1 00:00:04,480 --> 00:00:08,240 Speaker 1: Hey, welcome to Weird House Cinema. Rewind. This is Rob 2 00:00:08,320 --> 00:00:10,440 Speaker 1: Lamb and oh we have one of my favorites here 3 00:00:10,440 --> 00:00:12,760 Speaker 1: for you today, one of my favorite movies, and I 4 00:00:12,840 --> 00:00:15,400 Speaker 1: think it was a pretty solid episode as well. Hopefully 5 00:00:15,720 --> 00:00:18,919 Speaker 1: my enthusiasm and Joe's enthusiasm for the peace shines through. 6 00:00:19,200 --> 00:00:22,040 Speaker 1: This is going to be our episode covering The Never 7 00:00:22,160 --> 00:00:27,440 Speaker 1: Ending Story, the classic, really generation defining nineteen eighty four 8 00:00:27,520 --> 00:00:31,640 Speaker 1: fantasy film. We originally published this episode four seven, twenty 9 00:00:31,680 --> 00:00:35,239 Speaker 1: twenty three. Please enjoy. 10 00:00:36,720 --> 00:00:42,440 Speaker 2: Welcome to Stuff to Blow your Mind, a production of iHeartRadio. 11 00:00:46,720 --> 00:00:48,440 Speaker 1: Hey, welcome to Weird House Cinema. 12 00:00:48,560 --> 00:00:52,000 Speaker 3: This is Rob Lamb and this is Joe McCormick. And 13 00:00:52,120 --> 00:00:55,560 Speaker 3: today we're going to be covering a well known classic. 14 00:00:55,680 --> 00:00:59,000 Speaker 3: We are finally getting around to the nineteen eighty four 15 00:00:59,400 --> 00:01:02,760 Speaker 3: fantasy film The Never Ending Story, something that I know 16 00:01:02,880 --> 00:01:06,240 Speaker 3: many people of my generation grew up watching over and 17 00:01:06,280 --> 00:01:09,200 Speaker 3: over on VHS tapes. But Rob, I think, if I 18 00:01:09,280 --> 00:01:12,600 Speaker 3: understand correctly, both the movie and the book here are 19 00:01:13,360 --> 00:01:14,280 Speaker 3: very dear to you. 20 00:01:14,600 --> 00:01:16,319 Speaker 1: Yeah. Well, I don't have as long a history with 21 00:01:16,400 --> 00:01:19,480 Speaker 1: the book. The book is one that I ended up 22 00:01:19,520 --> 00:01:21,560 Speaker 1: purchasing at some point. It was on the shelf, and 23 00:01:21,600 --> 00:01:23,880 Speaker 1: then I finally got around to reading it as well 24 00:01:23,920 --> 00:01:26,280 Speaker 1: when I got back into the film with my son 25 00:01:26,840 --> 00:01:30,520 Speaker 1: a few years back. But I instantly it was one 26 00:01:30,520 --> 00:01:32,360 Speaker 1: of these situations you never know exactly what the source 27 00:01:32,400 --> 00:01:34,880 Speaker 1: material for something that you hold dear is going to 28 00:01:34,959 --> 00:01:37,759 Speaker 1: be like. But I was really blown away by Michael 29 00:01:37,800 --> 00:01:43,160 Speaker 1: Inda's novel. In my experience, it delivered everything I wanted 30 00:01:43,200 --> 00:01:46,880 Speaker 1: to of the never Ending Story as I knew it, 31 00:01:47,080 --> 00:01:49,120 Speaker 1: but then adding all of these other dimensions to it, 32 00:01:49,200 --> 00:01:52,080 Speaker 1: and of course an entire half a book plus on 33 00:01:52,160 --> 00:01:54,520 Speaker 1: top of what we see in the film, which. 34 00:01:54,520 --> 00:01:56,480 Speaker 3: I haven't read the book, but from what I understand, 35 00:01:56,520 --> 00:01:58,880 Speaker 3: the other half of the book not featured in the film, 36 00:01:58,920 --> 00:02:00,520 Speaker 3: goes in a much darker direction. 37 00:02:01,040 --> 00:02:03,160 Speaker 1: Yeah, I think that's fair to say. I've made the 38 00:02:03,160 --> 00:02:07,200 Speaker 1: comparison before to like Doune and Doune Messiah, where the 39 00:02:07,240 --> 00:02:10,400 Speaker 1: first half of The Neverending Story is basically done about 40 00:02:10,400 --> 00:02:15,000 Speaker 1: a hero's ascension and then the second half the Doom 41 00:02:15,080 --> 00:02:18,400 Speaker 1: Messiah portion of the Neverending Story. It is kind of 42 00:02:18,480 --> 00:02:22,560 Speaker 1: about the complications that occur when one achieves this power, 43 00:02:23,440 --> 00:02:27,359 Speaker 1: like what does that disrupt? What new challenges are presented? 44 00:02:27,400 --> 00:02:29,720 Speaker 1: And so forth. So yeah, I've been wanting to cover 45 00:02:29,800 --> 00:02:33,520 Speaker 1: the Neverending Story on Weird House for a while. You know, 46 00:02:33,520 --> 00:02:35,600 Speaker 1: it's certainly a mainstream film and one that I think 47 00:02:35,600 --> 00:02:39,000 Speaker 1: many listeners have already seen, so it's weirdness doesn't emerge 48 00:02:39,000 --> 00:02:42,240 Speaker 1: from its unfamiliarity. It's, in many ways, I think, a 49 00:02:42,280 --> 00:02:44,760 Speaker 1: generation defining film. Like you said, it's one of these 50 00:02:44,800 --> 00:02:47,240 Speaker 1: films of the sort of the dark fantasy films of 51 00:02:47,240 --> 00:02:50,520 Speaker 1: the nineteen eighties, alongside the likes of The Dark Crystal 52 00:02:50,639 --> 00:02:53,400 Speaker 1: and so forth that made a huge impact on a 53 00:02:53,400 --> 00:02:57,880 Speaker 1: lot of young viewers. But I feel like this one 54 00:02:58,160 --> 00:03:01,080 Speaker 1: hits a little differently than just about any other particular 55 00:03:01,440 --> 00:03:04,000 Speaker 1: dark fantasy film of this time period I can think of, 56 00:03:04,200 --> 00:03:07,000 Speaker 1: Like you know, did a Dark Crystal Return to Oz? Yes, 57 00:03:07,080 --> 00:03:10,360 Speaker 1: they all have these fantastic, rich worlds. They all present, 58 00:03:10,760 --> 00:03:13,720 Speaker 1: often a young viewer with the with some dark imagery 59 00:03:13,960 --> 00:03:16,639 Speaker 1: or ideas, But there's nothing quite like nineteen eighty four 60 00:03:16,680 --> 00:03:17,760 Speaker 1: as the never Ending Story. 61 00:03:18,000 --> 00:03:20,880 Speaker 3: Well, one thing I didn't realize until just this moment 62 00:03:21,320 --> 00:03:25,520 Speaker 3: when you made the comparison is the thematic overlap between 63 00:03:25,560 --> 00:03:27,840 Speaker 3: the Never Ending Story and Return to Oz, which are 64 00:03:28,480 --> 00:03:33,120 Speaker 3: both essentially stories that integrate a fantasy world with the 65 00:03:33,560 --> 00:03:37,720 Speaker 3: mundane human environment in the imagination of a child, and 66 00:03:37,800 --> 00:03:42,520 Speaker 3: that human child character is essentially being like, there are 67 00:03:42,640 --> 00:03:45,160 Speaker 3: there are adults around that child trying to tell them 68 00:03:45,200 --> 00:03:47,640 Speaker 3: not to have an imagination anymore, and the child is 69 00:03:47,680 --> 00:03:51,320 Speaker 3: rebelling by dreaming up all of these fantastic places and 70 00:03:51,360 --> 00:03:52,600 Speaker 3: creatures and adventures. 71 00:03:53,080 --> 00:03:55,080 Speaker 1: Yeah, I mean the adults are also helping to foster 72 00:03:55,200 --> 00:03:58,600 Speaker 1: a traumatic world that is sending the young person even 73 00:03:58,640 --> 00:04:02,320 Speaker 1: further into the world of fantasy. So this one should 74 00:04:02,320 --> 00:04:04,560 Speaker 1: be a fun one to discuss here. I tell you what, 75 00:04:04,600 --> 00:04:06,280 Speaker 1: I was trying to think of an elevator pitch. At first, 76 00:04:06,320 --> 00:04:08,360 Speaker 1: it was difficult because I mean, it's the never Ending Story. 77 00:04:08,400 --> 00:04:10,640 Speaker 1: It's like, all you have to say is that, and 78 00:04:10,680 --> 00:04:13,320 Speaker 1: I have this instant, crystallized idea of what it is. 79 00:04:13,840 --> 00:04:15,480 Speaker 1: But when I thought a little hard, I was like, oh, 80 00:04:15,600 --> 00:04:19,040 Speaker 1: it's essentially Feris Buehler's day off, except for book nerds. 81 00:04:19,520 --> 00:04:22,520 Speaker 3: That's very good. And in fact, I was going to 82 00:04:22,560 --> 00:04:24,600 Speaker 3: get into this later in the discussion, but maybe it's 83 00:04:24,600 --> 00:04:27,240 Speaker 3: good to bring up right here at the top. When 84 00:04:27,360 --> 00:04:30,200 Speaker 3: I think back on my childhood feelings about the never 85 00:04:30,320 --> 00:04:32,560 Speaker 3: Ending Story. One way in which I think it is 86 00:04:32,760 --> 00:04:35,840 Speaker 3: distinct from a lot of these other fantasy films is 87 00:04:35,880 --> 00:04:40,400 Speaker 3: that in this movie, the things about it that stuck 88 00:04:40,440 --> 00:04:45,440 Speaker 3: with me the most were actually not the fantasy elements, 89 00:04:45,480 --> 00:04:50,599 Speaker 3: not the creatures within Fantasia, but like the scene where 90 00:04:50,800 --> 00:04:52,920 Speaker 3: and we'll describe the plot in more detail later, but 91 00:04:52,960 --> 00:04:57,919 Speaker 3: like the scene where the human child Bastion goes into 92 00:04:58,080 --> 00:05:01,080 Speaker 3: the bookshop and speaks with the man bookshep, or the 93 00:05:01,120 --> 00:05:04,640 Speaker 3: scenes where he has snuck away from school and I 94 00:05:04,640 --> 00:05:06,520 Speaker 3: guess he's still in the school building. He's snuck away 95 00:05:06,520 --> 00:05:09,359 Speaker 3: from class and he's just hiding out reading a book 96 00:05:09,400 --> 00:05:13,480 Speaker 3: by himself. Those scenes, when I was a child, they 97 00:05:13,520 --> 00:05:18,560 Speaker 3: had a really powerful sort of magic about them, just 98 00:05:18,600 --> 00:05:23,080 Speaker 3: like the excitement at the idea of being alone, away 99 00:05:23,160 --> 00:05:26,760 Speaker 3: from the scheduled existence of like school life and activities 100 00:05:26,800 --> 00:05:28,600 Speaker 3: and all the things adults are telling you to do, 101 00:05:28,839 --> 00:05:31,359 Speaker 3: and just getting to hide with a book and read 102 00:05:31,480 --> 00:05:35,640 Speaker 3: and these sort of dusty corners. It was almost intoxicating. 103 00:05:36,240 --> 00:05:40,320 Speaker 1: Oh, I absolutely agree. And yeah, these scenes the bookshop 104 00:05:40,560 --> 00:05:46,080 Speaker 1: and the school attic where Bastion holds down and reads 105 00:05:46,080 --> 00:05:49,839 Speaker 1: the never ending story. Yeah, both of these sequences in 106 00:05:49,960 --> 00:05:52,279 Speaker 1: the film I think are very true to how they're 107 00:05:52,279 --> 00:05:55,760 Speaker 1: presented in the book, And yeah, as a child and 108 00:05:55,800 --> 00:05:57,960 Speaker 1: as an adult, there's something about that, like, yeah, just 109 00:05:58,040 --> 00:06:02,320 Speaker 1: like hiding away and reading and then and eating that sandwich, 110 00:06:02,360 --> 00:06:04,640 Speaker 1: the scene where Bastian's like, yes, oh yeah, I'm hungry. 111 00:06:04,680 --> 00:06:06,240 Speaker 1: I'm going to get out my lunch from today and 112 00:06:06,279 --> 00:06:08,920 Speaker 1: eat it. Like I get a little snacky every time 113 00:06:08,960 --> 00:06:09,880 Speaker 1: I watch that sequence. 114 00:06:10,400 --> 00:06:12,600 Speaker 3: So not so much about the sandwich itself, but I 115 00:06:12,680 --> 00:06:16,720 Speaker 3: thought of the comparison of the reading scenes where he's 116 00:06:16,760 --> 00:06:21,719 Speaker 3: hiding out with the book are almost as like carnally 117 00:06:21,880 --> 00:06:25,880 Speaker 3: appetizing as really good food scenes in other movies, like 118 00:06:25,920 --> 00:06:28,479 Speaker 3: you know, the cooking scene and Goodfellas or something where 119 00:06:28,480 --> 00:06:31,360 Speaker 3: you're like looking at delicious foods and you're like, oh, 120 00:06:31,400 --> 00:06:33,880 Speaker 3: I've got to go eat now. This movie does that 121 00:06:34,040 --> 00:06:35,640 Speaker 3: for hiding away with the book. 122 00:06:36,000 --> 00:06:39,600 Speaker 1: Yeah, the attic especially is great because you look at 123 00:06:39,600 --> 00:06:42,880 Speaker 1: the other environments that the real world Bastion has to 124 00:06:43,160 --> 00:06:45,880 Speaker 1: encounter like that. We'll talk about him in more depth 125 00:06:45,880 --> 00:06:49,760 Speaker 1: in a minute, but like the kitchen of his house 126 00:06:49,839 --> 00:06:52,640 Speaker 1: where he has sort of breakfast with his dad, or 127 00:06:52,680 --> 00:06:55,600 Speaker 1: certainly the school hallways, like these are so dry and 128 00:06:55,640 --> 00:06:59,760 Speaker 1: sterile and just you know, just devoid of joy. But 129 00:06:59,839 --> 00:07:02,720 Speaker 1: here in the in the attic, we have this kind 130 00:07:02,760 --> 00:07:06,960 Speaker 1: of like transitional realm, this place where they the boring 131 00:07:07,080 --> 00:07:10,520 Speaker 1: and like anti creative forces of his life, where they 132 00:07:10,560 --> 00:07:13,280 Speaker 1: set aside all of these like remnants of imagination, and 133 00:07:13,320 --> 00:07:16,720 Speaker 1: so you see things like animal heads and what like 134 00:07:17,000 --> 00:07:19,600 Speaker 1: Knight's armor and so forth in the background, like all 135 00:07:19,640 --> 00:07:22,080 Speaker 1: these and even just like suggestive shapes where it's like 136 00:07:22,120 --> 00:07:24,720 Speaker 1: this is like a lost temple of the imagination. 137 00:07:25,360 --> 00:07:27,920 Speaker 3: Why are there swords in the attic of the school? 138 00:07:28,160 --> 00:07:32,400 Speaker 1: I don't know, but yeah, it works absolutely because yeah, 139 00:07:32,440 --> 00:07:33,960 Speaker 1: there are other aspects about that. As I was, I 140 00:07:33,960 --> 00:07:37,000 Speaker 1: rewatched it with my son, which was very nice, and 141 00:07:37,080 --> 00:07:38,840 Speaker 1: maybe he even brought it. It's like, well, why why 142 00:07:38,880 --> 00:07:41,240 Speaker 1: has no one noticed that that bastion has not come home? 143 00:07:41,320 --> 00:07:44,119 Speaker 1: Like it's night time out? Is his dad really working 144 00:07:44,160 --> 00:07:44,840 Speaker 1: that late? Well? 145 00:07:44,960 --> 00:07:47,280 Speaker 3: Maybe, I mean you kind of have to press that 146 00:07:47,400 --> 00:07:50,400 Speaker 3: don't think about that button then, yeah, because otherwise it's like, oh, yeah, 147 00:07:50,440 --> 00:07:52,880 Speaker 3: there's gonna be an emergency here. Everybody's like where has 148 00:07:52,920 --> 00:07:53,679 Speaker 3: the child gone? 149 00:07:54,040 --> 00:07:56,400 Speaker 1: Yeah, all right, well, let's go ahead and listen to 150 00:07:57,080 --> 00:08:03,600 Speaker 1: the trailer audio for this film. 151 00:08:03,600 --> 00:08:08,360 Speaker 4: What is the secret of this Enchanted book. What wonders 152 00:08:08,400 --> 00:08:13,400 Speaker 4: are hidden within its pages? What magical spell does it 153 00:08:13,520 --> 00:08:18,680 Speaker 4: cast on all who read it? What is the secret 154 00:08:19,040 --> 00:08:20,960 Speaker 4: of the never Ending Story? 155 00:08:23,120 --> 00:08:24,560 Speaker 2: It is impossible. 156 00:08:37,200 --> 00:08:40,679 Speaker 4: You will enter a world where a young boy's imagination 157 00:08:41,000 --> 00:08:45,559 Speaker 4: becomes a vivid reality. The world of betray You and 158 00:08:45,800 --> 00:08:50,320 Speaker 4: our tacks, the rock Biter and a good and kind 159 00:08:50,400 --> 00:08:57,240 Speaker 4: gnome a world that is vast and eternal, out, treacherous 160 00:08:58,160 --> 00:09:06,120 Speaker 4: and dazzling, unforgettable and free. Or anyone who's ever made 161 00:09:06,160 --> 00:09:11,280 Speaker 4: a wish, believed in a fantasy, or had a dream, 162 00:09:11,600 --> 00:09:26,960 Speaker 4: this is the never Ending Story. 163 00:09:21,360 --> 00:09:24,080 Speaker 1: All right. I think that captured some of the sweeping music, 164 00:09:24,200 --> 00:09:25,720 Speaker 1: some of the energy of the picture. 165 00:09:25,920 --> 00:09:28,280 Speaker 3: Now, Robert, I don't know if we've ever discussed this before, 166 00:09:28,280 --> 00:09:31,480 Speaker 3: but I made a connection in my brain between your 167 00:09:31,840 --> 00:09:37,440 Speaker 3: long running relationship with this movie and the kind of 168 00:09:37,559 --> 00:09:40,079 Speaker 3: music that is featured in the soundtrack of this movie. 169 00:09:40,320 --> 00:09:42,040 Speaker 3: I bet we probably got some of it in the 170 00:09:42,080 --> 00:09:44,360 Speaker 3: trailer there, though I hadn't listened to the trailer ahead 171 00:09:44,400 --> 00:09:47,480 Speaker 3: of time, so I don't know. But is there a 172 00:09:47,600 --> 00:09:52,360 Speaker 3: relationship between the never Ending Story and electronic music scores? 173 00:09:52,720 --> 00:09:53,360 Speaker 3: In your mind? 174 00:09:54,000 --> 00:09:57,319 Speaker 1: Oh? Yeah, yeah, definitely. And it's gonna be fun when 175 00:09:57,320 --> 00:10:00,800 Speaker 1: we get into the musicians, respond onstable because you've got 176 00:10:00,800 --> 00:10:03,240 Speaker 1: a couple of really big names here. You I mean, 177 00:10:03,280 --> 00:10:06,640 Speaker 1: you have Claus Dollinger, who is like a great German 178 00:10:06,679 --> 00:10:10,560 Speaker 1: synth composer and saxophonist. He's the guy who scored nineteen 179 00:10:10,559 --> 00:10:14,080 Speaker 1: eighty one's Dost Bout. And then you also have Giorgio 180 00:10:14,160 --> 00:10:19,000 Speaker 1: Moroder adding these additional synth tracks and also that really 181 00:10:19,040 --> 00:10:21,720 Speaker 1: catchy theme music for the US release of the film. 182 00:10:22,040 --> 00:10:25,240 Speaker 1: And yeah, especially Moroder. Moroder is a huge name in 183 00:10:25,600 --> 00:10:31,199 Speaker 1: electronic music in Italo disco. I mean, he's just he's 184 00:10:31,240 --> 00:10:34,400 Speaker 1: a titan of the sound. So yeah, well we'll get 185 00:10:34,400 --> 00:10:36,439 Speaker 1: into him in a bit, but yeah, it's you can't 186 00:10:36,480 --> 00:10:39,760 Speaker 1: just take Marouder out of like eighties films and expect 187 00:10:39,800 --> 00:10:42,839 Speaker 1: anything to sound the same. It's definitely a movie where 188 00:10:43,679 --> 00:10:47,600 Speaker 1: like the ideas of the book, the music, and also 189 00:10:47,960 --> 00:10:51,960 Speaker 1: something very distinctive about the visuals all come together. I 190 00:10:51,960 --> 00:10:54,880 Speaker 1: think we've talked before about sort of the sameness of 191 00:10:54,920 --> 00:10:57,520 Speaker 1: the visual flare of a lot of films, certainly of 192 00:10:57,559 --> 00:11:01,560 Speaker 1: the of the modern period. Know how, certain like monsters 193 00:11:01,559 --> 00:11:03,760 Speaker 1: will sort of look the same, space suits will sort 194 00:11:03,800 --> 00:11:07,360 Speaker 1: of looked the same, and nothing else really quite looks 195 00:11:07,440 --> 00:11:09,160 Speaker 1: like this movie, and part of it has to do 196 00:11:09,200 --> 00:11:12,800 Speaker 1: with the uh, the artist that was involved in designing 197 00:11:12,840 --> 00:11:14,360 Speaker 1: these various creatures and scenes. 198 00:11:14,960 --> 00:11:16,400 Speaker 3: That's a good point. So I was going to raise 199 00:11:16,440 --> 00:11:18,360 Speaker 3: this when when we were talking about the plot, but 200 00:11:18,440 --> 00:11:22,600 Speaker 3: actually we could address it now. So yeah, I couldn't 201 00:11:22,640 --> 00:11:26,680 Speaker 3: help but compare this to a new fantasy film that 202 00:11:26,800 --> 00:11:29,120 Speaker 3: I saw over the past weekend. I went and saw 203 00:11:29,240 --> 00:11:32,839 Speaker 3: the Dungeons and Dragons movie, which I quite liked it was. 204 00:11:33,080 --> 00:11:35,960 Speaker 3: I thought it was great. It was funny, you know, 205 00:11:36,080 --> 00:11:39,720 Speaker 3: tightly written, well structured, plot zipped right along, had a 206 00:11:39,760 --> 00:11:43,319 Speaker 3: really nice cast. So basically thumbs up to all that. 207 00:11:43,440 --> 00:11:46,880 Speaker 3: It was a grand old time. But I do have 208 00:11:46,920 --> 00:11:49,480 Speaker 3: to admit I was not crazy about the way the 209 00:11:49,559 --> 00:11:54,280 Speaker 3: movie looked. Not because it looked bad. It didn't, you know, 210 00:11:54,800 --> 00:11:56,840 Speaker 3: like there was nothing ugly about it. It's not like 211 00:11:56,920 --> 00:12:01,280 Speaker 3: Jason X or something. But it just looked the same 212 00:12:01,480 --> 00:12:05,640 Speaker 3: way most big budget, mainstream genre movies I see these 213 00:12:05,720 --> 00:12:09,280 Speaker 3: days look so like I feel like all the Marvel 214 00:12:09,320 --> 00:12:14,160 Speaker 3: movies I've seen look this way too, And I don't know. 215 00:12:14,200 --> 00:12:17,040 Speaker 3: I'm not involved in cinematography, so I don't know exactly 216 00:12:17,160 --> 00:12:19,959 Speaker 3: what this quality is maybe if you out there listener, 217 00:12:20,080 --> 00:12:23,600 Speaker 3: you know more about cinematography and I don't know how 218 00:12:23,679 --> 00:12:25,840 Speaker 3: movies are color rated and all that kind of stuff, 219 00:12:25,880 --> 00:12:28,360 Speaker 3: like could explain what this thing I'm talking about is. 220 00:12:28,800 --> 00:12:32,800 Speaker 3: It's this quality of big mainstream genre movies today all 221 00:12:32,840 --> 00:12:40,480 Speaker 3: looking very smooth and digital somehow, like everything feels very 222 00:12:40,640 --> 00:12:45,280 Speaker 3: evenly well lit, and everything looks clean, and everything's just 223 00:12:45,400 --> 00:12:48,880 Speaker 3: kind of like sealed and seamed up and kind of 224 00:12:49,280 --> 00:12:53,120 Speaker 3: paved over with this digital sheen, like the whole movie 225 00:12:53,480 --> 00:12:56,400 Speaker 3: has been face tuned. You know those face tune apps 226 00:12:56,480 --> 00:12:58,760 Speaker 3: like people can use on I don't know if they use. 227 00:12:58,800 --> 00:13:01,000 Speaker 1: On Instagram like a face or something. 