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Speaker 1: Too Much Information is a production of My Heart Radio.

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Speaker 1: Hello everyone, and welcome to Too Much Information, the show

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Speaker 1: that gives you the secret history and little known fascinating

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Speaker 1: facts about your favorite movies, music, TV shows, and the more.

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Speaker 1: My name is Jordan Runt Talk and my name is

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Speaker 1: Alex Tiger. What are we talking about today and this week?

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Speaker 1: With the fastidious attention to detail of a boy who

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Speaker 1: would walk around high school with this bow tie every day,

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Speaker 1: I'm not talking about me. I'm talking about Wess Anderson.

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Speaker 1: I am so sorry. I don't know if Wes Anderson

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Speaker 1: actually walked around high school with a bow tie, but

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Speaker 1: could you know? I was more into corduroy jackets. Also,

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Speaker 1: like Wes Anderson, that was more of a cravat guy. No,

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Speaker 1: I haven't been a cravat guy. I did want to.

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Speaker 1: I did spend a year during the r I p

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Speaker 1: the Peter Bogdanovich bandana thing. Anyway, Wes Anderson Baby, twenty

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Speaker 1: years of Royal Tenant Bombs. Let's go, one of most

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Speaker 1: influential movies on the past two decades of pop culture.

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Speaker 1: And I get jazz about this movie the way people

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Speaker 1: do like Rocky four. I love this overly precious mannered tweet,

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Speaker 1: pseudo J D. Salinger, mid century American white people problems.

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Speaker 1: I love it. Just give it to me. I'm I'm

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Speaker 1: num bing bomb strapping. I'm getting way too excited about

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Speaker 1: Royal Tenant Bombs. I don't know this movie is great.

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Speaker 1: I'm not a movie critic. I'm not going to talk

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Speaker 1: about this movie's influence. I just think it's a truly

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Speaker 1: perfect thing. It's like Rushmore. It's just a great start

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Speaker 1: to finish. It's great collaborative. It's such a great cast.

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Speaker 1: And I don't know about how you feel about Gene Hackman, Jordan,

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Speaker 1: but Gene Hackman is one of my favorite of that

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Speaker 1: middle era of Hollywood. Like I dearly love French Connection,

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Speaker 1: I dearly love Scarecrow, the converse Sandu. Yeah, so like

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Speaker 1: having this be such an appropriate uh Swan song for him.

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Speaker 1: We're not going to talk about Welcome to Mooseport his

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Speaker 1: his actual last movie. Act I in my mind, I

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Speaker 1: really thought that Royal ten Obaums was his last movie,

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Speaker 1: and then I actually looked it up and I was horrified.

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Speaker 1: I thought somebody had hacked his Wikipedia account and may

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Speaker 1: Welcome the moosepart his last movie. But it really was

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Speaker 1: that was his final on screen appearance. Well, we're not

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Speaker 1: gonna dwell on that. We're gonna focus on happier times.

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Speaker 1: Uh not really, higgle. We're gonna talk about how Gene

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Speaker 1: Hackman didn't enjoy himself on the set and made sure

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Speaker 1: to tell Wes Anderson at pretty much every available opportunity.

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Speaker 1: We'll also talk about Anderson's dictatorial approach to fashion, the

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Speaker 1: time Angelica Houston's haircut on fire in the middle of

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Speaker 1: a scene, and when Mordecai the Falcon was helped for

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Speaker 1: ransom by a random New Jersey resident. But yes, of

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Speaker 1: course there are some happier moments too, like the time

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Speaker 1: Gwyneth Paltrow took Paul McCartney out on a bowling date,

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Speaker 1: which sounds like my personal fantasy, and also how the

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Speaker 1: film inspired elements of the sitcom thirty Rock but also

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Speaker 1: almost killed the show arrested development. And of course it's

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Speaker 1: also quite a bit in here for you typeface nerds

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Speaker 1: as well, so keep an ear out for that. So,

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Speaker 1: without further ado, here is everything you didn't know about

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Speaker 1: the Royal tennem bombs Royal Tenembom's baby. All right, how

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Speaker 1: did Royal Tennan bombs, Get It Start, Jordan's hit Me.

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Speaker 1: So it's after Rushmore and Owen Wilson, who's Wes Anderson's

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Speaker 1: writing partner as well as his frequent on screen running

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Speaker 1: buddy uh suggested that we was write a screenplay about

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Speaker 1: his parents divorce, so that was the jumping off point.

