's talking about? Okay. Early in his tenure though 94 00:05:56,520 --> 00:05:59,719 Speaker 1: at Paramount, Bob Evans had produced Rosemary's Baby, the smash 95 00:05:59,760 --> 00:06:02,680 Speaker 1: through that was directed by Roman Polanski, and so Evans 96 00:06:02,800 --> 00:06:08,320 Speaker 1: really wants Polanski to direct Chinatown, thinking like, maybe this 97 00:06:08,320 --> 00:06:11,400 Speaker 1: guy can figure the script out right. But in the 98 00:06:11,520 --> 00:06:15,599 Speaker 1: years since Rosemary's Baby came out, Polanski's wife, Sharon Tate, 99 00:06:15,680 --> 00:06:19,360 Speaker 1: along with their onboard child, they were viciously murdered by 100 00:06:19,680 --> 00:06:23,080 Speaker 1: members of Charles Manson's cult, as we know. So Polanski 101 00:06:23,160 --> 00:06:25,719 Speaker 1: in this moment, he's living in Rome. He's trying to 102 00:06:25,760 --> 00:06:28,680 Speaker 1: avoid the States because going back to the States is 103 00:06:28,680 --> 00:06:30,560 Speaker 1: going to dredge up all these bad memories for him, 104 00:06:30,600 --> 00:06:34,320 Speaker 1: especially going back to Los Angeles. In fact, even though 105 00:06:34,360 --> 00:06:39,640 Speaker 1: it's been three years since the Manson murders, allegedly Roman 106 00:06:39,680 --> 00:06:43,040 Speaker 1: Polanski at this time in seventy two was still carrying 107 00:06:43,080 --> 00:06:46,359 Speaker 1: around a pair of his wife's panties with him in 108 00:06:46,440 --> 00:06:49,200 Speaker 1: his bag at all times, which is a level of 109 00:06:49,240 --> 00:06:52,520 Speaker 1: personal detail that is both kind of gross and also 110 00:06:52,600 --> 00:06:56,919 Speaker 1: kind of heartbreaking. So even though Polanski isn't high on 111 00:06:57,000 --> 00:07:01,400 Speaker 1: coming back, Bob Evans and Jack in Robert Town they 112 00:07:01,440 --> 00:07:03,640 Speaker 1: put the full court press on him and they persuade 113 00:07:03,680 --> 00:07:06,760 Speaker 1: him to return. Apparently, when he comes back and he's 114 00:07:06,800 --> 00:07:10,240 Speaker 1: looking around for a place to rent, he winds up 115 00:07:10,240 --> 00:07:13,040 Speaker 1: at the top of Benedett Canyon, which would have meant 116 00:07:13,080 --> 00:07:14,680 Speaker 1: to get there. He would have had to have gone 117 00:07:14,800 --> 00:07:18,600 Speaker 1: past the old place on Cilo Drive. But some friends 118 00:07:18,600 --> 00:07:20,520 Speaker 1: at the time said it was almost like he had 119 00:07:20,600 --> 00:07:24,400 Speaker 1: completely compartmentalized the whole thing and it didn't even seem 120 00:07:24,640 --> 00:07:29,320 Speaker 1: to visibly affect him. So, okay, Polanski gets his hands 121 00:07:29,360 --> 00:07:31,480 Speaker 1: on the script right and the first thing he says, 122 00:07:32,800 --> 00:07:35,240 Speaker 1: this is direct from the horse's mouth. He says, what 123 00:07:35,320 --> 00:07:36,800 Speaker 1: kind of script is this? I should have stayed in 124 00:07:36,840 --> 00:07:40,480 Speaker 1: Poland So right away the writer, Robert Town, He's like 125 00:07:40,600 --> 00:07:42,800 Speaker 1: rolling his eyes at this guy, like Jesus Christ, this 126 00:07:42,920 --> 00:07:46,600 Speaker 1: fucking o teur. Right, Robert Town knows from the outset 127 00:07:46,600 --> 00:07:48,480 Speaker 1: this is going to be one of those classic butting 128 00:07:48,520 --> 00:07:52,120 Speaker 1: of heads between writer and director. And sure enough, as 129 00:07:52,160 --> 00:07:54,760 Speaker 1: production officially starts in the fall in nineteen seventy three, 130 00:07:54,800 --> 00:07:58,320 Speaker 1: Polanski has made enough edits to the script that now 131 00:07:58,320 --> 00:08:00,400 Speaker 1: it's no longer one hundred and eighty pages. Now it's 132 00:08:00,400 --> 00:08:03,280 Speaker 1: like closer to one hundred and thirty pages, give or take. 133 00:08:03,880 --> 00:08:06,120 Speaker 1: And Polanski was also responsible for one of the most 134 00:08:06,200 --> 00:08:10,880 Speaker 1: the script's most dramatic changes. In Town's original draft, Evelyn 135 00:08:11,600 --> 00:08:15,120 Speaker 1: kills her father, the evil Noah Cross, played by John Houston, 136 00:08:15,240 --> 00:08:18,960 Speaker 1: at the film's climax, but Polansky balked at this. He 137 00:08:19,040 --> 00:08:21,880 Speaker 1: thought that the triumphant murder of the bad guy by 138 00:08:21,920 --> 00:08:24,800 Speaker 1: the woman who's been used and abused was the opposite 139 00:08:24,960 --> 00:08:27,240 Speaker 1: of what the story needed. That was the neat and 140 00:08:27,320 --> 00:08:32,559 Speaker 1: tidy Hollywood ending that he wanted to avoid. Polansky knew 141 00:08:32,640 --> 00:08:35,800 Speaker 1: that the character Evelyn had to die because she didn't. 142 00:08:35,840 --> 00:08:39,079 Speaker 1: As he put it, he said, quote, its dramatic impact 143 00:08:39,160 --> 00:08:42,440 Speaker 1: would be lost unless audience has left their seats with 144 00:08:42,480 --> 00:08:46,480 Speaker 1: a sense of outrage at the injustice of it all. Unquote. 145 00:08:46,720 --> 00:08:50,040 Speaker 1: Not sure how Robert Town felt about that particular change, 146 00:08:50,600 --> 00:08:53,160 Speaker 1: but I do know this. Robert Town did not step 147 00:08:53,200 --> 00:08:58,560 Speaker 1: foot on set once. Either Polanski wouldn't allow it, or 148 00:08:58,600 --> 00:09:01,719 Speaker 1: the two of them were gentlemen and recognized that by 149 00:09:01,760 --> 00:09:03,840 Speaker 1: doing so it would lead to mega drama, so they 150 00:09:03,880 --> 00:09:06,960 Speaker 1: both avoided it. Whatever the case, Every night after they'd 151 00:09:06,960 --> 00:09:09,920 Speaker 1: shoot all day, Bob Evans would watch daily's in his 152 00:09:10,000 --> 00:09:13,160 Speaker 1: private screening room with Polanski, and then Pulanski would leave 153 00:09:13,160 --> 00:09:15,920 Speaker 1: and go home, and Town which Robert Town would come 154 00:09:15,920 --> 00:09:18,840 Speaker 1: over and he'd watched those same dailies with Bob Evans. 155 00:09:18,880 --> 00:09:20,600 Speaker 1: They literally could not be in the same room together, 156 00:09:22,360 --> 00:09:24,079 Speaker 1: and Robert Town was not the only one who had 157 00:09:24,120 --> 00:09:29,000 Speaker 1: issues with Polanski's style. Faye Dunaway did not like to 158 00:09:29,000 --> 00:09:32,640 Speaker 1: be told what to do, but she wanted some She 159 00:09:32,760 --> 00:09:35,560 Speaker 1: wanted some insight from her director, Okay, She wanted to 160 00:09:35,600 --> 00:09:39,160 Speaker 1: know what her character's motivation was. And when she asked 161 00:09:39,200 --> 00:09:42,400 Speaker 1: Polanski this, Polanski reportedly got very upset and just said 162 00:09:42,440 --> 00:09:46,000 Speaker 1: to her, say the fucking words, your salary is the motivation. Okay. 163 00:09:46,800 --> 00:09:49,920 Speaker 1: Tensions come to a head between these two when Faye 164 00:09:50,000 --> 00:09:54,800 Speaker 1: Dunaway tossed a cup full of piss on Rouman Polanski. 