WEBVTT - Part Two: The Twilight Zone Movie

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<v Speaker 1>M hey everybody. Robert Evans here and for the last

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<v Speaker 1>two years, Behind the Bastards listeners have funded the Portland

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<v Speaker 1>Diaper Bank, which provides diapers for low income families. Uh.

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<v Speaker 1>Last year y'all raised more than twenty one dollars, which

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<v Speaker 1>was able to purchase one point one million diapers for

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<v Speaker 1>children and families in need in one um. And this

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<v Speaker 1>year we're trying to get two dollars raised for the

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<v Speaker 1>Portland Diaper Bank, which is going to allow us to

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<v Speaker 1>help even more kids. So um, if you want to help,

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<v Speaker 1>you can go to bTB fundraiser for pd X Diaper

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<v Speaker 1>Bank at go fund me. Just type and go fund

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<v Speaker 1>me b TB Fundraiser for PDX Diaper Bank. Again, that's

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<v Speaker 1>go fund Me bTB Fundraiser for PDX Diaper Bank, or

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<v Speaker 1>find the link in the show notes. Thank you all.

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<v Speaker 1>Uh We're back, we are. This is Behind the Bastards

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<v Speaker 1>a podcast posted by you Evans Coma, Robert and our

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<v Speaker 1>guests Todays Durante Comma Caitlin, it's me. I'm back hot

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<v Speaker 1>Dog show. Enough. Um so, how how are we doing? Caitlin?

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<v Speaker 1>I am doing all right, learning a lot about Max.

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<v Speaker 1>No not I know it's hard not to write, it's

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<v Speaker 1>difficult not to He's just in my brain more than

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<v Speaker 1>John Landis. But learning a lot about John Landis. And uh, also,

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<v Speaker 1>I uh went to John Landis's IMDb because earlier I

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<v Speaker 1>was like, I couldn't name a single John Landis movie,

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<v Speaker 1>has he even made anything? And then turns out so

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<v Speaker 1>many movies that I have seen. He's an incredibly influential director.

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<v Speaker 1>Actually turns out he's done some stuff good for him. Yeah,

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<v Speaker 1>like Isis You gotta give him credit for a couple

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<v Speaker 1>of things, for being active in the pursuit of their goals.

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<v Speaker 1>And also, John Landis famously conquered a sizeable chunk of

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<v Speaker 1>northern Syria. Don't talk about that as much, Robert task

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<v Speaker 1>at hand that I'm always working on the task at hand,

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<v Speaker 1>which in this case is talking about John landis Is

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<v Speaker 1>Twilight Zone movies. So the climax of landis Is segment

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<v Speaker 1>of the Twilight Zone movie was notably the only really

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<v Speaker 1>big action set piece of the movie. Right, there's not

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<v Speaker 1>any other like war scenes or really like even all

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<v Speaker 1>that action e scenes. Right, Like there's some cool ship

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<v Speaker 1>especially in Joe Dante's bit, but like this is the

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<v Speaker 1>this is the only thing with like big explosions and

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<v Speaker 1>shut and stuff. So one Slate article I found alleges

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<v Speaker 1>that it was quote an excuse for director John Landis

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<v Speaker 1>to capture immense explosions on film. Um. There have been

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<v Speaker 1>allegations that the pyrotechnics that he was ordering people to

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<v Speaker 1>use were illegally large. Um. I can't speak to that,

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<v Speaker 1>but I found nothing that makes me doubt the basic analysis,

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<v Speaker 1>which is that John Landis had not gotten to direct

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<v Speaker 1>a war movie yet and he kind of used this

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<v Speaker 1>as an excuse to do a big, gritty war movie.

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<v Speaker 1>This is a feature film because it's one of four,

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<v Speaker 1>it's like a thirty minute chunk of the feature film

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<v Speaker 1>basically less really, I think probably more like twenty. Um. Yeah,

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<v Speaker 1>it's weird that he got so obsessed with like making

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<v Speaker 1>a Vietnam scene that was like brutally accurate in the

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<v Speaker 1>middle of this Twilight Zone movie. Um, it's kind of

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<v Speaker 1>a baffling call. Um. So yeah. The dude that he

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<v Speaker 1>has flying the helicopter in this critical scene is the

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<v Speaker 1>incredibly named Dorsey Wingo. Uh. And Dorsey is a Vietnam

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<v Speaker 1>veteran who had flown choppers in combat. Right so he's

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<v Speaker 1>you would think, pretty qualified for this very experienced pilot,

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<v Speaker 1>but he was really new to making movies, and during

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<v Speaker 1>rehearsals he was deeply rattled by how close the explosions

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<v Speaker 1>were getting to his aircraft. And again, this is a

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<v Speaker 1>guy who's been in combat in a helicopter who was

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<v Speaker 1>scared by how close the explosions are to his helicopter. Yeah. Yeah,

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<v Speaker 1>And again, if you are directing a movie with a

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<v Speaker 1>helicopter getting shot at and your combat veteran pilot is like, hey,

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<v Speaker 1>this seems dangerous, you might be like, perhaps we're making

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<v Speaker 1>a mistake. Because this is a movie and not the

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<v Speaker 1>Vietnam War, things may be going a bit far um.

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<v Speaker 1>John Landis does not have this moment of realization, absolutely not.

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<v Speaker 1>So in normal circumstances, Window probably would have said something

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<v Speaker 1>about the fact that he was deeply frightened by how

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<v Speaker 1>the explosions were getting close to his helicopter. But he's

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<v Speaker 1>really new to movies, right. He had been working with

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<v Speaker 1>helicopters after Vietnam for years, but he hadn't been in film.

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<v Speaker 1>This is kind of like his first chance that like

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<v Speaker 1>becoming a Hollywood stunt pilot. And again, doesn't want to

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<v Speaker 1>upset John Landis and get blacklisted. So Wingo, you know,

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<v Speaker 1>since he can't, he doesn't feel like he can safely

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<v Speaker 1>go to John Landis. He goes with his concerns to

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<v Speaker 1>the unit production manager, a guy named Dan Allingham, and

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<v Speaker 1>he tells Dan that the pyrotechnics are way too close

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<v Speaker 1>to the aircraft. Allingham agrees, and he says, hey, obviously

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<v Speaker 1>like safety first, right, Like we'll we'll change things to

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<v Speaker 1>make it safer. I'll go to John and I'll tell

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<v Speaker 1>him we need to make some alterations. So Allingham uh

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<v Speaker 1>later tells Wingo and the camera operator Roger Smith, who

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<v Speaker 1>also complained that everything's fine. He spoke to Landis and

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<v Speaker 1>during the next scene, they're just going to be flying

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<v Speaker 1>over the water filming thick in the kids, like they're

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<v Speaker 1>not going to have actors on the ground alongside explosions,

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<v Speaker 1>like they'll He's worked it out with Landis. But then

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<v Speaker 1>later that same day, when John Landis walks past Wingo

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<v Speaker 1>and another crew member discussing how terrifying, lee hot and

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<v Speaker 1>close the fireballs had been during the last time they'd

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<v Speaker 1>filmed the scene, Landis smiled and told them you ain't

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<v Speaker 1>seen nothing yet. So Landis is well aware of how

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<v Speaker 1>dangerous this scene was, but he wants this shot. He

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<v Speaker 1>has a very specific vision for how the SHOT's going

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<v Speaker 1>to go, so he has associate producer George Folsey, who's

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<v Speaker 1>his number two man, basically go to the parents of

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<v Speaker 1>the children on set and warn them. So you know,

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<v Speaker 1>they have explosions on this set, And if you have

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<v Speaker 1>explosions on a film set, you have to have like

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<v Speaker 1>a firefighter dude, right who's like your safety guy. And

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<v Speaker 1>in this case, the guy who's the firefighter dude has

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<v Speaker 1>also worked in like child protective services adjacent stuff in

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<v Speaker 1>the past, so Landis knows, oh shit, if this guy

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<v Speaker 1>finds out that we have a six and a seven

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<v Speaker 1>year old illegally working at night with explosions, he's going

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<v Speaker 1>to stop it right like, like as he rightly should.

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<v Speaker 1>So he has George Folsy go to the parents of

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<v Speaker 1>these kids and tell them, quote, if the fireman approach you,

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<v Speaker 1>please tell them that you are not working for us,

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<v Speaker 1>Say you are my friend, you are here to help me.

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<v Speaker 1>Don't tell them anything about the money or the children working. Now,

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<v Speaker 1>I'm not going to spend a lot of time focusing

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<v Speaker 1>on things the parents did wrong because spoilers, this ends

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<v Speaker 1>in tragedy. But I will say, as a parent, if

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<v Speaker 1>that conversation has had with you on the set of

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<v Speaker 1>a film, time to time to get out, time to

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<v Speaker 1>get time to get rolling right along, that you know

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<v Speaker 1>it sounds like impending doom is right around the corner.

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<v Speaker 1>I will say. Only one of the parents has is

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<v Speaker 1>a fluent English speaker, so the other parent um doesn't

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<v Speaker 1>understand what Folsy is saying. So Folsey gets an Asian

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<v Speaker 1>friend who is on the cast to repeat it to

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<v Speaker 1>her in Vietnames, But the parent is Chinese, so so

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<v Speaker 1>Folsi's Vietnamese friend just winds up repeating the message slowly

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<v Speaker 1>in English. So at least one of the parents probably

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<v Speaker 1>doesn't fully understand like what Folsy is doing here, right um,

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<v Speaker 1>and how fucked up things are now, as you might

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<v Speaker 1>have begun to expect. By this point, neither Landis or

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<v Speaker 1>Folsy had done a very good job of letting either

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<v Speaker 1>set of parents know how dangerous the scene was going

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<v Speaker 1>to be. Right They were not adequately informed of the risks.

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<v Speaker 1>I mean, honestly, the pilot was not adequately like finds

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<v Speaker 1>out how dangerous this is when they're doing the test

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<v Speaker 1>passes in terms of exploding next to him, right, Um,

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<v Speaker 1>I'm gonna quote from the book outrageous Conduct again. In

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<v Speaker 1>these conversations, Folsey would summarize the final scene, mentioning that

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<v Speaker 1>there would be explosives, but xsuring the parents that the

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<v Speaker 1>explosives would be nowhere near the children. Folsey was clearly

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<v Speaker 1>nervous about the illegal hiring. He had always been an honest,

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<v Speaker 1>decent person, and he did not feel comfortable breaking the law.

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<v Speaker 1>Another secretary in the office, Cynthia and I, remembers Folsey

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<v Speaker 1>coming out of one meeting with Landis and production manager

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<v Speaker 1>Dan Allingham. They had been discussing the hiring of the children,

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<v Speaker 1>and as he left the office, Folsey joked nervously, will

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<v Speaker 1>probably all be thrown in jail for this. Schuman claims

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<v Speaker 1>that she asked Folsey at one point what the penalty

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<v Speaker 1>was for working children without permits. As she recalled the

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<v Speaker 1>conversation later, Folsy applied to her a slap on the

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<v Speaker 1>wrist and a little fine. Unless they find out about

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<v Speaker 1>the explosives, then they'll throw my butt in jail. So

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<v Speaker 1>Landis and Folsy and Allingham are all very aware that

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<v Speaker 1>they are like committing a serious crime here right now

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<v Speaker 1>on the night of July two. Vic Morrow, who's again

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<v Speaker 1>playing like the male lead in this right, he's supposed

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<v Speaker 1>to be rescuing these kids from the this This helicopter,

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<v Speaker 1>Um and both children, Renee and Micah were placed in

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<v Speaker 1>position at Indian Dunes Park for like a test run

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<v Speaker 1>of the scene. Uh Indian Dunes is where at this

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<v Speaker 1>point a ton of Vietnam More movies had been filmed.

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<v Speaker 1>Here's how a Rolling Stone article at the time describe

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<v Speaker 1>the geography of this area. The park is actually a

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<v Speaker 1>private property enclosed by steep chaparral covered cliffs. At the

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<v Speaker 1>base of one of those cliffs, on the south shore

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<v Speaker 1>of the Santa Clara River, a shallow, slow moving stream

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<v Speaker 1>that irrigates orange and avocado grows. A few miles to

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<v Speaker 1>the west, a Vietnamese village had been assembled out of

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<v Speaker 1>bamboo poles, palm thatch and cardboard. Right, so that's kind

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<v Speaker 1>of the scene. They're gonna blow this village up. Right

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<v Speaker 1>as the kids and in Vic Morrow are like standing

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<v Speaker 1>in like this this stream with the helicopter strafening them,

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<v Speaker 1>the whole village is supposed to explode, right so both

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<v Speaker 1>kids are nervous because explosions are scary too small children

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<v Speaker 1>as our helicopters, and to adults, yeah anybody. Vic Morrow,

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<v Speaker 1>being a nice guy, makes a bunch of funny faces

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<v Speaker 1>to try and relax them, and he's so successful at

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<v Speaker 1>this that the kids start laughing hard enough that they

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<v Speaker 1>can't stop when Landis wants to start filming, so he

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<v Speaker 1>has to halt the scene and yell at the kids

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<v Speaker 1>to stop laughing. The shooting goes well this night because

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<v Speaker 1>again there's not explosions, um and then the parents are

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<v Speaker 1>given five dollars each and envelopes under the table and

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<v Speaker 1>told to bring their kids back the next night. July

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<v Speaker 1>nineteen two is the night that they are set to

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<v Speaker 1>film the final scene of Vic Morrow rescuing both kids

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<v Speaker 1>by carrying them across the river while a US helicopter attacks.