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Speaker 1: But the more Wiz Anderson wrote, the less he said

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Speaker 1: the family resembled his own family, and as we'll talk

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Speaker 1: about in a moment, that's probably for the best. Though

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Speaker 1: they were both collaborators, Owen Wilson had become much more

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Speaker 1: in demand as an actor since Rushmore, and as a result,

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Speaker 1: was Anderson really took the lead on the writing on

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Speaker 1: this more than he'd had in the past, and their

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Speaker 1: relationship with him a lot more collaborative before that. Can

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Speaker 1: you imagine Wes Anderson writes up Owen Wilson and he's like, hey, man,

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Speaker 1: I've been revisiting that idea about, like, you know, writing

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Speaker 1: a screenplay about my parents divorce, and he's like talking

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Speaker 1: through it, and Owen Wilson's on the I was like,

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Speaker 1: I gotta go shoot anaconda. That was a bad Owen Wilson.

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Speaker 1: It'll get better as I go. Don't worry, I'm gonna

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Speaker 1: get about an hour to HEA's into it. But yeah,

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Speaker 1: he shot Anaconda starring Ice Cube and John Voight, and

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Speaker 1: you know, probably did some other stuff. But I really

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Speaker 1: just wanted to stress that Owen Wilson was in Anaconda

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Speaker 1: and Wes Anderson presumably at some point was left on

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Speaker 1: red because because Owen Wilson was off shooting Anaconda with

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Speaker 1: Iced Tea and Jennifer Lopez, so was. Anderson delves into

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Speaker 1: his parents divorce alone at the recommendation of his friend

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Speaker 1: and writing partner Owen Wilson, but it becomes as he

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Speaker 1: as he goes further down the process as a writing

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Speaker 1: and he realizes that it's, you know, not really about

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Speaker 1: his own family, but instead about this fictitious group of

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Speaker 1: predatornaturally gifted children who then grow up and deal with

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Speaker 1: no longer being precocious. I mean, it's a movie about

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Speaker 1: gifted kids syndrome, you know, And I hate to use

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Speaker 1: that because it's such a Twitter meme at this point,

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Speaker 1: but it's like, it's just a movie about gifted kids

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Speaker 1: becoming like sad adults. So it's great if you identify

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Speaker 1: as either one of those things. Um like a lot

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Speaker 1: of Wes Anderson stuff. The laundry list of that he

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Speaker 1: has attributed to going into this movie is insane. So

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Speaker 1: we're just going to do it as a lightning round.

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Speaker 1: He imagined supposedly the story that would later become the film,

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Speaker 1: while listening to Modice Ravel's string Quartet in f performed

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Speaker 1: by the Britton Quartet, which is yeah, of course he did.

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Speaker 1: I mean, what, here's the thing about Wes Anderson. He's

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Speaker 1: like he could have come up with this story while

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Speaker 1: listening to Slayer or like fog Hat, and he would

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Speaker 1: lie to you because he has his image to maintain,

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Speaker 1: so you know, like Grand Funk Railroad, like he was

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Speaker 1: just listening to like American Band on repeat with like

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Speaker 1: a trucker hat. But then he's still gonna lie to

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Speaker 1: you and give you some kind of high falution. Chumba

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Speaker 1: Womba was a major influence Royal Tonan bombs. This is

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Speaker 1: just the tip of the hat. So we're, like I said,

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Speaker 1: we're gonna lightning around it. So first up, we have

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Speaker 1: Frank Capra's nineteen thirty eight adaptation of You Can't Take

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Speaker 1: It with You. Then we go we skipped forward four

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Speaker 1: years for Orson Wells two film, The Magnificent Amberson's, which

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Speaker 1: was probably one of the biggest influences of all the

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Speaker 1: Laundry list of influences that was Innerson decided because it's

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Speaker 1: about this kind of gifted, slightly mythical family. And then

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Speaker 1: we moved forward about eight years because we're doing this chronologically,

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Speaker 1: because why not. We're looking at Jean Pierre Melville's Les

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Speaker 1: Enfance TB from nineteen fifty, which is a specific inspiration

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Speaker 1: for the character of Richie and Margo, and we're not

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Speaker 1: going to do We're not going to get super granular

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Speaker 1: on the plot here. We're assuming that you've watched this movie,

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Speaker 1: so spoilers. Also, I guess we have to say that

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Speaker 1: the next influence we have, which is one of the

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Speaker 1: more obvious ones to my mind, it's where I come

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Speaker 1: with these characters from his Frannie and Zoe, which is

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Speaker 1: a Salinger from nine which has a lot of this

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Speaker 1: like predator, naturally smart and precocious children stuff, along with

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Speaker 1: a character named Tannenbaum, so that seems kind of obvious.

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Speaker 1: Next up, where we got George. This was my favorite EO.

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Speaker 1: Konenberg seven book from the mixed up files of Mrs

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Speaker 1: Basil Eve Franken Wilder the Great Kids Book. In that book,

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Speaker 1: the kids run away and live in the Metropolitan Museum

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Speaker 1: of Art in New York, which obviously inspires the story

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Speaker 1: of Richie and Margot hiding out in the museum overnight.