165 00:09:55,280 --> 00:09:57,880 Speaker 1: It's unknown whether she peede in the cup or Jack 166 00:09:57,920 --> 00:10:01,160 Speaker 1: pete in the cup, because I guess Fay and Jack 167 00:10:01,200 --> 00:10:04,200 Speaker 1: were sitting in a car, and so the mechanics of 168 00:10:04,280 --> 00:10:06,600 Speaker 1: how one would pee in a cup in a car 169 00:10:07,440 --> 00:10:09,240 Speaker 1: with lee when to believe that Jack was the one 170 00:10:09,240 --> 00:10:13,920 Speaker 1: that did the peeing. But regardless, you know, Polanski got 171 00:10:13,920 --> 00:10:17,040 Speaker 1: a face full of piss here. And that's just an 172 00:10:17,200 --> 00:10:22,280 Speaker 1: example of how extreme things were on this set. So 173 00:10:22,320 --> 00:10:25,600 Speaker 1: by early nineteen seventy four, production is just about done. 174 00:10:25,880 --> 00:10:28,520 Speaker 1: But as the film is being edited, Robert town Is 175 00:10:28,559 --> 00:10:30,720 Speaker 1: he's checking out early cuts of the film and he 176 00:10:30,760 --> 00:10:33,800 Speaker 1: hates it. He hates it. He wants to take his 177 00:10:34,040 --> 00:10:37,199 Speaker 1: name off the thing, which is nuts. Okay. One of 178 00:10:37,280 --> 00:10:40,200 Speaker 1: the things you learned about Chinatown when you're first introduced 179 00:10:40,200 --> 00:10:42,800 Speaker 1: to this movie, that is that this is one of, 180 00:10:42,960 --> 00:10:45,920 Speaker 1: if not the greatest scripts of all time. That's how 181 00:10:45,960 --> 00:10:48,360 Speaker 1: I was introduced to this movie, and I'm pretty sure 182 00:10:48,400 --> 00:10:51,280 Speaker 1: that's still how it's regarded. Robert Town wrote this in 183 00:10:51,280 --> 00:10:54,560 Speaker 1: the middle of an incredible run. He wrote the last detail, 184 00:10:54,600 --> 00:10:57,600 Speaker 1: which I already talked about. He wrote Chinatown. He then 185 00:10:57,640 --> 00:11:00,480 Speaker 1: wrote The Yakuza, which he co wrote with Paul Trader, 186 00:11:00,760 --> 00:11:03,240 Speaker 1: the Robert Mitchell movie, and then right after that he 187 00:11:03,240 --> 00:11:05,920 Speaker 1: wrote Shampoo, another hal Ashby movie that he co wrote 188 00:11:05,920 --> 00:11:08,240 Speaker 1: with Warren Batty who stars in that. This is all 189 00:11:08,240 --> 00:11:09,760 Speaker 1: in the span of a few years. Oh and yeah, 190 00:11:09,760 --> 00:11:12,360 Speaker 1: this is right after he did uncredited read writes on 191 00:11:12,440 --> 00:11:15,600 Speaker 1: both Bonnie and Clyde and The Godfather. And he wants 192 00:11:15,640 --> 00:11:18,760 Speaker 1: to take his name off like the crown jewel of 193 00:11:18,800 --> 00:11:22,120 Speaker 1: his work. It's wild. That's how much he hated Polansky 194 00:11:22,160 --> 00:11:24,400 Speaker 1: and how much he hated what Polansky did to his 195 00:11:24,480 --> 00:11:27,880 Speaker 1: script kind of makes you wonder what that one hundred 196 00:11:27,880 --> 00:11:30,360 Speaker 1: and eighty page script was. Like, I'm kind of intrigued now. 197 00:11:31,720 --> 00:11:34,200 Speaker 1: But you know, sometimes us writers, you know, we need 198 00:11:34,640 --> 00:11:38,040 Speaker 1: we need outside we need outside perspective, We need somebody 199 00:11:38,080 --> 00:11:39,880 Speaker 1: else who's not us to take a look at what 200 00:11:39,920 --> 00:11:43,080 Speaker 1: we've done. And sometimes the things that we think are 201 00:11:43,120 --> 00:11:45,440 Speaker 1: the best turn out to not be what's best. And 202 00:11:45,480 --> 00:11:48,840 Speaker 1: sometimes the things that that we hate are the are 203 00:11:48,880 --> 00:11:51,160 Speaker 1: the are the scripts or are the articles or the 204 00:11:51,200 --> 00:11:53,840 Speaker 1: novels or the whatever that our editors really love. So 205 00:11:53,920 --> 00:11:57,559 Speaker 1: you just never know. But nonetheless, Robert Town's screenplay went 206 00:11:57,600 --> 00:12:00,160 Speaker 1: on to win Best Original Screenplay at the Oscars and 207 00:12:00,200 --> 00:12:02,760 Speaker 1: the Golden Globes and the BAFTAs, where Town actually won 208 00:12:02,840 --> 00:12:05,760 Speaker 1: for both Chinatown and The Last Detail. I'm not sure 209 00:12:05,800 --> 00:12:08,040 Speaker 1: how often that's happened where an awards ceremony has given 210 00:12:08,040 --> 00:12:10,720 Speaker 1: out a double award like that. It tied for the 211 00:12:10,720 --> 00:12:14,400 Speaker 1: most nominations at the Oscars that year, eleven nominations, which 212 00:12:14,440 --> 00:12:17,080 Speaker 1: it had, in which The Godfather Part two had, And 213 00:12:17,120 --> 00:12:19,640 Speaker 1: of course Chinatown was a hit at the box office. 214 00:12:19,679 --> 00:12:22,280 Speaker 1: It made Jack Nicholson into a star. It set a 215 00:12:22,400 --> 00:12:25,120 Speaker 1: very very high bar for the detective film, you know, 216 00:12:25,160 --> 00:12:27,120 Speaker 1: a bar that many would try to match in the 217 00:12:27,200 --> 00:12:29,440 Speaker 1: years to come and fail. And it set up a 218 00:12:29,559 --> 00:12:32,560 Speaker 1: very promising return to America for the in demand filmmaker 219 00:12:32,840 --> 00:12:35,600 Speaker 1: Roman Polanski. But of course we know what happens there 220 00:12:35,679 --> 00:12:37,679 Speaker 1: just a few years later, at the home of Jack 221 00:12:37,760 --> 00:12:40,920 Speaker 1: Nicholson while Jack was away, and ever since, how We 222 00:12:41,000 --> 00:12:44,760 Speaker 1: View Polanski the Director has now been filtered through How 223 00:12:44,800 --> 00:12:49,200 Speaker 1: We View Polanski the Person. Just fifteen years ago, critics 224 00:12:49,200 --> 00:12:51,720 Speaker 1: at The Guardian and The Observer over in the UK 225 00:12:51,960 --> 00:12:54,600 Speaker 1: voted on the greatest movies of all time, and the 226 00:12:54,640 --> 00:12:58,800 Speaker 1: top film on that list was Chinatown. The Guardian's film 227 00:12:58,840 --> 00:13:02,520 Speaker 1: critic Peter Bradshaw's quote, Chinatown is such a powerful piece 228 00:13:02,559 --> 00:13:05,800 Speaker 1: of myth, making a brilliant evocation of Los Angeles as 229 00:13:05,800 --> 00:13:08,839 Speaker 1: a spiritual desert unquote. And then just a few years 230 00:13:08,880 --> 00:13:11,400 Speaker 1: back in twenty twenty, Sam Wawson published a book called 231 00:13:11,440 --> 00:13:15,040 Speaker 1: The Big Goodbye Chinatown and the Last Years of Hollywood, 232 00:13:15,240 --> 00:13:18,400 Speaker 1: which explores this moment in American filmmaking history and how 233 00:13:18,400 --> 00:13:21,120 Speaker 1: it represented both the end of something and the beginning 234 00:13:21,160 --> 00:13:25,600 Speaker 1: of something entirely different. Chinatown is a film about water, 235 00:13:26,200 --> 00:13:30,120 Speaker 1: about not having it, about wanting it and needing it. 236 00:13:30,120 --> 00:13:33,640 Speaker 1: It's also a film about secrets, about betrayal and mistaken 237 00:13:33,720 --> 00:13:37,559 Speaker 1: identity and bad jokes and about what happens to Nosy 238 00:13:37,600 --> 00:13:41,200 Speaker 1: Fellas spoiler alert, they lose their noses, and I'm going 239 00:13:41,240 --> 00:14:06,280 Speaker 1: to get into it right after this. First of all, 240 00:14:06,280 --> 00:14:08,680 Speaker 1: I got to give props to Peter Biskin and his 241 00:14:08,800 --> 00:14:13,160 Speaker 1: incredible book, Easy Writers, Raging Bulls, which is, to my eyes, 242 00:14:13,200 --> 00:14:16,920 Speaker 1: the definitive take on Hollywood in the nineteen seventies. It's 243 00:14:17,040 --> 00:14:20,120 Speaker 1: kind of our take here at Hollywood Land because it's 244 00:14:20,120 --> 00:14:23,080 Speaker 1: gritty and grimy and feels very much in concert with 245 00:14:23,480 --> 00:14:25,680 Speaker 1: the kind of storytelling we do. I got a lot 246 00:14:25,720 --> 00:14:28,040 Speaker 1: of those details about the making of Chinatown in that 247 00:14:28,120 --> 00:14:31,640 Speaker 1: last block from that book, and that book continues to 248 00:14:31,680 --> 00:14:34,800 Speaker 1: be a rich resource for a lot of our episodes here, 249 00:14:35,200 --> 00:14:37,240 Speaker 1: So again, just wanted to shout that out if you 250 00:14:37,240 --> 00:14:40,240 Speaker 1: guys haven't checked that out, Easy Writers Raiging Bulls by 251 00:14:40,240 --> 00:14:43,280 Speaker 1: Peter Biskin, great read. Also, because you know, for a 252 00:14:43,320 --> 00:14:45,480 Speaker 1: lot of our scripted episodes of Hollywoodland, you can just 253 00:14:45,520 --> 00:14:49,680 Speaker 1: go to the website to Disgrace lambpod dot com, click 254 00:14:49,680 --> 00:14:51,720 Speaker 1: on the hollywood Land section and you can check out 255 00:14:51,720 --> 00:14:54,640 Speaker 1: the episode pages and read our sources for those scripted episodes. 