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<v Speaker 1>He was supposed to say, I'll keep you safe, kids,

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<v Speaker 1>I swear to God, as the village explodes behind them.

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<v Speaker 1>As the parents of both children sit watching the final

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<v Speaker 1>scene unfold, Renee's mother asks is it dangerous and Folsey

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<v Speaker 1>says no, not dangerous, just a loud noise. At two

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<v Speaker 1>twenty am, John Landis calls action. He yells fire, fire, fire,

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<v Speaker 1>as two machine gunners pump blank rounds into the river.

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<v Speaker 1>James Camomile, the pyrotechnician, begins setting off a series of explosions.

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<v Speaker 1>It is immediately obvious that these are even larger and

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<v Speaker 1>closer to the helicopter than the ones that had previously

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<v Speaker 1>frightened the pilot. And as the pilot is zooming in

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<v Speaker 1>over these explosions with the kids underneath them, Landis starts

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<v Speaker 1>yelling at him, screaming over the mic, lower, get lower.

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<v Speaker 1>Mikeah Lee's father, Daniel, who was a Vietnam War veteran,

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<v Speaker 1>says that the blasts reminded him of real rocket detonations. Quote.

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<v Speaker 1>I was so horrified. I was screaming the second blast,

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<v Speaker 1>I fell down on the ground. I cried God. I

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<v Speaker 1>was so fearful, and I knew danger. It was not

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<v Speaker 1>something made up, but real danger. So Landis just keeps

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<v Speaker 1>telling the helicopter to get closer. Two of the explosions

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<v Speaker 1>detonate very like basically right on the chopper, close enough

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<v Speaker 1>that they have an effect, not unlike anti aircraft fire.

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<v Speaker 1>The National Transportation Safety Board, in their analysis, would later

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<v Speaker 1>conclude quote the probable cause of The accident was the

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<v Speaker 1>detonation of debris laden high temperature special effects explosions too

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<v Speaker 1>near a low flying helicopter, leading to foreign object damn

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<v Speaker 1>to one rotor blade and de lamination due to heat

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<v Speaker 1>to the other rotor blade, the separation of the helicopter's

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<v Speaker 1>tail rotor assembly, and the uncontrolled descent of the helicopter.

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<v Speaker 1>The proximity of the helicopter to the special effects explosions

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<v Speaker 1>was due to the failure to establish direct communications and

0:13:17.360 --> 0:13:20.160
<v Speaker 1>coordination between the pilot who was in command of the

0:13:20.160 --> 0:13:23.280
<v Speaker 1>helicopter operation, and the film director who was in charge

0:13:23.280 --> 0:13:28.240
<v Speaker 1>of the filming operation. So the helicopter goes down right,

0:13:28.400 --> 0:13:32.360
<v Speaker 1>the explosions damage it, and it crashes. Now, Landis had

0:13:32.360 --> 0:13:34.480
<v Speaker 1>wanted the explosions to be close to the helicopter, and

0:13:34.520 --> 0:13:37.280
<v Speaker 1>he had wanted that helicopter hovering right over the heads

0:13:37.280 --> 0:13:39.720
<v Speaker 1>of Vic and the children for the same reason. He

0:13:39.800 --> 0:13:44.160
<v Speaker 1>wanted the scene to look intense and frightening. His vision

0:13:44.280 --> 0:13:47.440
<v Speaker 1>for the movie now led to a calamity. While roughly

0:13:47.520 --> 0:13:50.960
<v Speaker 1>a hundred people watched, the helicopter plunged into the river,

0:13:51.559 --> 0:13:55.479
<v Speaker 1>The right skid crushed six year old Renee, killing her instantly.

0:13:55.840 --> 0:13:58.960
<v Speaker 1>The craft then toppled over on its side, cutting Vic

0:13:59.040 --> 0:14:04.360
<v Speaker 1>Morrow and the seven year old Mica in half. There's

0:14:04.440 --> 0:14:07.440
<v Speaker 1>footage on this, you can find it on YouTube. It's

0:14:07.480 --> 0:14:09.800
<v Speaker 1>not gory, but you see the chopper because the water

0:14:09.920 --> 0:14:12.199
<v Speaker 1>kind of covers it. You see the chopper hit them.

0:14:12.280 --> 0:14:20.040
<v Speaker 1>It's pretty fucking terrifying. Like je, if you want to

0:14:20.080 --> 0:14:22.560
<v Speaker 1>have knowledge of what that looks like, you can see it.

0:14:23.080 --> 0:14:30.440
<v Speaker 1>I don't. Yeah, Um, but I mean okay, So when

0:14:30.480 --> 0:14:34.280
<v Speaker 1>I said horses maybe died or maybe people, it was

0:14:35.320 --> 0:14:38.080
<v Speaker 1>it was the people and it was um, two of

0:14:38.120 --> 0:14:42.000
<v Speaker 1>which were young young children. Yeah, two of which together

0:14:42.160 --> 0:14:47.480
<v Speaker 1>did not add up to fourteen years of age. Oh horrible. Yeah,

0:14:47.520 --> 0:14:53.200
<v Speaker 1>this is it's pretty bad, horrible yeah. Um. And also

0:14:53.800 --> 0:14:56.240
<v Speaker 1>all there's six people in the helicopter, right, because there's

0:14:56.240 --> 0:14:59.320
<v Speaker 1>folks filming too. They're all hurt, right, none of them die, thankfully,

0:14:59.360 --> 0:15:03.200
<v Speaker 1>but they're all injured. Um, because helicopter crashes aren't great

0:15:03.200 --> 0:15:09.320
<v Speaker 1>for your health. So this is about the worst thing

0:15:09.440 --> 0:15:13.440
<v Speaker 1>you could watch happen as a parent. Yeah, It's not

0:15:13.440 --> 0:15:15.960
<v Speaker 1>not a lot that I could imagine being higher on

0:15:16.040 --> 0:15:20.760
<v Speaker 1>that list. Um. So there's obviously in the immediate aftermath

0:15:20.800 --> 0:15:23.440
<v Speaker 1>of the crash, their silence, right as everyone kind of

0:15:23.480 --> 0:15:27.200
<v Speaker 1>like grapples with what has happened, and then Renee's mother

0:15:27.280 --> 0:15:32.160
<v Speaker 1>begins to scream. John Landis, who, being the guy that

0:15:32.280 --> 0:15:34.680
<v Speaker 1>John Landis is, still feels a need to act as

0:15:34.680 --> 0:15:38.360
<v Speaker 1>if he's in control of the situation, says, that's a rap.

0:15:39.560 --> 0:15:44.800
<v Speaker 1>Are you kidding me? It's it's now. It's one of

0:15:44.800 --> 0:15:46.880
<v Speaker 1>those things. He goes on to say, like, leave your

0:15:46.880 --> 0:15:49.480
<v Speaker 1>equipment where it is. Everyone go home, please, everyone go home?

0:15:49.520 --> 0:15:53.480
<v Speaker 1>Like right, obviously someone needs to announce that, like filming

0:15:53.560 --> 0:15:56.080
<v Speaker 1>is over. I guess I don't know, someone needs doing

0:15:56.120 --> 0:15:59.080
<v Speaker 1>out something for what. I don't think the right thing

0:15:59.120 --> 0:16:03.240
<v Speaker 1>to say is that's a rap. I just don't. I

0:16:03.320 --> 0:16:06.360
<v Speaker 1>really don't think that's the right thing to say after

0:16:06.440 --> 0:16:09.680
<v Speaker 1>you have gotten two children and a stunt man killed killed.

0:16:11.760 --> 0:16:17.280
<v Speaker 1>Not the right thing to say at all. Oh my god,

0:16:17.720 --> 0:16:24.560
<v Speaker 1>John Landis m M. But on the other hand, we

0:16:24.640 --> 0:16:27.360
<v Speaker 1>got animal House out of his career, so who can

0:16:27.400 --> 0:16:31.800
<v Speaker 1>say it was worth it? And then okay, so then

0:16:31.840 --> 0:16:42.120
<v Speaker 1>I he goes on to direct, um, what did is sorry,

0:16:42.120 --> 0:16:45.040
<v Speaker 1>I have a bunch of a bunch of will talk

0:16:45.080 --> 0:16:47.080
<v Speaker 1>about some of the ship. He goes on to direct

0:16:48.760 --> 0:16:50.800
<v Speaker 1>just a little bit. But you know what we're going

0:16:50.840 --> 0:16:55.520
<v Speaker 1>to talk about right now, Caitlin, Is is it products

0:16:55.520 --> 0:16:59.800
<v Speaker 1>and services? Yeah? And the products and services in this podcast, Caitlin,

0:17:00.400 --> 0:17:04.040
<v Speaker 1>not once have they been involved in a fatal helicopter accident.

0:17:04.840 --> 0:17:09.879
<v Speaker 1>I'm so glad. That's that's the absolute guarantee we make, um,

0:17:09.960 --> 0:17:15.400
<v Speaker 1>unless corporation winds up, uh ever, supporting us, in which

0:17:15.400 --> 0:17:19.919
<v Speaker 1>case they've been responsible for a lot of deadly helicopter accidents. Um.

0:17:20.000 --> 0:17:22.840
<v Speaker 1>But that's the problem will cross when we finally get

0:17:22.880 --> 0:17:25.440
<v Speaker 1>that big sponsorship. But I've always thought we're more of

0:17:25.480 --> 0:17:32.680
<v Speaker 1>a podcast, right Sophie. I find you to be so annoying. Well,

0:17:36.680 --> 0:17:40.399
<v Speaker 1>you know what else is annoying? Not having the great taste?

0:17:44.000 --> 0:17:48.040
<v Speaker 1>M m? Are you really doing an adverb? That's good

0:17:48.119 --> 0:17:51.840
<v Speaker 1>right now? Like they don't haven't done anything bad, because

0:17:52.960 --> 0:17:56.919
<v Speaker 1>that's why I said the great taste of unlike the

0:17:57.040 --> 0:18:03.919
<v Speaker 1>terrible helicopter crashy taste of products. So they're Sophie Robert

0:18:04.119 --> 0:18:15.200
<v Speaker 1>stilling for an ad break. It sure is. We're back, Caitlin.

0:18:15.359 --> 0:18:18.120
<v Speaker 1>How are we doing? I'm doing good? Um? Okay, So

0:18:18.680 --> 0:18:24.840
<v Speaker 1>after this he directs the Thriller music video. She sure

0:18:24.880 --> 0:18:29.040
<v Speaker 1>does direct the thriller music video. Um, what are the

0:18:29.040 --> 0:18:32.879
<v Speaker 1>things I'm familiar with? Three Amigos he directs, which is

0:18:32.880 --> 0:18:37.600
<v Speaker 1>a movie. Another unpopular opinion that I have is that

0:18:37.600 --> 0:18:41.440
<v Speaker 1>that movie sucks. I hate hate. There's like twenty good

0:18:41.480 --> 0:18:43.879
<v Speaker 1>minutes in that whole movie, and there's a lot of

0:18:43.880 --> 0:18:49.399
<v Speaker 1>ship in between. Do not like it? Um Coming to America? UM,

0:18:49.680 --> 0:18:55.359
<v Speaker 1>trade right before or at least it's released before Twilight

0:18:55.440 --> 0:18:58.080
<v Speaker 1>Zone movie one of the fucking um. One of the

0:18:58.119 --> 0:19:01.440
<v Speaker 1>write ups about this disaster, I found, like, really ships

0:19:01.600 --> 0:19:04.679
<v Speaker 1>on Coming to America? I think just because it's like

0:19:04.720 --> 0:19:08.560
<v Speaker 1>the first big hit Land has had after the accident, which,

0:19:08.600 --> 0:19:11.240
<v Speaker 1>like I don't get like, I think it's my recollection

0:19:11.320 --> 0:19:13.280
<v Speaker 1>was Coming to America is perfectly fine movie? One of

0:19:13.320 --> 0:19:17.280
<v Speaker 1>the better Eddie Murphy movies. UM. I tend to agree. Yeah,

0:19:17.960 --> 0:19:24.720
<v Speaker 1>except for Shrek and of course three, and of course

0:19:24.720 --> 0:19:29.760
<v Speaker 1>Shrek and of course Shrek four. Yeah. How many Shreks

0:19:29.760 --> 0:19:33.159
<v Speaker 1>did we wind up getting? There are four and a fifth?