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Speaker 1: Four years later, we've got works of French director Louis

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Speaker 1: mal including Murmur of the Heart from one and a

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Speaker 1: movie from eight years previous called The Fire within the Ladder.

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Speaker 1: Of that film contains a line translated as I'm going

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Speaker 1: to kill myself tomorrow, which you may remember a bearded

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Speaker 1: Luke Wilson in Toning into the Mirror set to the

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Speaker 1: ungodly harrowing strains of needle in the hay. While we're

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Speaker 1: talking about films from nineteen seventy one, we have Francis

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Speaker 1: Trufous Two English Girls, which is also a film that

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Speaker 1: you see this visual device of multiple book covers sort

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Speaker 1: of meticulously used to fill up the frame of the

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Speaker 1: film and to kind of not specifically tied to movies,

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Speaker 1: but two personalities really will continue to inspire the some characters.

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Speaker 1: Oh yeah, the famous neurologist Oliver Sacks, who is the

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Speaker 1: man behind the Robin Williams movie Awakenings, and he wrote

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Speaker 1: The Man who Mistook his Wife for a Hat and

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Speaker 1: all these great, really interesting books about the human mind.

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Speaker 1: He inspired Bill Murray's character, and he looks just like

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Speaker 1: we'd wear turtlenecks and had a big bushy beard and

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Speaker 1: these round glasses. So it's definitely a nod to Oliver

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Speaker 1: Sacks and who else we got Cormick McCarthy. Baby, Yeah,

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Speaker 1: Corvin McCarthy is a model for the brief segment of

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Speaker 1: Owen Wilson's writing that we actually hear from his Custer novel,

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Speaker 1: which can I just read that? Yes? Please, I want

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Speaker 1: to read this entire quote. I mean, I've as someone

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Speaker 1: who once had the Twitter handle Cormick McCartney, Like, I'm

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Speaker 1: a huge Cormick McCarthy fan. So this writing is so

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Speaker 1: damn funny to me. It is so pitch perfect. He's

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Speaker 1: doing a reading of his book and the passages the

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Speaker 1: crickets and the rust beetles scuttled among the nettles of

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Speaker 1: the sage thicket. Vaminos, amigos. He whispered and threw the

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Speaker 1: busted leather flint craw over the loose weave of the

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Speaker 1: saddle Cock, and they wrote on in the Friscalating Dusk

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Speaker 1: Light that is pitch perfect m McCarthy parody. I love

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Speaker 1: it so much. Now that we've gotten dispensed with the

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Speaker 1: fictional influences on the book, that's move into some queasier

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Speaker 1: territory Jordan's. Apparently Wes Anderson really had a childhood friend

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Speaker 1: who was actually love with his own sister, Like, not

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Speaker 1: his adopted sister, but his actual sister. Um yeah, um.

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Speaker 1: Now that now that we've lived through Game of Thrones,

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Speaker 1: people forget, No, people don't forget. Incest is still a

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Speaker 1: weird thing to put in a movie. People don't forget.

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Speaker 1: Game of Thrones didn't normalize that anyway. Now we're get

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Speaker 1: into casting. I mean I spoke at length and loudly

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Speaker 1: about the cast for this movie, which is perfect. But

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Speaker 1: the lynchpin of the whole thing is Gene Hackman. He's

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Speaker 1: so He's just truly perfect. And Anderson wrote this with

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Speaker 1: Gene Hackman in mine and getting him to sign onto

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Speaker 1: this movie was such a herculean task and I love

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Speaker 1: every bit of it, he says. He wrote the role.

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Speaker 1: He told Vulture in that he wrote the role of

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Speaker 1: role tenebond for Gene Hackman against Hackman's wishes, because when

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Speaker 1: he met Hackman to talk about it, Jean said to him,

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Speaker 1: I don't like it when people write for me because

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Speaker 1: you don't know me, and I don't want what you

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Speaker 1: think is me. So perhaps obviously after hearing that, Anderson

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Speaker 1: added in this two thousand thirteen interview that Hackman was

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Speaker 1: very difficult to sign. The money was too low. The

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Speaker 1: size of the cast meant that everyone had to work

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Speaker 1: for scale, which not very much money for sixty days

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Speaker 1: of shooting. That he is a main character, and Alec

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Speaker 1: Baldwin jokes I think around that same in that same

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Speaker 1: round table that Hackman's agent once told him that Jean

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Speaker 1: doesn't even open his eyes for less than three million,

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Speaker 1: but Anderson credits that same agent with convincing him to

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Speaker 1: take the role. And in some other truly great bits

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Speaker 1: of almost casting news, Gene Wilder and Michael Caine were

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Speaker 1: supposedly alternate picks for Royal, which I don't try to