256 00:14:54,800 --> 00:14:56,360 Speaker 1: But we don't do those for the bonus episodes, So 257 00:14:56,400 --> 00:14:57,400 Speaker 1: I just kind of wanted to give you guys a 258 00:14:57,400 --> 00:15:00,400 Speaker 1: little behind the scenes where I'm getting my sourcing from 259 00:15:00,600 --> 00:15:04,400 Speaker 1: for this EPP. Now, when it comes to this movie Chinatown, 260 00:15:04,440 --> 00:15:06,280 Speaker 1: I've loved this ever since I was in high school 261 00:15:06,280 --> 00:15:08,680 Speaker 1: when I first saw it. It combines a number of 262 00:15:08,720 --> 00:15:13,240 Speaker 1: things that I love, detective fiction, California, lawn stretches in 263 00:15:13,320 --> 00:15:18,240 Speaker 1: a movie of someone following someone else, and Noir. Although 264 00:15:18,280 --> 00:15:22,960 Speaker 1: this is like the negative image of Noir, right, It's 265 00:15:23,000 --> 00:15:27,160 Speaker 1: like Noir's is typically I mean, the word itself is 266 00:15:27,200 --> 00:15:29,960 Speaker 1: typically so dark and shot with lots of shadows. But 267 00:15:30,080 --> 00:15:32,480 Speaker 1: this movie, the exception of a few scenes, it all 268 00:15:32,520 --> 00:15:35,240 Speaker 1: takes place during the day in the sun. All these 269 00:15:35,280 --> 00:15:38,520 Speaker 1: evil characters and evil deeds happening out there in broad daylight. 270 00:15:38,920 --> 00:15:42,360 Speaker 1: Oh and the movie also has, most importantly, perhaps Jack Nicholson, 271 00:15:42,760 --> 00:15:45,760 Speaker 1: my guy Matt. Here. Matt and I back in the day, 272 00:15:46,200 --> 00:15:49,160 Speaker 1: we were on this Jack Nicholson kick in high school. 273 00:15:49,640 --> 00:15:53,560 Speaker 1: This was at a time when Jack Nicholson was in 274 00:15:53,600 --> 00:15:56,360 Speaker 1: this phase where he was doing like Batman, he was 275 00:15:56,400 --> 00:15:59,400 Speaker 1: doing a few good men Hafa and funny enough, the 276 00:15:59,440 --> 00:16:03,280 Speaker 1: two Jake, which is the longestating sequel to Chinatown that 277 00:16:03,360 --> 00:16:06,120 Speaker 1: he directed, came out in nineteen ninety with also a 278 00:16:06,160 --> 00:16:09,840 Speaker 1: screenplay by the guy Robert Toown here as well. You know. 279 00:16:09,880 --> 00:16:13,000 Speaker 1: Funny enough, although Matt and I endeavored to watch every 280 00:16:13,080 --> 00:16:14,960 Speaker 1: Jack movie we could get our hands on, we never 281 00:16:15,040 --> 00:16:18,280 Speaker 1: watched this one. We never interested us, I think because 282 00:16:19,000 --> 00:16:20,920 Speaker 1: I remember the time when it came out, it was 283 00:16:21,080 --> 00:16:25,360 Speaker 1: just perceived as such a huge flop, huge flop. I 284 00:16:25,440 --> 00:16:28,040 Speaker 1: still have yet to see this movie all the way 285 00:16:28,080 --> 00:16:31,120 Speaker 1: through to this day, just because it got such a 286 00:16:31,120 --> 00:16:32,720 Speaker 1: bad rap when it came out, and I think it's 287 00:16:32,760 --> 00:16:36,720 Speaker 1: been slightly reevaluated here with time. But anyways, that must 288 00:16:36,720 --> 00:16:38,320 Speaker 1: be why we didn't. We didn't check it out because 289 00:16:38,320 --> 00:16:40,320 Speaker 1: it was just supposed to be so bad. Because we 290 00:16:40,360 --> 00:16:42,120 Speaker 1: would do a lot of things to see a Jack movie. 291 00:16:42,120 --> 00:16:44,040 Speaker 1: We once drove, like, I don't know, forty five minutes 292 00:16:44,040 --> 00:16:47,040 Speaker 1: an hour away to see this movie Wolf that he 293 00:16:47,160 --> 00:16:49,520 Speaker 1: was in that wasn't playing locally. That was a Mike 294 00:16:49,600 --> 00:16:52,440 Speaker 1: Nichols film in which Jack plays a were wolf. That 295 00:16:52,520 --> 00:16:56,160 Speaker 1: was not worth the effort that one. But we rented 296 00:16:56,200 --> 00:16:59,240 Speaker 1: so many of these classic seventies movies. Five easy pieces, 297 00:16:59,280 --> 00:17:02,080 Speaker 1: the last detail Cucko's Nest. We even saw The Crossing 298 00:17:02,080 --> 00:17:04,560 Speaker 1: Guard when that came out. That was a Sean Penn 299 00:17:04,600 --> 00:17:07,000 Speaker 1: film that Jack Nicholson start in. And this is before 300 00:17:07,040 --> 00:17:09,600 Speaker 1: the Internet and social media. So we were discovering all 301 00:17:09,640 --> 00:17:12,000 Speaker 1: these quotes on our own, you know, like I want 302 00:17:12,040 --> 00:17:15,000 Speaker 1: the chicken salad sandwich, but hold the chicken salad. Where 303 00:17:15,040 --> 00:17:16,159 Speaker 1: do you want me to hold it? I want you 304 00:17:16,160 --> 00:17:17,840 Speaker 1: to hold it between your knees, you know, all that, 305 00:17:17,920 --> 00:17:22,000 Speaker 1: like Jack stuff. We were sourcing all these quotes that 306 00:17:22,080 --> 00:17:24,960 Speaker 1: we then use like a secret language on our own. 307 00:17:25,240 --> 00:17:27,879 Speaker 1: And the line deliveries and the eyebrows. I mean, it 308 00:17:27,920 --> 00:17:29,600 Speaker 1: was really it was our It was our own language, 309 00:17:29,600 --> 00:17:31,879 Speaker 1: it was our own in joke, and it ruled. It 310 00:17:31,920 --> 00:17:33,880 Speaker 1: was a great time. I just think of that Jack 311 00:17:33,960 --> 00:17:36,720 Speaker 1: Nicholson meme now from is it from the Departed when 312 00:17:36,760 --> 00:17:39,199 Speaker 1: he's like nodding his head slowly and lifting up his 313 00:17:39,200 --> 00:17:41,879 Speaker 1: eyebrows like yes, yes, I feel like that was. I 314 00:17:41,880 --> 00:17:43,879 Speaker 1: feel like Matt and I could communicate a lot just 315 00:17:43,920 --> 00:17:47,119 Speaker 1: with that look back on the day. So what is 316 00:17:47,800 --> 00:17:52,680 Speaker 1: this movie Chinatown about? Great question? On the surface, this 317 00:17:52,720 --> 00:17:56,200 Speaker 1: is your standard nineteen thirties era. Private investigator gets hired 318 00:17:56,680 --> 00:17:59,639 Speaker 1: to follow a woman's husband because she's suspicious. She's paranoid. 