228 00:13:01,320 --> 00:13:03,600 Speaker 3: Well, no, I don't mean fully like, I don't mean 229 00:13:03,640 --> 00:13:05,400 Speaker 3: the ones that like give you a cat face people. 230 00:13:06,320 --> 00:13:08,400 Speaker 3: There's some kind of apps people, I'm gonna sound really 231 00:13:08,400 --> 00:13:10,920 Speaker 3: stupid people who actually know what these things are. But basically, 232 00:13:10,920 --> 00:13:13,920 Speaker 3: there are these apps people use to make their faces 233 00:13:13,960 --> 00:13:16,320 Speaker 3: look quote better. I don't know if they actually end 234 00:13:16,400 --> 00:13:18,600 Speaker 3: up looking better, but like with the other you know, 235 00:13:18,640 --> 00:13:21,520 Speaker 3: they'll run a selfie through them and their face comes 236 00:13:21,559 --> 00:13:25,200 Speaker 3: out just looking like smoother and more sort of evenly 237 00:13:25,320 --> 00:13:29,080 Speaker 3: lit and more. I don't know, like it sort of 238 00:13:29,160 --> 00:13:32,920 Speaker 3: takes out some of the texture and the individuality of 239 00:13:32,960 --> 00:13:34,880 Speaker 3: the image so. 240 00:13:34,800 --> 00:13:37,440 Speaker 1: That they come out as a lie. Okay, that's fitting 241 00:13:37,480 --> 00:13:39,400 Speaker 1: for what are we discussing later on? 242 00:13:40,240 --> 00:13:42,439 Speaker 3: Well, I don't know. So I mean, I don't want 243 00:13:42,440 --> 00:13:45,199 Speaker 3: to sound overly harsh, because again, I mean, I liked 244 00:13:45,240 --> 00:13:48,120 Speaker 3: the I liked the D and D movie. I've enjoyed 245 00:13:48,160 --> 00:13:50,360 Speaker 3: plenty of other movies that did look like this, But 246 00:13:50,400 --> 00:13:54,199 Speaker 3: I feel like the lack of visual distinctiveness does kind 247 00:13:54,240 --> 00:13:56,559 Speaker 3: of take away from my enjoyment. And I couldn't help 248 00:13:56,600 --> 00:13:59,720 Speaker 3: but keep making that mental comparison. When I was rewatching 249 00:13:59,800 --> 00:14:03,319 Speaker 3: the Ending story here and there are all these scenes 250 00:14:03,440 --> 00:14:07,080 Speaker 3: where I don't know, like you there, there's a lot 251 00:14:07,080 --> 00:14:10,480 Speaker 3: of playing with light and shadow. You can identify individual 252 00:14:10,640 --> 00:14:14,680 Speaker 3: sources of light to the surfaces within the sets and 253 00:14:14,679 --> 00:14:17,320 Speaker 3: and on the people feel like they have texture. There 254 00:14:17,360 --> 00:14:20,480 Speaker 3: would be bumps and wrinkles and things, and there's a 255 00:14:20,560 --> 00:14:23,440 Speaker 3: there's a feeling of dust and age and just generally 256 00:14:23,520 --> 00:14:27,000 Speaker 3: real life. And uh, the Never Ending Story has that 257 00:14:27,600 --> 00:14:29,760 Speaker 3: has that to the gills. You know, it's all over 258 00:14:29,800 --> 00:14:32,680 Speaker 3: the place that that that sense of reality and texture 259 00:14:32,720 --> 00:14:35,640 Speaker 3: to it. And that's what I feel like is lacking 260 00:14:35,680 --> 00:14:38,320 Speaker 3: in a lot of these big budget movies I see today. 261 00:14:38,480 --> 00:14:40,360 Speaker 1: I think as a solid point. I mean, I agree 262 00:14:40,400 --> 00:14:42,440 Speaker 1: too that I saw the Dungeons and Dragons movie and 263 00:14:42,560 --> 00:14:44,000 Speaker 1: I loved it. I thought it was a lot of fun. 264 00:14:45,120 --> 00:14:47,720 Speaker 1: But yeah, I would stop myself from comparing it to 265 00:14:48,000 --> 00:14:53,160 Speaker 1: films like this, just because I was just like, it's 266 00:14:53,240 --> 00:14:55,240 Speaker 1: it's great if you compare it to like all the 267 00:14:55,240 --> 00:14:59,880 Speaker 1: other films that are coming out these days. But yeah, 268 00:15:00,880 --> 00:15:03,560 Speaker 1: like you said, the light and the darkness, the sense 269 00:15:03,600 --> 00:15:06,560 Speaker 1: of like physical reality that you find in a film 270 00:15:06,600 --> 00:15:08,320 Speaker 1: like this, it just doesn't compare. 271 00:15:08,640 --> 00:15:10,840 Speaker 3: Yeah, I also didn't mean to imply that in every 272 00:15:10,920 --> 00:15:13,640 Speaker 3: other respect than the visual they are similar. They're also 273 00:15:13,720 --> 00:15:14,800 Speaker 3: different in other ways. 274 00:15:15,000 --> 00:15:18,800 Speaker 1: Fun flick, though, recommend Under the seconds whatever the rest 275 00:15:18,840 --> 00:15:21,160 Speaker 1: of the name of it is called to adventure I 276 00:15:21,360 --> 00:15:22,520 Speaker 1: I can't remember the colon, but. 277 00:15:22,720 --> 00:15:25,880 Speaker 3: You know what to talk about thieves, Gil honor among thieves. 278 00:15:25,960 --> 00:15:28,800 Speaker 1: That's it, all right. Well, if you want to go 279 00:15:28,880 --> 00:15:32,200 Speaker 1: watch an ever ending story before proceeding with this episode, 280 00:15:32,400 --> 00:15:35,560 Speaker 1: we'll lucky for you, it's widely available both physically and digitally, 281 00:15:36,200 --> 00:15:39,280 Speaker 1: even if I'm not sure it's actually streaming anywhere at 282 00:15:39,280 --> 00:15:41,600 Speaker 1: the moment, I think it was on a streaming service 283 00:15:42,000 --> 00:15:44,520 Speaker 1: and then it like cycled out of that streaming service. 284 00:15:44,600 --> 00:15:47,080 Speaker 1: But it's highly available. You should be able to find 285 00:15:47,120 --> 00:15:49,600 Speaker 1: it wherever you are going to get your physical or 286 00:15:49,640 --> 00:15:52,160 Speaker 1: digital media. All right, well, let's get into the people 287 00:15:52,200 --> 00:15:54,840 Speaker 1: behind it. Let's start at the top with the director, 288 00:15:54,880 --> 00:15:57,960 Speaker 1: who also has a writing credit. It's Wolfgang Peterson, who 289 00:15:57,960 --> 00:16:01,640 Speaker 1: lived nineteen forty one through twenty two, twenty two German 290 00:16:01,680 --> 00:16:04,440 Speaker 1: director who rose to international acclaim with his third full 291 00:16:04,520 --> 00:16:07,200 Speaker 1: length film, nineteen eighty one's Dots Boot. This is, of course, 292 00:16:07,240 --> 00:16:10,720 Speaker 1: the German submarine movie. This film, The Neverending Story would 293 00:16:10,760 --> 00:16:13,320 Speaker 1: be his follow up film from nineteen eighty four, though 294 00:16:13,360 --> 00:16:16,720 Speaker 1: in nineteen eighty five he also directed Enemy Mine, which 295 00:16:16,880 --> 00:16:19,840 Speaker 1: is a science fiction film that I also quite like. 296 00:16:20,240 --> 00:16:21,880 Speaker 1: I wouldn't put it on the same level as this 297 00:16:21,920 --> 00:16:26,720 Speaker 1: film by any means. It also has, for my taste, 298 00:16:26,800 --> 00:16:30,200 Speaker 1: the best teaser trailer of all time. But don't watch 299 00:16:30,240 --> 00:16:31,720 Speaker 1: the full trailer for it, because it's also one of 300 00:16:31,760 --> 00:16:34,760 Speaker 1: these films where the full trailer for Enemy Mine ruins 301 00:16:34,800 --> 00:16:39,080 Speaker 1: absolutely everything that happens in the picture. Oh No, So, anyway, 302 00:16:39,120 --> 00:16:41,120 Speaker 1: I like Enemy Mine, but critics and audiences at the 303 00:16:41,120 --> 00:16:45,200 Speaker 1: time apparently did not, and Peterson did not return to 304 00:16:45,480 --> 00:16:49,520 Speaker 1: filmmaking till nineteen ninety one with a psychological thriller titled Chattered, 305 00:16:49,840 --> 00:16:52,200 Speaker 1: and then nineteen ninety three's In the Line of Fire, 306 00:16:52,320 --> 00:16:54,640 Speaker 1: which was a bit of a hit with everyone but 307 00:16:54,800 --> 00:16:56,720 Speaker 1: also certainly wasn't really weird. 308 00:16:57,520 --> 00:16:59,520 Speaker 3: Wait a minute, in the Line of Fires that the 309 00:16:59,520 --> 00:17:03,520 Speaker 3: one where Clint Eastwood plays a secret service agent who 310 00:17:03,560 --> 00:17:07,480 Speaker 3: failed to save JFK's life. And then am I getting 311 00:17:07,480 --> 00:17:07,840 Speaker 3: this right? 312 00:17:08,119 --> 00:17:10,960 Speaker 1: Yeah? And John Malkovich is trying to kill the president. 313 00:17:11,320 --> 00:17:15,440 Speaker 3: I think for no particular political reason, he just wants to. 314 00:17:15,880 --> 00:17:20,280 Speaker 1: Yeah, I saw it, but I don't remember much outside 315 00:17:20,320 --> 00:17:25,120 Speaker 1: of that. But the interesting thing about Peterson's filmography is, yeah, 316 00:17:25,160 --> 00:17:27,600 Speaker 1: he hits comes out strong with Dallas Boot. He does 317 00:17:28,240 --> 00:17:30,960 Speaker 1: this pair of pictures, a fantasy film and a sci 318 00:17:30,960 --> 00:17:34,119 Speaker 1: fi picture, and then most of the rest of his filmography, 319 00:17:34,160 --> 00:17:36,840 Speaker 1: the rest of his career, it's films kind of like 320 00:17:36,960 --> 00:17:39,160 Speaker 1: it's films like In the Line of Fire, which, again, 321 00:17:39,200 --> 00:17:41,560 Speaker 1: In the Line of Fire apparently did great business and 322 00:17:41,600 --> 00:17:44,680 Speaker 1: people liked it, critics liked it. But is this anybody's 323 00:17:44,720 --> 00:17:48,440 Speaker 1: favorite film? Does anyone consider nineteen ninety five's Outbreak, Break 324 00:17:48,480 --> 00:17:51,640 Speaker 1: another Peterson film, or nineteen ninety seven's Air Force One 325 00:17:52,000 --> 00:17:52,960 Speaker 1: their favorite film. 326 00:17:53,200 --> 00:17:54,600 Speaker 3: He did Get Off My Plane. 327 00:17:55,520 --> 00:17:57,520 Speaker 1: That's the Harrison Ford one, right. 328 00:17:57,400 --> 00:18:00,439 Speaker 3: Harrison Ford is the president. What is another president? It's 329 00:18:00,440 --> 00:18:04,760 Speaker 3: a Harrison Ford. His Air Force One gets attacked by 330 00:18:05,200 --> 00:18:07,840 Speaker 3: I don't know, terrorists of some kind. Is Gary Oldman 331 00:18:07,960 --> 00:18:08,400 Speaker 3: one of them? 332 00:18:08,400 --> 00:18:10,680 Speaker 1: I think, oh, that sounds about right. 333 00:18:10,760 --> 00:18:14,920 Speaker 3: Yeah, yeah, But so Harrison Ford at one point famously says, 334 00:18:15,000 --> 00:18:17,400 Speaker 3: get off my plane. 335 00:18:18,720 --> 00:18:22,240 Speaker 1: Yeah yeah. He also did two thousand's a Perfect Storm, 336 00:18:22,400 --> 00:18:25,080 Speaker 1: which I also saw. He also did a two thousand 337 00:18:25,080 --> 00:18:28,760 Speaker 1: and six remake of the Poseidon Adventure titled Poseidon. Oh, 338 00:18:28,800 --> 00:18:31,000 Speaker 1: and he also did the two thousand and four film Troy, 339 00:18:31,960 --> 00:18:35,159 Speaker 1: which has I think bred not as I say, no, 340 00:18:35,280 --> 00:18:36,879 Speaker 1: Brad Pitt playing Achilles. 341 00:18:37,359 --> 00:18:41,320 Speaker 3: Oh yeah, yeah, yeah, the Troy. I watched part of 342 00:18:41,440 --> 00:18:48,439 Speaker 3: that on television in Iceland. I think, yeah it. I 343 00:18:48,480 --> 00:18:51,480 Speaker 3: remember thinking it didn't look great though. I think it's 344 00:18:51,480 --> 00:18:54,639 Speaker 3: one of those like two thousands movies that, like the 345 00:18:54,680 --> 00:18:57,480 Speaker 3: movie itself doesn't look that good, but it's got a deep, 346 00:18:57,640 --> 00:19:02,440 Speaker 3: great cast. I think it had maybe Eric Bana as 347 00:19:03,920 --> 00:19:07,320 Speaker 3: oh what's his name, the the the hero of Troy 348 00:19:07,400 --> 00:19:11,600 Speaker 3: of the Other Side, not the Greeks. So what's his name, Hector, 349 00:19:11,800 --> 00:19:15,359 Speaker 3: that's it Hector, Yes, yes, I think it had and 350 00:19:15,440 --> 00:19:18,920 Speaker 3: it had Brian Cox, maybe his Agamemnon, and I don't 351 00:19:18,920 --> 00:19:19,720 Speaker 3: know a bunch other. 352 00:19:20,000 --> 00:19:22,720 Speaker 1: It has a great cast, as I recall seeing. I 353 00:19:22,720 --> 00:19:25,560 Speaker 1: haven't seen the film, but yeah, yeah, so I get 354 00:19:25,600 --> 00:19:30,040 Speaker 1: the impression that, like with Peterson, again, not to cast 355 00:19:30,040 --> 00:19:31,879 Speaker 1: any doubt in his later career, because it sounds like it. 356 00:19:31,960 --> 00:19:34,119 Speaker 1: You know, it was tremendously successful, but it's like the 357 00:19:34,520 --> 00:19:37,280 Speaker 1: with Enemy Mine and an Everthing story. He made a 358 00:19:37,280 --> 00:19:41,400 Speaker 1: film for Bastian and with the rest of his pictures, 359 00:19:41,640 --> 00:19:44,040 Speaker 1: he made films for Bastian's dad, you know. 360 00:19:46,960 --> 00:19:49,640 Speaker 3: Yeah, these are these are orange Juice and an egg 361 00:19:49,680 --> 00:19:50,679 Speaker 3: in the Blender movies. 362 00:19:51,520 --> 00:19:54,640 Speaker 1: Yeah. So, but anyway, John taking anything away from him, 363 00:19:54,680 --> 00:19:56,800 Speaker 1: Like I said, I I haven't seen Daf's Boot in forever, 364 00:19:56,880 --> 00:19:59,399 Speaker 1: but I remember liking that one even as a younger 365 00:19:59,760 --> 00:20:03,280 Speaker 1: viewer of films. And we'll come back to that one 366 00:20:03,320 --> 00:20:05,680 Speaker 1: because the score on that one's also really good. All right. 367 00:20:07,280 --> 00:20:09,600 Speaker 1: So again Peterson also has writing credit on this, but 368 00:20:09,720 --> 00:20:13,639 Speaker 1: so does Herman Weigel born nineteen fifty German writer and 369 00:20:13,680 --> 00:20:16,600 Speaker 1: producer on a number of mostly German screenplays German language 370 00:20:16,600 --> 00:20:19,679 Speaker 1: screenplays in his filmography. He was also one of the 371 00:20:19,680 --> 00:20:22,480 Speaker 1: associate producers on nineteen eighty six is the Name of 372 00:20:22,520 --> 00:20:25,760 Speaker 1: the Rose, and he's still active. But as we mentioned, 373 00:20:25,800 --> 00:20:27,600 Speaker 1: this is of course based on a book. It's based 374 00:20:27,640 --> 00:20:30,360 Speaker 1: on a book by German author Michael Inda, who lived 375 00:20:30,400 --> 00:20:34,080 Speaker 1: nineteen twenty nine through nineteen ninety five. So he's yeah, 376 00:20:34,560 --> 00:20:37,080 Speaker 1: the true master of mind, I think behind this film 377 00:20:37,200 --> 00:20:40,640 Speaker 1: author of the book which came out in seventy nine. Again, 378 00:20:40,680 --> 00:20:43,159 Speaker 1: this film is an adaptation of the first half or 379 00:20:43,160 --> 00:20:46,840 Speaker 1: so of the novel, and the remainder is equally great, 380 00:20:46,840 --> 00:20:50,679 Speaker 1: but kind of a different tale. You know, what happens 381 00:20:50,680 --> 00:20:52,320 Speaker 1: next is kind of about like what happens when the 382 00:20:52,359 --> 00:20:55,880 Speaker 1: dreamer is truly ascendant and the potential pitfalls of the fantastic, 383 00:20:56,880 --> 00:20:59,320 Speaker 1: but it's still great. Indo was a German author, the 384 00:20:59,320 --> 00:21:01,520 Speaker 1: son of a surren list painter that was banned under 385 00:21:01,560 --> 00:21:05,439 Speaker 1: the Nazi regime. Perhaps like fatherlike son, because in his 386 00:21:05,600 --> 00:21:10,120 Speaker 1: writing often features surreal and paradoxical elements. There are often 387 00:21:10,160 --> 00:21:13,320 Speaker 1: a lot of real mind twisters that he unleashes on you, 388 00:21:13,960 --> 00:21:17,719 Speaker 1: certainly in The Never Ending Story. His other novels include Momo, 389 00:21:17,960 --> 00:21:21,119 Speaker 1: which I'm currently reading with my son, and also a 390 00:21:21,119 --> 00:21:23,800 Speaker 1: book called Jim Button and Luke the Engine Driver, which 391 00:21:23,840 --> 00:21:27,439 Speaker 1: I don't know anything about, but yeah, definitely has a 392 00:21:27,440 --> 00:21:30,080 Speaker 1: following outside of this film, especially in Germany. The book 393 00:21:30,119 --> 00:21:35,200 Speaker 1: was tremendously popular in Germany and in the famously disliked 394 00:21:35,240 --> 00:21:38,960 Speaker 1: this film adaptation, which I think is just going to 395 00:21:39,000 --> 00:21:42,879 Speaker 1: happen sometimes with adaptations, no matter what the creator, the 396 00:21:42,920 --> 00:21:47,720 Speaker 1: author is so tied to it, it's just not always 397 00:21:47,720 --> 00:21:50,720 Speaker 1: going to I personally love both the film and the novel. 398 00:21:50,800 --> 00:21:53,360 Speaker 1: I think the film does a fine job with the material, 399 00:21:53,680 --> 00:21:56,639 Speaker 1: even if the original book is ultimately more thought provoking 400 00:21:57,040 --> 00:22:00,560 Speaker 1: and less diluted. But it's still like nothing. 401 00:22:00,320 --> 00:22:03,360 Speaker 3: Else, you know. Despite the fact that I absolutely do 402 00:22:03,480 --> 00:22:07,119 Speaker 3: love this movie even without having read the book, I 403 00:22:07,160 --> 00:22:10,919 Speaker 3: feel like I can detect places in the script in 404 00:22:10,960 --> 00:22:14,280 Speaker 3: the film where the story is kind of patched together, 405 00:22:14,440 --> 00:22:18,400 Speaker 3: kind of quickly duct taped together to cover up some gaps, 406 00:22:18,480 --> 00:22:21,440 Speaker 3: like I don't know, do you know what I mean? 407 00:22:21,440 --> 00:22:23,199 Speaker 3: Like there are parts of it that just kind of 408 00:22:23,200 --> 00:22:26,119 Speaker 3: feel like, uh, Okay, we maybe couldn't afford to do 409 00:22:26,160 --> 00:22:28,719 Speaker 3: this shot or something, so we had to like stitch 410 00:22:28,800 --> 00:22:29,879 Speaker 3: these two parts together. 411 00:22:30,320 --> 00:22:32,800 Speaker 1: Yeah, yeah, and certainly you can see that comparing the 412 00:22:32,800 --> 00:22:35,720 Speaker 1: book to the movie, like their whole encounters that are 413 00:22:35,720 --> 00:22:39,240 Speaker 1: cut out, and by a little luck dragon magic, you're 414 00:22:39,240 --> 00:22:42,520 Speaker 1: able to sort of stitch everything back together again. Now, 415 00:22:42,560 --> 00:22:44,920 Speaker 1: it's worth noting that The Never Ending Story spawned two 416 00:22:44,920 --> 00:22:48,280 Speaker 1: sequels in nineteen ninety and nineteen ninety four, as well 417 00:22:48,280 --> 00:22:50,640 Speaker 1: as in nineteen ninety five animated series and a two 418 00:22:50,680 --> 00:22:53,960 Speaker 1: thousand and one German language live action TV series. I 419 00:22:53,960 --> 00:22:56,639 Speaker 1: can't speak for the TV shows at all, but as 420 00:22:56,640 --> 00:22:59,720 Speaker 1: far as the sequels go, I did watch I think 421 00:22:59,720 --> 00:23:03,680 Speaker 1: maybe half of Part two finally, and it at least 422 00:23:03,720 --> 00:23:06,119 Speaker 1: tries to adapt some aspects of the second half of 423 00:23:06,119 --> 00:23:09,640 Speaker 1: the book. It stars Jonathan Brandis as Bastian. It has 424 00:23:09,640 --> 00:23:12,560 Speaker 1: some cool creatures in it, but it's just the same 425 00:23:12,600 --> 00:23:16,480 Speaker 1: magic is not there. And then Part three, I've not 426 00:23:16,560 --> 00:23:19,760 Speaker 1: seen it all, but it looks kind of awful, even 427 00:23:19,800 --> 00:23:21,600 Speaker 1: though it does have a good cast. It's got Jack 428 00:23:21,640 --> 00:23:24,520 Speaker 1: Black in it, It's got Freddy Jones and Julie Cox 429 00:23:24,560 --> 00:23:27,560 Speaker 1: in it, and Jason James Richter of the Free Willie 430 00:23:27,600 --> 00:23:29,000 Speaker 1: franchise plays Bastion. 431 00:23:29,400 --> 00:23:30,320 Speaker 3: Does it have an Orca? 432 00:23:30,600 --> 00:23:33,000 Speaker 1: No, no, Orca, just luck Dragons. 433 00:23:33,160 --> 00:23:33,960 Speaker 3: Then I'm out. 434 00:23:42,920 --> 00:23:45,080 Speaker 1: All right getting into the cast of this movie. First 435 00:23:45,119 --> 00:23:49,160 Speaker 1: of all, playing Bastion Bastian Balthazar Bucks. His full name 436 00:23:49,280 --> 00:23:52,360 Speaker 1: in the novel is Barrett Oliver born nineteen seventy three, 437 00:23:52,920 --> 00:23:55,640 Speaker 1: former child actor of the nineteen eighties who really lit 438 00:23:55,640 --> 00:23:57,760 Speaker 1: it up for a short while there. This was his 439 00:23:57,800 --> 00:24:00,640 Speaker 1: first film role, followed by the nineteen eighty for Tim 440 00:24:00,680 --> 00:24:04,640 Speaker 1: Burton short Franken Weeny, which is really good, nineteen eighty 441 00:24:04,720 --> 00:24:08,560 Speaker 1: five's Daryl. That's dryl like it stands for something, but 442 00:24:08,640 --> 00:24:11,000 Speaker 1: I don't think I ever saw it. It's about a 443 00:24:11,080 --> 00:24:11,919 Speaker 1: robot or a computer. 444 00:24:11,960 --> 00:24:14,879 Speaker 3: I'm guessing you don't know what Darryl stands for. No, 445 00:24:15,440 --> 00:24:18,200 Speaker 3: it's do all robots yodel loudly. 446 00:24:18,520 --> 00:24:20,000 Speaker 1: Oh okay, Well that makes sense. 447 00:24:20,480 --> 00:24:21,240 Speaker 3: I have ever seen it. 448 00:24:22,359 --> 00:24:25,200 Speaker 1: I get it confused with wargames, I think anyway. Also, 449 00:24:25,280 --> 00:24:28,120 Speaker 1: he was in nineteen eighty five's Cocoon, and I also 450 00:24:28,160 --> 00:24:30,560 Speaker 1: find it amusing that in nineteen eighty four he appeared 451 00:24:30,560 --> 00:24:32,919 Speaker 1: both in an episode of Highway to Heaven and the 452 00:24:32,960 --> 00:24:34,720 Speaker 1: TV movie Invitation to Hell. 453 00:24:34,960 --> 00:24:37,280 Speaker 3: Now wait a minute. Before he starred in Daryl, didn't 454 00:24:37,280 --> 00:24:40,520 Speaker 3: he also star in Larry and then another movie named Darryl. 