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Speaker 1: indulge in too much alternate casting history, but those both

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Speaker 1: also would have been incredible um and Gene Hackman has

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Speaker 1: also said in an interviews that he was a little

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Speaker 1: hesitant to accept the part because he felt there was

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Speaker 1: a little um it reflected on times in his life

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Speaker 1: that he had sort of behaved in similar ways to

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Speaker 1: his family, and he didn't want to see that up

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Speaker 1: family about this part and saying he was with this

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Speaker 1: cut a little too close to the bone, with this

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Speaker 1: feel a little too much like our own lives? Should

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Speaker 1: I not do this? And they agreed that he would

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Speaker 1: accept the part, but um having midwife this role through

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Speaker 1: fire and blood, Game of Throne reference to Gene Hackman

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Speaker 1: gets to the set and it is not like it

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Speaker 1: is not a bed of roses. Yeah, I means you

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Speaker 1: can probably imagine giving a whole lead up to this.

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Speaker 1: He was a bit prickly to work with on the set,

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Speaker 1: and I guess he knew that this was getting towards

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Speaker 1: the end of his career, and he signed on to

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Speaker 1: this movie under the promise from was Anderson that you know,

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Speaker 1: this would be a fun and relaxing experience, and I guess,

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Speaker 1: um Jean did not find it fun or relaxing. And

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Speaker 1: there was a point I guess when he actually just

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Speaker 1: shouted at we was on the set Hey, Wes, you

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Speaker 1: said this was supposed to be fun and relaxing for me. Well,

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Speaker 1: I'm not having fun. And this was just one of

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Speaker 1: many instances of Gene Hackman apparently just writing and verbally

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Speaker 1: abusing we was on the set. According to Angelica Houston,

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Speaker 1: there was a moment when Jean told Wez to quote,

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Speaker 1: pull up your pants and act like a man. I mean,

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Speaker 1: it's just like having to Doyle. It's like having Popeye

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Speaker 1: Doyle on your set, like screaming at you, and that

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Speaker 1: this sounds terrifying. The fact that we could not make

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Speaker 1: the movie making experience fun for Gene Hackman really really

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Speaker 1: hurt him, especially because he knew that Gene was, like,

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Speaker 1: you know, one of his last roles. They really wanted

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Speaker 1: to make it something personal, but I guess the cast

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Speaker 1: really rallied around Wes. Bill Murray would show up on

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Speaker 1: days when he wasn't required on the set to basically

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Speaker 1: act as like a buffer and protector for Wez from

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Speaker 1: Gene and uh. Angelica Houston was saying about how the

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Speaker 1: scene when when Doyle confronts her on the street after

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Speaker 1: not seeing her for all those years and telling her

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Speaker 1: that he's dying and then walks it back and says

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Speaker 1: he's not dying, and she slaps him. She says that

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Speaker 1: she slapped him for real, and like she's all the

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Speaker 1: imprint of her hand on his cheek, and she knew

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Speaker 1: that she really went too far because he I guess

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Speaker 1: when he was reading the script he felt really uncomfortable

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Speaker 1: saying damn. And when she smacked him, he said damn.

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Speaker 1: And it's like he wasn't acting. He just was actually

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Speaker 1: reacting to getting the smack down from Angelica and she

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Speaker 1: was like, oh God, you know he's gonna be furious now. Yeah.

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Speaker 1: So he was apparently not exactly welcomed presence on the set,

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Speaker 1: but you know, I think he did maybe come away

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Speaker 1: with it a little positively because Wes Anderson asked his

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Speaker 1: brother Eric to sketch out designs for the family, and

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Speaker 1: one of which he sent to Hackman, like a sketch

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Speaker 1: of him as royal, and he later asked if he

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Speaker 1: could borrow it, and Hackman either had lost it by

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Speaker 1: that point or didn't want to give it back. I

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Speaker 1: like to believe he didn't want to give it back.

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Speaker 1: It's like a nice memory for him. But you know,

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Speaker 1: while we're talking about Lightning Round. Fun fact, Wes's brother

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Speaker 1: Eric does all of Young Richie's drawings in the film,

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Speaker 1: and Young Richie is incidentally played by John Tatura's son Amadeo.