319 00:18:00,080 --> 00:18:02,440 Speaker 1: She thinks he's sleeping around. The opening scene in the 320 00:18:02,480 --> 00:18:05,800 Speaker 1: film makes you think this because you see Jake Giddis 321 00:18:06,240 --> 00:18:10,520 Speaker 1: played by Jack Nicholson, the PI showing these photos his 322 00:18:10,600 --> 00:18:13,520 Speaker 1: team took to his client, this husband whose wife is 323 00:18:13,560 --> 00:18:17,439 Speaker 1: definitely having an affair. This particular case has nothing to 324 00:18:17,440 --> 00:18:19,639 Speaker 1: do with the plot of the film. The character does 325 00:18:19,720 --> 00:18:21,520 Speaker 1: come back in a kind of a neat way later, 326 00:18:21,560 --> 00:18:23,440 Speaker 1: but doesn't have anything to do with the plot of 327 00:18:23,440 --> 00:18:26,399 Speaker 1: the film beyond putting this in your head as the 328 00:18:26,480 --> 00:18:29,680 Speaker 1: kind of thing that Jake Giddis does. He chases down 329 00:18:29,760 --> 00:18:33,480 Speaker 1: the cheating kind, He gets some compromising photos, he exposes 330 00:18:33,560 --> 00:18:37,240 Speaker 1: the deceit, he collects his money, and that certainly seems 331 00:18:37,280 --> 00:18:40,080 Speaker 1: to be the case. When a woman named Evelyn Mulray 332 00:18:40,160 --> 00:18:44,880 Speaker 1: shows up and hires Giddy's detail, her husband Hallis Mulray. 333 00:18:45,240 --> 00:18:48,119 Speaker 1: Hallis Mulray is the chief engineer at the Department of 334 00:18:48,200 --> 00:18:51,960 Speaker 1: Water and Power in La So Jake does this, he 335 00:18:52,600 --> 00:18:57,240 Speaker 1: goes off tails Hallis Mulray. This incredible stretch of filmmaking, 336 00:18:57,320 --> 00:19:00,760 Speaker 1: very little dialogue, lots of show. Don't tell you know. 337 00:19:00,800 --> 00:19:03,520 Speaker 1: We go from city hall to the dry La River. 338 00:19:03,920 --> 00:19:06,679 Speaker 1: It's so reminiscent of Vertigo and that extended scene of 339 00:19:06,760 --> 00:19:10,920 Speaker 1: Jimmy Stewart following Kim Novak around San Francisco. I got 340 00:19:10,920 --> 00:19:13,600 Speaker 1: to think that Polanski had that on the brain. Jake 341 00:19:13,640 --> 00:19:16,480 Speaker 1: gets his photos, as promised, of Hollis Mulray with a 342 00:19:16,520 --> 00:19:19,120 Speaker 1: younger woman, and after his team has turned them over 343 00:19:19,520 --> 00:19:22,119 Speaker 1: to Evelyn here, the photos find their way to the 344 00:19:22,119 --> 00:19:26,040 Speaker 1: papers and Hollis's affair is front page news. It's exposed 345 00:19:26,080 --> 00:19:28,320 Speaker 1: for everybody to see. And it's at this point that 346 00:19:28,359 --> 00:19:30,719 Speaker 1: we learn that the woman that we thought was Evelyn 347 00:19:30,800 --> 00:19:34,040 Speaker 1: Mulray was actually not Evelyn Mulray. The woman that hired 348 00:19:34,119 --> 00:19:36,359 Speaker 1: him was not who she said she was, because the 349 00:19:36,440 --> 00:19:39,920 Speaker 1: real Evelyn Mulray, played by Fay Dunaway, shows up at 350 00:19:40,000 --> 00:19:45,280 Speaker 1: Jake Giddy's office pissed off and wanting answers. Okay, so 351 00:19:45,320 --> 00:19:48,560 Speaker 1: somebody pretending to be Evelyn hired Jake in order to 352 00:19:48,640 --> 00:19:52,639 Speaker 1: discredit Hollis Mulray in the press. So now Jake is 353 00:19:52,680 --> 00:19:56,800 Speaker 1: determined to find out who deceived him and why, while 354 00:19:56,800 --> 00:19:59,080 Speaker 1: he's simultaneously trying to get the real Evelyn here to 355 00:19:59,160 --> 00:20:03,080 Speaker 1: drop this lost that she's threatening him with. This leads 356 00:20:03,119 --> 00:20:05,560 Speaker 1: him on a wild goose chase to track down Hallis Mulray, 357 00:20:05,640 --> 00:20:08,200 Speaker 1: the chief engineer at the Department of Water and Power, 358 00:20:08,320 --> 00:20:11,480 Speaker 1: first at his office and then at the reservoirs, where 359 00:20:11,520 --> 00:20:16,400 Speaker 1: he finds LA cops dragging Hollis Mulray's dead body from 360 00:20:16,400 --> 00:20:19,359 Speaker 1: the water, and from there the film takes a wild 361 00:20:19,520 --> 00:20:21,639 Speaker 1: detour from what we thought it was going to be 362 00:20:21,720 --> 00:20:25,720 Speaker 1: and becomes this very complicated story involving so many secrets, 363 00:20:25,760 --> 00:20:28,760 Speaker 1: the secrets of what powerful men like Noah Cross have 364 00:20:28,840 --> 00:20:32,240 Speaker 1: been doing in order to illegally divert LA's water to 365 00:20:32,320 --> 00:20:35,080 Speaker 1: make them a ton of money, a plot that involves 366 00:20:35,240 --> 00:20:39,080 Speaker 1: using the identities of unsuspecting elderly residents of arrest Home, 367 00:20:39,640 --> 00:20:42,280 Speaker 1: and ultimately they're really dark stuff. The revelation at the 368 00:20:42,400 --> 00:20:45,120 Speaker 1: end of the film that the girl that Hollis Mulray 369 00:20:45,160 --> 00:20:47,480 Speaker 1: had been photographed with, who we were made to think 370 00:20:47,600 --> 00:20:52,440 Speaker 1: was his mistress, her name is Catherine. She's actually his wife, 371 00:20:52,560 --> 00:20:56,960 Speaker 1: Evelyn's daughter, a daughter that she had with her own father, 372 00:20:57,760 --> 00:21:02,400 Speaker 1: Noah Cross. It's heavy, and the first time you see 373 00:21:02,400 --> 00:21:04,679 Speaker 1: the movie, it's hard to keep up with the twists 374 00:21:04,720 --> 00:21:08,639 Speaker 1: and turns because Robert Town's script is so good and 375 00:21:09,040 --> 00:21:10,720 Speaker 1: it makes you do a lot of the work and 376 00:21:11,320 --> 00:21:13,879 Speaker 1: piece things together. It's very much like the Sting in 377 00:21:13,920 --> 00:21:16,919 Speaker 1: that way, which came out around the same time. But 378 00:21:17,040 --> 00:21:20,440 Speaker 1: that gut punch of that third act revelation, this revelation 379 00:21:20,520 --> 00:21:23,159 Speaker 1: that's been hiding in plain sight the entire time, it 380 00:21:23,280 --> 00:21:25,879 Speaker 1: just hits so hard, and I think that, just like 381 00:21:25,960 --> 00:21:28,760 Speaker 1: Jake Giddis, you kind of feel naive for not seeing 382 00:21:28,760 --> 00:21:31,880 Speaker 1: that in the first place, Like wait, like that's what's 383 00:21:31,920 --> 00:21:35,160 Speaker 1: been going on the whole time. And of course that's 384 00:21:35,200 --> 00:21:37,000 Speaker 1: when the title of the film sinks, in that last 385 00:21:37,040 --> 00:21:39,440 Speaker 1: line in which one of the other cops is dragging 386 00:21:40,080 --> 00:21:42,720 Speaker 1: Jake Getty's away from the scene and he says, forget it, Jake, 387 00:21:42,800 --> 00:21:46,200 Speaker 1: it's Chinatown, which is a reference, of course to Jake's 388 00:21:46,240 --> 00:21:48,679 Speaker 1: pass work as a cop on the beat in Chinatown, 389 00:21:48,720 --> 00:21:51,440 Speaker 1: handling these cases that made no sense to him and 390 00:21:51,520 --> 00:21:54,639 Speaker 1: had no clear resolution. And here at the end, Evelyn 391 00:21:54,760 --> 00:21:57,199 Speaker 1: Mulray is dead, Hollois Mulray is dead. There is no 392 00:21:57,400 --> 00:22:01,080 Speaker 1: justice for them. Noah Cross escapes unscaped. Not only is 393 00:22:01,080 --> 00:22:02,879 Speaker 1: he not arrested for all the shit he's been pulling 394 00:22:02,880 --> 00:22:05,800 Speaker 1: with his water diversion schemes, but now he's running off 395 00:22:05,800 --> 00:22:09,640 Speaker 1: with the daughter he had with his own daughter, and 396 00:22:09,760 --> 00:22:13,000 Speaker 1: there's nothing that Jake or we can do. And I 397 00:22:13,040 --> 00:22:14,880 Speaker 