455 00:24:40,600 --> 00:24:45,560 Speaker 1: No No, No, No No. He came back for nineteen 456 00:24:45,800 --> 00:24:49,359 Speaker 1: eighty eight's Cocoon The Return, and his last film credit 457 00:24:49,440 --> 00:24:52,040 Speaker 1: was nineteen eighty nine's Scenes from the Class Struggle in 458 00:24:52,080 --> 00:24:54,960 Speaker 1: Beverly Hills. He went on to become a photographer in 459 00:24:54,960 --> 00:24:58,240 Speaker 1: his adult life. But that's just one of the major 460 00:24:58,359 --> 00:25:01,720 Speaker 1: child actors in this film, because Bastian, of course, is 461 00:25:01,720 --> 00:25:04,000 Speaker 1: our character in the real world, but in the realm 462 00:25:04,040 --> 00:25:06,439 Speaker 1: of Fantasia, we were following the adventure of a Treyu 463 00:25:06,480 --> 00:25:08,160 Speaker 1: who's played by Noah Hathaway. 464 00:25:08,720 --> 00:25:10,800 Speaker 3: I don't know why I thought this, because they don't 465 00:25:10,800 --> 00:25:13,080 Speaker 3: even look that similar. But I think when I saw 466 00:25:13,119 --> 00:25:15,440 Speaker 3: this was when I was a kid, I thought these 467 00:25:15,960 --> 00:25:18,480 Speaker 3: I thought it was the same actor playing both roles. 468 00:25:18,840 --> 00:25:20,840 Speaker 1: I might have assumed the same thing. Yeah, I didn't. 469 00:25:21,520 --> 00:25:23,600 Speaker 1: When you see a movie like this young enough, you 470 00:25:23,640 --> 00:25:25,800 Speaker 1: don't really you know, you're not gonna pull out IMDb 471 00:25:26,320 --> 00:25:30,160 Speaker 1: and start figuring out who's playing who. But anyway, Yeah, 472 00:25:30,160 --> 00:25:32,800 Speaker 1: Hathaway was another major eighties child actor. He started off 473 00:25:32,840 --> 00:25:36,760 Speaker 1: as Boxy on the original Battlestar Galactica series and did 474 00:25:36,840 --> 00:25:39,560 Speaker 1: various TV roles until nineteen eighty four, when He started 475 00:25:39,600 --> 00:25:42,760 Speaker 1: in both this and also was in the nineteen eighty 476 00:25:42,760 --> 00:25:46,800 Speaker 1: four Saul Bass short film Quest, which I think will 477 00:25:46,840 --> 00:25:48,960 Speaker 1: cover the next time we do a short film episode 478 00:25:48,960 --> 00:25:50,040 Speaker 1: of Weird House Cinema. 479 00:25:50,160 --> 00:25:54,720 Speaker 3: Oh boy, Saul Bass, director of I was about to 480 00:25:54,720 --> 00:25:56,800 Speaker 3: say them, not them Phase four. 481 00:25:57,119 --> 00:26:00,720 Speaker 1: Yes, the other Ant movie, the Ant movie we've done. Yes, 482 00:26:01,520 --> 00:26:03,960 Speaker 1: now as far as Hathaway goes. In nineteen eighty six, 483 00:26:04,040 --> 00:26:08,080 Speaker 1: he played, of course, Harry Potter Junior in Troll which 484 00:26:08,200 --> 00:26:09,880 Speaker 1: we may have to come back to that one as well. 485 00:26:09,920 --> 00:26:13,280 Speaker 1: We've seen its unofficial sequel, Troll Too, which does not 486 00:26:13,440 --> 00:26:14,679 Speaker 1: have Harry Potter Junior. 487 00:26:15,760 --> 00:26:19,439 Speaker 3: Troll Too is, of course a B movie classic. I 488 00:26:19,520 --> 00:26:21,840 Speaker 3: remember the last time I tried to watch the original 489 00:26:21,880 --> 00:26:25,800 Speaker 3: Troll it was it took some effort getting to the end. 490 00:26:26,200 --> 00:26:29,960 Speaker 1: Oh yeah, I've never seen it. It has a great cast. Okay, 491 00:26:30,680 --> 00:26:35,920 Speaker 1: what Julia Louis Dreyfus is in it? I guess so yeah, anyway, 492 00:26:37,000 --> 00:26:38,640 Speaker 1: I need to see it at some point at anyway. 493 00:26:39,200 --> 00:26:42,280 Speaker 1: After nineteen eighty six, Hathaway didn't act again until ninety four, 494 00:26:42,600 --> 00:26:44,960 Speaker 1: and then again it was like the twenty teens before 495 00:26:44,960 --> 00:26:48,040 Speaker 1: he acted again. Has stated that most of his dialogue 496 00:26:48,040 --> 00:26:50,720 Speaker 1: in this film is dubbed Alic should also add that 497 00:26:50,800 --> 00:26:53,760 Speaker 1: in the book A Treyu has green skin, and I 498 00:26:53,760 --> 00:26:56,000 Speaker 1: think I've read that they did some test shoots with 499 00:26:56,080 --> 00:26:58,960 Speaker 1: Hathaway in green body paint and then decided it didn't 500 00:26:59,000 --> 00:26:59,480 Speaker 1: look right. 501 00:26:59,520 --> 00:27:01,280 Speaker 3: I read that too. I read that he compared it 502 00:27:01,320 --> 00:27:02,960 Speaker 3: to he ended up. He said, he ended up looking 503 00:27:03,000 --> 00:27:03,720 Speaker 3: like a fun guy. 504 00:27:05,680 --> 00:27:08,560 Speaker 1: All right. Another character we have as the bookstore owner 505 00:27:09,080 --> 00:27:12,720 Speaker 1: Carl Conrad Coriander, played by Thomas Hill, who lived nineteen 506 00:27:12,720 --> 00:27:16,000 Speaker 1: twenty seven through two thousand and nine. This is probably 507 00:27:16,040 --> 00:27:18,080 Speaker 1: his best remembered role, but he had a long running 508 00:27:18,080 --> 00:27:21,200 Speaker 1: recurring role on TV's New Heart, which he just referenced 509 00:27:21,200 --> 00:27:24,359 Speaker 1: to earlier. He also pops up in nineteen eighty four's 510 00:27:24,480 --> 00:27:28,120 Speaker 1: v The Final Battle, and I had no idea this existed, 511 00:27:28,119 --> 00:27:30,600 Speaker 1: but I read that he voiced Uncle Ben in the 512 00:27:30,720 --> 00:27:35,400 Speaker 1: nineteen eighty one radio drama of Star Wars, which features 513 00:27:35,440 --> 00:27:38,280 Speaker 1: Mark Hamill as Luke. Anthony Daniels is c three po 514 00:27:38,560 --> 00:27:40,119 Speaker 1: But then like they didn't have some of the other 515 00:27:40,359 --> 00:27:43,240 Speaker 1: like someone else is doing Han solo. Brock Peters is 516 00:27:43,280 --> 00:27:47,480 Speaker 1: doing the voice of Darth Vader, so sounds interesting. Hill 517 00:27:47,600 --> 00:27:50,280 Speaker 1: was also in the supporting cast of the Clint Eastwood 518 00:27:50,359 --> 00:27:52,760 Speaker 1: jet movie Firefox from nineteen eighty two. 519 00:27:52,960 --> 00:27:57,200 Speaker 3: I haven't seen it. Is that about a helicopters. 520 00:27:56,520 --> 00:27:59,080 Speaker 1: Or it's about something that's kind of like an SR 521 00:27:59,119 --> 00:28:02,159 Speaker 1: seventy one Blackbird, like a big black jet that the 522 00:28:02,160 --> 00:28:04,720 Speaker 1: Eastwood is flying. And I remember seeing the box art 523 00:28:04,720 --> 00:28:06,320 Speaker 1: for it as a kid, and I was like, this 524 00:28:06,440 --> 00:28:09,679 Speaker 1: movie looks so cool. I absolutely must see this film. 525 00:28:10,200 --> 00:28:12,840 Speaker 1: And I can't remember I've ever did or not, because 526 00:28:12,840 --> 00:28:16,200 Speaker 1: I don't think it quite fulfills that promise to youth. 527 00:28:16,640 --> 00:28:19,640 Speaker 3: It reminds me of my relationship to a movie called 528 00:28:19,800 --> 00:28:22,159 Speaker 3: Navy Seals. So I was like, well, this is just 529 00:28:22,240 --> 00:28:24,520 Speaker 3: it's called Navy Seals. It's got to be the coolest 530 00:28:24,520 --> 00:28:27,840 Speaker 3: movie ever made. It was not all right. 531 00:28:27,880 --> 00:28:31,920 Speaker 1: We mentioned Bastion's father, who is not in the film 532 00:28:32,000 --> 00:28:33,960 Speaker 1: much at all, but I guess kind of has his 533 00:28:34,080 --> 00:28:37,800 Speaker 1: character has important weight. And this is played by Gerald McRaney, 534 00:28:38,080 --> 00:28:41,240 Speaker 1: another notable TV actor. His first film role was nineteen 535 00:28:41,280 --> 00:28:44,640 Speaker 1: sixty nine's Night of Bloody Horror, followed by Women of 536 00:28:44,640 --> 00:28:47,760 Speaker 1: Bloody Terror, and in nineteen seventy he had a role 537 00:28:47,760 --> 00:28:49,440 Speaker 1: in an episode of Night Gallery. So I had a 538 00:28:49,480 --> 00:28:54,080 Speaker 1: pretty horror based beginning, but then it's from there it 539 00:28:54,080 --> 00:28:56,880 Speaker 1: goes into a lot of increasingly successful TV work. He 540 00:28:56,960 --> 00:28:59,960 Speaker 1: of course was one of the Simons on TV Simon 541 00:29:00,080 --> 00:29:02,640 Speaker 1: and Simon in the eighties, and he has at least 542 00:29:02,640 --> 00:29:04,680 Speaker 1: one off roles in just a ton of TV series 543 00:29:04,720 --> 00:29:06,600 Speaker 1: all the way up through recent shows like This Is 544 00:29:06,680 --> 00:29:09,000 Speaker 1: Us and ncis Los Angeles. 545 00:29:09,320 --> 00:29:12,320 Speaker 3: I don't know why. Bastioni's father kind of reminded me 546 00:29:12,400 --> 00:29:14,960 Speaker 3: of of Louis del Grand, the guy who plays the 547 00:29:15,840 --> 00:29:17,760 Speaker 3: you know, the guy in Scanners. So it's like when 548 00:29:17,760 --> 00:29:19,800 Speaker 3: he's leaving for work that morning, he's leaving because he 549 00:29:19,800 --> 00:29:23,640 Speaker 3: has to go do a presentation in the auditorium at Concept. 550 00:29:24,680 --> 00:29:28,280 Speaker 1: A similar look, the mustache, the balding. 551 00:29:27,960 --> 00:29:30,360 Speaker 3: Had the never Ending Scan. 552 00:29:31,000 --> 00:29:32,760 Speaker 1: Yeah, all right, let's seeho else do we have here. 553 00:29:32,800 --> 00:29:37,120 Speaker 1: We have Tammy's Stronach as the childlike Impress born nineteen 554 00:29:37,160 --> 00:29:39,040 Speaker 1: seventy two. This was her first role and her most 555 00:29:39,080 --> 00:29:42,320 Speaker 1: notable one. I think she's been active in like documentaries 556 00:29:42,360 --> 00:29:44,880 Speaker 1: and so forth on The never Ending Story, and she 557 00:29:44,920 --> 00:29:46,880 Speaker 1: has a film coming up called Man in which that 558 00:29:46,960 --> 00:29:48,920 Speaker 1: she acts in and was also an ep on. Looks 559 00:29:48,920 --> 00:29:52,640 Speaker 1: like as a good cast. We have a character in 560 00:29:52,680 --> 00:29:57,160 Speaker 1: the book called karn and this character, I'm sorry, the 561 00:29:57,240 --> 00:29:59,920 Speaker 1: character in the book is a centaur. In the movie, 562 00:30:00,120 --> 00:30:02,360 Speaker 1: he's kind of a dude with like a super tall forehead, 563 00:30:02,680 --> 00:30:04,640 Speaker 1: like kind a kind of a point on the top 564 00:30:04,680 --> 00:30:07,760 Speaker 1: of his head, and he's like speaking on behalf of 565 00:30:07,800 --> 00:30:08,800 Speaker 1: the childlike Impress. 566 00:30:09,640 --> 00:30:11,880 Speaker 3: Yeah, it took him as kind of I don't know, 567 00:30:11,920 --> 00:30:15,400 Speaker 3: a lieutenant or the steward of Gondor. But for Fantasia, 568 00:30:15,480 --> 00:30:18,760 Speaker 3: while the Empress is sick and he's sort of watching 569 00:30:18,760 --> 00:30:21,120 Speaker 3: over things, and he's the one who explains to everyone. 570 00:30:21,280 --> 00:30:25,760 Speaker 3: He is master exposition. He lays out the lore. 571 00:30:26,360 --> 00:30:31,560 Speaker 1: Yeah, and clearly I think based on Kyron the centaur 572 00:30:31,600 --> 00:30:36,360 Speaker 1: from Greek mythology the teacher who what todd Achilles actually, 573 00:30:38,000 --> 00:30:39,920 Speaker 1: But yeah, and he has a bigger role in the book, 574 00:30:39,960 --> 00:30:43,600 Speaker 1: but in this he's just has this one scene. But anyway, 575 00:30:43,640 --> 00:30:46,200 Speaker 1: Moses Gunn plays him in the movie. Solid character. Actor 576 00:30:46,240 --> 00:30:48,360 Speaker 1: appeared in such Flix Says nineteen seventy is the Great 577 00:30:48,360 --> 00:30:52,600 Speaker 1: White Hope seventy one, Shaft seventy five's Rollerball nineteen eighties, 578 00:30:52,600 --> 00:30:57,200 Speaker 1: the Ninth Configuration, fire Starter in eighty four, Heartbreak Ridge 579 00:30:57,240 --> 00:30:59,840 Speaker 1: in eighty six, and on TV. He was very active 580 00:31:00,320 --> 00:31:03,120 Speaker 1: and has a great villainous role on a Tales from 581 00:31:03,120 --> 00:31:06,800 Speaker 1: the Crypt episode titled Fitting Punishment, in which he plays 582 00:31:06,880 --> 00:31:10,920 Speaker 1: this mean funeral home director. And I think we've mentioned 583 00:31:10,920 --> 00:31:12,880 Speaker 1: that episode before because it also has an actor by 584 00:31:12,920 --> 00:31:14,840 Speaker 1: the name of Teddy Wilson in it who is in 585 00:31:14,920 --> 00:31:19,760 Speaker 1: Devil's Express. All right, so mostly human actors we've been 586 00:31:19,760 --> 00:31:21,960 Speaker 1: talking about here, but of course this also has some 587 00:31:22,040 --> 00:31:25,920 Speaker 1: voiceovers in it because you have multiple non human characters 588 00:31:25,960 --> 00:31:30,840 Speaker 1: that are portrayed via some fantastic puppetry and so forth. 589 00:31:31,480 --> 00:31:35,760 Speaker 1: And that includes the character rock Bider, the luck Dragon, Foulcore, 590 00:31:36,280 --> 00:31:40,680 Speaker 1: the villainous Gomork. There's also a narrator there. It's funny 591 00:31:40,720 --> 00:31:43,280 Speaker 1: because they are like two different narration systems going on 592 00:31:43,360 --> 00:31:46,400 Speaker 1: in this movie. At one point Bastion is narrating and 593 00:31:46,440 --> 00:31:48,520 Speaker 1: then later we just get some other dude narrating. 594 00:31:48,880 --> 00:31:52,719 Speaker 3: Yeah, that was a little confusing, but okay, So this 595 00:31:52,840 --> 00:31:57,760 Speaker 3: does confirm my suspicion just from listening that basically all 596 00:31:57,880 --> 00:32:00,880 Speaker 3: or maybe actually all of the voices were done by 597 00:32:00,920 --> 00:32:01,680 Speaker 3: the same person. 598 00:32:02,200 --> 00:32:06,240 Speaker 1: Yes, yes, Alan Oppenheimer did the voices, and I believe 599 00:32:06,320 --> 00:32:10,240 Speaker 1: uncredited for all of these creatures. And this is something 600 00:32:10,280 --> 00:32:11,880 Speaker 1: that always floored me, and I think it is perhaps 601 00:32:11,880 --> 00:32:14,200 Speaker 1: just a snapshot of the time period and how voice 602 00:32:14,200 --> 00:32:17,840 Speaker 1: acting was approached, because obviously, if The Never Ending Story 603 00:32:17,960 --> 00:32:20,560 Speaker 1: was made today, and certainly if they end up remaking 604 00:32:20,560 --> 00:32:23,200 Speaker 1: it at some point, as they've been talking about for 605 00:32:23,240 --> 00:32:26,080 Speaker 1: a while, you'd have some big name actors playing all 606 00:32:26,080 --> 00:32:28,560 Speaker 1: of these characters. Like I can easily imagine you got 607 00:32:28,840 --> 00:32:33,560 Speaker 1: Liam Neeson playing Falcore. I'm gonna say Werner Herzog as 608 00:32:33,600 --> 00:32:37,440 Speaker 1: the Gomork. Maybe Dave Bautista is rock Biter, you know, 609 00:32:37,480 --> 00:32:37,880 Speaker 1: the drill. 610 00:32:38,800 --> 00:32:41,280 Speaker 3: You may be being a little too optimistic. I think 611 00:32:41,400 --> 00:32:45,640 Speaker 3: maybe it would be Chris Pratt as Falcore, Adam Sandler 612 00:32:45,680 --> 00:32:46,440 Speaker 3: as rock Biter. 613 00:32:46,840 --> 00:32:50,640 Speaker 1: Oh no, no, no, no, yeah, surely not. I mean, 614 00:32:50,640 --> 00:32:53,960 Speaker 1: I'll credit it to Sandler, but no, I can't. I 615 00:32:54,000 --> 00:32:57,120 Speaker 1: can't imagine it. But at any rate, you mean you 616 00:32:57,160 --> 00:32:59,480 Speaker 1: would have somebody playing those voices. They would probably be 617 00:32:59,560 --> 00:33:05,160 Speaker 1: someone with with outside star a power. But yeah, in 618 00:33:05,200 --> 00:33:07,800 Speaker 1: this it's just veteran actor and voiceover actor. And I 619 00:33:07,800 --> 00:33:10,160 Speaker 1: think by certainly by this period, like almost entirely voice 620 00:33:10,160 --> 00:33:14,160 Speaker 1: actor al Allen Oppenheimer just voice doing all the voices. 621 00:33:14,240 --> 00:33:15,600 Speaker 1: You could just this is a time when you just 622 00:33:15,640 --> 00:33:17,080 Speaker 1: had one guy come in and you're like, hey, can 623 00:33:17,120 --> 00:33:19,040 Speaker 1: you do voices for I don't know, like a dog, 624 00:33:19,160 --> 00:33:23,320 Speaker 1: like luck dragon, a giant rock creature, and some sort 625 00:33:23,320 --> 00:33:25,880 Speaker 1: of villainous werewolf. And also we might need some narration. 626 00:33:25,960 --> 00:33:27,360 Speaker 1: Can you jump in on that tune? He's like, yeah, 627 00:33:27,400 --> 00:33:29,360 Speaker 1: I can do that, and no need to hire anyone else. 628 00:33:29,600 --> 00:33:32,880 Speaker 3: I am truly impressed by even though I did detect 629 00:33:33,120 --> 00:33:36,040 Speaker 3: that at least some of these voices were the same person. 630 00:33:36,120 --> 00:33:37,920 Speaker 3: I mean, he's got to do a lot of them, 631 00:33:38,000 --> 00:33:40,480 Speaker 3: so I'm impressed how many different voices he can do. 632 00:33:41,160 --> 00:33:44,080 Speaker 1: Yeah, and you look at his credits and it's extensive. 633 00:33:44,120 --> 00:33:46,240 Speaker 1: He has three hundred and thirty five credits on IMDb, 634 00:33:46,720 --> 00:33:51,120 Speaker 1: spanning seven decades, all the way back to nineteen sixty three. 635 00:33:51,240 --> 00:33:55,360 Speaker 1: I mean, Oppenheimer was on a late series episode of 636 00:33:55,400 --> 00:33:59,560 Speaker 1: The Andy Griffiths Show, for example, But then around nineteen 637 00:33:59,560 --> 00:34:02,080 Speaker 1: seventy three he starts doing voice rolls and becomes a 638 00:34:02,120 --> 00:34:04,880 Speaker 1: major force there. Certainly a lot of it is that 639 00:34:04,960 --> 00:34:09,160 Speaker 1: kind of additional voices credit you see from older animated specials, 640 00:34:09,200 --> 00:34:11,040 Speaker 1: you know, where they just brought some people in it 641 00:34:11,120 --> 00:34:12,360 Speaker 1: had them to do some voices. It might be a 642 00:34:12,360 --> 00:34:16,200 Speaker 1: minor voice might be like the secondary character, but they 643 00:34:16,239 --> 00:34:17,920 Speaker 1: just get that additional voices credit. 644 00:34:18,280 --> 00:34:20,040 Speaker 3: I don't know why, but I always like to see 645 00:34:20,040 --> 00:34:23,480 Speaker 3: an arc where somebody goes from you know, doing in 646 00:34:23,480 --> 00:34:26,799 Speaker 3: front of the camera work to doing voice acting and 647 00:34:26,800 --> 00:34:29,239 Speaker 3: then they really are a hit as voice acting, you know, 648 00:34:29,440 --> 00:34:30,560 Speaker 3: Mark Hamill kind of arc. 649 00:34:31,040 --> 00:34:33,640 Speaker 1: Yeah, yeah, and yeah. I mean, this guy's work has 650 00:34:33,640 --> 00:34:35,520 Speaker 1: been great. Certainly not going to read through everything that 651 00:34:35,560 --> 00:34:36,759 Speaker 1: he was in, and I'm not even gonna read through the 652 00:34:36,760 --> 00:34:39,080 Speaker 1: list I put together for my notes here, but one 653 00:34:39,080 --> 00:34:41,440 Speaker 1: of the big ones is that he voiced both Skeletor 654 00:34:41,600 --> 00:34:43,839 Speaker 1: and Man at Arms in the nineteen eighties, he Man 655 00:34:43,840 --> 00:34:45,759 Speaker 1: and The Masters of the Universe, as well as very 656 00:34:45,800 --> 00:34:48,440 Speaker 1: spin offs of that show, and then he pops up 657 00:34:48,440 --> 00:34:51,520 Speaker 1: in just about everything you know. Veris like an episode 658 00:34:51,520 --> 00:34:56,000 Speaker 1: of Batman, the animated series, Chippendale Rescue Rangers, Duck Tails, 659 00:34:56,920 --> 00:35:00,840 Speaker 1: video game voices for stuff like The Fallout and Balder's 660 00:35:00,920 --> 00:35:05,000 Speaker 1: Gate franchises, and more recently the Toy in the Toy 661 00:35:05,040 --> 00:35:08,759 Speaker 1: Story franchise he voiced Old Timer. So yeah, he just 662 00:35:09,239 --> 00:35:12,480 Speaker 1: has done so much a big name in the voiceover 663 00:35:12,560 --> 00:35:16,719 Speaker 1: voice acting area. Now on the acting side of things, though, 664 00:35:16,760 --> 00:35:18,600 Speaker 1: I will Mention briefly. He had a small part as 665 00:35:18,680 --> 00:35:22,480 Speaker 1: the chief supervisor in nineteen seventy three's Westworld, and he 666 00:35:22,520 --> 00:35:26,759 Speaker 1: plays Duncan in a great essentially film stage adaptation of 667 00:35:26,840 --> 00:35:30,399 Speaker 1: Macbeth from nineteen eighty one that starred Jeremy Brett as 668 00:35:30,480 --> 00:35:33,680 Speaker 1: Macbeth and Piper Laurie as Lady Macbeth. Oh, I've never 669 00:35:33,719 --> 00:35:36,799 Speaker 1: heard of that. It's pretty. It's like I said, it's 670 00:35:36,840 --> 00:35:41,600 Speaker 1: not very cinematic. It's very much a film like stage performance. 671 00:35:41,640 --> 00:35:43,239 Speaker 1: But if you're at all, if you're like a kind 672 00:35:43,239 --> 00:35:46,160 Speaker 1: of a Macbeth completist, I guess, or you really like 673 00:35:46,160 --> 00:35:49,080 Speaker 1: any of these actors, it's worth checking out, all right. 