0:19:33.200 --> 0:19:38.840
<v Speaker 1>One is I think past development. I think it's soon. Well,

0:19:38.880 --> 0:19:40.840
<v Speaker 1>this this is the best chance we've had in years

0:19:40.880 --> 0:19:46.520
<v Speaker 1>of getting another Austin Powers movie. Wait, Shrek five, hang on,

0:19:46.720 --> 0:19:49.680
<v Speaker 1>this is we just have to pause because this is important.

0:19:50.119 --> 0:19:59.120
<v Speaker 1>Shrek five. Uh oh. According to fandom, Shruck five might

0:19:59.280 --> 0:20:06.200
<v Speaker 1>be released on September two. Uh it sounds like really

0:20:06.200 --> 0:20:11.000
<v Speaker 1>good information that is definitely probably correct. Anyway, we can

0:20:11.000 --> 0:20:17.720
<v Speaker 1>move away from Shrek. I guess I mean no, um

0:20:18.160 --> 0:20:20.639
<v Speaker 1>this the I actually plan to just talk about the

0:20:20.640 --> 0:20:24.200
<v Speaker 1>Shrek movie, which has a pretty titanic body count. Um,

0:20:24.240 --> 0:20:27.119
<v Speaker 1>although that's primarily because in order to get some of

0:20:27.160 --> 0:20:29.600
<v Speaker 1>the shots they needed, they had to back a brutal

0:20:29.720 --> 0:20:36.119
<v Speaker 1>civil war in Ecuador. But you know the Shrek franchise, Yeah, yeah, yeah, yeah,

0:20:36.119 --> 0:20:39.720
<v Speaker 1>it's the only way you could get that realistically rendered

0:20:39.720 --> 0:20:45.960
<v Speaker 1>of a donkey. Um. So you know, John Landis gets

0:20:46.200 --> 0:20:51.840
<v Speaker 1>two children and Vick Morrow horribly killed, um, really terrible

0:20:51.880 --> 0:20:57.960
<v Speaker 1>debts um. And you know this is gonna cause problems, right. Um.

0:20:58.040 --> 0:21:02.800
<v Speaker 1>Hollywood is pretty good at at smoothing some things under

0:21:02.840 --> 0:21:05.240
<v Speaker 1>the under the table, right, but this is this is

0:21:05.280 --> 0:21:09.560
<v Speaker 1>a problem, right, This is a big story. Yeah, children

0:21:09.640 --> 0:21:12.680
<v Speaker 1>cut in half by helicopters are gonna There's gonna be

0:21:12.760 --> 0:21:16.560
<v Speaker 1>some legal stuff that's gonna come out. Yeah a little bit.

0:21:16.640 --> 0:21:19.199
<v Speaker 1>So the wheels of justice, or what passes for the

0:21:19.200 --> 0:21:21.960
<v Speaker 1>wheels of justice start to churn up after this. The

0:21:22.080 --> 0:21:24.960
<v Speaker 1>first court cases that kind of get resolved at least

0:21:25.000 --> 0:21:28.040
<v Speaker 1>our lawsuits from the families of the children who get killed.

0:21:28.840 --> 0:21:32.639
<v Speaker 1>The Chin family file on August three, and name both

0:21:32.800 --> 0:21:36.200
<v Speaker 1>John Landis and Steven Spielberg. Cause again, Steve Spielberg is

0:21:36.240 --> 0:21:39.480
<v Speaker 1>producing this alongside John Landis, right, he is, he is

0:21:39.640 --> 0:21:41.880
<v Speaker 1>involved in this whole thing. We will talk some more

0:21:41.920 --> 0:21:44.639
<v Speaker 1>about the degree to which maybe he's culpable here, because

0:21:44.640 --> 0:21:48.840
<v Speaker 1>it's very murky. Right, he immediately leaves the country. Um,

0:21:48.960 --> 0:21:51.880
<v Speaker 1>we'll talk about that more in a second. Um as

0:21:51.960 --> 0:21:55.280
<v Speaker 1>does um. Oh god, what's her name? That Kathleen lady

0:21:55.320 --> 0:22:01.479
<v Speaker 1>who wound up running Marvel what sort? I don't know.

0:22:02.000 --> 0:22:04.520
<v Speaker 1>Let's sack. Let's sack. I don't care about that. Behind

0:22:04.560 --> 0:22:08.160
<v Speaker 1>the scenes people in movies. Kathleen Kennedy who was also

0:22:08.920 --> 0:22:13.520
<v Speaker 1>produce she also fucking books it, right, Like, both Spielberg

0:22:13.560 --> 0:22:17.520
<v Speaker 1>and Kathleen Kennedy are like, because you know, we should

0:22:17.520 --> 0:22:20.000
<v Speaker 1>probably not be around for this. I don't want to

0:22:20.040 --> 0:22:26.360
<v Speaker 1>get involved in. Um. So Yeah. The first court cases

0:22:26.720 --> 0:22:28.840
<v Speaker 1>that follow this our lawsuits from the families of the

0:22:28.880 --> 0:22:32.040
<v Speaker 1>Slane children. The Chin family files on August three, and

0:22:32.080 --> 0:22:35.320
<v Speaker 1>they name yeah, Lands and Spielberg, as well as uh

0:22:35.400 --> 0:22:39.040
<v Speaker 1>Folsy and Wingo. Um Folsey is the assist a producer

0:22:39.080 --> 0:22:42.480
<v Speaker 1>and Windows the pilot in their request for damages. Michael

0:22:42.520 --> 0:22:45.600
<v Speaker 1>Lees family file suit a year later. These all do

0:22:45.720 --> 0:22:48.960
<v Speaker 1>get settled out of court. Um. Now, one for an

0:22:48.960 --> 0:22:51.800
<v Speaker 1>example of kind of the crapulence of big studios, when

0:22:51.800 --> 0:22:55.439
<v Speaker 1>Warner Brothers is named in the Chin lawsuit, because right

0:22:55.440 --> 0:22:58.920
<v Speaker 1>there they have some culpability to their law firm argues

0:22:58.960 --> 0:23:02.640
<v Speaker 1>that the studio not be liable because quote, the risk,

0:23:03.000 --> 0:23:06.720
<v Speaker 1>if any risk there was, was knowingly assumed by the

0:23:06.800 --> 0:23:13.760
<v Speaker 1>decedent Renee shiny Chin, who was again six choking me

0:23:13.880 --> 0:23:17.200
<v Speaker 1>right now? Yeah, first off, the risk if any there was.

0:23:17.359 --> 0:23:20.359
<v Speaker 1>You can't have if any there wasn't there when three

0:23:20.400 --> 0:23:23.800
<v Speaker 1>people have been cut to pieces by helicopter rotors. Okay,

0:23:23.840 --> 0:23:27.920
<v Speaker 1>Like you can't say was there really a risk there

0:23:28.000 --> 0:23:33.879
<v Speaker 1>was a risk that everything about that sentence is wrong. Yeah,

0:23:33.920 --> 0:23:38.199
<v Speaker 1>it's unbelievably like it's a strong case that entertainment lawyers

0:23:38.200 --> 0:23:45.359
<v Speaker 1>should be boiled. Um. Yeah. So these civil lawsuits are

0:23:45.400 --> 0:23:47.800
<v Speaker 1>all eventually settled. We don't really know like what kind

0:23:47.800 --> 0:23:50.040
<v Speaker 1>of money the families get. I hope it's a lot.

0:23:51.440 --> 0:23:56.119
<v Speaker 1>Like you know, but we don't really know. But of

0:23:56.160 --> 0:23:59.920
<v Speaker 1>course that doesn't end kind of the legal stuff around this,

0:24:00.040 --> 0:24:03.159
<v Speaker 1>because three human beings have died gruesome deaths. Two of

0:24:03.160 --> 0:24:06.080
<v Speaker 1>them are children who have been hired illegally, So the

0:24:06.160 --> 0:24:08.880
<v Speaker 1>state of California needs to determine if there was any

0:24:08.920 --> 0:24:13.320
<v Speaker 1>criminal liability for the accident. District Attorney John Van de

0:24:13.440 --> 0:24:17.199
<v Speaker 1>Camp assigned prosecutor Gary Kesselman to the case, and an

0:24:17.320 --> 0:24:20.760
<v Speaker 1>l A p D. Sheriff's detective assisted the investigation. Found

0:24:20.800 --> 0:24:23.560
<v Speaker 1>the things that I have noted already. Um, they find

0:24:23.560 --> 0:24:26.240
<v Speaker 1>like Folsey saying, oh, I'll go to jail for this.

0:24:26.400 --> 0:24:28.560
<v Speaker 1>They find that, you know, the children have been illegally hired,

0:24:28.800 --> 0:24:31.200
<v Speaker 1>that this has been hidden from the fire safety officer.

0:24:31.760 --> 0:24:34.359
<v Speaker 1>So they they're like, well, there's enough here to convene

0:24:34.359 --> 0:24:38.119
<v Speaker 1>a grand jerry for fucking share um, which you know,

0:24:38.240 --> 0:24:40.040
<v Speaker 1>one of the rare times I'll be like, yeah, that

0:24:40.160 --> 0:24:44.720
<v Speaker 1>l A. Sheriff's deputy was more or less right. Um.

0:24:44.800 --> 0:24:47.600
<v Speaker 1>So they convene a grand jury. Um. And when you

0:24:47.640 --> 0:24:50.600
<v Speaker 1>convene a grand jury, that means that there's enough evidence

0:24:50.640 --> 0:24:54.919
<v Speaker 1>that there's something wrong that you're gonna bring the people

0:24:54.960 --> 0:24:58.080
<v Speaker 1>involved in front of a jury. And have them be questioned, right,

0:24:58.359 --> 0:25:00.640
<v Speaker 1>and then the jury is going to decide we indict,

0:25:00.720 --> 0:25:04.919
<v Speaker 1>which means like do we actually charge people with a crime? Right? Um?

0:25:04.960 --> 0:25:07.800
<v Speaker 1>So they Folsy winds up in front of the grand jury.

0:25:08.200 --> 0:25:10.960
<v Speaker 1>Um who he says that in front of the grand jury.

0:25:10.960 --> 0:25:14.119
<v Speaker 1>Folsey says, in retrospect, it would have been better to

0:25:14.119 --> 0:25:18.720
<v Speaker 1>shoot the helicopter and the actors at separate times, which, no, ship,

0:25:18.960 --> 0:25:22.800
<v Speaker 1>I'm glad you can see that, buddy. Yes, in retrospect,

0:25:22.840 --> 0:25:24.479
<v Speaker 1>it would have been better to not do the thing

0:25:24.560 --> 0:25:29.200
<v Speaker 1>that got three people killed. There was adequate technology at

0:25:29.280 --> 0:25:32.400
<v Speaker 1>the time that yeah, you can like superimposed two there

0:25:32.560 --> 0:25:35.000
<v Speaker 1>was together if you could, I mean, if you could

0:25:35.040 --> 0:25:39.000
<v Speaker 1>have explained the concept of a helicopter in there was

0:25:39.040 --> 0:25:41.440
<v Speaker 1>adequate technology for them to have said, no, this sounds

0:25:41.440 --> 0:25:47.800
<v Speaker 1>like a bad idea. Yeah, oh no, wonder everything is

0:25:48.119 --> 0:25:51.040
<v Speaker 1>c g I these days. As much as I love

0:25:51.040 --> 0:25:55.000
<v Speaker 1>a practical effect, if it puts anyone in danger, you

0:25:55.040 --> 0:25:59.679
<v Speaker 1>could have had a practical effect and like puppets like

0:25:59.720 --> 0:26:02.480
<v Speaker 1>there's what that Pieters have done scenes like this that

0:26:02.560 --> 0:26:08.440
<v Speaker 1>did not endanger human life, right, at least not children, right,

0:26:09.080 --> 0:26:10.800
<v Speaker 1>Like that one of the things that happening here is

0:26:10.840 --> 0:26:14.280
<v Speaker 1>that like, no one's getting charged or even like attempted

0:26:14.320 --> 0:26:18.080
<v Speaker 1>to be charged with um with um vic Morrow's death

0:26:18.119 --> 0:26:20.320
<v Speaker 1>because as questionable as some of the decisions made, he

0:26:20.400 --> 0:26:23.000
<v Speaker 1>was an adult who chose to be in a really

0:26:23.040 --> 0:26:26.639
<v Speaker 1>a situation he knew was dangerous. You know, UM's still wild.

0:26:26.720 --> 0:26:31.680
<v Speaker 1>I mean, they're still fucked up. But like these are children,

0:26:32.040 --> 0:26:36.040
<v Speaker 1>they cannot and honestly their parents can't consent to put

0:26:36.080 --> 0:26:38.879
<v Speaker 1>them in that danger. You're not allowed to do that

0:26:38.920 --> 0:26:42.400
<v Speaker 1>their children, and they're not given any of the information.