1: think for me, at least, this was the first time 398 00:22:14,920 --> 00:22:18,280 Speaker 1: I really realized the power of a movie title like this, 399 00:22:18,440 --> 00:22:21,320 Speaker 1: the power of a metaphor in a title, which is 400 00:22:21,640 --> 00:22:24,040 Speaker 1: something that literature had done for me for a long time. 401 00:22:24,080 --> 00:22:27,520 Speaker 1: You know, the Catcher in the Rye being this metaphorical title, 402 00:22:27,600 --> 00:22:30,800 Speaker 1: unlike The Great Gatsby, for instance. You know, Chinatown is 403 00:22:30,840 --> 00:22:33,399 Speaker 1: like the opposite kind of title from a film like 404 00:22:33,480 --> 00:22:35,720 Speaker 1: Taxi Driver. You know, that would have been like calling 405 00:22:35,760 --> 00:22:39,400 Speaker 1: Taxi Driver Vietnam or something, But Vietnam is a title 406 00:22:39,440 --> 00:22:41,560 Speaker 1: wouldn't have worked for Taxi Driver the way it works 407 00:22:41,560 --> 00:22:45,040 Speaker 1: for Chinatown, because Chinatown isn't just a place, you know, 408 00:22:45,080 --> 00:22:47,040 Speaker 1: It's not just the place where Jake get has worked 409 00:22:47,040 --> 00:22:49,480 Speaker 1: for years as a cop. But it's also this state 410 00:22:49,520 --> 00:22:52,480 Speaker 1: of mind. It's this idea, going back to what Robert 411 00:22:52,520 --> 00:22:56,960 Speaker 1: Town said himself, a metaphor for the futility of good intentions. 412 00:22:57,200 --> 00:22:59,679 Speaker 1: It's a defeatist film. It's a film that throws up 413 00:22:59,680 --> 00:23:01,880 Speaker 1: its hand in the face of evil, in the face 414 00:23:01,920 --> 00:23:05,320 Speaker 1: of injustice, in the face of normal, everyday corruption, that 415 00:23:05,440 --> 00:23:08,600 Speaker 1: runs this town, that runs the whole world. This movie 416 00:23:08,680 --> 00:23:10,600 Speaker 1: might have been set in the nineteen thirties, it may 417 00:23:10,640 --> 00:23:12,960 Speaker 1: have been made in the nineteen seventies, but this is 418 00:23:13,000 --> 00:23:15,320 Speaker 1: one of the most resonant films today or at any 419 00:23:15,400 --> 00:23:18,360 Speaker 1: point in American history since it was made, because those 420 00:23:18,359 --> 00:23:21,760 Speaker 1: forces of corruption continue to divert the water, so to speak. 421 00:23:21,800 --> 00:23:25,760 Speaker 1: They keep committing unspeakable crimes, and innocent people continue to 422 00:23:25,800 --> 00:23:28,480 Speaker 1: suffer because of it, and damn it. Robert town saw 423 00:23:28,600 --> 00:23:31,240 Speaker 1: into the future. He saw this not as a problem 424 00:23:31,359 --> 00:23:33,720 Speaker 1: that was unique to the seventies, but a problem unique 425 00:23:33,840 --> 00:23:37,200 Speaker 1: to America. And that's why this movie resonates so much now, 426 00:23:37,280 --> 00:23:39,720 Speaker 1: more than forty years after its release. It's the same 427 00:23:39,760 --> 00:23:42,720 Speaker 1: reason why the other huge movie from nineteen seventy four, 428 00:23:42,760 --> 00:23:46,000 Speaker 1: The Godfather, Too, continues to resonate, because in many ways 429 00:23:46,240 --> 00:23:49,119 Speaker 1: it's about the same thing, the devils we know, the 430 00:23:49,200 --> 00:23:51,720 Speaker 1: corruption at the heart of business. It's like my guy 431 00:23:51,800 --> 00:23:55,040 Speaker 1: Springsteen once said, poor man want to be rich, rich 432 00:23:55,080 --> 00:23:57,680 Speaker 1: man want to be king, and the king ain't satisfied 433 00:23:58,040 --> 00:24:01,640 Speaker 1: till he rules everything. Listen, I'm gonna take a quick 434 00:24:01,680 --> 00:24:04,040 Speaker 1: break here. When I come back, i'm gonna start working 435 00:24:04,080 --> 00:24:33,520 Speaker 1: on a mixtape based on Chinatown. So don't nobody go nowhere. Okay, guys, 436 00:24:33,560 --> 00:24:35,240 Speaker 1: we're back in the screening room. We're in the section 437 00:24:35,359 --> 00:24:39,560 Speaker 1: of the show now where I make a mixtape speaking 438 00:24:39,600 --> 00:24:43,960 Speaker 1: of metaphorical titles, metaphorical things. Let's do a metaphorical metaphysical 439 00:24:44,280 --> 00:24:48,640 Speaker 1: hypothetical mixtape here, okay, and let's do it inspired by 440 00:24:49,280 --> 00:24:52,080 Speaker 1: the nineteen seventy four film Chinatown. This is a fun 441 00:24:52,119 --> 00:24:53,960 Speaker 1: exercise that we do every week. I really enjoy it. 442 00:24:54,000 --> 00:24:55,280 Speaker 1: I look forward to this part of the show. I 443 00:24:55,280 --> 00:24:58,080 Speaker 1: hope you do too. I think it would be maybe 444 00:24:58,080 --> 00:25:00,840 Speaker 1: even more fun to make these mix and not tell 445 00:25:00,880 --> 00:25:02,679 Speaker 1: anybody what they are, and then you listen to the 446 00:25:02,680 --> 00:25:05,000 Speaker 1: mix and you have to guess what movie they are 447 00:25:05,040 --> 00:25:07,080 Speaker 1: inspired by. That would mean that I would have to 448 00:25:07,119 --> 00:25:09,880 Speaker 1: actually start making these These would have to turn from 449 00:25:10,680 --> 00:25:14,920 Speaker 1: metaphorical mixtapes into actual mixtapes. But anyways, that said, also, 450 00:25:15,359 --> 00:25:17,560 Speaker 1: my first choice for this mixtape here for side A 451 00:25:17,720 --> 00:25:21,000 Speaker 1: track one would give this movie right away because the 452 00:25:21,040 --> 00:25:25,600 Speaker 1: first song here is a Joe Jackson song called Chinatown. 453 00:25:26,359 --> 00:25:30,240 Speaker 1: This is from his nineteen eighty two album Night and Day. 454 00:25:30,640 --> 00:25:32,919 Speaker 1: And no, I'm not talking about Michael Jackson's father here 455 00:25:32,960 --> 00:25:36,560 Speaker 1: at Joe Jackson. I'm talking about Joe Jackson, the English 456 00:25:36,840 --> 00:25:39,760 Speaker 1: recording artists, one of the angry young men from the 457 00:25:39,800 --> 00:25:43,760 Speaker 1: late seventies, often mentioned back in the day in the 458 00:25:43,800 --> 00:25:46,879 Speaker 1: same breath as Elvis Costello and Graham Parker. These are 459 00:25:46,920 --> 00:25:49,159 Speaker 1: sort of like the three the three dudes who are 460 00:25:49,160 --> 00:25:52,600 Speaker 1: on this like angry on man thing. Joe Jackson's first 461 00:25:52,600 --> 00:25:56,640 Speaker 1: couple of records look sharp, I'm the man, beat crazy. 462 00:25:56,840 --> 00:26:01,360 Speaker 1: Are all these incredible? They're nudged up rate against punk rock, 463 00:26:01,400 --> 00:26:04,399 Speaker 1: but they're not quite punk rock there. They're kind of 464 00:26:04,440 --> 00:26:06,480 Speaker 1: like stuck between punk rock and new wave in this way, 465 00:26:06,960 --> 00:26:11,080 Speaker 1: but there's super high energy. You could hear bands like 466 00:26:11,160 --> 00:26:14,280 Speaker 1: Green Day in this music, and like the guitar playing 467 00:26:14,400 --> 00:26:18,000 Speaker 1: Gary Samford the guitar player, and Graham maybe the bass player. 