674 00:35:49,920 --> 00:35:51,520 Speaker 1: He doesn't play much of a role in the picture, 675 00:35:51,520 --> 00:35:52,960 Speaker 1: but we have a character by the name of Teeny 676 00:35:53,000 --> 00:35:56,520 Speaker 1: Weeney who rides a racing snail. He's played by Deep 677 00:35:56,640 --> 00:36:00,319 Speaker 1: Roy born nineteen forty nine, a Kenyan British actor who, 678 00:36:00,320 --> 00:36:02,920 Speaker 1: at four foot four, has been a go to actor 679 00:36:02,960 --> 00:36:07,640 Speaker 1: for creature performances and diminutive character performances for decades. He's 680 00:36:07,680 --> 00:36:11,760 Speaker 1: worked in Star Wars, Dark Crystal Flash, Gordon Gray Stroke, 681 00:36:12,160 --> 00:36:15,160 Speaker 1: The X Files, Planet of the Apes, Charlie and The 682 00:36:15,239 --> 00:36:18,200 Speaker 1: Chocolate Factory, Star trek in more, he also pops up 683 00:36:18,320 --> 00:36:21,880 Speaker 1: very briefly and returned to oz Ah. Yes, there's another 684 00:36:21,960 --> 00:36:25,640 Speaker 1: character early on called Knighthobb who's kind of this bat 685 00:36:25,680 --> 00:36:29,000 Speaker 1: writing goblin, who also doesn't have a tremendous role in 686 00:36:30,000 --> 00:36:34,239 Speaker 1: the plot, but was played by Keelo Bruckner, who lived 687 00:36:34,280 --> 00:36:37,680 Speaker 1: nineteen forty through twenty twenty, German actor whose biggest splash 688 00:36:37,719 --> 00:36:40,560 Speaker 1: certainly this was his biggest splash outside of German film 689 00:36:40,600 --> 00:36:43,520 Speaker 1: and television, but he has extensive German language credits. So 690 00:36:43,520 --> 00:36:46,200 Speaker 1: if if anyone out there has certainly more familiarity with 691 00:36:46,239 --> 00:36:49,600 Speaker 1: German language film and television than we do, maybe you 692 00:36:49,640 --> 00:36:52,640 Speaker 1: are more familiar with Kelo Pruckner's work. We also have 693 00:36:52,680 --> 00:36:56,280 Speaker 1: a couple of gnomes in the picture. We have Indy Wook, 694 00:36:56,360 --> 00:37:00,279 Speaker 1: the gnome, played by Cindy Sidney Bromley, who livedeteen nine 695 00:37:00,320 --> 00:37:03,560 Speaker 1: through nineteen eighty seven, British character actor whose credits include 696 00:37:03,600 --> 00:37:07,120 Speaker 1: nineteen sixty two's Night Creatures, nineteen sixty seven's The Fearless 697 00:37:07,160 --> 00:37:11,040 Speaker 1: Vampire Killers, the excellent nineteen seventy one and very cinematic 698 00:37:11,120 --> 00:37:15,520 Speaker 1: adaptation of Macbeth eighty one's Dragon Slayer, nineteen eighty one's 699 00:37:15,640 --> 00:37:19,319 Speaker 1: An American Werewolf in London and eighty six is Pirates Now. 700 00:37:19,520 --> 00:37:23,759 Speaker 1: Inge Wook's wife is another gnome named Ergel, played by 701 00:37:23,800 --> 00:37:26,879 Speaker 1: Patricia Hayes, who lived nineteen oh nine through nineteen ninety eight. 702 00:37:27,120 --> 00:37:29,360 Speaker 1: Outside of this film, her other big role of this 703 00:37:29,440 --> 00:37:32,800 Speaker 1: time period was the good Witch for Raziel from nineteen 704 00:37:32,840 --> 00:37:36,120 Speaker 1: eighty eight Willows. She's the good Witch. She has a 705 00:37:36,120 --> 00:37:39,760 Speaker 1: memorable battle in the movie against the bad Witch, Jeene 706 00:37:39,800 --> 00:37:44,000 Speaker 1: Marsh's Queen bav Morda that is just absolutely brutal. So 707 00:37:45,200 --> 00:37:47,440 Speaker 1: it can't help but compare it to the Gandalf Sarremon 708 00:37:47,920 --> 00:37:51,120 Speaker 1: Wizard duel from Peter Jackson's Lord of the Rings like that. 709 00:37:51,360 --> 00:37:54,880 Speaker 1: It's a great sequence, but it's very I don't know's 710 00:37:55,320 --> 00:37:58,960 Speaker 1: it's I'm not sure how to describe it here. It's 711 00:38:00,160 --> 00:38:04,200 Speaker 1: it's very clean, it's very honorable, whereas the fight between 712 00:38:04,239 --> 00:38:07,800 Speaker 1: these two witches is just absolutely brutal and eye gouging 713 00:38:08,520 --> 00:38:12,879 Speaker 1: and they're just trying to absolutely murder each other. So, yeah, 714 00:38:13,320 --> 00:38:16,799 Speaker 1: Willow is not a film without its faults, but that 715 00:38:16,840 --> 00:38:19,799 Speaker 1: whole sequence is great. Okay, one more cast note before 716 00:38:19,840 --> 00:38:22,239 Speaker 1: we move on to a couple other individuals, but one 717 00:38:22,280 --> 00:38:25,440 Speaker 1: of the three bullies in the film that are after 718 00:38:25,640 --> 00:38:27,719 Speaker 1: Bastion early in the picture and then get their come 719 00:38:27,760 --> 00:38:29,960 Speaker 1: up and slay it in the picture is played by 720 00:38:30,040 --> 00:38:33,680 Speaker 1: Chris Eastman, who also played the bully Belch in the 721 00:38:33,760 --> 00:38:38,000 Speaker 1: nineteen ninety TV adaptation of Stephen King's It, which alone 722 00:38:38,040 --> 00:38:40,480 Speaker 1: is pretty interesting. Like this kid had the like the 723 00:38:40,520 --> 00:38:43,560 Speaker 1: bully market cornered for a short while while he was 724 00:38:43,600 --> 00:38:46,600 Speaker 1: acting as a as a youth. But then on top 725 00:38:46,640 --> 00:38:49,280 Speaker 1: of that, he's also I believe, currently on the board 726 00:38:49,320 --> 00:38:53,319 Speaker 1: of the Canadian Anti Bullying campaign. I am someone, So 727 00:38:54,400 --> 00:38:56,279 Speaker 1: I don't know, like how can it did? Like I 728 00:38:56,280 --> 00:38:58,439 Speaker 1: don't know the fullback store here, like if he felt 729 00:38:58,480 --> 00:39:00,640 Speaker 1: like he had to do this because he played two 730 00:39:00,640 --> 00:39:04,080 Speaker 1: different cinematic bullies or what the deal is? 731 00:39:04,400 --> 00:39:06,680 Speaker 3: The guy who played Scott Farcas is also on that 732 00:39:08,120 --> 00:39:08,480 Speaker 3: all right. 733 00:39:08,520 --> 00:39:11,319 Speaker 1: Earlier I mentioned the visual style of the picture and 734 00:39:11,360 --> 00:39:14,759 Speaker 1: how there's something about this movie that stands out, you know, 735 00:39:14,800 --> 00:39:18,200 Speaker 1: it doesn't have that same it doesn't resemble other pictures. 736 00:39:18,840 --> 00:39:23,040 Speaker 1: And the individual of note here is Count de Uido 737 00:39:23,160 --> 00:39:26,080 Speaker 1: Rico who was born nineteen forty six. He was the 738 00:39:26,120 --> 00:39:30,600 Speaker 1: conceptual artist, creature designer and scenery designer on the picture 739 00:39:31,080 --> 00:39:34,960 Speaker 1: he is a German educated Italian artist and illustrator who's yeah, 740 00:39:35,120 --> 00:39:36,640 Speaker 1: I think his work is just really key to the 741 00:39:36,640 --> 00:39:40,799 Speaker 1: distinctive look of The never Ending Story. Outside of this movie, 742 00:39:40,840 --> 00:39:45,200 Speaker 1: he also worked. He has Skies and Clouds artist credit 743 00:39:45,239 --> 00:39:48,000 Speaker 1: on nineteen eighty's Flash Gordon, which I think totally makes 744 00:39:48,040 --> 00:39:51,239 Speaker 1: sense because both of these movies are full of swirling, psychedelic, 745 00:39:51,600 --> 00:39:56,160 Speaker 1: brightly colored clouds. His work is very surreal. He's an 746 00:39:56,280 --> 00:39:59,160 Speaker 1: artist and author of children's books as well, such as 747 00:39:59,400 --> 00:40:02,719 Speaker 1: nineteen seventy He Ates the Rainbow Goblins and he If 748 00:40:02,719 --> 00:40:04,759 Speaker 1: you look him up, you can find his website. His 749 00:40:04,840 --> 00:40:08,560 Speaker 1: website features various concepts he developed for The never Ending Story, 750 00:40:09,000 --> 00:40:14,040 Speaker 1: including some concepts for a more humanoid werewolf style Gomork, 751 00:40:14,360 --> 00:40:16,759 Speaker 1: which I think is very interesting that I think he 752 00:40:16,800 --> 00:40:19,359 Speaker 1: based on a picture of himself, So it's always neat 753 00:40:19,360 --> 00:40:23,000 Speaker 1: to see those early mockups of what things might look 754 00:40:23,080 --> 00:40:25,080 Speaker 1: up look like in a film and then realize where 755 00:40:25,120 --> 00:40:28,480 Speaker 1: they deviated and where things stayed the same. You can 756 00:40:28,480 --> 00:40:31,640 Speaker 1: see too, his designs for the urn, the the amulet 757 00:40:32,719 --> 00:40:36,279 Speaker 1: that the that the childlike Empress gives the Treyu in 758 00:40:36,280 --> 00:40:39,759 Speaker 1: the picture that is also the emblem on the on 759 00:40:39,800 --> 00:40:41,680 Speaker 1: the cover of the never Ending story text. 760 00:40:42,200 --> 00:40:46,680 Speaker 3: Oh yeah, these illustrations are fantastic, and his his Gomork, 761 00:40:47,120 --> 00:40:52,319 Speaker 3: sort of his more man Gomork certainly looks much sadder 762 00:40:52,520 --> 00:40:55,640 Speaker 3: than the than the purely malicious wolf that's in the 763 00:40:55,800 --> 00:40:56,600 Speaker 3: in the movie. 764 00:40:57,040 --> 00:41:00,000 Speaker 1: Yeah yeah, but it's especially interesting to keep in mind 765 00:41:00,000 --> 00:41:01,759 Speaker 1: and when we come back around to like how the 766 00:41:01,800 --> 00:41:05,560 Speaker 1: Gomork is depicted and how the camwork describes itself in 767 00:41:05,640 --> 00:41:09,680 Speaker 1: the movie versus the book. All right, So moving on 768 00:41:09,840 --> 00:41:12,160 Speaker 1: finally to the score. So this is one of those 769 00:41:12,360 --> 00:41:18,040 Speaker 1: situations where the score was partially changed for audiences outside 770 00:41:18,160 --> 00:41:20,799 Speaker 1: of in this case Germany. So in the German cut 771 00:41:20,840 --> 00:41:24,279 Speaker 1: of the film, the entire score is Class Dollinger, but 772 00:41:24,400 --> 00:41:29,040 Speaker 1: for international audiences some tracks by Georgio Moroder were added 773 00:41:29,320 --> 00:41:34,120 Speaker 1: along with the theme song, which Moroder was behind. It 774 00:41:34,120 --> 00:41:35,800 Speaker 1: reminds me a little bit of the situation in the 775 00:41:35,840 --> 00:41:38,240 Speaker 1: nineteen eighty five Legend, which had a score by Jerry 776 00:41:38,239 --> 00:41:41,319 Speaker 1: Goldsmith for the European release and then Tangerine Dream for 777 00:41:41,360 --> 00:41:45,080 Speaker 1: the American release. That always puzzled me regarding Legend. With 778 00:41:45,120 --> 00:41:47,360 Speaker 1: this film, I'd say there's less of a like a 779 00:41:47,400 --> 00:41:49,920 Speaker 1: sharp division between the scores, like both of them are 780 00:41:50,040 --> 00:41:55,400 Speaker 1: very situated and based in electronic sounds. So starting with Dollinger. 781 00:41:55,480 --> 00:41:58,800 Speaker 1: Claus Dollinger was born in nineteen thirty six, great German 782 00:41:58,840 --> 00:42:02,160 Speaker 1: synth composer and sad phonist. He composed the score for 783 00:42:02,239 --> 00:42:05,720 Speaker 1: Peterson's nineteen eighty one U Boat film Dos Boot, which 784 00:42:05,840 --> 00:42:08,000 Speaker 1: is just a great synth score on its own. I 785 00:42:08,040 --> 00:42:09,680 Speaker 1: was relistening to some of it. I haven't seen the 786 00:42:09,719 --> 00:42:12,479 Speaker 1: movie in forever, but it has a really killer lead 787 00:42:12,560 --> 00:42:16,120 Speaker 1: melody that incidentally got a techno remix in nineteen ninety 788 00:42:16,160 --> 00:42:19,239 Speaker 1: two by the group U ninety six, so we can 789 00:42:19,239 --> 00:42:20,120 Speaker 1: look that up as well. 790 00:42:21,000 --> 00:42:21,800 Speaker 3: U Boat jams. 791 00:42:22,080 --> 00:42:25,120 Speaker 1: Yeah. Yeah. His work on The Neverending Story is also great, 792 00:42:25,160 --> 00:42:29,239 Speaker 1: with such tracks as Fantasia and the Dad's like the 793 00:42:29,280 --> 00:42:31,959 Speaker 1: mysterious intrigue of the book. And then there's the track 794 00:42:32,400 --> 00:42:35,799 Speaker 1: Bastion's Happy Flight, which just giving the title that you 795 00:42:35,840 --> 00:42:40,160 Speaker 1: know exactly what scenes I'm talking about from the latter 796 00:42:40,200 --> 00:42:43,080 Speaker 1: portion of the film that give us that care free exhilaration. 797 00:42:43,680 --> 00:42:45,640 Speaker 1: And then of course we also have the Gomork music. 798 00:42:45,680 --> 00:42:49,520 Speaker 1: Anytime the Gomork is mentioned or reference, there's really startling, 799 00:42:49,600 --> 00:42:52,640 Speaker 1: scary music that Dollinger was behind. But then we have 800 00:42:52,760 --> 00:42:56,640 Speaker 1: Moroder born nineteen fifty who did the synth editions and 801 00:42:56,680 --> 00:42:59,560 Speaker 1: the theme song, so he is the father of a 802 00:42:59,680 --> 00:43:05,000 Speaker 1: disco himself. Italian composer Giorgio Moroder gives this the signature 803 00:43:05,080 --> 00:43:08,120 Speaker 1: techno pop tracks for the US version, including the Swamps 804 00:43:08,120 --> 00:43:11,600 Speaker 1: of Sadness track and the Ivory Tower track. I mean, 805 00:43:11,640 --> 00:43:13,680 Speaker 1: if you really get in deep, you can definitely tell 806 00:43:13,719 --> 00:43:17,640 Speaker 1: the difference between Moroder's work and Dullinger's work, but I 807 00:43:17,760 --> 00:43:20,040 Speaker 1: like all of it. He also did synths on the 808 00:43:20,040 --> 00:43:21,799 Speaker 1: theme song, and it was behind the theme song The 809 00:43:21,840 --> 00:43:26,160 Speaker 1: Neverending Story, sung by English pop singer Limol born nineteen 810 00:43:26,200 --> 00:43:29,520 Speaker 1: sixty eight, or perhaps Limeol. I'm not sure exactly how 811 00:43:30,120 --> 00:43:32,719 Speaker 1: this particular artist, Moniker is pronounced. 812 00:43:32,920 --> 00:43:35,839 Speaker 3: I think it's an anagram for the name Hamil, which 813 00:43:35,880 --> 00:43:37,239 Speaker 3: is the singer's actual name. 814 00:43:38,000 --> 00:43:40,880 Speaker 1: Oh for real, Yeah, okay, it's kind of like the 815 00:43:40,920 --> 00:43:44,680 Speaker 1: Fantasia version version of his name. Yeah. And of course 816 00:43:44,719 --> 00:43:47,640 Speaker 1: this track was popular again in recent years because they 817 00:43:47,680 --> 00:43:50,000 Speaker 1: featured it prominently on a season of Stranger Things. 818 00:43:50,560 --> 00:43:52,800 Speaker 3: Oh, I guess it didn't make it that far. 819 00:43:54,160 --> 00:43:56,879 Speaker 1: I have to say, I don't. I mean, you can't 820 00:43:56,920 --> 00:43:59,520 Speaker 1: really take the theme song for the neverding story out of 821 00:43:59,520 --> 00:44:03,320 Speaker 1: the situation. But it's not my favorite thing that Moroder 822 00:44:03,320 --> 00:44:04,160 Speaker 1: has been involved in. 823 00:44:04,960 --> 00:44:07,160 Speaker 3: I mean, it does say the name of the movie 824 00:44:07,239 --> 00:44:09,520 Speaker 3: a bunch of times, and that's a good move. 825 00:44:09,920 --> 00:44:13,320 Speaker 1: Yeah, yeah, so yeah. Maroder is a legend, a true 826 00:44:13,360 --> 00:44:17,920 Speaker 1: synth god, italo disco mainstay. His nineteen seventy seven electro 827 00:44:18,000 --> 00:44:21,319 Speaker 1: disco album From Here to Eternity is pretty incredible and 828 00:44:21,360 --> 00:44:24,480 Speaker 1: in film and TV. His other notable works include he 829 00:44:24,560 --> 00:44:27,760 Speaker 1: scored the original Battlestar Galactica in the seventies. He scored 830 00:44:27,840 --> 00:44:32,200 Speaker 1: nineteen eighty three Scarface. In nineteen eighty four, he created 831 00:44:32,200 --> 00:44:36,600 Speaker 1: a score for nineteen twenty seven's Metropolis. I think I've 832 00:44:36,600 --> 00:44:39,000 Speaker 1: seen this. I'd have to go back and look at it. 833 00:44:39,440 --> 00:44:43,480 Speaker 1: He scored nineteen seventy eight's Midnight Express, eighties American Jigglow, 834 00:44:43,520 --> 00:44:47,360 Speaker 1: eighty two's Cat People. In eighty three, he scored the 835 00:44:47,400 --> 00:44:51,480 Speaker 1: mega hit Flash Dance, including writing the theme song Flash Dance, 836 00:44:51,760 --> 00:44:54,360 Speaker 1: What a Feeling, which is just an all timer, Like, 837 00:44:54,400 --> 00:44:56,520 Speaker 1: you can't listen to this song and not get into it. 838 00:44:56,560 --> 00:45:00,520 Speaker 1: As forgettable as the movie may be, Uh, it's a 839 00:45:00,520 --> 00:45:01,239 Speaker 1: pretty great track. 840 00:45:01,640 --> 00:45:03,840 Speaker 3: I don't think I know the song what a. 841 00:45:03,760 --> 00:45:08,520 Speaker 1: Feeling Du dun u da da dun dun d d 842 00:45:08,760 --> 00:45:09,920 Speaker 1: dun d. 843 00:45:10,320 --> 00:45:14,799 Speaker 3: Okay, maybe I hold on, Okay, I'm looking it up. Oh, 844 00:45:14,840 --> 00:45:17,319 Speaker 3: I absolutely know this song, Okay, I just didn't know 845 00:45:17,360 --> 00:45:19,320 Speaker 3: what it was called or what it was from. 846 00:45:19,360 --> 00:45:22,440 Speaker 1: Sorry, no, no, no. It's like like, like I say, 847 00:45:22,480 --> 00:45:24,320 Speaker 1: it's not necessarily a movie that you or I would 848 00:45:24,520 --> 00:45:27,480 Speaker 1: have a lot of feelings about, but the song what 849 00:45:27,600 --> 00:45:33,320 Speaker 1: feelings are. Yeah. He also scored nineteen eighty six's Top Gun, 850 00:45:34,200 --> 00:45:38,040 Speaker 1: including writing the theme song danger Zone sung by Kenny Loggins, 851 00:45:38,239 --> 00:45:42,160 Speaker 1: Wow Highway to the danger Zone. Yeah. And he also 852 00:45:42,200 --> 00:45:44,879 Speaker 1: scored over the Top from eighty seven, which I think 853 00:45:44,880 --> 00:45:46,840 Speaker 1: that's the arm wrestling film that I've never seen, but 854 00:45:46,880 --> 00:45:50,120 Speaker 1: I know some people find amusing on some level. 855 00:45:50,480 --> 00:45:51,920 Speaker 3: Sylvester Stallone, is it? 856 00:45:53,239 --> 00:45:56,440 Speaker 1: I think so? Yeah, it's a Sylvester Stallone arm wrestling picture. 857 00:45:56,640 --> 00:45:58,640 Speaker 3: That one's kind of a bore until you get to 858 00:45:58,680 --> 00:46:01,480 Speaker 3: the scene where he arm wrestles Brundle Fly. That that's 859 00:46:01,480 --> 00:46:02,200 Speaker 3: a real twist. 860 00:46:02,640 --> 00:46:04,440 Speaker 1: I was fixing to say. It's like I think of 861 00:46:04,560 --> 00:46:06,400 Speaker 1: arm wrestling in motion pictures, I'm going to think of 862 00:46:06,440 --> 00:46:08,400 Speaker 1: the Fly or I'm gonna think of what is it 863 00:46:08,840 --> 00:46:10,560 Speaker 1: arms of Steel had some. 864 00:46:10,640 --> 00:46:13,560 Speaker 3: Hand hand of steel, hands of Steel. Yeah, yeah, the 865 00:46:14,719 --> 00:46:16,960 Speaker 3: I wonder if the scene and hands of Steel was 866 00:46:17,000 --> 00:46:18,920 Speaker 3: inspired by the Stallone. 867 00:46:18,480 --> 00:46:21,720 Speaker 1: Movie might have been. Yeah. So anyway that the music 868 00:46:21,719 --> 00:46:24,360 Speaker 1: for this film is great. Uh, you know all on 869 00:46:24,480 --> 00:46:26,600 Speaker 1: all this the score is just an embarrassment of riches. 870 00:46:27,520 --> 00:46:29,600 Speaker 1: I was talking with JJ prior to come in here. 871 00:46:29,640 --> 00:46:32,600 Speaker 1: I've never actually seen the German language cut of the film. Uh, 872 00:46:32,880 --> 00:46:36,239 Speaker 1: and seen like the film with without the Morauder additions 873 00:46:36,239 --> 00:46:38,239 Speaker 1: to it, But that would be an interesting exercise at 874 00:46:38,239 --> 00:46:42,240 Speaker 1: some point. Yeah, unlike say the Jerry Goldsmith cut of Legend. 875 00:46:42,280 --> 00:46:43,920 Speaker 1: I'm just not gonna do it. I'm sorry, I'm just 876 00:46:44,040 --> 00:46:45,399 Speaker 1: Hanjurine dream all the way. 877 00:46:45,680 --> 00:46:56,960 Speaker 3: Yeah, I know your proclivity's there. Okay, well wait, are 878 00:46:57,040 --> 00:46:58,520 Speaker 3: are we going to the plot now? 879 00:46:58,880 --> 00:47:00,760 Speaker 1: Yeah, let's jump in. Let's in the book. 880 00:47:01,280 --> 00:47:04,319 Speaker 3: Okay. Well, so the movie does start off, at least 881 00:47:04,320 --> 00:47:07,440 Speaker 3: in the version I watched to revisit it with the 882 00:47:07,800 --> 00:47:11,400 Speaker 3: title theme, the Moreauder song with the with the you know, 883 00:47:11,480 --> 00:47:16,200 Speaker 3: the never ending sorry gets your blood pumpin' ready ready 884 00:47:16,200 --> 00:47:20,759 Speaker 3: for an adventure. And so our main character Bastion, when 885 00:47:20,760 --> 00:47:23,480 Speaker 3: we first meet him, he wakes up from a nightmare. 886 00:47:23,560 --> 00:47:26,719 Speaker 3: He's in bed, he's obviously been having bad dreams, and 887 00:47:26,920 --> 00:47:31,040 Speaker 3: he immediately finds comfort in a book. So it's a 888 00:47:31,040 --> 00:47:32,960 Speaker 3: good way to get things started. We know, we know 889 00:47:33,000 --> 00:47:34,799 Speaker 3: what he's all about from frame one. 890 00:47:35,360 --> 00:47:38,799 Speaker 1: That's right. The books. Books are his refuge. Books are 891 00:47:38,800 --> 00:47:39,680 Speaker 1: his sacred space. 892 00:47:40,040 --> 00:47:42,360 Speaker 3: And the next morning, Bastion and his father are in 893 00:47:42,400 --> 00:47:46,000 Speaker 3: the kitchen together. They're having breakfast. We find out that 894 00:47:46,320 --> 00:47:51,879 Speaker 3: Bastian's mother has died and his father his father. Well, 895 00:47:51,880 --> 00:47:55,160 Speaker 3: first of all, before I sort of alluded to this earlier, 896 00:47:55,200 --> 00:47:59,120 Speaker 3: but there's something strange going on with Bastien's father's relationship 897 00:47:59,160 --> 00:48:02,000 Speaker 3: with the blender, in which he I think we see 898 00:48:02,080 --> 00:48:05,320 Speaker 3: him pour orange juice from a pitcher into the blender 899 00:48:05,680 --> 00:48:08,000 Speaker 3: and then crack a raw egg in there and then 900 00:48:08,080 --> 00:48:09,440 Speaker 3: just blend and drink. 