0:26:42.640 --> 0:26:47.240
<v Speaker 1>And children are famously uh, not very good at advocating

0:26:47.280 --> 0:26:52.199
<v Speaker 1>for themselves nor fully understanding. I mean, so much of

0:26:52.200 --> 0:26:56.119
<v Speaker 1>our society exists to stop people from doing things like

0:26:56.240 --> 0:27:01.840
<v Speaker 1>this to children. Um. This is why you can't put

0:27:01.880 --> 0:27:07.119
<v Speaker 1>them in coal mines anymore. So, UM, I'm gonna quote

0:27:07.680 --> 0:27:09.960
<v Speaker 1>for more on how this grand jury goes from Crime

0:27:10.000 --> 0:27:14.800
<v Speaker 1>Library quote. John Landis testified and blamed underlings for the tragedy.

0:27:14.840 --> 0:27:17.040
<v Speaker 1>He said that he had assumed Stewart and Wingo had

0:27:17.040 --> 0:27:19.840
<v Speaker 1>worked out the coordination of their jobs. He did not

0:27:20.000 --> 0:27:22.600
<v Speaker 1>make certain of it because I assumed if these men

0:27:22.600 --> 0:27:25.119
<v Speaker 1>are experts licensed by the government to do their jobs,

0:27:25.359 --> 0:27:29.880
<v Speaker 1>they've done their jobs. Kesselman pressed on as to why

0:27:29.920 --> 0:27:31.760
<v Speaker 1>he did not make sure they talked, because when you

0:27:31.800 --> 0:27:34.600
<v Speaker 1>get into a taxi, Landis replied, you assumed the driver

0:27:34.720 --> 0:27:36.680
<v Speaker 1>is not going to drive you off a bridge. It's

0:27:36.760 --> 0:27:39.920
<v Speaker 1>just assumptions. The guy is a licensed taxi driver. These

0:27:39.920 --> 0:27:43.600
<v Speaker 1>are experts. Later, the prosecutor began the final authority in

0:27:43.680 --> 0:27:46.399
<v Speaker 1>terms of camera, actor positions, helicopter or whatever on that

0:27:46.480 --> 0:27:49.320
<v Speaker 1>set is not mine. Land Is broken because if I

0:27:49.320 --> 0:27:51.880
<v Speaker 1>asked an actor, I said, would you please take your

0:27:51.880 --> 0:27:54.040
<v Speaker 1>hand and stick it at this garbage disposal? The actor

0:27:54.119 --> 0:27:57.760
<v Speaker 1>is going to say, of course not. So he's accepting

0:27:57.840 --> 0:28:03.159
<v Speaker 1>absolutely no accountability. No, no. The director should be the

0:28:03.240 --> 0:28:06.200
<v Speaker 1>ultimate authority on set, but also should have no responsibility

0:28:06.240 --> 0:28:12.320
<v Speaker 1>when things go wrong. Right, Oh my gosh. He as

0:28:12.400 --> 0:28:17.840
<v Speaker 1>you've said, was like, no, these these explosions need to

0:28:17.840 --> 0:28:21.919
<v Speaker 1>be closer. You ain't seen nothing yet, like he was

0:28:22.320 --> 0:28:26.320
<v Speaker 1>constantly despite many people protesting and saying this is not safe,

0:28:26.359 --> 0:28:30.159
<v Speaker 1>this is dangerous, this is going to lead to bad things.

0:28:30.640 --> 0:28:36.280
<v Speaker 1>He was like, but my vision realism. I must make

0:28:36.320 --> 0:28:40.240
<v Speaker 1>a perfectly accurate Vietnam War scene in this Twilight film

0:28:40.280 --> 0:28:48.720
<v Speaker 1>movie movie about a time traveling racist, embarrassing what a loser.

0:28:49.480 --> 0:28:54.560
<v Speaker 1>He sucks for sure. Um, he's he's definitely a thing

0:28:54.760 --> 0:28:58.480
<v Speaker 1>so bad, you know what. Poopy, That's what I'll say,

0:28:58.560 --> 0:29:03.640
<v Speaker 1>Caitlin to quote me, loftus p poo poo wow wow

0:29:03.680 --> 0:29:08.880
<v Speaker 1>powerful powerful to the award winning Jamie loftus p p poopoo.

0:29:11.240 --> 0:29:16.240
<v Speaker 1>Who I am feuding with just the hypocrisy of yeah,

0:29:16.280 --> 0:29:20.400
<v Speaker 1>being like, uh no one questioned me. The choice I'm

0:29:20.400 --> 0:29:23.640
<v Speaker 1>making is the best. I have ultimate power and control here,

0:29:24.360 --> 0:29:27.040
<v Speaker 1>and then when something goes wrong, well I did, I

0:29:27.080 --> 0:29:30.320
<v Speaker 1>don't know. I assumed it was. They didn't say anything.

0:29:31.000 --> 0:29:35.680
<v Speaker 1>If it was, it was the helicopter operator. Such a

0:29:35.840 --> 0:29:41.320
<v Speaker 1>fucking fucking putting explosions and there's next to him. Definitely

0:29:41.320 --> 0:29:43.720
<v Speaker 1>a case we made that the helicopter operator and the

0:29:43.760 --> 0:29:47.360
<v Speaker 1>pyrotechnician have some degree of culpability here. Right, I'm not

0:29:47.400 --> 0:29:50.600
<v Speaker 1>saying they don't because they are professionals, and the fact

0:29:50.680 --> 0:29:54.240
<v Speaker 1>that they could have suffered career consequences from complaining doesn't

0:29:54.280 --> 0:29:57.680
<v Speaker 1>mean they shouldn't have said something. Right. Um, But again,

0:29:58.240 --> 0:30:01.120
<v Speaker 1>the director is the dictat e of the film set.

0:30:01.160 --> 0:30:03.640
<v Speaker 1>He has absolute power. That is less the case now

0:30:03.840 --> 0:30:05.920
<v Speaker 1>because of this accident. We'll talk about that in a

0:30:05.920 --> 0:30:09.200
<v Speaker 1>little bit, but at this time he has absolute power.

0:30:09.840 --> 0:30:12.360
<v Speaker 1>The buck stopped with John Landis, or at least it

0:30:12.360 --> 0:30:16.200
<v Speaker 1>should have, right. Um. He was the motherfucker who was

0:30:16.240 --> 0:30:20.840
<v Speaker 1>making the calls here. Um. And it's kind of like

0:30:20.880 --> 0:30:23.320
<v Speaker 1>he keeps he compares it to a taxi driver and like, well, look,

0:30:23.360 --> 0:30:25.200
<v Speaker 1>it's not my fault if I hire a cab driver

0:30:25.240 --> 0:30:27.920
<v Speaker 1>any crashes. Like well, okay, but if you hire a

0:30:27.960 --> 0:30:30.280
<v Speaker 1>cab driver and then you force him at gunpoint to

0:30:30.360 --> 0:30:33.400
<v Speaker 1>do body shots while driving the cab and then he crashes,

0:30:34.200 --> 0:30:38.640
<v Speaker 1>you you are responsible for that car crash. Actually, um,

0:30:38.720 --> 0:30:41.160
<v Speaker 1>because he wouldn't have been drinking if you had not

0:30:41.240 --> 0:30:45.200
<v Speaker 1>been forcing him to do it. Um. Which is not

0:30:45.280 --> 0:30:47.520
<v Speaker 1>to say that it's wrong to force your cab driver

0:30:47.600 --> 0:30:50.320
<v Speaker 1>at gunpoint to drink. That's a that's a fun time.

0:30:50.520 --> 0:30:54.600
<v Speaker 1>Like I'm not party. It is a cool party time

0:30:54.680 --> 0:30:59.440
<v Speaker 1>and cab drivers love being forced to do shots. That's

0:30:59.800 --> 0:31:03.800
<v Speaker 1>the motto of this show. It is not threaten a

0:31:03.840 --> 0:31:09.120
<v Speaker 1>cab driver anyway. Um. It could be Sophie, allegedly, it

0:31:09.160 --> 0:31:12.960
<v Speaker 1>could be so Obviously A grand jury indicts the ship

0:31:13.040 --> 0:31:17.280
<v Speaker 1>out of John Landis Um, along with Folsey and Allingham.

0:31:17.520 --> 0:31:20.200
<v Speaker 1>They are charged with manslaughter in the deaths of Renee

0:31:20.240 --> 0:31:22.760
<v Speaker 1>and Mica. Again, they're not being charged for Vic Morrow's death.

0:31:23.120 --> 0:31:26.160
<v Speaker 1>The charges are based on the fact that the deaths

0:31:26.160 --> 0:31:30.480
<v Speaker 1>had occurred during the commission of an inherently dangerous, unlawful act,

0:31:30.760 --> 0:31:34.200
<v Speaker 1>and that unlawful act was the illegal hiring of children. Right,

0:31:34.480 --> 0:31:37.680
<v Speaker 1>So the fact that they're getting charged with manslaughter, that

0:31:37.760 --> 0:31:41.440
<v Speaker 1>manslaughter charge relies entirely on the fact that those children

0:31:41.480 --> 0:31:44.240
<v Speaker 1>were legally being employed. Right, Does that make sense? That's

0:31:44.240 --> 0:31:46.520
<v Speaker 1>why Morow that no one's getting charged for Morrow's It

0:31:46.600 --> 0:31:48.760
<v Speaker 1>makes sense because I understand what you're saying, But it

0:31:48.800 --> 0:31:51.640
<v Speaker 1>also doesn't make sense because it should just be illegal

0:31:51.880 --> 0:31:56.240
<v Speaker 1>to Yes, I'm not trying to everything that happened on

0:31:56.280 --> 0:31:58.840
<v Speaker 1>this set. You know, the law is the law. It

0:31:58.880 --> 0:32:01.360
<v Speaker 1>has nothing to do with mora. I'm trying to explain, like,

0:32:01.400 --> 0:32:05.960
<v Speaker 1>this is legally what's going on. Right. Um So, again,

0:32:06.040 --> 0:32:08.960
<v Speaker 1>the crime is not just that they got people killed.

0:32:09.000 --> 0:32:11.880
<v Speaker 1>It's that those people, the people they got killed, could

0:32:11.960 --> 0:32:14.440
<v Speaker 1>not legally have been on that set when they got killed.

0:32:14.880 --> 0:32:17.200
<v Speaker 1>That's what makes it not just an accident, but out

0:32:17.240 --> 0:32:22.240
<v Speaker 1>it adds like the criminal responsibility. Um So, Kesselman decides

0:32:22.400 --> 0:32:25.000
<v Speaker 1>not to try and get an indictment against these guys

0:32:25.040 --> 0:32:27.800
<v Speaker 1>for the illegal hiring of the children itself or having

0:32:27.840 --> 0:32:31.280
<v Speaker 1>them work past curfew. Um. These would have been slam

0:32:31.360 --> 0:32:35.440
<v Speaker 1>dunk convictions. Obviously they were blatantly guilty. Um. But both

0:32:35.440 --> 0:32:39.200
<v Speaker 1>would have had like ten day maximum jail sentences. Um,

0:32:39.240 --> 0:32:41.960
<v Speaker 1>because they're more like yeah, because it should like illegally

0:32:42.080 --> 0:32:44.160
<v Speaker 1>having kids work at night and stuff isn't like a

0:32:44.200 --> 0:32:48.440
<v Speaker 1>serious crime on its own. Um, it's not like, yeah,

0:32:48.480 --> 0:32:52.080
<v Speaker 1>it's not like hard time or whatever. And Kesselman, I'm

0:32:52.080 --> 0:32:53.840
<v Speaker 1>not gonna like make a stance on whether he made

0:32:53.880 --> 0:32:56.080
<v Speaker 1>the right call or not. The reason he doesn't go

0:32:56.160 --> 0:33:00.600
<v Speaker 1>for these slam dunk convictions alongside manslaughter is he's worried

0:33:00.600 --> 0:33:03.360
<v Speaker 1>that if the grand jury has the chance to like

0:33:03.680 --> 0:33:07.400
<v Speaker 1>indict these guys on something easy that's lighter than manslaughter,

0:33:07.800 --> 0:33:10.240
<v Speaker 1>that they'll go with the easy charges and they won't

0:33:10.280 --> 0:33:14.040
<v Speaker 1>go for manslaughter. Again, it's like the prosecutor in this

0:33:14.680 --> 0:33:17.160
<v Speaker 1>he's he's you're always playing kind of a game with

0:33:17.200 --> 0:33:19.000
<v Speaker 1>the jury here. I'm not a law expert. I'm not

0:33:19.040 --> 0:33:20.360
<v Speaker 1>going to give an opinion on whether or not this

0:33:20.440 --> 0:33:22.080
<v Speaker 1>is a good call. But this is the call that

0:33:22.120 --> 0:33:26.680
<v Speaker 1>he makes right. Um. So the case churns, churns forward.