468 00:26:18,040 --> 00:26:20,359 Speaker 1: You can hear this stuff reflected later on in the 469 00:26:20,359 --> 00:26:22,600 Speaker 1: punk that came in the nineties. Even though I'm saying 470 00:26:22,680 --> 00:26:24,919 Speaker 1: Joe Jackson technically wasn't punk, but he kind of was. 471 00:26:25,200 --> 00:26:27,880 Speaker 1: He was punkin attitude, you know. But after these couple 472 00:26:27,960 --> 00:26:31,359 Speaker 1: of records he released with this really really super tight band. 473 00:26:31,880 --> 00:26:34,040 Speaker 1: He put out this record Night and Day in nineteen 474 00:26:34,080 --> 00:26:38,800 Speaker 1: eighty two, inspired by cole Porter. I believe it's very evocative, 475 00:26:38,880 --> 00:26:41,679 Speaker 1: very cinematic record, features a lot of piano, a lot 476 00:26:41,720 --> 00:26:45,840 Speaker 1: of keyboards instead of guitars, and so as such, Graham 477 00:26:45,840 --> 00:26:48,080 Speaker 1: maybe the bass player is sort of the one left 478 00:26:48,119 --> 00:26:51,640 Speaker 1: over here from the core unit of early Joe Jackson records. 479 00:26:52,040 --> 00:26:54,679 Speaker 1: Gary Sandford the guitar player and David Houghton the drummer 480 00:26:54,720 --> 00:26:57,920 Speaker 1: are no longer there because just a whole different vibe. Again, 481 00:26:57,960 --> 00:27:00,560 Speaker 1: it's very cinematic vibe, and this song in particular, Chinatown 482 00:27:01,160 --> 00:27:05,080 Speaker 1: is very noir, very cinematic. It's, you know, the narrators 483 00:27:05,119 --> 00:27:08,000 Speaker 1: like lost in the City. I think he's just hungry 484 00:27:08,040 --> 00:27:11,560 Speaker 1: and looking for some dim sum really, but Joe Jackson 485 00:27:11,600 --> 00:27:14,800 Speaker 1: turns it into this very like noir journey here that 486 00:27:15,200 --> 00:27:19,120 Speaker 1: I gotta think was inspired in some part by the 487 00:27:19,200 --> 00:27:23,520 Speaker 1: noir vibe in the movie Chinatown. So again, Joe Jackson, Chinatown. 488 00:27:23,760 --> 00:27:25,920 Speaker 1: Great track, great record too, Night and Day. If you 489 00:27:25,920 --> 00:27:28,240 Speaker 1: don't know that, checked that one out. Okay, my next 490 00:27:28,280 --> 00:27:31,720 Speaker 1: track here, I'm thinking about Hollis Mulray sneaking around the 491 00:27:31,760 --> 00:27:33,880 Speaker 1: city with the woman that we all think is his mistress, 492 00:27:33,880 --> 00:27:37,879 Speaker 1: but it turns out it's his wife's daughter. So I immediately 493 00:27:37,840 --> 00:27:41,360 Speaker 1: thought of the Robert Palmer song Sneaking Sally through the Alley. 494 00:27:41,840 --> 00:27:45,320 Speaker 1: This is from nineteen seventy four. It's the title track 495 00:27:45,359 --> 00:27:50,119 Speaker 1: from his debut album. This album. These early Robert Palmer 496 00:27:50,160 --> 00:27:55,000 Speaker 1: albums are fucking incredible. This one guys has the Meters 497 00:27:55,520 --> 00:27:58,320 Speaker 1: and Lowell George from Little Feet, that's his band on 498 00:27:58,320 --> 00:28:02,920 Speaker 1: this record. The record is so funky. It's like capital 499 00:28:03,119 --> 00:28:06,840 Speaker 1: f It's like funky. It's fo funky, not fu funk, 500 00:28:07,000 --> 00:28:11,399 Speaker 1: It's funky. It's so good and listen. Growing up in 501 00:28:11,400 --> 00:28:15,520 Speaker 1: the nineteen eighties, Robert Palmer was the poster boy for 502 00:28:15,800 --> 00:28:20,119 Speaker 1: cheese Total cheese Ball, simply irresistible. Addicted to love the 503 00:28:20,240 --> 00:28:23,080 Speaker 1: videos with the robotic women and stuff like what is 504 00:28:23,119 --> 00:28:25,359 Speaker 1: going on? Like? I thought the guy was such a 505 00:28:25,440 --> 00:28:28,600 Speaker 1: dork and I had no idea that this stuff existed. 506 00:28:28,640 --> 00:28:30,719 Speaker 1: Matt and I were talking about this the other day, 507 00:28:31,000 --> 00:28:34,280 Speaker 1: the joy of discovering catalogs of artists that you've completely 508 00:28:34,680 --> 00:28:37,160 Speaker 1: overlooked or ignored or whatever. I talked about this earlier 509 00:28:37,200 --> 00:28:39,280 Speaker 1: this week in the Rap Party with Cheap Trick for Me, 510 00:28:39,840 --> 00:28:42,760 Speaker 1: but also I recently discovered a couple of years ago 511 00:28:43,240 --> 00:28:46,280 Speaker 1: Robert Palmer and also I mentioned Lowell George from Little Feet, 512 00:28:46,680 --> 00:28:49,560 Speaker 1: both of these groups. Just incredible stuff here to find 513 00:28:49,600 --> 00:28:52,440 Speaker 1: from the seventies. If you have not checked out this record, 514 00:28:52,440 --> 00:28:55,840 Speaker 1: the song Sneaking Salad through the Alley do so. It's 515 00:28:55,920 --> 00:28:57,840 Speaker 1: just killer and you're gonna you'll be dancing by the 516 00:28:57,920 --> 00:29:00,560 Speaker 1: end of it, I promised, Okay, next track here. Thinking 517 00:29:00,560 --> 00:29:03,800 Speaker 1: about the whole sister the weird sister daughter thing, there's 518 00:29:03,840 --> 00:29:06,880 Speaker 1: that scene in Chinatown where Fadana was like, she's my daughter, 519 00:29:06,960 --> 00:29:09,680 Speaker 1: she's my sister, she's my daughter, she's my sister, and 520 00:29:09,880 --> 00:29:12,400 Speaker 1: Jake Giddies is like slapping her as she's saying. This 521 00:29:12,960 --> 00:29:16,920 Speaker 1: made me think of the song my Sister by Juliana Hatfield. Actually, 522 00:29:16,920 --> 00:29:19,680 Speaker 1: the Juliana Hatfield three is what this is credited to. 523 00:29:20,240 --> 00:29:22,719 Speaker 1: This is from the nineteen ninety three album Become What 524 00:29:22,800 --> 00:29:27,080 Speaker 1: You Are, a formative alt rock record from the nineteen nineties. 525 00:29:27,120 --> 00:29:32,360 Speaker 1: For me, obviously, Juliana Hatfield a major talent in the 526 00:29:32,400 --> 00:29:36,440 Speaker 1: Boston scene from the eighties and nineties. Jake probably played 527 00:29:36,440 --> 00:29:38,200 Speaker 1: some shows with her at some point. I'm guessing because 528 00:29:38,240 --> 00:29:40,320 Speaker 1: Jake came out of the same scene. I don't have 529 00:29:40,360 --> 00:29:42,520 Speaker 1: a sister, I have a brother. But I can totally 530 00:29:42,600 --> 00:29:45,120 Speaker 1: relate to this song, you know, about growing up with 531 00:29:45,160 --> 00:29:47,600 Speaker 1: a younger sibling in the back and forth of your relationship. 532 00:29:47,600 --> 00:29:49,760 Speaker 1: I mean, this song starts with like I hate my sister, 533 00:29:50,160 --> 00:29:52,600 Speaker 1: and it graduates too I love my sister, and then 534 00:29:52,600 --> 00:29:54,720 Speaker 1: it's like I missed my sister. I think maybe that's 535 00:29:54,720 --> 00:29:57,000 Speaker 1: the wrong order, but anyways, you get my drift the 536 00:29:57,080 --> 00:30:00,760 Speaker 1: ups and downs of sibling rivalry and relationship. And this 537 00:30:00,920 --> 00:30:02,720 Speaker 1: song is like it's like a novel. Man, It's like 538 00:30:02,760 --> 00:30:05,040 Speaker 1: a novel or a novella. In three minutes. It takes 539 00:30:05,040 --> 00:30:07,520 Speaker 1: you from one extreme to the other. Great song, Great 540 00:30:07,520 --> 00:30:11,640 Speaker 1: record too. I saw Juliana Hatfield three play in the 541 00:30:11,680 --> 00:30:16,000 Speaker 1: mid nineties with Cold Water Flat opening Matt You and 542 00:30:16,000 --> 00:30:18,160 Speaker 1: I went to that show, I believe and Cold Waterflat 543 00:30:18,200 --> 00:30:21,360 Speaker 1: blew our faces off. Anyways, great stuff. Next up here, 544 00:30:21,480 --> 00:30:24,360 Speaker 1: I'm gonna go with this song thirty five Millimeters Dreams 545 00:30:24,400 --> 00:30:28,640 Speaker 1: by Garland Jeffries. This is from Garland jeffries nineteen seventy 546 00:30:28,720 --> 00:30:32,640 Speaker 1: seven album ghost Writer. This is like very loose and 547 00:30:32,960 --> 00:30:36,960 Speaker 1: wind blown downtown New York seventies rock, like not the 548 00:30:37,000 --> 00:30:42,080 Speaker 1: punk variety, but like loose Springsteen, Southside Johnny Willie Nile 549 00:30:42,200 --> 00:30:44,480 Speaker 1: kind of kind of laying okay. And the reason I 550 00:30:44,560 --> 00:30:47,280 Speaker 1: think about this with this movie Chinatown is that the 551 00:30:47,680 --> 00:30:50,120 Speaker 1: lyrics of this of the song take us through old Hollywood, 552 00:30:50,360 --> 00:30:54,320 Speaker 1: you know, Greta Garbo Bogart, Betty Davis, Brando, Carrie Grant. 