901 00:48:09,200 --> 00:48:12,960 Speaker 1: It yep yep, drinks it down, gulps it down, and 902 00:48:12,960 --> 00:48:15,919 Speaker 1: then has like a one minute conversation with his son 903 00:48:15,960 --> 00:48:18,399 Speaker 1: about his disappointment in him, and then he's out the door. 904 00:48:18,600 --> 00:48:21,160 Speaker 1: It's like a Bastion is like not only a latch 905 00:48:21,239 --> 00:48:23,160 Speaker 1: key kid. He has to like lock up and leave 906 00:48:23,560 --> 00:48:27,080 Speaker 1: for school in the morning. But yeah, my son and 907 00:48:27,080 --> 00:48:29,240 Speaker 1: I were commenting on this as we were rewatching the film. 908 00:48:29,520 --> 00:48:31,680 Speaker 1: You know, like, what a like, what kind of a 909 00:48:31,719 --> 00:48:33,600 Speaker 1: breakfast is this? I guess it's like a true work 910 00:48:33,719 --> 00:48:36,759 Speaker 1: best breakfast, right, I mean, he's such a workaholic. All 911 00:48:36,800 --> 00:48:38,640 Speaker 1: he has time for is that raw egg and that 912 00:48:38,719 --> 00:48:40,239 Speaker 1: orange juice. Just gulp it down and. 913 00:48:40,200 --> 00:48:43,239 Speaker 3: Co he needs to take a vacation to Hawaii and 914 00:48:44,160 --> 00:48:45,640 Speaker 3: explore his wolfy side. 915 00:48:46,080 --> 00:48:49,400 Speaker 1: Now, you mentioned that that Bastion's mother had died, and 916 00:48:49,440 --> 00:48:51,640 Speaker 1: it isn't important to note she did not just die. 917 00:48:51,680 --> 00:48:54,319 Speaker 1: This scene would be very strange if she had just 918 00:48:54,360 --> 00:48:56,439 Speaker 1: passed away. But we get the impression that it's it's 919 00:48:56,520 --> 00:49:00,360 Speaker 1: been some time, like long enough that Bastian's father is like, 920 00:49:00,400 --> 00:49:01,840 Speaker 1: you need to get past this, get on with it. 921 00:49:01,880 --> 00:49:03,879 Speaker 1: You know, we got to move on with life. And 922 00:49:04,400 --> 00:49:07,040 Speaker 1: you know he's still still is dealing with it to 923 00:49:07,080 --> 00:49:09,799 Speaker 1: a large extent, and his father is like, no, put 924 00:49:09,800 --> 00:49:11,879 Speaker 1: it behind you. You need to grow up and get 925 00:49:11,880 --> 00:49:13,000 Speaker 1: with the program. 926 00:49:13,000 --> 00:49:16,120 Speaker 3: Right, And this is reflectively so he's like commenting on 927 00:49:16,320 --> 00:49:18,239 Speaker 3: I think he got a call from one of Bastioni's 928 00:49:18,280 --> 00:49:21,520 Speaker 3: teachers about how he hasn't been doing his homework. Instead 929 00:49:21,560 --> 00:49:25,200 Speaker 3: he's drawing horses in his math book, and then Bastion's like, 930 00:49:25,280 --> 00:49:29,719 Speaker 3: not horses, unicorns, and then his dad's upset. He's like, hey, 931 00:49:29,800 --> 00:49:31,719 Speaker 3: so you're getting in trouble at school. You're not even 932 00:49:31,760 --> 00:49:34,240 Speaker 3: trying out for the swim team. You say you love horses, 933 00:49:34,320 --> 00:49:36,160 Speaker 3: but you're afraid to get on a real one. So 934 00:49:36,280 --> 00:49:38,640 Speaker 3: why don't you, you know, get your head out of 935 00:49:38,680 --> 00:49:40,640 Speaker 3: the clouds and put your feet on the ground. 936 00:49:41,880 --> 00:49:44,640 Speaker 1: And so this is all we see of Bastian's home life, 937 00:49:44,960 --> 00:49:47,560 Speaker 1: but it's it's well done, Like he gives us just 938 00:49:47,920 --> 00:49:49,799 Speaker 1: enough notes to sort of build things out with. 939 00:49:50,080 --> 00:49:53,400 Speaker 3: And Bastian's father is not portrayed as like mean or evil. 940 00:49:53,560 --> 00:49:56,560 Speaker 3: He is trying to be helpful. What this is what 941 00:49:56,600 --> 00:49:58,879 Speaker 3: he thinks being helpful is is like telling his son 942 00:49:58,960 --> 00:50:01,960 Speaker 3: he needs to like be realistic and stop daydreaming and 943 00:50:02,320 --> 00:50:02,719 Speaker 3: all that. 944 00:50:03,120 --> 00:50:05,000 Speaker 1: Yeah, and like also clear, I mean, you get the 945 00:50:05,000 --> 00:50:08,359 Speaker 1: impression that he is also dealing with the grief of 946 00:50:08,400 --> 00:50:12,560 Speaker 1: this loss in a very particular way, and on some 947 00:50:12,680 --> 00:50:14,759 Speaker 1: of it like thinks that, well, Bastian should do this too. 948 00:50:14,840 --> 00:50:16,839 Speaker 1: This is what is sort of working for me. If 949 00:50:16,840 --> 00:50:19,480 Speaker 1: he would only just do the same thing, then then 950 00:50:19,520 --> 00:50:20,840 Speaker 1: he could move on as well. 951 00:50:21,239 --> 00:50:24,000 Speaker 3: Anyway, Bastien is on his way to school, but then 952 00:50:24,040 --> 00:50:27,880 Speaker 3: he hits another obstacle. Gang of bullies, three bullies that 953 00:50:28,160 --> 00:50:30,759 Speaker 3: you get the feeling that they mess with him all 954 00:50:30,800 --> 00:50:33,880 Speaker 3: the time. They want to rob him, they want his money, 955 00:50:33,920 --> 00:50:36,080 Speaker 3: and they end up throwing him in a dumpster in 956 00:50:36,120 --> 00:50:36,640 Speaker 3: an alley. 957 00:50:37,360 --> 00:50:39,720 Speaker 1: Yeah, yeah, I hate these bullies there. They're the worst. 958 00:50:40,000 --> 00:50:42,120 Speaker 3: He climbs out of the dumpster and then of course 959 00:50:42,160 --> 00:50:44,560 Speaker 3: they're not done bullying him. They're like, hey, get back 960 00:50:44,600 --> 00:50:46,600 Speaker 3: in there, and so he runs away and they chase 961 00:50:46,680 --> 00:50:50,600 Speaker 3: him and eventually he ducks into an old bookshop to hide. 962 00:50:50,760 --> 00:50:53,800 Speaker 3: And in this scene, the old man who runs the bookshop, 963 00:50:53,840 --> 00:50:59,719 Speaker 3: this is Corianders. He's very curmudgeonly, but there's something exciting 964 00:51:00,040 --> 00:51:04,440 Speaker 3: about this space. It's full of stuff that seems old, 965 00:51:04,600 --> 00:51:07,640 Speaker 3: seems to contain secrets, and we know Bascian actually does 966 00:51:07,719 --> 00:51:10,279 Speaker 3: love books. And the man who runs the shop does 967 00:51:10,320 --> 00:51:12,160 Speaker 3: not expect this. As soon as the kid walks in, 968 00:51:12,239 --> 00:51:14,880 Speaker 3: he looks at him. He's like, oh, this is a kid. Sorry. 969 00:51:14,880 --> 00:51:17,600 Speaker 3: The video arcade is down the street, that's what you're 970 00:51:17,640 --> 00:51:18,200 Speaker 3: looking for. 971 00:51:18,680 --> 00:51:20,680 Speaker 1: You can easily imagine a version of this where it's 972 00:51:20,719 --> 00:51:24,560 Speaker 1: the comic book guy from the Simpsons gatekeeping on poor Bastian. 973 00:51:24,640 --> 00:51:30,920 Speaker 3: Worst generation ever. But yeah, so Bastion protests, He's like, no, 974 00:51:31,000 --> 00:51:33,040 Speaker 3: I like books. I like books like though the one 975 00:51:33,040 --> 00:51:36,960 Speaker 3: you're reading now. But the old Man's like, no, not 976 00:51:37,040 --> 00:51:39,440 Speaker 3: like the one I'm reading now. All the books you like, 977 00:51:39,560 --> 00:51:43,359 Speaker 3: you like Tarzan and Treasure Island and all that those 978 00:51:43,440 --> 00:51:46,680 Speaker 3: books are safe. This book not so much. 979 00:51:47,360 --> 00:51:49,960 Speaker 1: Yeah, and of course we'll learn why this book, the 980 00:51:50,000 --> 00:51:54,319 Speaker 1: Neverening story, is not safe, and certainly that's a huge 981 00:51:54,320 --> 00:51:57,160 Speaker 1: plot point in the film. But also I felt I 982 00:51:57,200 --> 00:51:59,640 Speaker 1: feel like this kind of flows over into the way 983 00:52:00,040 --> 00:52:03,239 Speaker 1: received this film as a young viewer, that the film 984 00:52:03,280 --> 00:52:06,320 Speaker 1: itself was to some degree unsafe. And granted, any film, 985 00:52:06,400 --> 00:52:08,520 Speaker 1: if you're young enough and you don't grasp the conventions 986 00:52:08,520 --> 00:52:11,479 Speaker 1: of story and genre, any film can feel unsafe because 987 00:52:11,480 --> 00:52:13,120 Speaker 1: you don't know that like the hero is supposed to 988 00:52:13,160 --> 00:52:15,640 Speaker 1: win and so forth, or that certain things are not 989 00:52:15,719 --> 00:52:18,720 Speaker 1: going to happen in a PG rated or G rated picture. 990 00:52:19,280 --> 00:52:22,000 Speaker 1: But I felt like even early on, I could tell 991 00:52:22,000 --> 00:52:25,560 Speaker 1: that this film was somehow buckling the against these restraints. 992 00:52:25,840 --> 00:52:31,080 Speaker 1: You know that it wasn't a completely safe world that 993 00:52:31,160 --> 00:52:33,759 Speaker 1: I was immersing myself in and for for goodness sake. 994 00:52:33,800 --> 00:52:36,719 Speaker 1: I mean there's sphinx nipples in it later on, which 995 00:52:36,760 --> 00:52:38,480 Speaker 1: also seemed to contribute to this feeling. 996 00:52:38,880 --> 00:52:42,000 Speaker 3: This scene in the bookshops setting up the intrigue that 997 00:52:42,080 --> 00:52:44,239 Speaker 3: will follow in the rest of the plot, I think 998 00:52:44,360 --> 00:52:46,960 Speaker 3: is very good and I would place it in a 999 00:52:47,080 --> 00:52:50,400 Speaker 3: league among the best scenes of this type. Other examples 1000 00:52:50,440 --> 00:52:52,880 Speaker 3: would include the scene at the beginning of Raiders of 1001 00:52:52,920 --> 00:52:56,280 Speaker 3: the Lost Ark where the men from the government arrive 1002 00:52:56,440 --> 00:52:59,080 Speaker 3: and pull Jones out of class to ask him about 1003 00:52:59,080 --> 00:53:01,160 Speaker 3: the arc and they have that reef conversation. I know 1004 00:53:01,200 --> 00:53:03,400 Speaker 3: that that scene is often held up as like a 1005 00:53:03,440 --> 00:53:07,439 Speaker 3: really great example of screenwriting, of like covering a lot 1006 00:53:07,480 --> 00:53:11,719 Speaker 3: of ground and raising tantalizing mysteries in a very short 1007 00:53:11,760 --> 00:53:14,479 Speaker 3: amount of time. Yeah, and I would say this scene 1008 00:53:14,560 --> 00:53:17,160 Speaker 3: is much like that. It does exactly the same. So 1009 00:53:17,400 --> 00:53:19,520 Speaker 3: the book's not safe. What's he gonna do? He steals it? 1010 00:53:19,560 --> 00:53:22,399 Speaker 3: Of course, he leaves a note. He's a good Yeah. 1011 00:53:22,400 --> 00:53:25,200 Speaker 3: The old man finds a note saying okay, I will 1012 00:53:25,239 --> 00:53:27,640 Speaker 3: return it, but he runs off with the book because 1013 00:53:27,640 --> 00:53:30,680 Speaker 3: he's got to read it now. It's not safe, That's right. 1014 00:53:30,719 --> 00:53:33,080 Speaker 3: I mean, I think a lot of us can relate 1015 00:53:33,120 --> 00:53:35,480 Speaker 3: to this like the books you're told not to read 1016 00:53:35,560 --> 00:53:37,399 Speaker 3: that you shouldn't read when you're younger, Like, of course, 1017 00:53:37,440 --> 00:53:39,480 Speaker 3: those are the ones that you're going to get back to. 1018 00:53:40,000 --> 00:53:42,360 Speaker 3: Like I think I probably mentioned this before, but I 1019 00:53:42,360 --> 00:53:45,760 Speaker 3: distinctly remember I started reading a copy of the Silence 1020 00:53:45,800 --> 00:53:47,920 Speaker 3: of the Lambs when I was like in middle school, 1021 00:53:47,960 --> 00:53:49,879 Speaker 3: I guess, and then and my dad took a look 1022 00:53:49,920 --> 00:53:51,719 Speaker 3: at it and he's like, no, no, you can't read that, 1023 00:53:51,840 --> 00:53:53,680 Speaker 3: and stuck it away. It was like the only time 1024 00:53:53,680 --> 00:53:56,840 Speaker 3: you ever did that. But of course I couldn't not 1025 00:53:57,000 --> 00:53:58,560 Speaker 3: read the rest of the book. I had to go 1026 00:53:58,600 --> 00:54:00,239 Speaker 3: and I found where it was hidden and had to 1027 00:54:00,239 --> 00:54:02,600 Speaker 3: sneak it out and finish reading it at night and 1028 00:54:02,600 --> 00:54:04,680 Speaker 3: then put it back in its hiding place. You know, 1029 00:54:04,719 --> 00:54:07,480 Speaker 3: I've actually never read one of those Thomas Harris novels, 1030 00:54:07,480 --> 00:54:11,120 Speaker 3: but I've heard people say that like they're trash, but 1031 00:54:11,160 --> 00:54:13,680 Speaker 3: they're exquisite trash, like really top tier. 1032 00:54:15,160 --> 00:54:15,359 Speaker 4: Yeah. 1033 00:54:15,400 --> 00:54:17,480 Speaker 1: I don't know, it's been a long time, but I 1034 00:54:17,520 --> 00:54:20,760 Speaker 1: mean I enjoyed. I enjoyed reading Red Dragon in Silence, 1035 00:54:20,800 --> 00:54:24,560 Speaker 1: and then eventually I read Hannibal and I remember not 1036 00:54:24,719 --> 00:54:27,480 Speaker 1: liking it at the time, but but I don't know 1037 00:54:27,520 --> 00:54:29,880 Speaker 1: it's it's a weird book. Maybe I wasn't ready for it. 1038 00:54:29,960 --> 00:54:30,359 Speaker 1: I don't know. 1039 00:54:30,640 --> 00:54:33,440 Speaker 3: Anyway, back in the plot, Bastion, so he's got the book. 1040 00:54:33,520 --> 00:54:36,640 Speaker 3: Now he makes his way onto school, but of course 1041 00:54:36,640 --> 00:54:39,080 Speaker 3: he's late and he peeks in the window at the classroom. 1042 00:54:39,080 --> 00:54:42,880 Speaker 3: They're doing a math test. Brother, that's no good, so 1043 00:54:43,200 --> 00:54:46,560 Speaker 3: instead of going into class late, he just skips, skips 1044 00:54:46,600 --> 00:54:50,640 Speaker 3: it entirely, runs to the school attic. That interesting that 1045 00:54:50,680 --> 00:54:53,200 Speaker 3: there even is such a thing. There's an attic at 1046 00:54:53,200 --> 00:54:56,120 Speaker 3: the school and there's like a glass case containing the 1047 00:54:56,239 --> 00:54:59,320 Speaker 3: key to the attic, where the glass is already broken. 1048 00:55:00,000 --> 00:55:02,560 Speaker 3: Wonder if that means like he he has snuck in 1049 00:55:02,600 --> 00:55:03,560 Speaker 3: there before. 1050 00:55:03,680 --> 00:55:05,560 Speaker 1: I don't know, or it was just somebody else had 1051 00:55:05,640 --> 00:55:08,680 Speaker 1: snuck in there. I'm not sure what the exact situation is, 1052 00:55:08,719 --> 00:55:11,880 Speaker 1: but you know, he knows what to do. This is 1053 00:55:12,280 --> 00:55:14,759 Speaker 1: probably a place he's fled to before, and it is 1054 00:55:14,840 --> 00:55:18,759 Speaker 1: it is like the physical incarnation of the refuge that 1055 00:55:18,800 --> 00:55:22,480 Speaker 1: he's finding in books, and as we discussed early in 1056 00:55:22,480 --> 00:55:25,120 Speaker 1: the episode, yeah, it is like it's like a temple 1057 00:55:25,239 --> 00:55:28,239 Speaker 1: to the fantastic in our real world. It's kind of 1058 00:55:28,280 --> 00:55:32,160 Speaker 1: a transitional realm between our world and the realm of Fantasia. 1059 00:55:32,080 --> 00:55:34,840 Speaker 3: That's right. So he just settles in in this hidden place. 1060 00:55:34,960 --> 00:55:37,160 Speaker 3: It's very cozy where no one can find him and 1061 00:55:37,200 --> 00:55:39,239 Speaker 3: it's quiet, and he takes out the book and he 1062 00:55:39,320 --> 00:55:43,040 Speaker 3: begins to read. And yeah, it as I said earlier, 1063 00:55:43,080 --> 00:55:46,080 Speaker 3: it's just it feels so good. Especially when I was 1064 00:55:46,120 --> 00:55:48,239 Speaker 3: a kid watching this, it was like, I want that. 1065 00:55:49,000 --> 00:55:52,280 Speaker 1: Basically what transpires next is basically what transpires in the book. 1066 00:55:52,360 --> 00:55:56,439 Speaker 1: We get this initial chapter that doesn't include a Tray 1067 00:55:56,480 --> 00:55:58,839 Speaker 1: you a tray who's not introduced yet. Instead, we meet 1068 00:55:59,200 --> 00:56:01,520 Speaker 1: the Nighthob, meet teeny Weenye. I think in the book 1069 00:56:01,520 --> 00:56:04,560 Speaker 1: there's also a Willow of the Whisp. Rock Bier is here, 1070 00:56:05,440 --> 00:56:07,759 Speaker 1: and they're just talking about what's going on in Fantasia, 1071 00:56:08,040 --> 00:56:11,480 Speaker 1: and they talk about the nothing, this force that's kind 1072 00:56:11,520 --> 00:56:14,720 Speaker 1: of gobbling up the fantastic realm. 1073 00:56:15,040 --> 00:56:17,000 Speaker 3: Yeah, when we first meet the rock Bider, I think 1074 00:56:17,040 --> 00:56:19,720 Speaker 3: the Nighthob and teeny Weeny are sort of camping together 1075 00:56:19,800 --> 00:56:22,680 Speaker 3: in the woods, and the rock Bier is this giant 1076 00:56:22,880 --> 00:56:25,840 Speaker 3: figure made of rock that rolls in with a manual 1077 00:56:25,960 --> 00:56:27,960 Speaker 3: steamroller bike or something. 1078 00:56:28,960 --> 00:56:32,319 Speaker 1: Yeah, and these are great creatures and there's a good 1079 00:56:32,400 --> 00:56:33,000 Speaker 1: stick in here. 1080 00:56:33,880 --> 00:56:37,279 Speaker 3: But they're all facing the same problem. The Nothing is 1081 00:56:37,480 --> 00:56:41,240 Speaker 3: consuming parts of the world. There's some kind of force 1082 00:56:41,400 --> 00:56:45,400 Speaker 3: that's annihilating everything. They're trying to escape it, and I 1083 00:56:45,440 --> 00:56:49,799 Speaker 3: think ultimately they are headed towards the Ivory Tower, the 1084 00:56:49,840 --> 00:56:54,440 Speaker 3: home of the Impress of Fantasia of this world, because 1085 00:56:54,480 --> 00:56:56,879 Speaker 3: there they're going to find out what can be done 1086 00:56:56,880 --> 00:56:58,680 Speaker 3: about the Nothing right. 1087 00:56:58,560 --> 00:57:00,439 Speaker 1: Right, And it's here that we're going to a scene 1088 00:57:00,480 --> 00:57:03,759 Speaker 1: where a Treyu is introduced. He's summoned, he's given the 1089 00:57:03,880 --> 00:57:06,680 Speaker 1: quest of helping to heal the when we find out 1090 00:57:06,680 --> 00:57:09,560 Speaker 1: that the childlike Empress is sick and that she alone 1091 00:57:09,600 --> 00:57:11,560 Speaker 1: is not going to be able to save everyone. And 1092 00:57:11,560 --> 00:57:16,480 Speaker 1: then also meanwhile, Bastian narrates this bit where we learn 1093 00:57:16,640 --> 00:57:18,960 Speaker 1: that the Nothing has sent its own servant out on 1094 00:57:19,000 --> 00:57:22,240 Speaker 1: a quest, and this servant is the Gomork. This is 1095 00:57:22,280 --> 00:57:27,240 Speaker 1: a first, absolutely terrifying glimpse of this massive wolf creature. 1096 00:57:28,120 --> 00:57:29,919 Speaker 1: You know, the strong elements of the of the were 1097 00:57:30,000 --> 00:57:33,720 Speaker 1: wolf and also the giant wolf of fin Rear of 1098 00:57:33,800 --> 00:57:35,240 Speaker 1: Norse and as all mythology. 1099 00:57:35,720 --> 00:57:40,320 Speaker 3: Mm hmmm, yeah, the Goomork is extremely scary. I remember, 1100 00:57:40,720 --> 00:57:44,480 Speaker 3: I remember that fear, that like bone deep fear watching 1101 00:57:44,680 --> 00:57:46,200 Speaker 3: watching the Wolf as a child. 1102 00:57:47,360 --> 00:57:50,080 Speaker 1: Now green eyes, Oh yeah, green Eyes has green eyes 1103 00:57:50,120 --> 00:57:52,720 Speaker 1: in the book as well. I astud mentioned in the 1104 00:57:52,760 --> 00:57:55,880 Speaker 1: book as in the film, the Fantasians at the beginning 1105 00:57:56,120 --> 00:57:58,320 Speaker 1: are discussing the nothing and what someone asked, well, what 1106 00:57:58,320 --> 00:58:00,160 Speaker 1: does it look like? And they're like, well, you know, 1107 00:58:00,200 --> 00:58:02,040 Speaker 1: it's it like a hole and they're like, well, it's 1108 00:58:02,080 --> 00:58:04,600 Speaker 1: a hole would be something, but this is nothing. They 1109 00:58:04,600 --> 00:58:05,880 Speaker 1: go into it a little bit more in the book 1110 00:58:05,920 --> 00:58:08,919 Speaker 1: and they point out that it's like going blind when 1111 00:58:08,920 --> 00:58:11,400 Speaker 1: you look at it. So just a little hint of 1112 00:58:11,480 --> 00:58:16,520 Speaker 1: sort of the paradox nature, paradoxical nature of Michael Inda's 1113 00:58:16,520 --> 00:58:18,240 Speaker 1: work at times, like the idea of like what is 1114 00:58:18,280 --> 00:58:20,480 Speaker 1: it like to look at something where there is nothing 1115 00:58:20,520 --> 00:58:24,560 Speaker 1: at all? It's not like seeing an absence, It's like blindness. 1116 00:58:24,560 --> 00:58:26,760 Speaker 1: It's something that can't even really be put into words. 1117 00:58:27,280 --> 00:58:29,200 Speaker 3: I mean, this reminds me of things we've discussed on 1118 00:58:29,240 --> 00:58:33,600 Speaker 3: Core episodes before, where there are you know, neurological conditions affecting, 1119 00:58:33,760 --> 00:58:36,800 Speaker 3: say the visual processing centers of the brain where you 1120 00:58:36,840 --> 00:58:41,240 Speaker 3: can have you can have essentially blind spots in your vision, 1121 00:58:41,280 --> 00:58:44,040 Speaker 3: and you might imagine that manifests as like okay, you're 1122 00:58:44,080 --> 00:58:46,760 Speaker 3: looking around and there's like a dark spot in the 1123 00:58:46,760 --> 00:58:49,880 Speaker 3: middle of your vision where no light comes through, but 1124 00:58:50,040 --> 00:58:52,919 Speaker 3: instead for some of these conditions, instead what you get 1125 00:58:53,040 --> 00:58:56,960 Speaker 3: is the sensation that you're seeing a continuous scene, but 1126 00:58:57,080 --> 00:59:00,600 Speaker 3: in fact it's like stitching together these two places that 1127 00:59:00,680 --> 00:59:04,800 Speaker 3: don't actually connect in space. So you might like, I 1128 00:59:04,840 --> 00:59:06,760 Speaker 3: think one of the examples we talked about is like 1129 00:59:06,800 --> 00:59:08,640 Speaker 3: you might look at a dog and instead of a 1130 00:59:08,680 --> 00:59:11,840 Speaker 3: blank spot over the dog's face, the dog just has 1131 00:59:11,920 --> 00:59:12,440 Speaker 3: no face. 1132 00:59:13,240 --> 00:59:16,720 Speaker 1: Yeah. Now the movie doesn't really attempt to bring this 1133 00:59:16,840 --> 00:59:19,920 Speaker 1: idea to life. We basically see all these like swirling 1134 00:59:19,960 --> 00:59:24,640 Speaker 1: storm clouds and nebula effects going on where the nothing 1135 00:59:24,720 --> 00:59:26,800 Speaker 1: is moving in and I don't know, we can either 1136 00:59:26,800 --> 00:59:28,680 Speaker 1: think of that as I guess it's just something visual 1137 00:59:28,840 --> 00:59:31,240 Speaker 1: to represent the nothing, or perhaps this is supposed to 1138 00:59:31,280 --> 00:59:33,240 Speaker 1: be like sort of the event horizon of the nothing. 