0:33:26.720 --> 0:33:30.240
<v Speaker 1>And while this is happening, obviously the dead people are

0:33:30.320 --> 0:33:33.080
<v Speaker 1>having their funerals because that's what you do when people

0:33:33.120 --> 0:33:37.760
<v Speaker 1>get killed. Um. In one of the most unfucking hinged

0:33:37.960 --> 0:33:42.240
<v Speaker 1>moments in Hollywood history, John Landis decides to attend all

0:33:42.280 --> 0:33:50.520
<v Speaker 1>three ceremonies, all three funerals. Yep. Is he super apologetic?

0:33:50.720 --> 0:33:53.960
<v Speaker 1>Now there was some speculation but that he was advised

0:33:53.960 --> 0:33:59.760
<v Speaker 1>too much. Did he go in he was super apologetic? No, no, Sophie,

0:34:00.560 --> 0:34:03.640
<v Speaker 1>that's a fun question. Absolutely not. But he does do

0:34:03.720 --> 0:34:07.280
<v Speaker 1>the opposite of that. Um. There is speculation that his

0:34:07.360 --> 0:34:09.640
<v Speaker 1>lawyers advise him to not just show up, but to

0:34:09.760 --> 0:34:14.359
<v Speaker 1>speak at the funerals in order to seem deeply hurt

0:34:14.440 --> 0:34:17.160
<v Speaker 1>by what has happened. Um. Now, in all cases, the

0:34:17.200 --> 0:34:20.279
<v Speaker 1>families beg him not to come. Right, like nobody wants,

0:34:20.360 --> 0:34:24.920
<v Speaker 1>John land has at these fucking funerals. You know, not

0:34:25.080 --> 0:34:28.040
<v Speaker 1>only does he come, but he makes a speech at

0:34:28.120 --> 0:34:30.759
<v Speaker 1>least at Vic Morrow's funeral. And I'm gonna quote now

0:34:30.760 --> 0:34:33.200
<v Speaker 1>from a write up by Dick Peabuddy, who's one of

0:34:33.200 --> 0:34:35.400
<v Speaker 1>Morrow's friends. They'd work together in a bunch of stuff

0:34:35.440 --> 0:34:38.320
<v Speaker 1>before um, and he's a close enough friend that Peabuddy

0:34:38.360 --> 0:34:41.319
<v Speaker 1>winds up as a pallbearer at more Morrow's funerals. So

0:34:41.360 --> 0:34:44.720
<v Speaker 1>this is this is Dick Peabuddy's recollection of the funeral.

0:34:45.640 --> 0:34:48.840
<v Speaker 1>I rode with them, them being Morrow's family, to the funeral,

0:34:48.920 --> 0:34:50.880
<v Speaker 1>and sat with them in the section of the chapel

0:34:50.920 --> 0:34:54.960
<v Speaker 1>reserved for family. Moments after we arrived, an audible shock

0:34:55.000 --> 0:34:57.680
<v Speaker 1>wave of reaction from Vick's friends and co workers who

0:34:57.840 --> 0:35:00.919
<v Speaker 1>come to pay their respects, grabbed my attention. A thin,

0:35:01.080 --> 0:35:03.920
<v Speaker 1>bearded man was coming down the aisle, seemingly unable to

0:35:03.960 --> 0:35:06.719
<v Speaker 1>walk without assistance. He was supported by a woman and

0:35:06.760 --> 0:35:09.880
<v Speaker 1>another man, Miss John Landis and George Folsey Jr. The

0:35:09.880 --> 0:35:13.400
<v Speaker 1>production manager of the Twilight Zone movie. The bearded staggerer

0:35:13.520 --> 0:35:17.120
<v Speaker 1>was Twilight Zone director John Landis. His stooges helped him

0:35:17.120 --> 0:35:22.239
<v Speaker 1>to the lectern, and he began a rambling eulogy, unplanned, unrequested, unwanted,

0:35:22.239 --> 0:35:25.600
<v Speaker 1>and shocking to Vick's family and friends. His mere presence

0:35:25.640 --> 0:35:28.400
<v Speaker 1>at the funeral was offensive to them. He did this,

0:35:28.520 --> 0:35:31.799
<v Speaker 1>presumably on the advice of his attorney. The most obnoxious

0:35:31.840 --> 0:35:34.200
<v Speaker 1>remark he made, among many, was that he was proud

0:35:34.200 --> 0:35:37.120
<v Speaker 1>to have directed Vic and what Vic himself considered the

0:35:37.160 --> 0:35:41.480
<v Speaker 1>best performance of his career. Vic's girlfriend and his ex wife, Barbara,

0:35:41.560 --> 0:35:43.239
<v Speaker 1>both said that Vic thought the movie was a piece

0:35:43.280 --> 0:35:45.360
<v Speaker 1>of ship and he was ashamed to be connected to it.

0:35:46.560 --> 0:35:50.799
<v Speaker 1>So I cannot confirm whether or not John Landis was

0:35:50.840 --> 0:35:53.080
<v Speaker 1>telling the truth or or Dick pebody was telling the

0:35:53.080 --> 0:35:55.880
<v Speaker 1>truth about how Vic felt about this movie. It is

0:35:55.920 --> 0:35:59.400
<v Speaker 1>worth noting that multiple other accounts back up Dick's retelling

0:35:59.400 --> 0:36:02.560
<v Speaker 1>of events. In fact, some of them sound worse. According

0:36:02.600 --> 0:36:04.960
<v Speaker 1>to several accounts, Here was the full text of what

0:36:05.080 --> 0:36:08.680
<v Speaker 1>land has said. Tragedy can strike in an instant, but

0:36:08.800 --> 0:36:12.560
<v Speaker 1>film is immortal. Vic libs forever. Just before the last take,

0:36:12.719 --> 0:36:15.680
<v Speaker 1>Vic took me aside to thank me for the opportunity

0:36:15.760 --> 0:36:21.759
<v Speaker 1>to play this role. Now, Caitlin, if you had to

0:36:21.800 --> 0:36:25.080
<v Speaker 1>calculate in a lab the worst eulogy to give after

0:36:25.120 --> 0:36:28.440
<v Speaker 1>getting three people killed in a helicopter accident, could you

0:36:28.520 --> 0:36:35.040
<v Speaker 1>do better than this? I think he absolutely nailed giving

0:36:35.080 --> 0:36:39.560
<v Speaker 1>the worst eulogy imaginable, like the balls number one to

0:36:39.680 --> 0:36:42.520
<v Speaker 1>get up and speak and say anything, but I'm sorry

0:36:42.680 --> 0:36:47.839
<v Speaker 1>and my life means nothing now, um Like he's one

0:36:47.920 --> 0:36:51.160
<v Speaker 1>thing to get up and say, at least he was

0:36:51.200 --> 0:36:54.200
<v Speaker 1>the best thing he ever did. My movie was his

0:36:54.280 --> 0:37:02.120
<v Speaker 1>best moment. Unbelievable. The I I cannot even begin to

0:37:02.200 --> 0:37:06.680
<v Speaker 1>comprehend the size of the ego. You have to have

0:37:08.239 --> 0:37:11.319
<v Speaker 1>to do something like that. We need to have a

0:37:11.440 --> 0:37:15.400
<v Speaker 1>law wherein if like a certain number of people vote

0:37:15.520 --> 0:37:18.920
<v Speaker 1>that a situation is deserving of a motherfucker getting hit

0:37:18.920 --> 0:37:21.480
<v Speaker 1>in the face with a brick, then it's legal to

0:37:21.560 --> 0:37:23.120
<v Speaker 1>hit them in the face with a brick. And I

0:37:23.160 --> 0:37:26.239
<v Speaker 1>think this would be my yardstick, right like if I'm

0:37:26.320 --> 0:37:29.440
<v Speaker 1>arguing the Supreme Court, like what is the bricking, Like,

0:37:29.520 --> 0:37:32.120
<v Speaker 1>what is like the threshold for a bricking? Like right here,

0:37:32.400 --> 0:37:34.480
<v Speaker 1>somebody should have hit John Landis in the face with

0:37:34.520 --> 0:37:38.919
<v Speaker 1>a brick. That would have been fine. Yeah, I mean

0:37:40.160 --> 0:37:44.920
<v Speaker 1>it was according to it seems fine that he was.

0:37:45.640 --> 0:37:50.799
<v Speaker 1>He had the most dangerous film set. Unbelievable. Like so,

0:37:52.320 --> 0:37:54.239
<v Speaker 1>I think it's also worth noting at this point, as

0:37:54.280 --> 0:37:56.960
<v Speaker 1>we have a couple of times, sometimes accidentally, which is

0:37:57.040 --> 0:37:59.640
<v Speaker 1>usually how people refer to this dude, that John Landis

0:37:59.640 --> 0:38:02.520
<v Speaker 1>has a on Max Landis, who we will discuss briefly

0:38:02.560 --> 0:38:06.319
<v Speaker 1>at the end. Now, Max directed the film Chronicle and

0:38:06.400 --> 0:38:10.080
<v Speaker 1>most infamously the Will Smith flop Bright. Since he was

0:38:10.200 --> 0:38:14.200
<v Speaker 1>pretty active online at one point big Reddit guy Max Landis,

0:38:15.160 --> 0:38:17.760
<v Speaker 1>people on Reddit would often like troll him by bringing

0:38:17.800 --> 0:38:19.720
<v Speaker 1>up the fact that his dad got three people killed,

0:38:20.200 --> 0:38:22.160
<v Speaker 1>and Max blew up at them at one point. In

0:38:22.200 --> 0:38:26.400
<v Speaker 1>a fairly famous post among Max Landis Nowher's and one

0:38:26.480 --> 0:38:28.400
<v Speaker 1>of the things he stated was that it's really fucked

0:38:28.440 --> 0:38:30.480
<v Speaker 1>up for people to accuse his dad of having killed

0:38:30.520 --> 0:38:34.400
<v Speaker 1>one of his best friends. Now that's bullshit. I have

0:38:34.560 --> 0:38:38.080
<v Speaker 1>come across no evidence anywhere that Vic Morrow and John

0:38:38.120 --> 0:38:41.759
<v Speaker 1>Landis were close. Most accounts seemed to show that Mora

0:38:41.960 --> 0:38:45.800
<v Speaker 1>was somewhat scared by the director and certainly worried about

0:38:45.800 --> 0:38:48.600
<v Speaker 1>what upsetting him might do for his career. A friend

0:38:48.680 --> 0:38:50.920
<v Speaker 1>I think would be comfortable telling a friend, Hey, I

0:38:50.960 --> 0:38:53.600
<v Speaker 1>am worried about the explosions that you were putting next

0:38:53.640 --> 0:38:57.919
<v Speaker 1>to me. Right um now, I don't. I actually don't

0:38:57.960 --> 0:38:59.600
<v Speaker 1>think I'm not one to go to bad for Max Landis.

0:38:59.640 --> 0:39:01.759
<v Speaker 1>I don't think Max Landis is lying here. I think

0:39:01.800 --> 0:39:03.919
<v Speaker 1>this is what John Landis had to tell his son

0:39:04.040 --> 0:39:08.560
<v Speaker 1>in order to like try and preserve like some sort

0:39:08.600 --> 0:39:10.560
<v Speaker 1>of I don't know what tone to use here, but

0:39:10.600 --> 0:39:13.000
<v Speaker 1>like my guess is that is the lie that John

0:39:13.080 --> 0:39:16.600
<v Speaker 1>Landis told Max Righte that like again I were great friends,

0:39:16.600 --> 0:39:18.640
<v Speaker 1>and like he understood the risks and you know, it

0:39:18.719 --> 0:39:21.600
<v Speaker 1>was just a tragic whatever. That's my guess here. So

0:39:22.320 --> 0:39:25.759
<v Speaker 1>for the other funerals and for what happened at them,

0:39:25.760 --> 0:39:27.319
<v Speaker 1>I'm going to turn again to that right up by

0:39:27.320 --> 0:39:31.240
<v Speaker 1>Crime Library quote. At Renee chins funeral, a gray faced

0:39:31.360 --> 0:39:33.880
<v Speaker 1>John Landis, being held up by his wife and friend

0:39:34.040 --> 0:39:37.040
<v Speaker 1>showed up to pay his respects. The child's relatives fixed cold,

0:39:37.040 --> 0:39:39.960
<v Speaker 1>accusing stairs at the director, except for Renee's mother, who

0:39:40.040 --> 0:39:43.120
<v Speaker 1>was sobbing. Landis also went to Micha Lee's funeral, the

0:39:43.160 --> 0:39:46.919
<v Speaker 1>boys choir to which Mica had belonged, saying his favorite him,

0:39:47.000 --> 0:39:51.400
<v Speaker 1>Jesus loves all the children of the world. There is

0:39:51.400 --> 0:39:54.160
<v Speaker 1>no question that the accident traumatized the director for several

0:39:54.200 --> 0:39:56.640
<v Speaker 1>weeks after it, he was heavily medicated. At one point

0:39:56.680 --> 0:39:58.680
<v Speaker 1>he called a confidante and wondered if he would ever

0:39:58.719 --> 0:40:01.719
<v Speaker 1>be able to ask anyone to take even the simplest direction.