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Speaker 1: So if you want to tweet us about this episode,

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Speaker 1: please use the hashtag Amadeo Tuturo. We'll come back to

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Speaker 1: that later on. We're going to take a quick break,

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Speaker 1: but we'll be right back with more too much information

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Speaker 1: in just a moment. And I, you know, I had

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Speaker 1: mentioned about what it would be like to have Popeye

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Speaker 1: Doyle on the set of your unbearably tweet dialogue driven

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Speaker 1: films screaming at you that he wasn't having fun and

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Speaker 1: to pull up your pants, and to pull up your

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Speaker 1: pants and act like a man. Wes and Anderson actually

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Speaker 1: was not above sticking in references to his stars other

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Speaker 1: more famous films into the Royal tenembomb So Jordan, what

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Speaker 1: are those? Uh? There's a not of course, to the

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Speaker 1: French Connection. French Connection as one of the greatest car

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Speaker 1: chases in cinematic history. Uh? Was Anderson pays tribute to

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Speaker 1: that when Royal takes Chassis Chilled or an Aria Newsy

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Speaker 1: to go go karting and they're driving under this like

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Speaker 1: almost looks like a subway. I think it's one of

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Speaker 1: the elevated it's one of the standing elevated tracks. And

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Speaker 1: that original scene is stunt driver Bill Hickman tearing ass

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Speaker 1: around Brooklyn for real. They did not obtain a permit.

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Speaker 1: It's crashed into a real car. Yeah, this is the

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Speaker 1: French connection. By the way, we did not aid. Yeah,

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Speaker 1: that car chase in the middle really livened up the

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Speaker 1: whole dialogue heavything. But that's not the only tribute to

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Speaker 1: another star's work in there. Wes Anderson loved Danny Glover,

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Speaker 1: which I think is a noble Yeah, exactly who doesn't.

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Speaker 1: But in Witness in the Harrison Ford crime movie, Glover's

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Speaker 1: character shoots Ford and Ford's responses I know you, which

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Speaker 1: is you know You'll remember, Hackman says to Owen Wilson's

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Speaker 1: character at one point. That's when he's escaping out the window.

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Speaker 1: He looks down he says, I know you, um, but

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Speaker 1: you know there is a very uncomfortable moment in the

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Speaker 1: film between Gene Hackman and Danny Glover's characters, and you

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Speaker 1: know Jordan's do you want to talk us through this one? Sure?

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Speaker 1: There's a scene when Gene calls Danny Glover Coltrane as

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Speaker 1: a slur, and apparently there was a long discussion not

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Speaker 1: whether or not to use that slur at all, but

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Speaker 1: I guess Hackman wanted to change the line to satch

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Speaker 1: Mo as in Louis Armstrong, but I guess Danny Glover

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Speaker 1: agreed with Wes Anderson that Coltrane worked better as a slur,

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Speaker 1: which I mean, the character is supposed to be, and

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Speaker 1: like it's supposed to be. I understand why it's in there.

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Speaker 1: It makes sense from like an art point of view,

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Speaker 1: but just imagining like two white guys sitting there like

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Speaker 1: earnestly discussing with Danny Glover which slur that they would

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Speaker 1: rather use on him is God, that's so cringe. Another

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Speaker 1: fun fact about Danny Glover, that's right. His look on

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Speaker 1: the film was modeled after U N Secretary General Kofe

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Speaker 1: and non apparently this is Wes Anderson's idea after Danny Lover,

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Speaker 1: who apparently knows Kofe, personally introduced Wes Anderson to him

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Speaker 1: at a UN event. That's incredible. Hi, I'm Danny Glover,

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Speaker 1: this is my friend. U N Secretary General Kofe and On,

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Speaker 1: please meet this slight corduroy clad man who is making

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Speaker 1: a dumb movie. Not the World ten, Mom's dumb. Just

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Speaker 1: on the scope of things that kofe and On has

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Speaker 1: to deal with during the day. Where are we at? Okay,

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Speaker 1: Angelica Houston incredible in this and she's incredible and everything whatever.

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Speaker 1: I don't need to talk about how Angelica Houston is amazing,

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Speaker 1: But Jordan, why don't you talk us through a little

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Speaker 1: bit of the stuff that Wes Anderson was working through

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Speaker 1: with Angelica Houston. So it sounds like Les Anderson was

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Speaker 1: working out some kind of mommy issues in the character

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Speaker 1: that he wrote for Angelica Houston, and he wrote it

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Speaker 1: specifically for Angelica. But there was a weird moment during

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Speaker 1: shooting when um, I guess was gave Angelica multiple photographs

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Speaker 1: of his mom, who, like Ethelene, was an archaeologist, and

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Speaker 1: I think he gave her one of like a locket

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Speaker 1: that his mom used to wear. And finally Angelica used

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Speaker 1: to just asked him, like, where am I playing your mother?

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Speaker 1: And he said no, But I guess that the glasses

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Speaker 1: Ethylene wears in the film are actually his mother's glasses,

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Speaker 1: So uh, West, am I playing your mother? No, but

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Speaker 1: put on these glasses and don't ask further questions. Yeah,

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Speaker 1: there's there's kind of a lot to impact there. But

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Speaker 1: but moving right along. Apparently in the scene when they're

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Speaker 1: filming Margot's birthday and sort of the opening montage and

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Speaker 1: Angelica Aasan's carrying in a cake with candles on it.