1139 00:59:33,640 --> 00:59:35,919 Speaker 3: Yeah, I think the event horizon is a good way 1140 00:59:36,160 --> 00:59:39,080 Speaker 3: way to put it. It's often, yeah, represented as like 1141 00:59:39,120 --> 00:59:41,800 Speaker 3: a storm and these winds and clouds and all that. 1142 00:59:42,080 --> 00:59:43,520 Speaker 1: All Right, Well, at this point we have we have 1143 00:59:43,560 --> 00:59:48,640 Speaker 1: assigned our main quest to our fantasia hero a tray. You, 1144 00:59:48,880 --> 00:59:51,400 Speaker 1: it's time for him to set off and get some answers. 1145 00:59:51,960 --> 00:59:54,800 Speaker 3: So he goes to many different places, but he can't 1146 00:59:54,920 --> 00:59:57,600 Speaker 3: find a way to stop the nothing. Oh and we 1147 00:59:57,640 --> 01:00:01,520 Speaker 3: should mention he's equipped with They get the agents of 1148 01:00:01,560 --> 01:00:04,600 Speaker 3: the Empress give him a talisman called the. 1149 01:00:04,720 --> 01:00:10,560 Speaker 1: Orneah, which is like the sort of intertwined serpent symbol 1150 01:00:11,320 --> 01:00:12,600 Speaker 1: that looks very cool. 1151 01:00:13,040 --> 01:00:15,280 Speaker 3: So he's got the orn, he's got his loyal horse 1152 01:00:15,360 --> 01:00:18,880 Speaker 3: attacks and they're riding around trying to find answers. And 1153 01:00:18,920 --> 01:00:21,320 Speaker 3: they go to one place, they find nothing. They go 1154 01:00:21,360 --> 01:00:24,960 Speaker 3: somewhere else, they find nothing, not the nothing, just no answers, 1155 01:00:25,280 --> 01:00:28,720 Speaker 3: and eventually they end up in the swamps of Sadness. 1156 01:00:28,720 --> 01:00:30,280 Speaker 3: And here's where we sort of pick up on the 1157 01:00:30,360 --> 01:00:33,280 Speaker 3: quest in more real time. And one of the first 1158 01:00:33,280 --> 01:00:37,000 Speaker 3: things that happens here is something that I know horrified 1159 01:00:37,120 --> 01:00:40,640 Speaker 3: children of my generation round the world, the death of 1160 01:00:40,760 --> 01:00:42,840 Speaker 3: our tax. Where so they go into the swamps of 1161 01:00:42,880 --> 01:00:46,680 Speaker 3: sadness and they the story of this place is that 1162 01:00:46,720 --> 01:00:49,040 Speaker 3: if you let the sadness overtake you, you will be 1163 01:00:49,160 --> 01:00:52,640 Speaker 3: sucked down into the muck. And this happens to a 1164 01:00:52,760 --> 01:00:57,200 Speaker 3: tray You's loyal horse here, and it is so sad. 1165 01:00:57,520 --> 01:00:59,000 Speaker 1: It is, I mean, if you're watching it, as an 1166 01:00:59,040 --> 01:01:01,640 Speaker 1: adult or a child. It really pulls at the heartstrings 1167 01:01:01,640 --> 01:01:05,240 Speaker 1: because our Tax just straight up dies of sadness, with 1168 01:01:05,320 --> 01:01:07,920 Speaker 1: the tray you pleading for him to hang on the 1169 01:01:08,040 --> 01:01:11,480 Speaker 1: keep waffling on. Which is worse, I guess because in 1170 01:01:11,520 --> 01:01:14,600 Speaker 1: the book the horse talks and in the movie the 1171 01:01:14,640 --> 01:01:18,840 Speaker 1: horse is just a horse. But and so it's certainly 1172 01:01:19,000 --> 01:01:21,520 Speaker 1: potent enough in the film because there's something about the 1173 01:01:21,560 --> 01:01:24,040 Speaker 1: communication gap, like how do you talk a horse out 1174 01:01:24,040 --> 01:01:27,240 Speaker 1: of sadness? You can't like, uh, you know, it's it's 1175 01:01:27,400 --> 01:01:29,919 Speaker 1: he's helpless. In the book, though, they have a whole 1176 01:01:29,920 --> 01:01:34,080 Speaker 1: conversation and and like there's like he's he's like, hey, 1177 01:01:34,120 --> 01:01:36,800 Speaker 1: you gotta, you know, don't you gotta, you know, push 1178 01:01:36,880 --> 01:01:39,200 Speaker 1: through it, you know, don't don't give into the sadness. 1179 01:01:39,600 --> 01:01:42,240 Speaker 1: And so there's this part where quote it goes like this, 1180 01:01:43,000 --> 01:01:45,760 Speaker 1: leave me, my master said the little horse. I can't 1181 01:01:45,760 --> 01:01:48,640 Speaker 1: make it go on alone. Don't bother about me. I 1182 01:01:48,680 --> 01:01:52,880 Speaker 1: can't stand the sadness anymore. I want to die. And 1183 01:01:52,920 --> 01:01:55,760 Speaker 1: then our Tax explains he is sinking due to his sadness, 1184 01:01:55,960 --> 01:01:58,480 Speaker 1: but the detray you is protected by the orn, and 1185 01:01:58,520 --> 01:02:01,520 Speaker 1: he makes one last request to his master, a Treyo. 1186 01:02:01,600 --> 01:02:04,160 Speaker 1: He says, quote, I beg you to go away. I 1187 01:02:04,200 --> 01:02:07,840 Speaker 1: don't want you to see my end so heavy stuff, agreed. 1188 01:02:07,960 --> 01:02:10,840 Speaker 3: I think actually though, it might be even worse when 1189 01:02:10,880 --> 01:02:13,959 Speaker 3: it's just the horse that can't talk. Because it can't talk, 1190 01:02:14,040 --> 01:02:18,040 Speaker 3: so you have no closure. There's no last words or anything. 1191 01:02:18,480 --> 01:02:21,000 Speaker 1: Yeah, there's no sense that the horse is okay with 1192 01:02:21,080 --> 01:02:23,600 Speaker 1: this on any level. Oh we should also mention, Joe, 1193 01:02:23,640 --> 01:02:27,800 Speaker 1: I know you're a big fan of like woodland environments 1194 01:02:27,800 --> 01:02:30,320 Speaker 1: that are created artificially on a set. This is a 1195 01:02:30,360 --> 01:02:32,880 Speaker 1: fantastic swamp set that they've put together here. 1196 01:02:33,200 --> 01:02:37,520 Speaker 3: You think this is probably indoor, right, I'm. 1197 01:02:36,960 --> 01:02:38,760 Speaker 1: Almost positive it is, because I think I've seen some 1198 01:02:38,840 --> 01:02:41,080 Speaker 1: behind the scenes stuff about how they pulled off this 1199 01:02:41,160 --> 01:02:42,960 Speaker 1: horse sinking and they had to have like a whole 1200 01:02:43,000 --> 01:02:46,520 Speaker 1: like elaborate system with like an elevator or something. 1201 01:02:47,080 --> 01:02:50,760 Speaker 3: Yeah, well it's brilliant. It looks so good and so 1202 01:02:51,080 --> 01:02:54,680 Speaker 3: dank like this the swamp is disgusting. But the reason 1203 01:02:54,680 --> 01:02:57,720 Speaker 3: there at the swamp is I think tray you has 1204 01:02:57,880 --> 01:03:00,280 Speaker 3: heard from somewhere that he might be able to find 1205 01:03:00,320 --> 01:03:02,640 Speaker 3: a way to stop the nothing if he talks to 1206 01:03:02,800 --> 01:03:06,160 Speaker 3: a figure known as Morla. The aged one is that. 1207 01:03:06,160 --> 01:03:10,240 Speaker 1: Right, Yeah, an ancient giant tortoise that has dwelt so 1208 01:03:10,360 --> 01:03:13,200 Speaker 1: long in the swamp of sadness and just lived for 1209 01:03:13,240 --> 01:03:16,720 Speaker 1: so long in general that nothing matters anymore, like not 1210 01:03:16,840 --> 01:03:20,000 Speaker 1: even a little bit. And so it's it's it's very 1211 01:03:20,000 --> 01:03:21,760 Speaker 1: interesting on the page and on the screen. I think 1212 01:03:21,760 --> 01:03:24,800 Speaker 1: they adapt it quite well. Morla talks to itself, it 1213 01:03:24,840 --> 01:03:28,840 Speaker 1: has like two distinct personalities and ultimately just really doesn't 1214 01:03:28,880 --> 01:03:33,720 Speaker 1: care about anything but a tray. You keeps asking, and 1215 01:03:34,560 --> 01:03:39,400 Speaker 1: eventually Morla shares some wisdom. The childlike Empress, who is 1216 01:03:39,560 --> 01:03:42,560 Speaker 1: not old but has always been young, needs a new name, 1217 01:03:42,920 --> 01:03:45,880 Speaker 1: though no one in Fantasia can give it to her, 1218 01:03:46,280 --> 01:03:48,120 Speaker 1: so you're gonna have to go see the Southern Oracle 1219 01:03:48,160 --> 01:03:48,880 Speaker 1: for more information. 1220 01:03:49,520 --> 01:03:52,280 Speaker 3: Now, in the movie, we do not find out here 1221 01:03:52,400 --> 01:03:54,480 Speaker 3: that the Empress needs a new name, I think best 1222 01:03:54,680 --> 01:03:56,959 Speaker 3: or not in the movie A Tray You doesn't find 1223 01:03:56,960 --> 01:03:59,480 Speaker 3: that out in the movie until he gets to the Southern. 1224 01:03:59,160 --> 01:04:02,480 Speaker 1: Oracle, right, yes, I believe that's right, yes. 1225 01:04:02,720 --> 01:04:05,080 Speaker 3: But instead he for some reason, he's just sent to 1226 01:04:05,120 --> 01:04:07,600 Speaker 3: the Southern Oracle. I can't remember exactly what Morris says, 1227 01:04:07,600 --> 01:04:11,000 Speaker 3: but it's like Southern Oracle can help you. Uh, And 1228 01:04:11,200 --> 01:04:13,360 Speaker 3: it's there's a funny scene where he, of course, he 1229 01:04:13,480 --> 01:04:16,320 Speaker 3: keeps climbing a tree to speak to this gigantic tortoise 1230 01:04:16,320 --> 01:04:19,400 Speaker 3: and the tortoise keeps sneezing and that knocks him out 1231 01:04:19,440 --> 01:04:22,360 Speaker 3: of the tree. But there is in this scene, there's 1232 01:04:22,400 --> 01:04:28,600 Speaker 3: a moment where bastion out in the real world screams 1233 01:04:28,680 --> 01:04:32,440 Speaker 3: as something that frightens him, and his scream is heard 1234 01:04:32,720 --> 01:04:34,080 Speaker 3: by the characters in the book. 1235 01:04:34,520 --> 01:04:39,000 Speaker 1: Yeah, this is a key, key scene where Bastionian begins 1236 01:04:39,000 --> 01:04:43,720 Speaker 1: to realize that there is this connection between his world 1237 01:04:43,880 --> 01:04:47,880 Speaker 1: and the world of Fantasia. Now, in the book, it 1238 01:04:47,920 --> 01:04:51,760 Speaker 1: doesn't occur until the next sequence because in the book 1239 01:04:52,000 --> 01:04:54,720 Speaker 1: there's a whole other encounter encounter that follows that's not 1240 01:04:55,120 --> 01:04:59,400 Speaker 1: depicted in the film. Trayu encounters Yigramol the Mini the 1241 01:04:59,440 --> 01:05:02,760 Speaker 1: horror of which is this strange creature that's like a 1242 01:05:02,800 --> 01:05:06,040 Speaker 1: swarm of hive mind hornets that then takes the shape 1243 01:05:06,040 --> 01:05:08,840 Speaker 1: of a great spider and has a deadly poison that 1244 01:05:08,920 --> 01:05:11,240 Speaker 1: will kill you within an hour, but will grant the 1245 01:05:11,320 --> 01:05:14,720 Speaker 1: victim the power to teleport to anywhere in Fantasia to die. 1246 01:05:15,760 --> 01:05:19,400 Speaker 1: It's weird and wonderful. And it's in this encounter in 1247 01:05:19,440 --> 01:05:21,840 Speaker 1: the book that Bastian's voice is heard by a Trayu 1248 01:05:22,240 --> 01:05:24,520 Speaker 1: and the poison is how he ultimately makes it to 1249 01:05:24,560 --> 01:05:27,080 Speaker 1: the oracle. And it's also where he meets Falcre, the 1250 01:05:27,120 --> 01:05:30,760 Speaker 1: luck dragon, because Falcre is caught in Yigramohl's web. 1251 01:05:31,240 --> 01:05:33,560 Speaker 3: Oh, there's a very different meeting scene in the movie. 1252 01:05:33,600 --> 01:05:35,400 Speaker 3: So in the movie, a tray You is leaving the 1253 01:05:35,400 --> 01:05:39,200 Speaker 3: swamps of sadness, but it's just too much. The sadness 1254 01:05:39,240 --> 01:05:41,560 Speaker 3: is overtaking him. He's sinking down in the mud. And 1255 01:05:41,680 --> 01:05:45,200 Speaker 3: at the same time, the Gomork, the horrible wolf creature 1256 01:05:45,880 --> 01:05:48,120 Speaker 3: who every time we catch a glimpse of him, it's 1257 01:05:48,120 --> 01:05:51,480 Speaker 3: almost just a blur, but it's terrifying, and he's racing 1258 01:05:51,560 --> 01:05:54,360 Speaker 3: toward the hero of the Empress, who to kill him. 1259 01:05:54,720 --> 01:05:56,560 Speaker 3: And right, you know, right when he's about to sink 1260 01:05:56,680 --> 01:06:00,360 Speaker 3: under and the wolf is falling upon him, suddenly a white, 1261 01:06:00,400 --> 01:06:03,360 Speaker 3: fluffy flying serpent just comes in out of the sky 1262 01:06:03,480 --> 01:06:05,280 Speaker 3: and lifts a tray You out of the mud. And 1263 01:06:05,320 --> 01:06:08,720 Speaker 3: this is how a tray You and Falcre meet Ah Falcre. 1264 01:06:08,920 --> 01:06:11,280 Speaker 1: I mean, who doesn't love Falcre. It's just such a 1265 01:06:11,280 --> 01:06:13,800 Speaker 1: great character and just wonderful creature design. 1266 01:06:14,120 --> 01:06:17,840 Speaker 3: In the movie, Falcore is yeah, a fluffy, white flying serpent, 1267 01:06:17,960 --> 01:06:21,080 Speaker 3: kind of like the like a like a Chinese dragon design, 1268 01:06:21,480 --> 01:06:24,760 Speaker 3: but very much with a cute dog's face. 1269 01:06:25,960 --> 01:06:30,080 Speaker 1: Yes, yeah, wonderful, wonderful design. I should also point out 1270 01:06:30,080 --> 01:06:33,880 Speaker 1: that the name is Falcore in the movie Falcre in 1271 01:06:33,920 --> 01:06:36,320 Speaker 1: the English translation of the book, but in the original 1272 01:06:36,400 --> 01:06:41,000 Speaker 1: German it's Fuker, but that was changed for the English translation, 1273 01:06:41,080 --> 01:06:43,200 Speaker 1: I think for obvious reasons. 1274 01:06:51,480 --> 01:06:54,840 Speaker 3: So a tray you wakes up next to Falcre on 1275 01:06:54,880 --> 01:06:59,200 Speaker 3: a mountaintop and they introduced themselves. Falcre explains that he 1276 01:06:59,280 --> 01:07:01,880 Speaker 3: is a luck dragon. He gets he you know, he 1277 01:07:01,920 --> 01:07:05,800 Speaker 3: gets where he's going with luck, and he has conveniently 1278 01:07:05,840 --> 01:07:08,920 Speaker 3: brought a tray you to the Southern Oracle. I don't remember. 1279 01:07:09,040 --> 01:07:11,959 Speaker 3: Does Falcore ever explain, like really where he came from. 1280 01:07:12,000 --> 01:07:13,760 Speaker 3: It just seems like he just showed up to help. 1281 01:07:14,440 --> 01:07:17,280 Speaker 1: Yeah, it's just lucky like that. I guess. So's it's 1282 01:07:17,280 --> 01:07:18,680 Speaker 1: something that, like I say, in the book, it makes 1283 01:07:18,720 --> 01:07:21,919 Speaker 1: more sense because they're sort of common prisoners. They meet 1284 01:07:21,960 --> 01:07:24,800 Speaker 1: on the road at a specific place and then their 1285 01:07:24,880 --> 01:07:29,120 Speaker 1: stories have become intertwined. It's a little more rush in 1286 01:07:29,200 --> 01:07:30,800 Speaker 1: this adaptation. 1287 01:07:30,720 --> 01:07:33,760 Speaker 3: Now here, it's in this part that a tray you 1288 01:07:33,840 --> 01:07:38,200 Speaker 3: and Falcore meet with the gnomes Ingywook and ergyll. Iningywook 1289 01:07:38,320 --> 01:07:43,280 Speaker 3: is like in this room that is kind of dusty 1290 01:07:43,320 --> 01:07:45,760 Speaker 3: and smoky. It's sort of a cave, but with gnarled 1291 01:07:45,840 --> 01:07:49,720 Speaker 3: roots everywhere and old scrolls and potions and all that 1292 01:07:49,760 --> 01:07:53,600 Speaker 3: Inywook is supposed to. He fashions himself as a scientist 1293 01:07:53,640 --> 01:07:56,560 Speaker 3: of some form, and he's always doing quote research, though 1294 01:07:56,880 --> 01:07:59,600 Speaker 3: I think this has played for comedy, like it's questionable 1295 01:07:59,640 --> 01:08:01,920 Speaker 3: of what value his research actually is. 1296 01:08:02,600 --> 01:08:05,400 Speaker 1: Right, Yeah, he's the foremost authority though on the Southern 1297 01:08:05,440 --> 01:08:09,200 Speaker 1: Oracle and has a lot of wisdom to share, but 1298 01:08:09,400 --> 01:08:13,120 Speaker 1: I mean he's these are cookie characters, like they're constantly 1299 01:08:13,120 --> 01:08:17,559 Speaker 1: fighting with each other, and yeah, it's uncertain how how 1300 01:08:17,640 --> 01:08:20,120 Speaker 1: much knowledge he really has to share about any of this. 1301 01:08:20,640 --> 01:08:24,720 Speaker 3: But he does actually get a traya there so and 1302 01:08:25,320 --> 01:08:27,200 Speaker 3: Inguwook leads a tray you up to sort of an 1303 01:08:27,240 --> 01:08:31,479 Speaker 3: observatory where they can look down upon the first of 1304 01:08:31,520 --> 01:08:34,559 Speaker 3: the two gates the tray you must pass to reach 1305 01:08:34,640 --> 01:08:37,479 Speaker 3: the Southern Oracle, and the first gate is a pair 1306 01:08:37,600 --> 01:08:42,280 Speaker 3: of sphinxes, these huge statues, and Ingewook explains that their 1307 01:08:42,360 --> 01:08:46,439 Speaker 3: eyes stay closed until someone who does not feel his 1308 01:08:46,520 --> 01:08:49,600 Speaker 3: own worth tries to pass by. And we get to 1309 01:08:49,600 --> 01:08:52,360 Speaker 3: witness this with sort of a paladin riding a horse 1310 01:08:52,439 --> 01:08:56,000 Speaker 3: to get through the pass and he comes up upon them. 1311 01:08:56,040 --> 01:08:58,559 Speaker 3: He's got his armor gleaming, he's holding a big spear. 1312 01:08:59,400 --> 01:09:02,759 Speaker 3: He looks pretty confident until the sphinxes open their eyes 1313 01:09:02,800 --> 01:09:05,760 Speaker 3: and then boom, they zap him with lasers. He sort 1314 01:09:05,760 --> 01:09:09,880 Speaker 3: of explodes off his horse and dies. But a tray 1315 01:09:09,880 --> 01:09:11,760 Speaker 3: who is like, well, I've got to get through there, 1316 01:09:11,840 --> 01:09:14,080 Speaker 3: so I'm gonna try it out. So we see him 1317 01:09:14,120 --> 01:09:17,840 Speaker 3: approach and he walks underneath these huge, imposing statues. The 1318 01:09:17,880 --> 01:09:20,200 Speaker 3: designs are pretty scary. It's good. 1319 01:09:20,640 --> 01:09:23,360 Speaker 1: Yeah, I was thinking they They always have looked to 1320 01:09:23,400 --> 01:09:25,680 Speaker 1: me kind of like Ray Harry hows and creations, like 1321 01:09:25,720 --> 01:09:28,040 Speaker 1: they might come to life at any second, but they 1322 01:09:28,120 --> 01:09:29,799 Speaker 1: don't really, aside from the eyes opening. 1323 01:09:30,240 --> 01:09:32,280 Speaker 3: I see that Ray Harry house in comparison. 1324 01:09:32,400 --> 01:09:36,599 Speaker 1: Yeah, as previously mentioned, the sphinxes definitely have nipples. Like 1325 01:09:36,600 --> 01:09:38,080 Speaker 1: I said, that always stood out to me, and for 1326 01:09:38,120 --> 01:09:41,120 Speaker 1: some reason I always interpreted that as a younger viewer, thinking, 1327 01:09:41,120 --> 01:09:43,720 Speaker 1: oh man, this this movie is serious, like this is 1328 01:09:43,800 --> 01:09:47,080 Speaker 1: kind of the whole This film isn't safe, Like clearly 1329 01:09:47,120 --> 01:09:49,759 Speaker 1: that the nipples indicate that this is not just for kids, 1330 01:09:50,680 --> 01:09:53,400 Speaker 1: that this could be who knows what could happen A 1331 01:09:53,520 --> 01:09:54,679 Speaker 1: tray who is not safe. 1332 01:09:54,920 --> 01:09:58,080 Speaker 3: Yeah, it's true and this is actually in the normal sense. 1333 01:09:58,120 --> 01:10:00,519 Speaker 3: Also a very scary scene a tray who, like, as 1334 01:10:00,520 --> 01:10:05,160 Speaker 3: he's walking up the dead paladin on the ground, his 1335 01:10:05,360 --> 01:10:07,600 Speaker 3: visor flips back when it's blown by the wind and 1336 01:10:07,640 --> 01:10:11,000 Speaker 3: you see like a charred face inside the mask. So 1337 01:10:11,080 --> 01:10:14,400 Speaker 3: this guy's burned up by the sphinxes and to tray you, 1338 01:10:14,560 --> 01:10:17,240 Speaker 3: he tries to walk through, but apparently he fails the 1339 01:10:17,280 --> 01:10:19,880 Speaker 3: test of faith in himself. He didn't have enough confidence, 1340 01:10:20,360 --> 01:10:23,639 Speaker 3: and the sphinxes open their eyes. They try to zap him, 1341 01:10:23,680 --> 01:10:26,439 Speaker 3: but he jumps. He just barely avoids the blast. 1342 01:10:27,080 --> 01:10:29,440 Speaker 1: It kind of gets through on this one on a technicality. 1343 01:10:29,800 --> 01:10:32,280 Speaker 3: So next he's got to face another gate. This is 1344 01:10:32,320 --> 01:10:37,040 Speaker 3: the magic mirror gate, and inkybook explains that when they 1345 01:10:37,080 --> 01:10:40,440 Speaker 3: look into the magic mirror, that people must face themselves. 1346 01:10:41,400 --> 01:10:44,639 Speaker 3: Kind men find that they are cruel, Brave men find 1347 01:10:44,680 --> 01:10:47,919 Speaker 3: that they are cowards. When confronted with their true selves, 1348 01:10:48,000 --> 01:10:51,200 Speaker 3: most men run away screaming. But something that's kind of 1349 01:10:51,240 --> 01:10:53,800 Speaker 3: interesting when a tray you goes and looks in this mirror, 1350 01:10:53,880 --> 01:10:56,559 Speaker 3: there's a kind of there's like a double exposure effect 1351 01:10:56,560 --> 01:10:59,000 Speaker 3: in the film, where we see a tray you looking 1352 01:10:59,040 --> 01:11:01,840 Speaker 3: and seeing himself what, we also see Bastion sitting there 1353 01:11:01,880 --> 01:11:08,080 Speaker 3: reading the book. Yes, And strangely, bastionen detects this. It's 1354 01:11:08,200 --> 01:11:12,479 Speaker 3: as if he reads a description of himself in the book. 1355 01:11:12,640 --> 01:11:15,439 Speaker 3: In this scene, he gets freaked out and he throws 1356 01:11:15,479 --> 01:11:18,120 Speaker 3: the book away. He says, this is going too far, 1357 01:11:19,000 --> 01:11:23,640 Speaker 3: but then he's also kind of tempted. He's got overwhelming curiosity, 1358 01:11:23,800 --> 01:11:27,120 Speaker 3: like what if they do really know about me and Fantasia? 