0:40:03.000 --> 0:40:06.160
<v Speaker 1>So I will admit, first off, when I wrote this,

0:40:06.239 --> 0:40:09.880
<v Speaker 1>I I missed understood that as John Landis asking them

0:40:09.880 --> 0:40:11.600
<v Speaker 1>to sing that him. I think they're saying that that

0:40:11.719 --> 0:40:14.840
<v Speaker 1>was Mike's favorite him, So I will delete my objection

0:40:14.880 --> 0:40:20.359
<v Speaker 1>there um. But like it's this, he's clearly doing a

0:40:20.400 --> 0:40:23.880
<v Speaker 1>bit right. Every funeral he has the same people carry

0:40:23.960 --> 0:40:27.400
<v Speaker 1>him in. He's acting right like he is. He's putting

0:40:27.440 --> 0:40:31.360
<v Speaker 1>on a show for the court primarily and for his

0:40:31.400 --> 0:40:35.879
<v Speaker 1>own future career to like seem less like a monster here.

0:40:35.920 --> 0:40:39.000
<v Speaker 1>But it's the same show every time, like being carried

0:40:39.040 --> 0:40:43.160
<v Speaker 1>in because you can can't and among other things, it's

0:40:43.200 --> 0:40:48.680
<v Speaker 1>just basic ethics, right, really minimal human decency. If you

0:40:48.719 --> 0:40:53.440
<v Speaker 1>are going to a funeral and it is someone you

0:40:53.520 --> 0:40:57.640
<v Speaker 1>knew that died, but not like someone super close in

0:40:57.719 --> 0:41:02.879
<v Speaker 1>relation to you, you do not act more distraught than

0:41:02.920 --> 0:41:06.480
<v Speaker 1>that person's parents or children or loved ones, right, Because

0:41:06.480 --> 0:41:09.600
<v Speaker 1>it's about them, right, It's not about you. If it's

0:41:09.640 --> 0:41:11.240
<v Speaker 1>just like someone you knew, where it's like your friend's

0:41:11.280 --> 0:41:14.160
<v Speaker 1>mom or something, you don't go there and like collapse

0:41:14.760 --> 0:41:17.560
<v Speaker 1>because it's about them, and that's putting more ship on them, right,

0:41:17.560 --> 0:41:19.759
<v Speaker 1>Like that's kind of fucked up to do, you know,

0:41:20.160 --> 0:41:24.640
<v Speaker 1>don't act more devastated, You don't, certainly, as the director

0:41:24.760 --> 0:41:27.080
<v Speaker 1>of a film that these kids you've known for two days.

0:41:27.080 --> 0:41:29.760
<v Speaker 1>Are and you don't act more distraught than their fucking parents,

0:41:30.000 --> 0:41:33.080
<v Speaker 1>you know, And you don't draw attention to yourself by

0:41:33.120 --> 0:41:36.600
<v Speaker 1>giving like you don't do you don't. First of all,

0:41:37.120 --> 0:41:41.359
<v Speaker 1>you don't go, John, don't. You shouldn't. Obviously you shouldn't go.

0:41:41.560 --> 0:41:43.960
<v Speaker 1>You shouldn't go to these these fears if you do

0:41:44.320 --> 0:41:49.799
<v Speaker 1>feel some need because you actually are, are written with

0:41:50.000 --> 0:41:56.200
<v Speaker 1>legitimate guilt, which he clearly is not. Um, you slink in,

0:41:56.440 --> 0:41:59.080
<v Speaker 1>you stand in the back, You don't draw any attention

0:41:59.080 --> 0:42:04.719
<v Speaker 1>to yourself, and then you bail apiece out even that's questionable,

0:42:04.760 --> 0:42:09.520
<v Speaker 1>but like, absolutely don't do this. Absolutely don't do any

0:42:09.560 --> 0:42:14.360
<v Speaker 1>of the things that he did. What a performative piece

0:42:14.400 --> 0:42:18.160
<v Speaker 1>of shit. Now, the good news, Caitlin, and I know

0:42:18.200 --> 0:42:20.840
<v Speaker 1>you're concerned about this, is that killing three people and

0:42:20.920 --> 0:42:23.839
<v Speaker 1>being actively involved in a manslaughter trial does not hurt

0:42:23.920 --> 0:42:27.080
<v Speaker 1>his career, does not hurt his career. Um, while the

0:42:27.120 --> 0:42:29.759
<v Speaker 1>case unfolds, which takes like three years, he directs four

0:42:29.800 --> 0:42:31.719
<v Speaker 1>films and takes on a number again, as we've talked

0:42:31.719 --> 0:42:35.960
<v Speaker 1>about Hi, he directs the thriller video like Yeah, doesn't

0:42:35.960 --> 0:42:39.040
<v Speaker 1>get a lot more high profile than that. Probably still

0:42:39.080 --> 0:42:42.319
<v Speaker 1>like the biggest music video ever made in terms of

0:42:42.360 --> 0:42:45.480
<v Speaker 1>it's like cultural impact. He also directs the Eddie Murphy

0:42:45.560 --> 0:42:48.800
<v Speaker 1>hit Coming to America, which is somewhat less influential. Now

0:42:49.719 --> 0:42:52.359
<v Speaker 1>there's a fun story with Eddie Murphy and and John

0:42:52.400 --> 0:42:54.240
<v Speaker 1>Landis that we're going to tell him a bit. But first,

0:42:55.239 --> 0:42:57.360
<v Speaker 1>you know what won't show up to the funerals of

0:42:57.360 --> 0:43:02.239
<v Speaker 1>its victims and make it about them, these products and

0:43:02.360 --> 0:43:08.120
<v Speaker 1>our Services Corporation sher won't. We has labor activists executed

0:43:08.120 --> 0:43:11.279
<v Speaker 1>in Latin America. They don't show up at those funerals.

0:43:11.719 --> 0:43:16.480
<v Speaker 1>Do They bomb them? Sometimes allegedly allegedly, but they don't

0:43:16.480 --> 0:43:31.080
<v Speaker 1>show up. Here's ads We're back. Uh. So Eddie Murphy

0:43:31.080 --> 0:43:34.080
<v Speaker 1>and John Landis were friends at one point, right, Uh,

0:43:34.120 --> 0:43:38.080
<v Speaker 1>they've been in some stuff together. Um, you know, uh

0:43:38.400 --> 0:43:41.640
<v Speaker 1>and and and they're good enough friends that in the

0:43:41.680 --> 0:43:45.319
<v Speaker 1>wake of this tragedy, Um, Eddie goes to Paramount because

0:43:45.360 --> 0:43:47.800
<v Speaker 1>he you know, Coming to America is like a script

0:43:47.840 --> 0:43:49.440
<v Speaker 1>that comes to him first. Right, I'm not going to

0:43:49.520 --> 0:43:51.040
<v Speaker 1>get into the weeds of like how it gets made,

0:43:51.040 --> 0:43:53.759
<v Speaker 1>but right, he's he's wanting to make this movie, and

0:43:53.880 --> 0:43:57.080
<v Speaker 1>he makes Paramount hire John Landis and give him a

0:43:57.120 --> 0:44:00.640
<v Speaker 1>million dollars and final editing rights on the film, um,

0:44:00.680 --> 0:44:03.040
<v Speaker 1>which is more than they want to spend. And he

0:44:03.080 --> 0:44:05.640
<v Speaker 1>does it because Landis is his friend and Eddie Murphy

0:44:05.680 --> 0:44:08.560
<v Speaker 1>wants to give his friend to win. Now, I'm not

0:44:08.680 --> 0:44:11.279
<v Speaker 1>saying Eddie's not a questionable dude, because this is a

0:44:11.360 --> 0:44:14.520
<v Speaker 1>questionable moral decision, but it's being a good friend. You

0:44:14.560 --> 0:44:17.680
<v Speaker 1>can't deny that, you know, um, which is not being

0:44:17.719 --> 0:44:20.279
<v Speaker 1>a good person. But it's at least Eddie. Eddie is

0:44:20.280 --> 0:44:22.040
<v Speaker 1>a guy who will go to bat for his friends.

0:44:22.280 --> 0:44:27.000
<v Speaker 1>This does show that. Um. So what's funny about this

0:44:27.200 --> 0:44:30.440
<v Speaker 1>is that Eddie Murphy really does John Landis a solid

0:44:30.800 --> 0:44:34.160
<v Speaker 1>and then John Landis treats him like utter ship the

0:44:34.320 --> 0:44:38.200
<v Speaker 1>entire time they're making this movie. Is just a nightmarish

0:44:38.320 --> 0:44:41.760
<v Speaker 1>douche bag to this guy who is like saving his career.

0:44:41.840 --> 0:44:45.640
<v Speaker 1>It's a really weird call. Eddie Murphy talks about this

0:44:45.680 --> 0:44:47.720
<v Speaker 1>in a Playboy interview, and I'm gonna read an exerpt

0:44:47.800 --> 0:44:51.360
<v Speaker 1>from that now and again for an idea of the

0:44:51.360 --> 0:44:53.560
<v Speaker 1>tone of this. This is a Playboy interview, so Murphy

0:44:53.600 --> 0:44:56.680
<v Speaker 1>is gonna be saying some questionable things later on after

0:44:56.719 --> 0:44:58.759
<v Speaker 1>he got the job he brought along an attitude. He

0:44:58.800 --> 0:45:00.799
<v Speaker 1>came in with this, I'm a direc actors ship. I

0:45:00.840 --> 0:45:03.080
<v Speaker 1>was thinking, wait a second, I fucking hired you, and

0:45:03.080 --> 0:45:05.600
<v Speaker 1>now you're running around going you have to remember I'm

0:45:05.640 --> 0:45:08.319
<v Speaker 1>the boss, I'm the director. One of his favorite things

0:45:08.360 --> 0:45:10.320
<v Speaker 1>was to tell me when I worked with Michael Jackson,

0:45:10.360 --> 0:45:12.360
<v Speaker 1>everyone was afraid of Michael, but I'm the only one

0:45:12.360 --> 0:45:14.960
<v Speaker 1>who would tell Michael fuck you. And I'm not afraid

0:45:15.000 --> 0:45:17.239
<v Speaker 1>to tell you fuck you. And sure enough he was

0:45:17.239 --> 0:45:20.000
<v Speaker 1>always telling me fuck you, Eddie. Everyone at Paramount is

0:45:20.040 --> 0:45:25.359
<v Speaker 1>afraid of you. So that's weird. And also again, like

0:45:25.800 --> 0:45:27.359
<v Speaker 1>you really want to be the dictator of the movie

0:45:27.360 --> 0:45:30.440
<v Speaker 1>when nobody's gotten killed. Um, but suddenly it's a it's

0:45:30.480 --> 0:45:33.600
<v Speaker 1>a team project when three people die. Huh, that's fun.

0:45:34.360 --> 0:45:39.440
<v Speaker 1>Um yeah. Um. So I'm not gonna get two into

0:45:39.440 --> 0:45:41.560
<v Speaker 1>the weeds on this interview, but it has some incredible

0:45:41.560 --> 0:45:44.640
<v Speaker 1>lines from Eddie Murphy that really adds some context to

0:45:44.719 --> 0:45:48.040
<v Speaker 1>the filming of a classic comedy quote. What first put

0:45:48.040 --> 0:45:49.920
<v Speaker 1>a bad taste in my mouth about him was when

0:45:49.960 --> 0:45:52.400
<v Speaker 1>after he hired co stars Shari Headley and all these

0:45:52.440 --> 0:45:55.200
<v Speaker 1>other people, I said, I wanted to take everybody to dinner.