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Speaker 1: While shooting that film, an errant Campbell set her hair

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Speaker 1: on fire, and the actor who played Pagoda had to

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Speaker 1: like think quickly and just I think he liked did

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Speaker 1: he like throw water on it or something? I forget

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Speaker 1: he might have had like a dixie cup. I don't know,

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Speaker 1: but quick shout out to Pagoda. Kumar Polana, he's part

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Speaker 1: of the Wes Anderson rap. You know, he's a bit

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Speaker 1: part in most of the movies. And apparently Polana used

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Speaker 1: to work at Anderson's favorite coffee shop in Dallas, so

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Speaker 1: he brought him with him to The Big Time Baby.

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Speaker 1: That's how he met Pagoda. Yeah, and that's and he

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Speaker 1: went on to later save Angelica Houston's hair. So that's

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Speaker 1: a nice arc. Well, speaking of body parts and other

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Speaker 1: parts of the body that got maimed in the production

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Speaker 1: of Royal Tennant Bombs. Talking about Margot's wooden finger, Well,

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Speaker 1: there's a lot of hand trauma and Royal Tennant Bombs.

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Speaker 1: You know. Margot has this wooden finger that she's like

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Speaker 1: always tapping on hard services to annoy people, I guess,

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Speaker 1: but it's it was supposed to have been a thing

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Speaker 1: from Rushmore that was originally intended for um Sarah Tanako's

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Speaker 1: character Margaret Yang in Rushmore, which she was supposed to

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Speaker 1: have lost in a science experiment supposed to go into

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Speaker 1: her character rather than a wood chopping accident, which incidentally

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Speaker 1: is how Jerry Garcia lost one of his fingertips, which

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Speaker 1: derailed him from his career as a bluegrass banjo player.

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Speaker 1: I'm not making that up. And then, while we're on

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Speaker 1: the topic of hand trauma, in In the Our Hands

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Speaker 1: was Anderson's like feet, hands and Moms Baby. The BB gun,

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Speaker 1: an incident in the film, is an oft mentioned part

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Speaker 1: of the film's legacy. Owen Wilson shot his brother Andrew

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Speaker 1: in the hand with a BB gun while they were kids,

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Speaker 1: and in the movie, the shot of Chaz showing his

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Speaker 1: father the bb that's lodged in his hand like just

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Speaker 1: under his skin and moving it around. That is Owen

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Speaker 1: Wilson's brothers Andrew, that's his real hand. And fun fact,

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Speaker 1: Andrew Wilson plays the farmer who accidentally chops off Margot's finger. Um.

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Speaker 1: He's also in the movie when he serves as an

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Speaker 1: announcer for one of my other favorite scenes in the movies,

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Speaker 1: which is when Richie has his breakdown mid tennis. It's

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Speaker 1: so perfect. He's taking off his shoes and one of

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Speaker 1: his socks and actually, Jim, I think he's crying. That's

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Speaker 1: West Wes Anderson and Andrew Wilson. And you know what,

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Speaker 1: we're still not done talking about hands because just like

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Speaker 1: you know, yeah, I don't think I realized this thing

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Speaker 1: for hands here. So of the film opens with the

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Speaker 1: book being barred from the library. Um, and that is

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Speaker 1: Wes Anderson's hand stamping the library card. Another big part

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Speaker 1: of this film, as with all of Wes Anderson's films,

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Speaker 1: is the music. So Jordan's let's talk a little bit

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Speaker 1: about the music of the Royal Town of Bombs. To me,

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Speaker 1: one of the biggest, you know, most iconic music moments

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Speaker 1: of the whole movie is when the adult Margo steps

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Speaker 1: off the bus and Richie's there to meet her as

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Speaker 1: Nico's These Days is playing. And I guess that whole

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Speaker 1: audio visual combo had been in Wes Anderson's head for years,

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Speaker 1: long before he had this movie in mind. He just

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Speaker 1: knew that this song these Days would just fit with

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Speaker 1: the image of somebody walking off a bus. You know.

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Speaker 1: He didn't know who. He wasn't even sure if it

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Speaker 1: was a bus, but something about somebody arriving with this

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Speaker 1: song playing, he later said an interview. But the thing

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Speaker 1: I didn't know about was the expression on her face,

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Speaker 1: which is the thing I think that makes it work. Apparently, weirdly,

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Speaker 1: Margot's appearance was modeled on Nico, with her you know,

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Speaker 1: her eye make up and probably her sadness to um.