1359 01:11:27,680 --> 01:11:31,040 Speaker 3: And so so he goes back, he retrieves the book 1360 01:11:31,080 --> 01:11:34,280 Speaker 3: he keeps reading, and a tray who walks through the mirror. 1361 01:11:35,360 --> 01:11:37,519 Speaker 1: Now in the book, the three gates are a bit different. 1362 01:11:37,600 --> 01:11:40,040 Speaker 1: I'll note Gate one is that if you're caught in 1363 01:11:40,080 --> 01:11:42,000 Speaker 1: the gaze of the Sphinxes, you have to solve every 1364 01:11:42,040 --> 01:11:44,880 Speaker 1: riddle in the world until you die. Gate two is 1365 01:11:44,960 --> 01:11:47,200 Speaker 1: essentially the same, the test of the true self. But 1366 01:11:47,240 --> 01:11:50,120 Speaker 1: then Gate three is a keyless gate that only opens 1367 01:11:50,160 --> 01:11:52,760 Speaker 1: once you no longer have the desire to pass through. 1368 01:11:54,280 --> 01:11:56,720 Speaker 1: But in the film, he basically comes finally to the 1369 01:11:56,760 --> 01:11:59,679 Speaker 1: Southern Oracle, which is basically the same two sphinxes from before, 1370 01:12:00,040 --> 01:12:00,880 Speaker 1: except now they're blue. 1371 01:12:01,320 --> 01:12:04,360 Speaker 3: Yes, it feels like maybe kind of a shortcut, but okay, 1372 01:12:05,360 --> 01:12:09,160 Speaker 3: and the sphinxes tell him. When tray Who arrives, they 1373 01:12:09,160 --> 01:12:12,080 Speaker 3: tell him, okay, here's the solution. Here's how to beat 1374 01:12:12,080 --> 01:12:15,599 Speaker 3: the nothing. The Empress needs a new name. And to Trey, 1375 01:12:15,640 --> 01:12:18,000 Speaker 3: who says, a new name, that's easy. I can give 1376 01:12:18,000 --> 01:12:19,639 Speaker 3: her a new name if you want. I can pick 1377 01:12:19,720 --> 01:12:23,559 Speaker 3: any name I want. But the Southern Oracles tell him, Nope, 1378 01:12:23,720 --> 01:12:27,240 Speaker 3: you can't do it. In fact, no one from Fantasia 1379 01:12:27,280 --> 01:12:30,680 Speaker 3: can do it. Only a human child can give her 1380 01:12:30,760 --> 01:12:34,360 Speaker 3: this new name. And he is like, well, where can 1381 01:12:34,400 --> 01:12:37,080 Speaker 3: I find a human And they say, you cannot find 1382 01:12:37,080 --> 01:12:40,519 Speaker 3: one inside Fantasia. There are no humans here. You have 1383 01:12:40,600 --> 01:12:43,240 Speaker 3: to look outside the world to find them. 1384 01:12:43,640 --> 01:12:46,639 Speaker 1: Yeah, everyone in Fantasia is a dream, is a creation 1385 01:12:46,840 --> 01:12:50,080 Speaker 1: of the imagination, and a dream cannot itself dream. 1386 01:12:50,520 --> 01:12:52,960 Speaker 3: So he's got to get outside somehow to find one. 1387 01:12:53,840 --> 01:12:56,000 Speaker 3: But then the Sphinxes are crumbling. They tell him he's 1388 01:12:56,000 --> 01:12:57,800 Speaker 3: got a hurry, you know, we don't know how long 1389 01:12:57,840 --> 01:13:00,400 Speaker 3: we can withstand the Nothing. And here we're on to 1390 01:13:00,479 --> 01:13:02,559 Speaker 3: the next adventure. So a tray You and Falcore are 1391 01:13:02,600 --> 01:13:06,720 Speaker 3: flying through the clouds. They fly over many landscapes, mountaintops, deserts, 1392 01:13:07,040 --> 01:13:10,200 Speaker 3: and they're looking for the boundaries of Fantasia, though neither 1393 01:13:10,240 --> 01:13:13,680 Speaker 3: one of them knows where that boundary lies. And this 1394 01:13:13,800 --> 01:13:17,160 Speaker 3: scene I thought was kind of interesting because suddenly it's 1395 01:13:17,280 --> 01:13:20,200 Speaker 3: right after this dire scene where we learn about how 1396 01:13:20,320 --> 01:13:23,320 Speaker 3: close the Nothing is to destroying all, but then we 1397 01:13:23,400 --> 01:13:26,440 Speaker 3: go straight to flying around and there's this sense of exhilaration. 1398 01:13:26,680 --> 01:13:29,439 Speaker 3: There's laughter. A tray You and Falcore are both laughing. 1399 01:13:29,760 --> 01:13:31,719 Speaker 3: I don't know. I thought, it's notable that this scene 1400 01:13:31,920 --> 01:13:36,120 Speaker 3: is fun right after this horrible warning given by the 1401 01:13:36,160 --> 01:13:40,080 Speaker 3: Southern Oracle about impending doom if he does not find 1402 01:13:40,120 --> 01:13:43,559 Speaker 3: the human child that can name the Empress. I thought, 1403 01:13:43,560 --> 01:13:47,120 Speaker 3: maybe there's something going on here about the childhood experience 1404 01:13:47,360 --> 01:13:51,640 Speaker 3: with adventure narratives, or narratives more generally, the seeming paradox 1405 01:13:52,240 --> 01:13:55,120 Speaker 3: of the way that excitement for the human child who 1406 01:13:55,240 --> 01:13:59,639 Speaker 3: is reading is heightened by increasing the stakes within the story, 1407 01:14:00,160 --> 01:14:03,920 Speaker 3: the situation for the characters becomes more dire, the experience 1408 01:14:03,960 --> 01:14:07,160 Speaker 3: for the reader becomes more fun, And I think that 1409 01:14:07,320 --> 01:14:10,840 Speaker 3: maybe the film is suggesting something about the ongoing contagion 1410 01:14:10,960 --> 01:14:15,160 Speaker 3: between the worlds here, like Bastion's excitement with the story 1411 01:14:15,360 --> 01:14:16,680 Speaker 3: is infecting a tray you. 1412 01:14:17,600 --> 01:14:20,680 Speaker 1: I think that's a solid interpretation, because, yeah, within the 1413 01:14:20,680 --> 01:14:23,120 Speaker 1: context of what's actually going on in Fantasia, this is 1414 01:14:23,160 --> 01:14:26,280 Speaker 1: all just a failed surveillance surveillance mission, you know, it's 1415 01:14:26,400 --> 01:14:31,639 Speaker 1: they're just they're trying to find something and they don't 1416 01:14:31,640 --> 01:14:34,720 Speaker 1: find it. But it's a very fun sequence, Like these 1417 01:14:34,720 --> 01:14:37,000 Speaker 1: are great flying sequences. Who doesn't want to fly around 1418 01:14:37,040 --> 01:14:37,759 Speaker 1: on a luck dragon? 1419 01:14:37,800 --> 01:14:40,639 Speaker 3: After watching this back in the real world, we get 1420 01:14:40,680 --> 01:14:43,680 Speaker 3: a little scene where Bastian wishes that a tray You 1421 01:14:43,760 --> 01:14:46,400 Speaker 3: and Falcore would come and ask him to name the Impress, 1422 01:14:46,439 --> 01:14:49,840 Speaker 3: because he says his mother she had a wonderful name. 1423 01:14:50,400 --> 01:14:51,600 Speaker 3: He doesn't say what the name is. 1424 01:14:52,120 --> 01:14:52,320 Speaker 1: Yah. 1425 01:14:52,680 --> 01:14:56,559 Speaker 3: Now, when they're flying along in Fantasia, eventually a storm strikes. 1426 01:14:56,600 --> 01:14:58,519 Speaker 3: I guess this is the nothing. A tray you and 1427 01:14:58,520 --> 01:15:01,559 Speaker 3: Falcor encounter the nothing. It's like a storm and it 1428 01:15:01,640 --> 01:15:04,360 Speaker 3: knocks a tray You off of falcurs back. He falls 1429 01:15:04,400 --> 01:15:09,120 Speaker 3: into the ocean, and in this scene there is suddenly 1430 01:15:09,120 --> 01:15:11,519 Speaker 3: a storm in the real world as well, and it 1431 01:15:11,600 --> 01:15:14,120 Speaker 3: blows the windows open on the attic of the school, 1432 01:15:14,600 --> 01:15:17,240 Speaker 3: so Bastian has to go like refasten them and then 1433 01:15:17,360 --> 01:15:20,679 Speaker 3: keep reading. And in Fantasia, a tray You is washed 1434 01:15:20,680 --> 01:15:24,160 Speaker 3: ashore on a desolate rocky beach with these great stone 1435 01:15:24,200 --> 01:15:28,960 Speaker 3: ruins in the background, and he encounters the rock Bier. 1436 01:15:29,040 --> 01:15:31,559 Speaker 3: So we're full circle again. Rock Bier was in one 1437 01:15:31,600 --> 01:15:34,599 Speaker 3: of the earliest scenes in the movie, and we learned 1438 01:15:34,600 --> 01:15:37,840 Speaker 3: from him that the rock Bier couldn't protect his friends. 1439 01:15:37,840 --> 01:15:41,759 Speaker 3: He's looking at his big, strong, rocky hands but saying 1440 01:15:41,800 --> 01:15:44,839 Speaker 3: how even with these hands holding on to his friends, 1441 01:15:44,880 --> 01:15:46,960 Speaker 3: he couldn't hold them back from the nothing and they 1442 01:15:47,040 --> 01:15:49,799 Speaker 3: just fell away into it and now they no longer exist. 1443 01:15:50,160 --> 01:15:51,759 Speaker 1: Yeah, another absolute heart Renger. 1444 01:15:52,320 --> 01:15:54,120 Speaker 3: So it's a real dark Knight of the Soul scene. 1445 01:15:54,120 --> 01:15:56,240 Speaker 3: A tray You has lost the r n that fell 1446 01:15:56,280 --> 01:16:00,240 Speaker 3: off when he fell into the sea. He's lost falcrething 1447 01:16:00,280 --> 01:16:03,519 Speaker 3: seems hopeless, The nothing is coming. The rock Bier says 1448 01:16:03,560 --> 01:16:06,320 Speaker 3: he wants to surrender and let the nothing take him 1449 01:16:06,760 --> 01:16:09,880 Speaker 3: h And then a tree walks into the ruins of 1450 01:16:09,920 --> 01:16:12,080 Speaker 3: a city. It seems to be a temple of some 1451 01:16:12,200 --> 01:16:15,679 Speaker 3: sort where he sees paintings of scenes from the adventure. 1452 01:16:15,760 --> 01:16:19,280 Speaker 3: He just went on all the same characters, making you 1453 01:16:19,360 --> 01:16:21,680 Speaker 3: wonder kind of like weight was all of this foretold? 1454 01:16:22,520 --> 01:16:25,840 Speaker 3: And then there's the encounter with the Gomork. Finally, a 1455 01:16:25,920 --> 01:16:28,640 Speaker 3: tray you and the Gomork come face to face, and 1456 01:16:28,680 --> 01:16:30,200 Speaker 3: the Gomork is so scary. 1457 01:16:30,760 --> 01:16:34,600 Speaker 1: Oh yeah, absolutely, this is this great wolf there in 1458 01:16:34,680 --> 01:16:38,240 Speaker 1: the shadows, with its gleaming green eyes and its ferocious 1459 01:16:38,280 --> 01:16:43,479 Speaker 1: mauve teeth and this grumbling voice. Yeah, absolutely perfect. And 1460 01:16:43,960 --> 01:16:47,200 Speaker 1: rewatching with my son, it's like he's still he's almost eleven, 1461 01:16:47,240 --> 01:16:49,800 Speaker 1: and he still wouldn't really look this scene dead in 1462 01:16:49,840 --> 01:16:52,200 Speaker 1: the like dead on. You know, it's kind of like 1463 01:16:52,640 --> 01:16:54,519 Speaker 1: looking off to the side a little bit because it's 1464 01:16:55,000 --> 01:16:55,880 Speaker 1: it's pretty potent. 1465 01:16:56,120 --> 01:16:58,519 Speaker 3: So, I know you wanted to discuss differences between the 1466 01:16:58,560 --> 01:17:00,960 Speaker 3: scene in the movie and the first I guess I'll 1467 01:17:01,000 --> 01:17:02,640 Speaker 3: just describe it in the movie. Is that how you 1468 01:17:02,720 --> 01:17:03,040 Speaker 3: wanna do? 1469 01:17:03,160 --> 01:17:03,320 Speaker 4: Yeah? 1470 01:17:03,479 --> 01:17:06,240 Speaker 3: Okay, So in the movie, the Gomork says, you know, 1471 01:17:06,560 --> 01:17:09,599 Speaker 3: I am the Gomork, you can be my last victim, 1472 01:17:09,960 --> 01:17:11,880 Speaker 3: and a tray who says, well, I won't go down 1473 01:17:11,920 --> 01:17:15,160 Speaker 3: easy because I'm a brave warrior, and the Gomork says, well, 1474 01:17:15,160 --> 01:17:18,280 Speaker 3: if you're a brave warrior, then fight the nothing. And 1475 01:17:18,320 --> 01:17:20,960 Speaker 3: a tray who says, I can't fight the nothing, he 1476 01:17:21,080 --> 01:17:23,880 Speaker 3: wants to know why is Fantasia dying? Where is the 1477 01:17:23,920 --> 01:17:28,479 Speaker 3: nothing coming from? And Gomork explains Gomork actually knows. He says, 1478 01:17:28,520 --> 01:17:31,920 Speaker 3: because people have begun to lose their hopes and dreams. 1479 01:17:32,520 --> 01:17:37,160 Speaker 3: The nothing is the emptiness that is left, despair destroying 1480 01:17:37,200 --> 01:17:40,600 Speaker 3: this world. And Gomork has been trying to help the 1481 01:17:40,640 --> 01:17:46,360 Speaker 3: nothing because people who have no hopes are easier to control, 1482 01:17:46,760 --> 01:17:51,439 Speaker 3: and whoever can control them has power. Now I don't 1483 01:17:51,479 --> 01:17:53,160 Speaker 3: know if this is different in the book, but I 1484 01:17:53,200 --> 01:17:56,840 Speaker 3: think this line from the Gomork about how people who 1485 01:17:56,880 --> 01:18:00,479 Speaker 3: have no hopes and just generally I think are cynical 1486 01:18:00,600 --> 01:18:04,240 Speaker 3: is what he's sort of portraying are easier to control. 1487 01:18:04,560 --> 01:18:07,960 Speaker 3: I think that is actually truer and much more profound 1488 01:18:08,080 --> 01:18:10,439 Speaker 3: than you might notice at first, because it can easily 1489 01:18:10,479 --> 01:18:13,599 Speaker 3: sound like just boilerplate kind of positivity about life, hope 1490 01:18:13,640 --> 01:18:16,960 Speaker 3: is good, et cetera. But specifically the claim that people 1491 01:18:17,040 --> 01:18:20,479 Speaker 3: who have no hopes and dreams are easier to control, 1492 01:18:20,560 --> 01:18:23,800 Speaker 3: I think that is quite true, and by no means obvious, 1493 01:18:23,840 --> 01:18:29,120 Speaker 3: because many people behave as if they believe cynicism is 1494 01:18:29,160 --> 01:18:33,120 Speaker 3: actually an empowering type of wisdom, like believing in nothing, 1495 01:18:33,280 --> 01:18:37,280 Speaker 3: hoping for nothing, trusting in nothing makes a person smarter 1496 01:18:37,400 --> 01:18:40,280 Speaker 3: than everybody else around them and harder to control. You 1497 01:18:40,520 --> 01:18:42,960 Speaker 3: hear a million different versions of this. The person who says, 1498 01:18:43,000 --> 01:18:45,479 Speaker 3: you know, oh, I don't believe anything, anybody says I 1499 01:18:45,520 --> 01:18:47,760 Speaker 3: don't you know, oh I don't believe any politician. They're 1500 01:18:47,800 --> 01:18:48,840 Speaker 3: all the same, or whatever. 1501 01:18:48,880 --> 01:18:49,000 Speaker 2: You know. 1502 01:18:49,040 --> 01:18:51,679 Speaker 3: There's a million versions of looking at the world this way. 1503 01:18:52,920 --> 01:18:55,839 Speaker 3: So some people think that makes them, you know, smarter, 1504 01:18:56,040 --> 01:18:59,080 Speaker 3: harder to control. But I think exactly the opposite is true. 1505 01:18:59,120 --> 01:19:03,000 Speaker 3: To embrace the kind of cynicism means you end up 1506 01:19:03,040 --> 01:19:07,519 Speaker 3: with no real power of discernment. You disarm yourself of 1507 01:19:08,560 --> 01:19:11,680 Speaker 3: one of the most powerful armaments you have mentally, the 1508 01:19:11,720 --> 01:19:15,640 Speaker 3: ability to discern truth from falsehood, and you end up 1509 01:19:15,680 --> 01:19:17,920 Speaker 3: with no real agency in the world. I think this 1510 01:19:18,000 --> 01:19:21,479 Speaker 3: type of cynicism not only leads to but is in 1511 01:19:21,520 --> 01:19:25,640 Speaker 3: itself actually a form of gullibility. And this is not 1512 01:19:25,800 --> 01:19:29,200 Speaker 3: obvious to many. Lots of people think they make themselves 1513 01:19:29,240 --> 01:19:34,400 Speaker 3: more powerful and more autonomous and more insightful by being cynical, 1514 01:19:34,920 --> 01:19:37,960 Speaker 3: But exactly the opposite is true. It is by having 1515 01:19:38,240 --> 01:19:41,960 Speaker 3: hopes and imagination and the ability to put your trust 1516 01:19:42,040 --> 01:19:46,000 Speaker 3: in good things that you become empowered to affect the world, 1517 01:19:46,200 --> 01:19:49,360 Speaker 3: and more than that, that you have integrity in yourself. 1518 01:19:50,120 --> 01:19:53,120 Speaker 1: Absolutely, I think it's dead on. Yeah, And as I'll 1519 01:19:53,120 --> 01:19:55,800 Speaker 1: discuss in just a minute here, I mean I think 1520 01:19:55,920 --> 01:19:58,519 Speaker 1: all of that is present in the text as well, 1521 01:19:58,600 --> 01:20:00,639 Speaker 1: and that ultimately in the film they do nice job 1522 01:20:00,680 --> 01:20:04,240 Speaker 1: of sort of condensing it down and getting it on 1523 01:20:04,280 --> 01:20:06,439 Speaker 1: the screen in a way that you can easily absorb 1524 01:20:06,479 --> 01:20:09,280 Speaker 1: in this ultimately brief conversation, but a conversation that is 1525 01:20:09,320 --> 01:20:11,599 Speaker 1: still kind of in many ways kind of the heart 1526 01:20:12,000 --> 01:20:12,840 Speaker 1: of the conflict. 1527 01:20:13,360 --> 01:20:15,720 Speaker 3: Yees. So I found the scene in the movie on 1528 01:20:15,800 --> 01:20:21,400 Speaker 3: rewatching quite powerful, kind of gave me goosebumps and really profound. 1529 01:20:22,400 --> 01:20:25,360 Speaker 3: But anyway, so coming back to like how it actually 1530 01:20:25,400 --> 01:20:28,360 Speaker 3: plays out in the conversation, Gamork reveals, Okay, so he's 1531 01:20:28,360 --> 01:20:31,400 Speaker 3: serving the power of the Nothing. He is its servant, 1532 01:20:31,720 --> 01:20:33,639 Speaker 3: and he was sent to kill the only one who 1533 01:20:33,640 --> 01:20:36,479 Speaker 3: could stop the nothing, a tray. You and a tray 1534 01:20:36,520 --> 01:20:38,800 Speaker 3: who says, okay, well, if we're both about to die 1535 01:20:38,840 --> 01:20:41,280 Speaker 3: because of the Nothing anyway, then I would like to 1536 01:20:41,320 --> 01:20:44,799 Speaker 3: die fighting. I am a tray you so and Gamork attacks, 1537 01:20:44,840 --> 01:20:48,080 Speaker 3: so they fight briefly, but a tray you kills Gamork 1538 01:20:48,160 --> 01:20:48,920 Speaker 3: with his blade. 1539 01:20:49,680 --> 01:20:52,720 Speaker 1: Yeah, great sequence, And again it always gives me chill 1540 01:20:52,720 --> 01:20:56,880 Speaker 1: bumps to rewatch that scene now in the book. Yeah, 1541 01:20:56,880 --> 01:20:58,719 Speaker 1: it has very much the same energy, just a little 1542 01:20:58,720 --> 01:21:00,799 Speaker 1: more drawn out and provides a little bit more detail 1543 01:21:00,840 --> 01:21:04,320 Speaker 1: on sort of the thesis statement. Here, it's still a 1544 01:21:04,320 --> 01:21:07,160 Speaker 1: pivotal scene in which the threat to our world Infantasia, 1545 01:21:07,479 --> 01:21:10,439 Speaker 1: is clearly laid out, and we learn about the Nothing, 1546 01:21:10,520 --> 01:21:13,080 Speaker 1: the motivations of the power behind the Nothing, and this 1547 01:21:13,160 --> 01:21:15,960 Speaker 1: strange creature known as the Gomork. And this is a 1548 01:21:15,960 --> 01:21:18,479 Speaker 1: section of the book that I've gone back and reread 1549 01:21:18,479 --> 01:21:22,200 Speaker 1: in isolation on more than one occasion because it's really good. 1550 01:21:22,680 --> 01:21:25,000 Speaker 1: So just to highlight some of the things that are different, 1551 01:21:25,040 --> 01:21:26,679 Speaker 1: I'm going to read a couple of passages as well. 1552 01:21:27,200 --> 01:21:30,200 Speaker 1: In the book, the Gomork is chained and the location 1553 01:21:30,360 --> 01:21:33,160 Speaker 1: the ruined city is spook City, the land of Ghosts. 1554 01:21:34,280 --> 01:21:38,480 Speaker 1: The Gomrk is described as a were wolf, and also 1555 01:21:38,240 --> 01:21:41,680 Speaker 1: the Gomork is weak and starving in the sequence, and 1556 01:21:41,760 --> 01:21:45,479 Speaker 1: he expects to die before the Nothing arrives and consumes him, 1557 01:21:45,840 --> 01:21:48,840 Speaker 1: and seems to believe that this is far preferable. He 1558 01:21:48,920 --> 01:21:51,439 Speaker 1: cannot bite through the chain because he was chained here 1559 01:21:51,520 --> 01:21:54,800 Speaker 1: by Gaya, the Dark Princess, who gave up hope and 1560 01:21:54,920 --> 01:21:58,040 Speaker 1: leapt into the Nothing with her people after chaining him, 1561 01:21:58,640 --> 01:22:00,880 Speaker 1: and then he he talks a bit more about the 1562 01:22:00,960 --> 01:22:04,360 Speaker 1: nature of were wolves and reveals more about his own past. 1563 01:22:04,400 --> 01:22:08,519 Speaker 1: He says, you know, only Fantastica. It's called Fantastica in 1564 01:22:08,520 --> 01:22:11,799 Speaker 1: the book as opposed to Fantasia. There are other worlds, 1565 01:22:11,960 --> 01:22:15,200 Speaker 1: the world of humans, for instance, but there are creatures 1566 01:22:15,200 --> 01:22:17,759 Speaker 1: who have no world of their own, but are able 1567 01:22:17,760 --> 01:22:20,360 Speaker 1: to go in and out of many worlds. I am 1568 01:22:20,400 --> 01:22:23,000 Speaker 1: one of those. In the human world, I appear in 1569 01:22:23,080 --> 01:22:26,480 Speaker 1: human form, but I am not human. And in Fantastica, 1570 01:22:26,640 --> 01:22:29,600 Speaker 1: I take on a fantastic in form, but I'm not 1571 01:22:29,760 --> 01:22:30,160 Speaker 1: one of you. 1572 01:22:31,040 --> 01:22:33,040 Speaker 3: Ooh, that is creepy. 