0:45:55.400 --> 0:45:58.320
<v Speaker 1>I didn't know anybody, but Landis grabbed Headley and said,

0:45:58.440 --> 0:46:00.520
<v Speaker 1>you stay away from Eddie. Don't go hear him, because

0:46:00.520 --> 0:46:02.560
<v Speaker 1>he's gonna fuck you and ruin my movie. He just

0:46:02.600 --> 0:46:06.120
<v Speaker 1>wants your pussy. I'm thinking, wait, oh no, this has

0:46:06.160 --> 0:46:08.120
<v Speaker 1>nothing to do with being a fucking director. He's a

0:46:08.120 --> 0:46:10.319
<v Speaker 1>control freak. Just assuming that I was trying to get

0:46:10.360 --> 0:46:12.640
<v Speaker 1>the pussy is one thing. Even and even if I

0:46:12.680 --> 0:46:14.239
<v Speaker 1>was trying to get the pussy, for him to try

0:46:14.239 --> 0:46:16.360
<v Speaker 1>to stop me getting it because he was directing the movie,

0:46:16.600 --> 0:46:18.960
<v Speaker 1>He's got a lot of nerve. Plus, it wasn't even

0:46:19.000 --> 0:46:27.520
<v Speaker 1>about pussy. So again, Murphy right, like, you know, it

0:46:27.640 --> 0:46:30.920
<v Speaker 1>wasn't even a plus, it wasn't even about I do

0:46:31.040 --> 0:46:33.480
<v Speaker 1>kind of suspect Eddie Murphy planned on hitting on her,

0:46:33.560 --> 0:46:35.959
<v Speaker 1>but it's still not. It's still fucked up for John

0:46:36.040 --> 0:46:41.480
<v Speaker 1>Landis to just say that, like, yeah, he seems what

0:46:41.760 --> 0:46:50.520
<v Speaker 1>a power hungry Yeah, fucking he's a ship. Now this

0:46:50.560 --> 0:46:53.440
<v Speaker 1>all culminates like the only like eventually Eddie just like

0:46:53.480 --> 0:46:56.080
<v Speaker 1>threatens to beat the ship out of him and things

0:46:56.160 --> 0:46:58.680
<v Speaker 1>calmed down. But they have not talked since. Like Eddie

0:46:58.719 --> 0:47:02.080
<v Speaker 1>Murphy has hated John Us ever, since um, and we'll

0:47:02.080 --> 0:47:05.840
<v Speaker 1>talk about him at the drop of a hat. Anyway, Um,

0:47:05.840 --> 0:47:08.479
<v Speaker 1>back to the trial. So, being a giant piece of ship,

0:47:08.600 --> 0:47:11.279
<v Speaker 1>Landis and his lawyers opted for a strategy in which

0:47:11.360 --> 0:47:15.080
<v Speaker 1>the above the line people blamed everything on the below

0:47:15.120 --> 0:47:18.200
<v Speaker 1>the line people. Now in Hollywood pire lance, above the

0:47:18.280 --> 0:47:22.960
<v Speaker 1>line workers are actors, producers, directors. That there's the big names, right,

0:47:23.400 --> 0:47:28.840
<v Speaker 1>the actual technical people, the crew folks, pilots, stuntman, pyrotechnicians,

0:47:28.880 --> 0:47:33.479
<v Speaker 1>all that stuff there below the line. So Landis, because

0:47:33.480 --> 0:47:35.399
<v Speaker 1>again a bunch of above and below the line people

0:47:35.400 --> 0:47:38.560
<v Speaker 1>have gotten charged here with manslaughter, Landis wants to blame

0:47:38.560 --> 0:47:43.319
<v Speaker 1>the folks responsible for pyrotechnics and the pilot um for

0:47:43.600 --> 0:47:45.960
<v Speaker 1>everything that's happened. That's his plan to throw his people

0:47:46.080 --> 0:47:50.440
<v Speaker 1>under the fucking bus. Also, no wonder there's like a

0:47:50.560 --> 0:47:56.080
<v Speaker 1>director get like becomes one of these just like power

0:47:56.239 --> 0:48:01.920
<v Speaker 1>hungry maniacs, because just just like language like that, Like

0:48:02.280 --> 0:48:03.880
<v Speaker 1>if you come to a set and you see that

0:48:03.920 --> 0:48:06.359
<v Speaker 1>there's a hierarchy like that and then you realize you're

0:48:06.400 --> 0:48:09.359
<v Speaker 1>at the you're at the top of it. I mean,

0:48:10.560 --> 0:48:14.400
<v Speaker 1>I guess, I mean it just speaks to how shitty

0:48:14.440 --> 0:48:20.320
<v Speaker 1>a person is. Inherently if they just are in that situation,

0:48:20.400 --> 0:48:22.680
<v Speaker 1>they're like, oh, I'm above all these people. Look at

0:48:22.719 --> 0:48:26.839
<v Speaker 1>all these below people there are below me, and look

0:48:26.880 --> 0:48:29.359
<v Speaker 1>at how below they are, and I can exploit them

0:48:29.360 --> 0:48:34.319
<v Speaker 1>and manipulate them, and also the whole system because like

0:48:34.719 --> 0:48:37.239
<v Speaker 1>a lot of these lower people who get charged don't

0:48:37.239 --> 0:48:40.160
<v Speaker 1>work again, or at least not for years. Right, And

0:48:40.360 --> 0:48:42.960
<v Speaker 1>this doesn't have that problem because you can write below

0:48:43.000 --> 0:48:45.080
<v Speaker 1>the line. People have a stink to them because three

0:48:45.120 --> 0:48:50.200
<v Speaker 1>people died. Um. But Landis makes money, so there's no

0:48:50.280 --> 0:48:54.359
<v Speaker 1>real consequences for him career wise. I hate it. So

0:48:54.920 --> 0:48:58.319
<v Speaker 1>for an example of how utterly crapulent these defense tactics were,

0:48:58.320 --> 0:49:03.000
<v Speaker 1>I'm gonna quote again from Crime Library Ry quote Braun.

0:49:03.160 --> 0:49:05.960
<v Speaker 1>His defense attorney, called Landis an artist and praised his

0:49:06.000 --> 0:49:11.160
<v Speaker 1>Twilight Zone segment as a cinematographic statement against racism and bigotry.

0:49:11.360 --> 0:49:14.360
<v Speaker 1>He also gave a strangely cynical reason for the casting

0:49:14.360 --> 0:49:17.200
<v Speaker 1>of the children. Children are classically used in films other

0:49:17.239 --> 0:49:19.800
<v Speaker 1>than his principles. He opined in order to evoke emotion

0:49:19.880 --> 0:49:22.520
<v Speaker 1>in an audience, because adults generally don't like one another,

0:49:22.760 --> 0:49:27.200
<v Speaker 1>but everyone likes children. Kesselman called Shayan Hui Chen to

0:49:27.280 --> 0:49:30.520
<v Speaker 1>the stand. Renee's mother spoke through an interpreter. She cried

0:49:30.560 --> 0:49:33.799
<v Speaker 1>as she talked about watching her daughter die. So this

0:49:33.880 --> 0:49:37.880
<v Speaker 1>is like a nasty, nasty case. Um. The jury eventually

0:49:37.920 --> 0:49:41.600
<v Speaker 1>finds Landis and his fellow defendants not guilty of manslaughter.

0:49:42.000 --> 0:49:43.480
<v Speaker 1>A lot of it is like the same kind of

0:49:43.480 --> 0:49:45.640
<v Speaker 1>ship you hear in like the O. J. Simpson trial,

0:49:45.760 --> 0:49:48.640
<v Speaker 1>Like they're picking apart. Like someone will say, well, I

0:49:48.680 --> 0:49:50.759
<v Speaker 1>heard them say we're going to get arrested for doing this,

0:49:50.840 --> 0:49:52.440
<v Speaker 1>and then someone say, like, well, who said it? When

0:49:52.480 --> 0:49:54.439
<v Speaker 1>did you hear it? Like as possible they like, it's

0:49:54.480 --> 0:49:58.800
<v Speaker 1>it's all about like creating whatever doubt you can. There's

0:49:58.600 --> 0:50:02.920
<v Speaker 1>a lot of theories as to why the jury acquits them.

0:50:03.080 --> 0:50:05.920
<v Speaker 1>People will argue it's because Landis was famous or whatever.

0:50:06.480 --> 0:50:11.440
<v Speaker 1>Um uh, I don't know. Um, it's worth noting like

0:50:11.480 --> 0:50:14.520
<v Speaker 1>a master manipulator. So yeah, and he's got a lot

0:50:14.560 --> 0:50:16.560
<v Speaker 1>of money to put in, and so does the studio.

0:50:16.640 --> 0:50:19.000
<v Speaker 1>The studio puts a lot of money into his defense.

0:50:19.600 --> 0:50:23.600
<v Speaker 1>The Monday after he's acquitted, UM, John Landis appears on

0:50:23.680 --> 0:50:27.480
<v Speaker 1>Good Morning America to celebrate. He invites all twelve members

0:50:27.480 --> 0:50:29.480
<v Speaker 1>of the jury to attend to the premiere of Coming

0:50:29.480 --> 0:50:34.000
<v Speaker 1>to America, which they do so fun fact about Coming

0:50:34.040 --> 0:50:40.520
<v Speaker 1>to America if you like that film, that is wild.

0:50:41.960 --> 0:50:44.680
<v Speaker 1>Now there are some like minor fines and some censure

0:50:44.719 --> 0:50:47.840
<v Speaker 1>from like industry organizations and ship after the trial, but

0:50:47.960 --> 0:50:51.680
<v Speaker 1>John's career again just plows forward. Um. The main personal

0:50:51.680 --> 0:50:54.800
<v Speaker 1>consequence he faced, aside from his son getting dragged on Reddit,

0:50:55.160 --> 0:50:57.520
<v Speaker 1>was the end of his friendship with Steven Spielberg, who

0:50:57.600 --> 0:51:01.319
<v Speaker 1>again bounces for a while to be and they they

0:51:01.360 --> 0:51:04.280
<v Speaker 1>based at the studio because like, there's initially an attempt

0:51:04.280 --> 0:51:05.880
<v Speaker 1>to get him to like testify because he was the

0:51:05.960 --> 0:51:08.600
<v Speaker 1>producer on this movie too, and the studio is basically

0:51:08.680 --> 0:51:14.680
<v Speaker 1>like he's too important to testify, and the court's like okay, wow, okay.

0:51:16.520 --> 0:51:18.839
<v Speaker 1>I think the same thing basically happens with Kathleen as well.

0:51:18.920 --> 0:51:22.840
<v Speaker 1>So before you think too positively of Stephen, it is

0:51:22.880 --> 0:51:24.959
<v Speaker 1>worth noting again he is the producer of this movie

0:51:24.960 --> 0:51:28.080
<v Speaker 1>as well. He is also responsible for the safety of

0:51:28.120 --> 0:51:31.120
<v Speaker 1>the actors in this film UM, and for insuring things

0:51:31.160 --> 0:51:33.760
<v Speaker 1>like the illegal hiring of child actors for an explosive

0:51:33.760 --> 0:51:37.560
<v Speaker 1>helicopter scene do not occur. There are allegations that Spielberg

0:51:37.600 --> 0:51:40.040
<v Speaker 1>was on set that night. UM. I have not found

0:51:40.080 --> 0:51:43.279
<v Speaker 1>any substantiation of them, and those allegations are printed by

0:51:43.320 --> 0:51:46.399
<v Speaker 1>people who were who talked to folks who were on set.

0:51:46.400 --> 0:51:49.600
<v Speaker 1>I haven't heard them directly from people who were on set. Um.

0:51:49.840 --> 0:51:52.799
<v Speaker 1>Spielberg has claimed that the interviews in interviews that the

0:51:52.800 --> 0:51:56.040
<v Speaker 1>tragedy made me grow a little, which is a weird

0:51:56.120 --> 0:51:59.040
<v Speaker 1>thing to say. Uh. In the wake of the disaster,

0:51:59.120 --> 0:52:02.240
<v Speaker 1>he issued a statement, I was never at the Indian

0:52:02.320 --> 0:52:04.960
<v Speaker 1>Dunes location of Twilight Zone on the night of the accident,

0:52:05.120 --> 0:52:09.040
<v Speaker 1>or at any other time. Now. To follow up to that,

0:52:09.080 --> 0:52:12.279
<v Speaker 1>I'm gonna quote again from the book Outrageous Conduct. That

0:52:12.360 --> 0:52:15.360
<v Speaker 1>too sentence letter marked the complete extent of spielberg sworn

0:52:15.400 --> 0:52:18.520
<v Speaker 1>statements on the Twilight Zone case. Joe Dante, who directed

0:52:18.560 --> 0:52:20.960
<v Speaker 1>a segment that had nothing to do with the Landis episode,

0:52:21.160 --> 0:52:24.200
<v Speaker 1>had to give a deposition in one of the civil cases. Spielberg,

0:52:24.200 --> 0:52:26.440
<v Speaker 1>who was the producer of the entire movie, did not

0:52:26.520 --> 0:52:30.160
<v Speaker 1>do even that much. Nevertheless, Tom Bud's argues that there

0:52:30.200 --> 0:52:33.200
<v Speaker 1>was no compelling reason to interrogate Spielberg. There is no

0:52:33.239 --> 0:52:36.319
<v Speaker 1>indication that Spielberg even knew anything about the hiring of

0:52:36.320 --> 0:52:40.879
<v Speaker 1>the children. So I don't know. You can feel however

0:52:40.880 --> 0:52:43.120
<v Speaker 1>you want about Spielberg in this he never talks to

0:52:43.200 --> 0:52:46.560
<v Speaker 1>Landis again, like they're they're they're not buds anymore. I

0:52:46.600 --> 0:52:48.720
<v Speaker 1>don't know how much like blame to throw his way.

0:52:49.000 --> 0:52:52.160
<v Speaker 1>A number of other directors do come out and like

0:52:52.400 --> 0:52:55.080
<v Speaker 1>basically say, fucking John Landis is a murderer. After this,

0:52:55.200 --> 0:52:58.120
<v Speaker 1>like there are some directors who like really go to

0:52:58.200 --> 0:53:01.120
<v Speaker 1>the mat to condemn him. In fact, I actually pull

0:53:01.160 --> 0:53:05.720
<v Speaker 1>a couple of those up. Um Brian de Palma um

0:53:05.800 --> 0:53:08.000
<v Speaker 1>is one. He's a guy who directed Carry Right and

0:53:08.040 --> 0:53:11.480
<v Speaker 1>the Untouchables said quote, I don't think Landis was railroaded.