553 00:30:54,600 --> 00:30:55,960 Speaker 1: And it makes me think of all the kinds of 554 00:30:56,000 --> 00:30:58,960 Speaker 1: movies that would have been playing when this movie Chinatown 555 00:30:59,040 --> 00:31:02,040 Speaker 1: took place, the kinds of movie stars that were all 556 00:31:02,080 --> 00:31:04,360 Speaker 1: the rage at the time. I mean, the production design 557 00:31:04,400 --> 00:31:06,360 Speaker 1: of this film, by the way, is nuts. The nineteen 558 00:31:06,400 --> 00:31:09,280 Speaker 1: thirties of it all is really really cool to watch. 559 00:31:09,320 --> 00:31:11,600 Speaker 1: You feel like you're back there. It's a great tune, man. 560 00:31:11,600 --> 00:31:14,240 Speaker 1: It's got some great session musicians on this, David Spinoza, 561 00:31:14,720 --> 00:31:17,680 Speaker 1: Steve Gadd, the drummer, Rick Mrada, doctor John Is on 562 00:31:17,720 --> 00:31:20,840 Speaker 1: some piano here, and then the Brecker Brothers and David 563 00:31:20,880 --> 00:31:24,480 Speaker 1: sam Worn on horns, thirty five millimeter Dreams, Garlin Jeffries. 564 00:31:24,720 --> 00:31:27,680 Speaker 1: Check that tune out. Next song here is another kind 565 00:31:27,680 --> 00:31:30,000 Speaker 1: of obvious one. I'm gonna say right up front, but 566 00:31:30,320 --> 00:31:33,160 Speaker 1: it is the song Private Eyes by Hall and Oates. 567 00:31:33,480 --> 00:31:37,080 Speaker 1: They're Watching You. This is from nineteen eighty one. Guys, 568 00:31:37,600 --> 00:31:39,360 Speaker 1: does this blow your mind the way it blows mind. 569 00:31:40,320 --> 00:31:44,000 Speaker 1: This is the lead single from Hallan oates tenth album 570 00:31:44,880 --> 00:31:48,720 Speaker 1: nineteen eighty one, their tenth album, Kisses on My List. 571 00:31:48,800 --> 00:31:51,600 Speaker 1: That song that was from the album before this, the 572 00:31:51,680 --> 00:31:54,600 Speaker 1: year before that, and this was at the start of 573 00:31:54,640 --> 00:31:57,240 Speaker 1: these big pop hits. But before that they had ten 574 00:31:57,280 --> 00:31:59,400 Speaker 1: albums that they made. By nineteen eighty one, they've been 575 00:31:59,440 --> 00:32:02,440 Speaker 1: cranking them out since like nineteen seventy two. I think 576 00:32:02,520 --> 00:32:05,360 Speaker 1: Oates have been working on that mustache since nineteen seventy 577 00:32:05,360 --> 00:32:09,040 Speaker 1: two as well. Listen, growing up in the eighties, these 578 00:32:09,080 --> 00:32:13,160 Speaker 1: guys were another harbinger of incredible cheese, just like Robert Palmer. 579 00:32:13,560 --> 00:32:16,560 Speaker 1: My parents our remember had their record Big Bam Boom 580 00:32:16,800 --> 00:32:20,000 Speaker 1: on vinyl that has out of Touch on it. Listen 581 00:32:20,080 --> 00:32:24,000 Speaker 1: google the cover art for Big Bam Boom by Holling 582 00:32:24,040 --> 00:32:26,200 Speaker 1: Oates and tell me that's not the most eighties thing 583 00:32:26,280 --> 00:32:28,880 Speaker 1: you've ever seen in your life. The cheese factor, it's 584 00:32:28,920 --> 00:32:31,840 Speaker 1: the dial is just off the It's off the charts. 585 00:32:32,280 --> 00:32:35,320 Speaker 1: But come on, Private Eyes. For a mixtape about Chinatown, 586 00:32:35,320 --> 00:32:36,800 Speaker 1: you got to include this one on there. This is 587 00:32:36,880 --> 00:32:38,640 Speaker 1: kind of a bop. I'm gonna admit, we're gonna go 588 00:32:38,680 --> 00:32:41,120 Speaker 1: in the completely opposite direction for the next track, which 589 00:32:41,240 --> 00:32:43,960 Speaker 1: is and by the way, the reason I'm choosing this 590 00:32:44,040 --> 00:32:47,560 Speaker 1: track is because there's this pivotal scene in Chinatown when 591 00:32:47,800 --> 00:32:51,520 Speaker 1: Jake Getz is snooping around the reservoir there and at nighttime, 592 00:32:51,680 --> 00:32:54,120 Speaker 1: one of the few scenes at night, and this kind 593 00:32:54,120 --> 00:32:57,240 Speaker 1: of like big muscly muscleman who sort of does muscle 594 00:32:57,280 --> 00:33:00,080 Speaker 1: for I forget if he's actually a cop or or 595 00:33:00,080 --> 00:33:02,520 Speaker 1: if he just sort of like helps out whoever's paying him. 596 00:33:02,800 --> 00:33:05,120 Speaker 1: He comes by with this little guy dressed in a 597 00:33:05,200 --> 00:33:07,600 Speaker 1: nice white suit, and the little guy is actually Roman Polanski, 598 00:33:07,920 --> 00:33:11,720 Speaker 1: who pulls a knife on Jack Nicholson's character and cuts 599 00:33:11,720 --> 00:33:15,360 Speaker 1: his nose, literally slices. It's an incredible moment when he 600 00:33:15,360 --> 00:33:19,200 Speaker 1: slices his nose and the blood splurts everywhere. It's amazing 601 00:33:19,280 --> 00:33:23,480 Speaker 1: because Jack Nicholson wears this giant bandage over his nose 602 00:33:23,520 --> 00:33:25,680 Speaker 1: for like a third of the movie, which is just incredible. 603 00:33:26,000 --> 00:33:29,040 Speaker 1: So I'm thinking about this scene when Roman Polansky slits 604 00:33:29,120 --> 00:33:31,920 Speaker 1: Jack Nicholson's nose, and I'm going to choose the song 605 00:33:32,000 --> 00:33:35,800 Speaker 1: Broken Face by Pixies. This is from their nineteen eighty 606 00:33:35,840 --> 00:33:39,560 Speaker 1: eight album debut full length album because come on, Pilgrim 607 00:33:39,600 --> 00:33:42,720 Speaker 1: is just an EP surf a rosa. This was recorded 608 00:33:42,760 --> 00:33:45,920 Speaker 1: by the way in Boston, including I believe at Q Division, 609 00:33:46,280 --> 00:33:48,600 Speaker 1: where Matt used to work back on the day and 610 00:33:48,640 --> 00:33:51,200 Speaker 1: where a lot of other team members here that have 611 00:33:51,240 --> 00:33:53,280 Speaker 1: worked on double Elvis shows throughout the years have worked 612 00:33:53,280 --> 00:33:57,200 Speaker 1: as well. This record's wears my mind and gigantic on it, 613 00:33:57,280 --> 00:33:59,920 Speaker 1: but no track barrels at you like this one does. 614 00:34:00,120 --> 00:34:02,680 Speaker 1: It's hard and it's heavy. It's only like a minute 615 00:34:02,680 --> 00:34:04,960 Speaker 1: and a half. It's in and out, no fuss, no muss. 616 00:34:05,320 --> 00:34:08,680 Speaker 1: Black Francis just going full Black francis my hot take 617 00:34:08,719 --> 00:34:11,000 Speaker 1: on the Pixies, by the way, one of my favorite 618 00:34:11,040 --> 00:34:13,239 Speaker 1: bands of all time. You know how they say that 619 00:34:13,280 --> 00:34:15,799 Speaker 1: the bands that you discover and love when you're a 620 00:34:15,800 --> 00:34:18,400 Speaker 1: certain age, it's like fourteen or fifteen or whatever, the 621 00:34:18,480 --> 00:34:20,600 Speaker 1: music that you discover