1573 01:22:33,840 --> 01:22:36,960 Speaker 1: Yeah, almost kind of like you know, Dark Tower vibes 1574 01:22:37,000 --> 01:22:38,760 Speaker 1: to the sky, you know, he's almost like some sort 1575 01:22:38,760 --> 01:22:42,720 Speaker 1: of a Randolph Flag kind of a character. He goes 1576 01:22:42,760 --> 01:22:45,599 Speaker 1: on to reveal that humans who are consumed by the Nothing, 1577 01:22:46,000 --> 01:22:48,880 Speaker 1: they don't just vanish, they are transported to the human 1578 01:22:48,960 --> 01:22:52,840 Speaker 1: world as lies. The com work says, quote, you ask 1579 01:22:53,000 --> 01:22:55,479 Speaker 1: me what you will be there? But what are you here? 1580 01:22:56,439 --> 01:23:01,840 Speaker 1: What are you creatures of Fantastica, dreams, poet conventions, characters 1581 01:23:01,880 --> 01:23:05,360 Speaker 1: in a never ending story. Do you think you're real? Well? Yes, 1582 01:23:05,560 --> 01:23:07,559 Speaker 1: here in your world you are. But when you've been 1583 01:23:07,640 --> 01:23:11,080 Speaker 1: through the Nothing, you won't be real anymore. You'll be 1584 01:23:11,160 --> 01:23:15,200 Speaker 1: unrecognizable and you'll be in another world. In that world, 1585 01:23:15,240 --> 01:23:19,080 Speaker 1: you Fantasticans won't be anything like yourselves. You will bring 1586 01:23:19,120 --> 01:23:22,759 Speaker 1: delusion and madness into the human world. Tell me, Sonny, 1587 01:23:23,000 --> 01:23:24,920 Speaker 1: what do you suppose will become of all the spook 1588 01:23:25,000 --> 01:23:27,639 Speaker 1: City folks who have jumped into the Nothing? They will 1589 01:23:27,640 --> 01:23:31,200 Speaker 1: become delusions in the minds of human beings. Fears where 1590 01:23:31,200 --> 01:23:34,479 Speaker 1: there is nothing to fear, Desires for vain, hurtful things, 1591 01:23:34,840 --> 01:23:38,040 Speaker 1: despairing thoughts where there is no reason to despair. 1592 01:23:38,720 --> 01:23:39,080 Speaker 3: Wow. 1593 01:23:39,840 --> 01:23:44,360 Speaker 1: Yeah, So, in short, the Fantasticans are Fantasians that jump 1594 01:23:44,400 --> 01:23:47,679 Speaker 1: into the Nothing will become live. And it's also related 1595 01:23:47,680 --> 01:23:51,200 Speaker 1: that humans hate Fantasia or Fantastica and everything that comes 1596 01:23:51,200 --> 01:23:53,559 Speaker 1: from it, so they want to destroy it. Though in 1597 01:23:53,600 --> 01:23:56,360 Speaker 1: destroying it they are only flooding their own world with 1598 01:23:56,400 --> 01:23:59,320 Speaker 1: more fear and delusion. In this section is also mentioned 1599 01:23:59,479 --> 01:24:02,000 Speaker 1: again that's staring into the nothing is like feeling as 1600 01:24:02,000 --> 01:24:05,040 Speaker 1: if you're going blind. And also in this sequence the 1601 01:24:05,040 --> 01:24:08,360 Speaker 1: Gamore in the Great Film sequence, the Gamore it mentions 1602 01:24:08,360 --> 01:24:10,880 Speaker 1: that he serves the powers behind the Nothing, and in 1603 01:24:10,920 --> 01:24:15,000 Speaker 1: the book this power is given a name, the Manipulators, 1604 01:24:16,040 --> 01:24:18,880 Speaker 1: and the Gomork says quote, when it comes to controlling 1605 01:24:18,960 --> 01:24:22,719 Speaker 1: human beings, there is no better instrument than lies, because 1606 01:24:22,800 --> 01:24:27,559 Speaker 1: you see, humans live by beliefs, and beliefs can be manipulated. 1607 01:24:27,720 --> 01:24:31,200 Speaker 1: The power to manipulate beliefs is the only thing that counts. 1608 01:24:31,640 --> 01:24:34,400 Speaker 1: That's why I cited with the powerful and serve them, 1609 01:24:34,640 --> 01:24:37,559 Speaker 1: because I wanted to share their power. And then the 1610 01:24:37,560 --> 01:24:39,880 Speaker 1: Gomore taunts a tray you about the sort of lie 1611 01:24:40,040 --> 01:24:43,000 Speaker 1: he may be transformed into when the Nothing takes him 1612 01:24:43,400 --> 01:24:46,000 Speaker 1: and tells him quote, the human world is full of 1613 01:24:46,080 --> 01:24:48,920 Speaker 1: weak minded people who think there as clever as can be, 1614 01:24:49,360 --> 01:24:52,880 Speaker 1: and are convinced that it's terribly important to persuade even 1615 01:24:52,920 --> 01:24:56,920 Speaker 1: the children that Fantastica doesn't exist. Maybe they will be 1616 01:24:56,960 --> 01:24:59,559 Speaker 1: able to make good use out of you. And so 1617 01:24:59,600 --> 01:25:01,840 Speaker 1: at this point when the Gomork relates his mission. He 1618 01:25:01,960 --> 01:25:04,479 Speaker 1: tells how he was captured by the Dark Princess and 1619 01:25:04,520 --> 01:25:07,639 Speaker 1: never got to find a tray you. A Treyo asked 1620 01:25:07,680 --> 01:25:09,720 Speaker 1: him why, like, why are you so he will want? 1621 01:25:09,720 --> 01:25:11,880 Speaker 1: Are you so full of hate? And the Gomork says, 1622 01:25:11,920 --> 01:25:15,439 Speaker 1: because you creatures had a world and I didn't, again 1623 01:25:15,680 --> 01:25:17,879 Speaker 1: touching on this idea that the Gomork is a creature 1624 01:25:17,960 --> 01:25:21,439 Speaker 1: of the between that he has. He has one form 1625 01:25:21,439 --> 01:25:24,320 Speaker 1: in our world, one form in Fantasia, but he is 1626 01:25:24,360 --> 01:25:26,679 Speaker 1: not a denizen of either. And then in the final 1627 01:25:26,720 --> 01:25:29,479 Speaker 1: moments of this whole sequence plays out much like in 1628 01:25:29,479 --> 01:25:32,920 Speaker 1: the film, except in the book, a Trayo's leg is 1629 01:25:33,000 --> 01:25:36,080 Speaker 1: chomped by the Great Wolf and so he is like 1630 01:25:36,520 --> 01:25:39,720 Speaker 1: grievously wounded in the process as well, and is like 1631 01:25:40,000 --> 01:25:41,920 Speaker 1: seems like he's going to be too slow to escape 1632 01:25:41,920 --> 01:25:44,760 Speaker 1: than nothing. But anyway, like like I was saying, like 1633 01:25:44,800 --> 01:25:49,960 Speaker 1: the the ideas that are more expressly presented in the book, 1634 01:25:50,040 --> 01:25:52,400 Speaker 1: I very much match exactly what you're talking about with 1635 01:25:52,479 --> 01:25:54,559 Speaker 1: your interpretation of the scene in the movie. 1636 01:25:54,920 --> 01:25:59,000 Speaker 3: Yeah, So the Gomork serves powerful manipulators who want to 1637 01:25:59,040 --> 01:26:03,559 Speaker 3: control people, and they do that by militating against hope 1638 01:26:03,720 --> 01:26:09,200 Speaker 3: and imagination and trust and filling the world with malicious lies. 1639 01:26:10,200 --> 01:26:14,880 Speaker 3: It's a powerful vision of a sort of metaial conflict. 1640 01:26:15,600 --> 01:26:18,519 Speaker 1: Yeah. One thing that is interesting, you know in the 1641 01:26:18,520 --> 01:26:21,320 Speaker 1: book too, is that at this point in the book 1642 01:26:21,360 --> 01:26:24,040 Speaker 1: you are presented with this like greater understanding of the 1643 01:26:24,080 --> 01:26:28,439 Speaker 1: threat of facing Fantasia, but it's ultimately defeated bred it 1644 01:26:28,520 --> 01:26:31,360 Speaker 1: rather swiftly by like halfway through the book, so like 1645 01:26:31,400 --> 01:26:34,000 Speaker 1: the manipulators never really are an issue again, they're not 1646 01:26:34,040 --> 01:26:36,320 Speaker 1: really mentioned again later in the book. So there, I 1647 01:26:36,320 --> 01:26:40,320 Speaker 1: guess firmly dealt with, but it left me wanting more, 1648 01:26:40,360 --> 01:26:42,439 Speaker 1: which again is it's like that's one of the great 1649 01:26:42,439 --> 01:26:45,280 Speaker 1: things about any work. And it's actually something that Michael 1650 01:26:45,280 --> 01:26:46,880 Speaker 1: Into plays with a lot in the book. There are 1651 01:26:46,880 --> 01:26:49,719 Speaker 1: always these little moments where it sounds like he's about 1652 01:26:49,760 --> 01:26:52,400 Speaker 1: to go off on another tangent relating like what happened 1653 01:26:52,439 --> 01:26:55,080 Speaker 1: to secondary characters when they left the main events of 1654 01:26:55,080 --> 01:26:57,360 Speaker 1: the story, and he says, but that is another story 1655 01:26:57,400 --> 01:27:00,240 Speaker 1: and we'll be told another time, which I think as 1656 01:27:00,280 --> 01:27:03,680 Speaker 1: this feeling of the limitless nature of Fantasia, that it 1657 01:27:03,720 --> 01:27:06,719 Speaker 1: has no limits because the limits are just the limits 1658 01:27:06,720 --> 01:27:09,800 Speaker 1: of human imagination, which is almost beyond limit. 1659 01:27:10,320 --> 01:27:12,679 Speaker 3: Okay, Well, after this conflict, the story is not fully 1660 01:27:12,680 --> 01:27:16,920 Speaker 3: wrapped up. Ultimately, a tray You and Falcre have to 1661 01:27:16,960 --> 01:27:20,160 Speaker 3: find a way to stop the Nothing, which they don't 1662 01:27:20,200 --> 01:27:22,720 Speaker 3: quite know how to do. But Falcore does find the 1663 01:27:22,920 --> 01:27:24,840 Speaker 3: orn that has sunk to the bottom of the ocean. 1664 01:27:24,840 --> 01:27:27,040 Speaker 3: He goes picks it up. He comes in and he 1665 01:27:27,160 --> 01:27:29,880 Speaker 3: rescues a tray You from being consumed by the Nothing, 1666 01:27:29,920 --> 01:27:32,559 Speaker 3: and together they fly through space as the land of 1667 01:27:32,560 --> 01:27:37,920 Speaker 3: Fantasia is literally broken into pieces. The land itself becomes 1668 01:27:37,960 --> 01:27:42,160 Speaker 3: like asteroids floating in the vacuum, and a tray You 1669 01:27:42,680 --> 01:27:44,559 Speaker 3: uses the Oran to find his way back to the 1670 01:27:44,600 --> 01:27:48,200 Speaker 3: Ivory Tower where the Empress is, and there's finally a conversation, 1671 01:27:48,280 --> 01:27:50,559 Speaker 3: a meeting between a tray You and the Empress. A 1672 01:27:50,600 --> 01:27:53,639 Speaker 3: tray You believes he has failed, but then the Empress 1673 01:27:53,640 --> 01:27:57,080 Speaker 3: tells him he hasn't failed. He has brought her the 1674 01:27:57,160 --> 01:28:01,479 Speaker 3: human Child. The Weirdly, in the scene, I think questionable choice. 1675 01:28:01,479 --> 01:28:04,600 Speaker 3: In the movie, they start calling the child the Earthling, 1676 01:28:05,360 --> 01:28:07,599 Speaker 3: which is not a term they've used before. I think 1677 01:28:07,640 --> 01:28:12,080 Speaker 3: that's an odd choice. But anyway, they're talking about the 1678 01:28:12,160 --> 01:28:14,840 Speaker 3: human child. They say he has suffered with you. He 1679 01:28:14,920 --> 01:28:18,080 Speaker 3: went through everything you went through, and now he's here. 1680 01:28:18,920 --> 01:28:21,840 Speaker 3: But he doesn't realize he's already part of the never 1681 01:28:21,960 --> 01:28:25,200 Speaker 3: ending story. And just as he is sharing your story 1682 01:28:25,200 --> 01:28:28,679 Speaker 3: to tray you, others are sharing his. So here we're 1683 01:28:28,720 --> 01:28:32,400 Speaker 3: being brought into the narrative as well. And they say that, 1684 01:28:32,479 --> 01:28:34,120 Speaker 3: you know, they were with him when he ran from 1685 01:28:34,160 --> 01:28:36,519 Speaker 3: the bullies, when he found the bookstore and all that. 1686 01:28:37,200 --> 01:28:39,439 Speaker 3: But of course, Bastian we come out to the real 1687 01:28:39,479 --> 01:28:42,040 Speaker 3: world in the movie and he's freaking out. Is he 1688 01:28:42,160 --> 01:28:46,040 Speaker 3: reading about himself in the book once again? And the 1689 01:28:46,080 --> 01:28:49,320 Speaker 3: Empress explains the boy just has to give her a 1690 01:28:49,360 --> 01:28:52,479 Speaker 3: new name, that's all, and then the nothing would be beaten. 1691 01:28:52,479 --> 01:28:55,600 Speaker 3: It would be so easy for him, but he refuses 1692 01:28:55,680 --> 01:28:58,400 Speaker 3: to believe he really has the power to save her 1693 01:28:58,479 --> 01:29:01,120 Speaker 3: by doing it, so he doesn't do it, and the 1694 01:29:01,160 --> 01:29:05,400 Speaker 3: Empress begs him to save them. Everything's kind of falling down. 1695 01:29:05,400 --> 01:29:07,720 Speaker 3: The tower is crumbling, a tray you falls, he might 1696 01:29:07,760 --> 01:29:13,080 Speaker 3: fall down dead, and Bastian finally overcomes his hesitation. He 1697 01:29:13,160 --> 01:29:15,760 Speaker 3: runs to the window. He throws down the book and 1698 01:29:15,800 --> 01:29:18,640 Speaker 3: he cries out a name into the storm outside, a 1699 01:29:18,680 --> 01:29:21,720 Speaker 3: new name for the Empress. I think we're to understand 1700 01:29:21,800 --> 01:29:24,400 Speaker 3: it's his mother's name, but interestingly, we don't hear what 1701 01:29:24,439 --> 01:29:26,600 Speaker 3: it is. It's muffled by the storm. 1702 01:29:27,040 --> 01:29:30,880 Speaker 1: Yeah, it's in the book. It is Moonchild. That's the 1703 01:29:30,960 --> 01:29:33,479 Speaker 1: name he chooses, which I guess is probably not his 1704 01:29:33,560 --> 01:29:36,800 Speaker 1: mother's name in the real world. But I was on 1705 01:29:36,840 --> 01:29:39,280 Speaker 1: this rewatch I couldn't understand what he was yelling either, 1706 01:29:39,320 --> 01:29:40,720 Speaker 1: and I was like, well, I'm just going to use 1707 01:29:40,720 --> 01:29:43,400 Speaker 1: the subtitles handily, click over the subtitles and see what 1708 01:29:43,439 --> 01:29:47,519 Speaker 1: he's saying. But the subtitles for the version I was watching, 1709 01:29:47,760 --> 01:29:50,640 Speaker 1: when he yells his mother's name, it's just like it 1710 01:29:50,760 --> 01:29:54,880 Speaker 1: just says yelling, so I guess. But as I leaned 1711 01:29:54,880 --> 01:29:56,280 Speaker 1: into it, it's like, I think I can hear him 1712 01:29:56,360 --> 01:29:59,280 Speaker 1: yelling Moonchild. I think he's yelling Moonchild, but it's not distinct. 1713 01:30:00,040 --> 01:30:03,080 Speaker 3: And this does something sort of everything goes dark and 1714 01:30:04,960 --> 01:30:08,160 Speaker 3: we're down to just the Empress, I guess, in Bastion 1715 01:30:08,800 --> 01:30:11,320 Speaker 3: together in this dark environment. The Empress in her hand 1716 01:30:11,439 --> 01:30:14,719 Speaker 3: is holding a single grain of sand that is glowing. 1717 01:30:14,800 --> 01:30:17,280 Speaker 3: She says it's all that remains of her vast empire. 1718 01:30:17,400 --> 01:30:21,439 Speaker 3: But she says Fantasia can be recreated if Bastian wishes 1719 01:30:21,880 --> 01:30:24,160 Speaker 3: all he has to do is wish for it, and 1720 01:30:24,439 --> 01:30:26,759 Speaker 3: he says, how many wishes do I get? And she says, 1721 01:30:26,800 --> 01:30:27,840 Speaker 3: as many as you want. 1722 01:30:28,320 --> 01:30:30,479 Speaker 1: Yeah, this becomes crucial in the rest of the novel 1723 01:30:30,560 --> 01:30:33,120 Speaker 1: because we've learned that with each wish he makes, he 1724 01:30:33,240 --> 01:30:35,360 Speaker 1: loses part of his memory of his life in the 1725 01:30:35,400 --> 01:30:36,000 Speaker 1: real world. 1726 01:30:36,439 --> 01:30:39,920 Speaker 3: M I mean, I guess that's a different kind of story, 1727 01:30:39,920 --> 01:30:43,559 Speaker 3: with a new kind of complexity. But it is a oh, 1728 01:30:43,600 --> 01:30:47,439 Speaker 3: I'm gonna say, a powerfully emotional ending for this story 1729 01:30:47,479 --> 01:30:52,000 Speaker 3: about the joys and potency of childhood imagination. You know, 1730 01:30:52,040 --> 01:30:57,080 Speaker 3: she's teaching him how to change everything with creativity. 1731 01:30:57,960 --> 01:31:02,360 Speaker 1: Yeah, absolutely, I mean it's ultimate, a real boost of 1732 01:31:02,400 --> 01:31:06,479 Speaker 1: a story, you know, the power of creative thought, the 1733 01:31:06,600 --> 01:31:10,640 Speaker 1: power of the imagination, the power of actual childhood and 1734 01:31:10,680 --> 01:31:14,280 Speaker 1: one's inner childhood. And then of course we get this 1735 01:31:14,520 --> 01:31:17,839 Speaker 1: very notable scene, right, we get one more great flying 1736 01:31:17,920 --> 01:31:19,720 Speaker 1: scene to end everything out. Yeah. 1737 01:31:19,760 --> 01:31:24,920 Speaker 3: Well, so Bastian himself rides Falcre. He imagines himself riding Falcor. 1738 01:31:25,040 --> 01:31:27,679 Speaker 3: So Falcre is back, and the rock bier is back, 1739 01:31:27,680 --> 01:31:29,960 Speaker 3: and a tray you and Artax and all the characters 1740 01:31:30,000 --> 01:31:33,400 Speaker 3: are restored just by him imagining them. They're now no 1741 01:31:33,479 --> 01:31:36,080 Speaker 3: longer destroyed by the Nothing. Now they're back to life again. 1742 01:31:36,439 --> 01:31:38,719 Speaker 3: They're carrying on with their lives. It's like the Nothing 1743 01:31:38,800 --> 01:31:42,680 Speaker 3: never was. But then, of course, the final merger of 1744 01:31:42,760 --> 01:31:46,840 Speaker 3: the two worlds happens when Bastion rides Falcre out into 1745 01:31:46,840 --> 01:31:50,839 Speaker 3: the real world over the streets and terrorizes his bullies 1746 01:31:51,040 --> 01:31:54,120 Speaker 3: like the ones who beat him up earlier, and Falcre 1747 01:31:54,200 --> 01:31:57,320 Speaker 3: chases them into the dumpster. Doesn't feel too vengeful because 1748 01:31:57,360 --> 01:31:59,360 Speaker 3: he doesn't actually hurt them, and Falcre is not going 1749 01:31:59,439 --> 01:32:02,799 Speaker 3: to hurt anybody. Falcor's sweet. It's just they just get scared. 1750 01:32:03,000 --> 01:32:06,320 Speaker 1: They got to get scared. Yeah, it's a very satisfying scene. 1751 01:32:06,640 --> 01:32:09,360 Speaker 1: I don't think this doesn't happen in the book. I'm 1752 01:32:09,360 --> 01:32:11,679 Speaker 1: pretty sure this is something doesn't happen in the book. 1753 01:32:11,840 --> 01:32:15,840 Speaker 1: It kind of runs completely opposite of the whole world 1754 01:32:15,880 --> 01:32:19,759 Speaker 1: building exercise that Enda's doing here. But I cannot fault 1755 01:32:19,800 --> 01:32:22,040 Speaker 1: it at all for just the pure cinematic experience of it, 1756 01:32:22,080 --> 01:32:24,599 Speaker 1: and also having watched it with my son at two 1757 01:32:24,640 --> 01:32:27,959 Speaker 1: different ages already, like, this is a real satisfying sequence. 1758 01:32:28,720 --> 01:32:29,559 Speaker 1: Kids love it. 1759 01:32:29,960 --> 01:32:32,679 Speaker 3: So I can tell exactly why I loved this movie 1760 01:32:32,720 --> 01:32:35,639 Speaker 3: as a child. But I loved it as an adult too. 1761 01:32:35,640 --> 01:32:39,240 Speaker 3: This one holds up great. I think it's a beautiful movie. 1762 01:32:39,360 --> 01:32:42,679 Speaker 1: Absolutely, and yeah, and I encourage everyone out there, if 1763 01:32:42,680 --> 01:32:44,160 Speaker 1: you're a fan of this film and you haven't read 1764 01:32:44,720 --> 01:32:48,679 Speaker 1: Michael Linda's novel, pick it up because it's, like I say, 1765 01:32:48,720 --> 01:32:50,200 Speaker 1: the first half of it is going to give you 1766 01:32:50,280 --> 01:32:53,439 Speaker 1: a great literary version of what you've grown to love 1767 01:32:53,439 --> 01:32:55,719 Speaker 1: on screen. And then the second half of the book 1768 01:32:55,800 --> 01:32:58,880 Speaker 1: kind of goes in a slightly different direction, but is 1769 01:32:58,960 --> 01:33:02,320 Speaker 1: full of wonderful ventures and strange creatures and also lots 1770 01:33:02,360 --> 01:33:06,240 Speaker 1: of thought provoking material. So I highly recommend both of them. 1771 01:33:06,680 --> 01:33:08,200 Speaker 1: All Right, Well, on that note, I guess we're going 1772 01:33:08,240 --> 01:33:11,120 Speaker 1: to go and close this episode up. We're going to 1773 01:33:11,320 --> 01:33:14,920 Speaker 1: enclose the never Ending Storybook for this episode, but we'll 1774 01:33:14,920 --> 01:33:17,639 Speaker 1: be back in the future. Just a reminder that we're 1775 01:33:17,680 --> 01:33:20,959 Speaker 1: primarily a science podcast with core episodes on Tuesdays and Thursdays, 1776 01:33:21,000 --> 01:33:23,280 Speaker 1: but on Fridays we set aside most serious concerns and 1777 01:33:23,320 --> 01:33:25,920 Speaker 1: just talk about a weird film on Weird House Cinema. 1778 01:33:26,040 --> 01:33:27,680 Speaker 1: If you want to see a full list of the 1779 01:33:27,680 --> 01:33:30,280 Speaker 1: movies that we've covered on the show, you can go 1780 01:33:30,280 --> 01:33:32,080 Speaker 1: to a couple of places I have a blog at 1781 01:33:32,080 --> 01:33:34,479 Speaker 1: some newtomusic dot com where I blog about the films 1782 01:33:34,479 --> 01:33:36,920 Speaker 1: we're covering, and like with this film, I'll probably put 1783 01:33:36,920 --> 01:33:39,760 Speaker 1: in a bunch of like embedded examples of some of 1784 01:33:39,800 --> 01:33:42,240 Speaker 1: the music that I talked about here if you want 1785 01:33:42,240 --> 01:33:44,200 Speaker 1: to go check that out. I also include a link 1786 01:33:45,160 --> 01:33:47,720 Speaker 1: for the artwork that sort of thing. But also if 1787 01:33:47,720 --> 01:33:50,160 Speaker 1: you've used letterbox dot com, it's l E T T 1788 01:33:50,240 --> 01:33:52,360 Speaker 1: E R B O x D dot com. Well, we 1789 01:33:52,360 --> 01:33:54,960 Speaker 1: have a profile on there, weird House, and if you 1790 01:33:55,000 --> 01:33:56,559 Speaker 1: go there you'll find a list of all the movies 1791 01:33:56,600 --> 01:33:59,920 Speaker 1: we've covered, and sometimes they'll be even a a a 1792 01:34:00,320 --> 01:34:02,759 Speaker 1: preview of what's coming the next week. 1793 01:34:03,120 --> 01:34:06,360 Speaker 3: Huge thanks to our audio producer JJ Posway. If you 1794 01:34:06,400 --> 01:34:08,559 Speaker 3: would like to get in touch with us with feedback 1795 01:34:08,600 --> 01:34:10,920 Speaker 3: on this episode or any other, to suggest a topic 1796 01:34:10,920 --> 01:34:12,880 Speaker 3: for the future, or just to say hello, you can 1797 01:34:12,960 --> 01:34:15,840 Speaker 3: email us at contact at stuff to Blow your Mind 1798 01:34:16,080 --> 01:34:23,120 Speaker 3: dot com. 1799 01:34:23,240 --> 01:34:26,160 Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For 1800 01:34:26,240 --> 01:34:30,080 Speaker 2: more podcasts from My Heart Radio, visit the iHeartRadio app, Apple Podcasts, 1801 01:34:30,160 --> 01:34:32,440 Speaker 2: or wherever you listen to your favorite shows.