0:53:11.520 --> 0:53:16.280
<v Speaker 1>It's difficult to imagine putting all those elements in one place. Helicopters, explosions, children,

0:53:16.400 --> 0:53:19.600
<v Speaker 1>night shooting, and not treading a very thin line. That's

0:53:19.600 --> 0:53:22.400
<v Speaker 1>a combination you would try to steer clear of. Helicopters

0:53:22.400 --> 0:53:25.640
<v Speaker 1>by themselves are very dangerous, even with very experienced stunt people,

0:53:25.840 --> 0:53:28.040
<v Speaker 1>and as soon as you have inexperienced people in a set,

0:53:28.080 --> 0:53:31.920
<v Speaker 1>you are adding to the danger. Landis's actions were definitely excessive.

0:53:32.239 --> 0:53:34.800
<v Speaker 1>When asked why so many directors had rallied behind Landis

0:53:34.840 --> 0:53:37.800
<v Speaker 1>to Palma answered, I have no idea. Maybe they're afraid

0:53:37.800 --> 0:53:44.520
<v Speaker 1>of being sued. Um, So that's Brian cool. James L. Brooks,

0:53:44.560 --> 0:53:49.040
<v Speaker 1>who directed Terms of Endearments, also uh issued a statement

0:53:49.120 --> 0:53:51.560
<v Speaker 1>if you hire children illegally, pay them under the table

0:53:51.600 --> 0:53:54.400
<v Speaker 1>and then they get killed, that sounds like criminal negligence

0:53:54.440 --> 0:53:56.719
<v Speaker 1>to me. So there are some people in Hollywood were like,

0:53:57.320 --> 0:54:03.200
<v Speaker 1>they fucking murdered those kids for them. Um. But stating notably,

0:54:03.600 --> 0:54:06.520
<v Speaker 1>although he doesn't talk to Landis, Spielberg doesn't say shit,

0:54:07.680 --> 0:54:12.520
<v Speaker 1>Um okay, Steve, Yeah, that could have done a little

0:54:12.520 --> 0:54:15.520
<v Speaker 1>better there, Stevie. Um, I don't. It seems unlikely he

0:54:15.560 --> 0:54:18.280
<v Speaker 1>was on set. I don't think he directly had anything

0:54:18.280 --> 0:54:20.000
<v Speaker 1>to do with this, although you could argue that, like

0:54:20.480 --> 0:54:23.680
<v Speaker 1>you should have been aware of what was happening on

0:54:23.680 --> 0:54:25.440
<v Speaker 1>this set that you were helping to produce, you know.

0:54:25.680 --> 0:54:28.680
<v Speaker 1>In theory, yeah, yeah, I mean it depends on the

0:54:28.760 --> 0:54:32.000
<v Speaker 1>kind of type of producer and stuff, like some some

0:54:32.080 --> 0:54:35.719
<v Speaker 1>of them don't step foot on set. Ever, this is

0:54:35.760 --> 0:54:38.719
<v Speaker 1>not that case, right because they are also directing segments

0:54:38.719 --> 0:54:42.240
<v Speaker 1>of this. But yeah. In the years since the tragedy,

0:54:42.320 --> 0:54:44.839
<v Speaker 1>John Landez has again had a great career. He's also

0:54:44.880 --> 0:54:47.640
<v Speaker 1>signed onto a petition in favor of child molesting director

0:54:47.719 --> 0:54:51.600
<v Speaker 1>Roman Polanski. Um. Okay, not surprised about that. Yeah, big

0:54:51.680 --> 0:54:56.080
<v Speaker 1>Roman Polanski fan John landis um and of course his

0:54:56.160 --> 0:55:00.239
<v Speaker 1>greatest crime after the murders was raising Max landis. Um.

0:55:00.640 --> 0:55:04.239
<v Speaker 1>Say yeah, so he uses his clout to get his

0:55:04.320 --> 0:55:08.680
<v Speaker 1>son screenwriting and eventually directing jobs, and Max puts out

0:55:08.680 --> 0:55:12.200
<v Speaker 1>a mix of Some people will say that um, um

0:55:12.440 --> 0:55:15.240
<v Speaker 1>chronicle was pretty good. I haven't seen it. I watched

0:55:15.239 --> 0:55:18.640
<v Speaker 1>American Ultra, which was very mediocre. In December of two

0:55:18.680 --> 0:55:21.720
<v Speaker 1>thousand and seventeen, he is accused of sexual assault by

0:55:21.760 --> 0:55:24.239
<v Speaker 1>former co worker uh, and then a couple of years

0:55:24.360 --> 0:55:28.080
<v Speaker 1>later by seven other women who eventually accused him of rape, assault,

0:55:28.120 --> 0:55:31.320
<v Speaker 1>and psychological abuse that borders He's got kind of a cult.

0:55:31.960 --> 0:55:34.080
<v Speaker 1>It's like this weird group of friends that like he's

0:55:34.080 --> 0:55:37.319
<v Speaker 1>always cycling people through and exiling people like all this

0:55:37.440 --> 0:55:39.960
<v Speaker 1>kind of like he's he's fucked up, dude. Max land

0:55:40.040 --> 0:55:42.239
<v Speaker 1>is a bunch of fucked up ship. He is now

0:55:42.400 --> 0:55:46.480
<v Speaker 1>running coaching a seminars coaching screenwriters. His career seems to

0:55:46.520 --> 0:55:51.120
<v Speaker 1>have pretty much created um. So that's good. We'll see

0:55:51.160 --> 0:55:53.640
<v Speaker 1>if he tries to come back at some point, very Max.

0:55:53.800 --> 0:55:57.840
<v Speaker 1>Another Max lands story is the devastating Daily Beast article

0:55:58.000 --> 0:56:03.080
<v Speaker 1>about the years and years of psychological abuse that he

0:56:03.200 --> 0:56:05.719
<v Speaker 1>did to a number of women and how fucked up

0:56:05.760 --> 0:56:09.160
<v Speaker 1>and insidious it was. UM. As a note, if you

0:56:09.239 --> 0:56:11.960
<v Speaker 1>just find google Daily Beast Max Landis, you'll get the

0:56:12.000 --> 0:56:13.759
<v Speaker 1>U r L for that. It's on the paywall, but

0:56:13.800 --> 0:56:15.520
<v Speaker 1>if you type it, if you go to archive dot

0:56:15.520 --> 0:56:19.080
<v Speaker 1>I S and you plug that Lincoln, it'll pop up

0:56:19.239 --> 0:56:21.680
<v Speaker 1>an archived version that you can read outside of the paywall.

0:56:21.760 --> 0:56:23.799
<v Speaker 1>If you want to know the kind of fucked up

0:56:23.800 --> 0:56:26.719
<v Speaker 1>ship that Max Landis was doing. That's beyond the story

0:56:26.760 --> 0:56:29.759
<v Speaker 1>today because we're talking about John Landis, who has fucked

0:56:29.800 --> 0:56:32.160
<v Speaker 1>up as Max Landis Is. His dad is worse because

0:56:32.239 --> 0:56:35.600
<v Speaker 1>Stead murdered three people. Um, it's just a whole family,

0:56:35.600 --> 0:56:42.760
<v Speaker 1>whole bloodline of great m hmm. And that's the story

0:56:42.840 --> 0:56:47.960
<v Speaker 1>of John Landis, a guy who sucks. What a bastard.

0:56:49.080 --> 0:56:50.799
<v Speaker 1>So I don't know, show up to his funeral when

0:56:50.840 --> 0:56:57.160
<v Speaker 1>he dies and make it about you. I will, I

0:56:57.239 --> 0:57:01.760
<v Speaker 1>really will do that. Do you have any plausibles for us? Perhaps?

0:57:01.760 --> 0:57:06.800
<v Speaker 1>Oh gosh, sure, I sure do. UM. You can follow

0:57:06.840 --> 0:57:10.680
<v Speaker 1>me on Twitter and Instagram. I've been doing this new

0:57:10.719 --> 0:57:15.800
<v Speaker 1>thing on my Instagram stories where I recap a movie

0:57:16.520 --> 0:57:20.240
<v Speaker 1>with as much detail as I can, um speaking as

0:57:20.320 --> 0:57:22.400
<v Speaker 1>quickly as I can and doing the whole thing entirely

0:57:22.440 --> 0:57:26.439
<v Speaker 1>from memory in fifteen seconds or less. It's a bit

0:57:26.560 --> 0:57:29.760
<v Speaker 1>that we all love and is super cool and fun

0:57:29.880 --> 0:57:34.600
<v Speaker 1>and good. So do do the movie Pie? The movie pop?

0:57:35.080 --> 0:57:39.920
<v Speaker 1>Are you? First of all, I barely remember. I couldn't

0:57:39.920 --> 0:57:43.400
<v Speaker 1>even I've never watched it while not tripping, and I've

0:57:43.400 --> 0:57:47.000
<v Speaker 1>watched it like seven times. I've definitely seen it, but

0:57:47.040 --> 0:57:48.919
<v Speaker 1>it was like in college because I was like, I'm

0:57:48.960 --> 0:57:53.280
<v Speaker 1>a film student and I need to launch Looking Deer

0:57:53.360 --> 0:57:56.600
<v Speaker 1>near Nashky. It's a great movie to trip while watching.

0:57:56.640 --> 0:57:58.640
<v Speaker 1>Although if you really want to funk your head up,

0:57:58.640 --> 0:58:03.760
<v Speaker 1>watch Tetsuo the Iron Man because that'll, oh yeah, there's

0:58:03.800 --> 0:58:08.200
<v Speaker 1>a drill fucking scene in that one. But anyway, so

0:58:08.240 --> 0:58:10.960
<v Speaker 1>those so that, so I'm afraid I will not be

0:58:11.160 --> 0:58:14.919
<v Speaker 1>doing a good job recapping the movie Pie. Also, as

0:58:14.920 --> 0:58:17.000
<v Speaker 1>soon as you said that, I my brain immediately went

0:58:17.040 --> 0:58:20.320
<v Speaker 1>to Life of Pie and I was like, yeah, it's

0:58:20.360 --> 0:58:23.520
<v Speaker 1>about a boy and the tiger in the boat. Did

0:58:23.560 --> 0:58:28.760
<v Speaker 1>it yep? I guess my Pie summary would be math

0:58:28.800 --> 0:58:34.680
<v Speaker 1>and judaism. M M yeah, uh yeah, that that could

0:58:34.720 --> 0:58:38.080
<v Speaker 1>be again, don't remember single detail about there's a lot

0:58:38.080 --> 0:58:42.720
<v Speaker 1>of both in that movie. Um so yeah. Check out

0:58:42.720 --> 0:58:47.040
<v Speaker 1>those those Instagram stories. Follow me on those social media

0:58:47.160 --> 0:58:50.920
<v Speaker 1>platforms if you must um a slash, please do because

0:58:50.960 --> 0:58:54.280
<v Speaker 1>the more followers I have, the more validated I feel

0:58:54.320 --> 0:58:58.360
<v Speaker 1>as a human person. And then you can check out

0:58:58.360 --> 0:59:01.480
<v Speaker 1>the Bechtel Cast, which I co host with Jamie Loftus

0:59:01.520 --> 0:59:07.160
<v Speaker 1>and we examine movies through an intersectional feminist lens. Well,

0:59:07.440 --> 0:59:11.280
<v Speaker 1>follow Caitlin and find us both on Twitter. Once you've

0:59:11.320 --> 0:59:13.200
<v Speaker 1>listened to this and tell us you are Max land

0:59:13.200 --> 0:59:16.000
<v Speaker 1>Is Stories. I'll bet there's a number. I'll bet like

0:59:16.480 --> 0:59:19.160
<v Speaker 1>a not insignificant number of the people listening to the

0:59:19.160 --> 0:59:20.600
<v Speaker 1>show we're like, oh, I had to run in with

0:59:20.600 --> 0:59:26.920
<v Speaker 1>that motherfucker. There's a lot of them out there, mostly

0:59:27.040 --> 0:59:30.000
<v Speaker 1>just in ain stupid ship, but also some horrifying stuff.

0:59:30.040 --> 0:59:35.200
<v Speaker 1>So anyway, that's the episode. Thanks for having me, Thanks

0:59:35.240 --> 0:59:39.600
<v Speaker 1>for being on the show. Behind the Bastards is a

0:59:39.640 --> 0:59:42.920
<v Speaker 1>production of cool Zone Media. For more from cool Zone Media,

0:59:43.200 --> 0:59:46.640
<v Speaker 1>visit our website cool zone media dot com, or check

0:59:46.720 --> 0:59:49.200
<v Speaker 1>us out on the I Heart Radio app, Apple Podcasts,

0:59:49.280 --> 0:59:50.840
<v Speaker 1>or wherever you get your podcasts.