in love or the movies or whatever, 622 00:34:20,640 --> 00:34:24,320 Speaker 1: those remain your favorites later on. Like maybe you'll abandon 623 00:34:24,360 --> 00:34:26,640 Speaker 1: them at some point to sort of get some cool 624 00:34:26,680 --> 00:34:28,800 Speaker 1: street cred somewhere and be like, I don't like that 625 00:34:28,800 --> 00:34:30,960 Speaker 1: that thing, but you always come back to it. Well, 626 00:34:30,960 --> 00:34:32,880 Speaker 1: the Pixies is like that for me, even more so 627 00:34:32,920 --> 00:34:35,719 Speaker 1: than the Pixies, and again my hot take here is 628 00:34:35,760 --> 00:34:38,560 Speaker 1: when the Pixies broke up and Black Francis inverted his 629 00:34:38,640 --> 00:34:42,000 Speaker 1: name and became Frank Black. Those first two Frank Black records, 630 00:34:42,080 --> 00:34:44,680 Speaker 1: the self Titled One and Teenager of the Year, are 631 00:34:44,719 --> 00:34:48,240 Speaker 1: some of my favorite records of all time. I listened 632 00:34:48,880 --> 00:34:51,160 Speaker 1: the shit out of those when I was in high school, 633 00:34:51,200 --> 00:34:54,719 Speaker 1: and I still have them both on vinyl today. My 634 00:34:54,760 --> 00:34:58,040 Speaker 1: hot take is that I like those. I like those 635 00:34:58,600 --> 00:35:01,120 Speaker 1: more than the Pixies records. All right, don't tell anybody 636 00:35:01,239 --> 00:35:04,359 Speaker 1: Pixies broken Face nice in eighty eight. What a song? 637 00:35:05,080 --> 00:35:07,600 Speaker 1: Now it's your turn. What do you guys think? What 638 00:35:07,680 --> 00:35:09,960 Speaker 1: am I missing here? Give me some good songs about 639 00:35:10,320 --> 00:35:14,239 Speaker 1: trying to find Chinatown, about metaphors for the futility of 640 00:35:14,239 --> 00:35:18,000 Speaker 1: good intentions, about being trailed by a private investigator, about 641 00:35:18,040 --> 00:35:20,680 Speaker 1: the desert that is La Call or text me at 642 00:35:20,719 --> 00:35:23,240 Speaker 1: six one seven nine oh six sixty six three eight. 643 00:35:23,760 --> 00:35:26,600 Speaker 1: You can email a Disgrace lampod at gmail dot com, 644 00:35:26,880 --> 00:35:29,000 Speaker 1: hit me up on the socials at disgrace lamb pod, 645 00:35:29,239 --> 00:35:32,920 Speaker 1: or jump in the chat over on Patreon all access 646 00:35:33,480 --> 00:35:36,120 Speaker 1: and let me know. Okay, do that and I will 647 00:35:36,120 --> 00:35:50,279 Speaker 1: be back in a flash. All right, gang, wrapping up 648 00:35:50,320 --> 00:35:52,960 Speaker 1: this episode of the Screening Room. Here, just a couple 649 00:35:52,960 --> 00:35:55,879 Speaker 1: of things before we go. Some housekeeping stuff here, very 650 00:35:55,880 --> 00:35:58,640 Speaker 1: important that I want you to know, Okay, because listen, 651 00:35:59,480 --> 00:36:00,920 Speaker 1: if you know, you know, you got to be in 652 00:36:00,960 --> 00:36:02,600 Speaker 1: the know. It's all about being in the know. Okay. 653 00:36:02,600 --> 00:36:04,960 Speaker 1: I don't want you guys left in the dark. You know, 654 00:36:05,040 --> 00:36:06,640 Speaker 1: like Jake it is at the end of Chinatown. I 655 00:36:06,719 --> 00:36:10,000 Speaker 1: want you guys to know what's going on. Okay. Next 656 00:36:10,040 --> 00:36:12,400 Speaker 1: week coming at you on Monday, We've got our fully 657 00:36:12,440 --> 00:36:16,319 Speaker 1: scripted sound design episode on Dennis Hopper. Okay. And then 658 00:36:16,360 --> 00:36:18,680 Speaker 1: on Friday next week here in the Screening Room, I'm 659 00:36:18,680 --> 00:36:21,759 Speaker 1: gonna be talking about the nineteen eighty film directed by 660 00:36:21,840 --> 00:36:25,360 Speaker 1: Dennis Hopper called Out of the Blue, starring Linda Mance, 661 00:36:25,560 --> 00:36:28,120 Speaker 1: the great Linda Manz. This one the Palm d'Or at 662 00:36:28,160 --> 00:36:29,960 Speaker 1: can the year that it came out, and it was 663 00:36:30,000 --> 00:36:35,000 Speaker 1: recently restored by Uber fans Natasha Leone and Chloe Sevinier. 664 00:36:35,440 --> 00:36:37,239 Speaker 1: Outside of the Blue. We were doing that next week, 665 00:36:37,680 --> 00:36:40,400 Speaker 1: thinking here about Dennis Hopper and about you know, highly 666 00:36:40,440 --> 00:36:43,520 Speaker 1: transgressive films like Out of the Blue. The question of 667 00:36:43,520 --> 00:36:45,520 Speaker 1: the week for next week that I want to ask you, guys, 668 00:36:45,600 --> 00:36:48,520 Speaker 1: is this what movie? Did you see? Way too young 669 00:36:48,840 --> 00:36:52,560 Speaker 1: and it broke your brain? Hit me up six one 670 00:36:52,640 --> 00:36:56,960 Speaker 1: seven nine oh six six six three eight and let 671 00:36:56,960 --> 00:36:59,440 Speaker 1: me know again. You can get me an email disgrace 672 00:36:59,520 --> 00:37:03,400 Speaker 1: Lamp pod gmail dot com. There's social media mentioned the 673 00:37:03,520 --> 00:37:07,720 Speaker 1: chat section over in our Patreon. That's Disgraceland All Access 674 00:37:07,840 --> 00:37:10,839 Speaker 1: on Patreon, which, by the way, is the only place 675 00:37:10,960 --> 00:37:13,920 Speaker 1: you can check out our video podcast. This film should 676 00:37:14,000 --> 00:37:16,680 Speaker 1: be played loud. It's the only place where the worlds 677 00:37:16,680 --> 00:37:20,759 Speaker 1: of Disgraceland and Hollywood Land combine. Jake and I go 678 00:37:20,880 --> 00:37:23,160 Speaker 1: deep on a movie, or rather, I should say the 679 00:37:23,200 --> 00:37:25,400 Speaker 1: soundtrack to a movie. Oh, you've got a brand new 680 00:37:25,400 --> 00:37:27,120 Speaker 1: episode of this show coming out at the end of 681 00:37:27,160 --> 00:37:31,680 Speaker 1: the month on The Big Lebowski. Specifically this soundtrack that 682 00:37:31,760 --> 00:37:34,120 Speaker 1: was curated by the great T. Boone Burnett. All the 683 00:37:34,160 --> 00:37:36,759 Speaker 1: great songs and needle drops in The Big Lebowski. So 684 00:37:37,000 --> 00:37:39,279 Speaker 1: if you're not over there checking that out, make sure 685 00:37:39,280 --> 00:37:42,600 Speaker 1: you go to Disgracelandpod dot com to sign up. Okay, now, 686 00:37:42,760 --> 00:37:45,160 Speaker 1: until next week, I want to leave you here with 687 00:37:45,480 --> 00:37:48,360 Speaker 1: this right Here's what America was watching at the movies 688 00:37:49,000 --> 00:37:52,720 Speaker 1: in August of nineteen ninety, the month that the sequel 689 00:37:52,760 --> 00:37:58,440 Speaker 1: to Chinatown, The Two Jakes was released in theaters. Number 690 00:37:58,480 --> 00:38:04,360 Speaker 1: one Ghost directed by Jerry Zucker. Number two Presumed Innocent 691 00:38:04,800 --> 00:38:10,160 Speaker 1: directed by Alan J. Pacolo. Number three flat Liners directed 692 00:38:10,160 --> 00:38:12,640 Speaker 1: by Joel Schumacher, director of Jeff Franks marsh Number four 693 00:38:12,719 --> 00:38:15,760 Speaker 1: by Dennis The Young Guns two directed by Jeff Murphy 694 00:38:15,800 --> 00:38:18,840 Speaker 1: directed by the Rodgers. Number five Frank marsh Problem Child 695 00:38:19,280 --> 00:38:24,400 Speaker 1: directed by Dennis Dugan directed by Number six Arachnophobia directed 696 00:38:24,440 --> 00:38:29,080 Speaker 1: by Frank Marshall the director. Number seven Aaron Aragott directed 697 00:38:29,080 --> 00:38:36,120 Speaker 1: by Rodgers fous By Quit Talking and start mixing could