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Speaker 1: Gwyneth Paltrow said that shooting that scene when she's stepping

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Speaker 1: off the bus was one of her favorite scenes she's

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Speaker 1: ever done. Apparently, her late father, Bruce Paltrow was visiting

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Speaker 1: the set that day, which you know, really, you know,

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Speaker 1: made it special for and Um. She later said in

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Speaker 1: an interview, I really hate hate seeing myself in a

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Speaker 1: movie that's kind of like the only scene that I

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Speaker 1: can watch myself, like of my whole career, which is

424
00:23:26,280 --> 00:23:29,600
Speaker 1: you know, it's it's it's a good scene. Its scene.

425
00:23:30,200 --> 00:23:33,040
Speaker 1: The best part is Jackson Brown, who wrote the song

426
00:23:33,160 --> 00:23:35,760
Speaker 1: These Days and played guitar on the song in the movie,

427
00:23:36,040 --> 00:23:38,320
Speaker 1: he forgotten that he'd given permission for the song to

428
00:23:38,359 --> 00:23:39,840
Speaker 1: be used in the film until he just went to

429
00:23:39,880 --> 00:23:42,560
Speaker 1: go see it, uh like, because you know, he said.

430
00:23:42,640 --> 00:23:44,760
Speaker 1: He later explains, like, you know, you get these things

431
00:23:44,800 --> 00:23:46,680
Speaker 1: in the mail that he signed off on, you don't

432
00:23:46,680 --> 00:23:48,440
Speaker 1: really know what they're talking about, and you just kind

433
00:23:48,440 --> 00:23:49,960
Speaker 1: of like give your permission and it just sort of

434
00:23:50,000 --> 00:23:51,920
Speaker 1: goes off and you forget about it. And he said,

435
00:23:51,920 --> 00:23:53,720
Speaker 1: You're sitting in the movie theater and there's this great

436
00:23:53,760 --> 00:23:55,840
Speaker 1: moment when Gwyneth Paltrow is coming out of the bus

437
00:23:55,920 --> 00:23:58,159
Speaker 1: or something, and I'm thinking to myself, I used to

438
00:23:58,160 --> 00:24:00,680
Speaker 1: play guitar just like that. And then the voice comes

439
00:24:00,720 --> 00:24:03,320
Speaker 1: on and it's Nicos singing these Days. And then he

440
00:24:03,400 --> 00:24:05,400
Speaker 1: puts it together and realized, oh my god, it's him.

441
00:24:05,440 --> 00:24:11,320
Speaker 1: Which is But um, speaking of music and music permission

442
00:24:11,320 --> 00:24:13,480
Speaker 1: and licensing and all that, I guess Wes Anderson put

443
00:24:13,480 --> 00:24:18,120
Speaker 1: Gwyneth Paltrow on Beatles song duty, trying to track down

444
00:24:18,119 --> 00:24:21,120
Speaker 1: and schmooz Paul McCartney to try to get the Beatles

445
00:24:21,200 --> 00:24:23,600
Speaker 1: version of Hey Jude for the picture, and I guess

446
00:24:23,600 --> 00:24:26,720
Speaker 1: she took him out bowling, and I think they showed

447
00:24:26,760 --> 00:24:28,920
Speaker 1: him a rough cut of the film too, which she

448
00:24:28,960 --> 00:24:31,480
Speaker 1: apparently loved. But for some reason they weren't able to

449
00:24:31,480 --> 00:24:34,119
Speaker 1: get the rights to the Beatles originals, which Paul McCartney

450
00:24:34,160 --> 00:24:38,480
Speaker 1: famously doesn't own. And that's a discussion for another day.

451
00:24:38,520 --> 00:24:40,720
Speaker 1: It will get me very heated. But in any event,

452
00:24:40,800 --> 00:24:43,320
Speaker 1: the rights holders for the Beatles songs, which I think

453
00:24:43,320 --> 00:24:46,439
Speaker 1: at that stage still included Michael Jackson, they either refused

454
00:24:46,440 --> 00:24:48,480
Speaker 1: to let it Wes Anderson used the songs, or maybe

455
00:24:48,480 --> 00:24:50,800
Speaker 1: they wanted too much money. Uh. They wound up having

456
00:24:50,840 --> 00:24:53,440
Speaker 1: to use the orchestrated version of the song for the

457
00:24:53,560 --> 00:24:56,960
Speaker 1: opening scene instead of the the Beatles original cut. But

458
00:24:57,320 --> 00:24:59,440
Speaker 1: I guess some of the early cuts that played like

459
00:24:59,480 --> 00:25:02,720
Speaker 1: the New York Film Festival contained a couple of Beatles

460
00:25:02,720 --> 00:25:05,119
Speaker 1: songs that they ultimately had to remove because you know,

461
00:25:05,119 --> 00:25:06,800
Speaker 1: they couldn't get the right For a film that has

462
00:25:06,880 --> 00:25:10,600
Speaker 1: so many moments that are so tie you think of

463
00:25:10,640 --> 00:25:13,560
Speaker 1: it as something that like arrived fully formed, which like

464
00:25:13,600 --> 00:25:16,440
Speaker 1: the Nico scene, but it closes with that the Van

465
00:25:16,480 --> 00:25:20,920
Speaker 1: Morrison song and the like Clavinett intro to that song

466
00:25:21,080 --> 00:25:25,000
Speaker 1: is so like whimsical and so like perfect for the moment.

467
00:25:25,119 --> 00:25:27,560
Speaker 1: It's I don't know the demo version of I'm Looking

468
00:25:27,600 --> 00:25:29,600
Speaker 1: Through You that would have gone, that would have gone

469
00:25:29,600 --> 00:25:32,639
Speaker 1: through there. You do though, probably think you know I do.

470
00:25:32,720 --> 00:25:35,800
Speaker 1: It's on the anthology too. I just think it would

471
00:25:35,800 --> 00:25:38,959
Speaker 1: have been distracting having the Beatles like these songs. I mean,

472
00:25:39,000 --> 00:25:40,520
Speaker 1: especially if they were going to open the movie with

473
00:25:40,560 --> 00:25:44,359
Speaker 1: the original version of Hey Jude. That seems distracting. But

474
00:25:44,400 --> 00:25:46,200
Speaker 1: maybe it just would have been so jarring because I'm

475
00:25:46,240 --> 00:25:49,520
Speaker 1: so not used to hearing Beatles songs, you know, you know,

476
00:25:50,520 --> 00:25:54,120
Speaker 1: Hollywood movie style setting, almost like when they used Tomorrow

477
00:25:54,160 --> 00:25:57,080
Speaker 1: Never Knows in Madmen, which I remember there was a

478
00:25:57,160 --> 00:25:59,200
Speaker 1: big thing about how you know, it was the first

479
00:25:59,200 --> 00:26:01,840
Speaker 1: time an actual Beatles track had been used in like

480
00:26:02,640 --> 00:26:05,000
Speaker 1: produced you know, it wasn't like a documentary but like

481
00:26:05,040 --> 00:26:08,040
Speaker 1: a you know, a drama. It was powerful because you're

482
00:26:08,040 --> 00:26:10,399
Speaker 1: so not used to seeing those songs in that setting.

483
00:26:10,440 --> 00:26:12,399
Speaker 1: So who knows. It might have worked out really great,

484
00:26:12,480 --> 00:26:14,280
Speaker 1: But but I think the version that's in there is

485
00:26:14,320 --> 00:26:19,880
Speaker 1: Mark Mark Mother's Bab had done the arrangements. Yeah, it's

486
00:26:20,040 --> 00:26:24,520
Speaker 1: credited to the Mutato Music Orchestra, but it is orchestrated

487
00:26:24,560 --> 00:26:27,119
Speaker 1: by Mark Mother's Ball, who does other parts of the

488
00:26:27,119 --> 00:26:29,760
Speaker 1: score as well. Mark Mother's Ball, of course, from Devo,

489
00:26:29,840 --> 00:26:33,320
Speaker 1: has done so much with Wes Anderson. His stuff in

490
00:26:33,400 --> 00:26:36,119
Speaker 1: Life Aquatic is really good too. I love the little

491
00:26:36,119 --> 00:26:40,560
Speaker 1: like cassio keyboard stuff that plays whenever they're going around. Yeah. Anyway,

492
00:26:40,760 --> 00:26:42,840
Speaker 1: so we've talked a lot about how great the music

493
00:26:42,880 --> 00:26:45,200
Speaker 1: cues are in this film, but there is a darker

494
00:26:45,400 --> 00:26:49,600
Speaker 1: side to some of the musical choices that Anderson made. Yeah,

495
00:26:49,680 --> 00:26:53,919
Speaker 1: there's a really kind of eerie, uh, extremely upsetting coincidence

496
00:26:53,920 --> 00:26:57,439
Speaker 1: in the bathroom scene where Richie cuts his hair and

497
00:26:57,520 --> 00:27:00,359
Speaker 1: beard and eventually his wrists the music playing Needle in

498
00:27:00,400 --> 00:27:03,399
Speaker 1: the Hay by Elliott Smith. I guess Eliot Smith was

499
00:27:03,400 --> 00:27:06,000
Speaker 1: supposed to cover Hey Jude for the opening also, that

500
00:27:06,080 --> 00:27:08,480
Speaker 1: was an idea that they had, but was Anderson later

501
00:27:08,520 --> 00:27:11,360
Speaker 1: said that he wasn't in a great mental or physical space,

502
00:27:12,040 --> 00:27:14,640
Speaker 1: and just a few years after World Teneblums came out,

503
00:27:14,680 --> 00:27:19,040
Speaker 1: Elliott Smith committed suicide through self inflicted stab wounds. I

504
00:27:19,080 --> 00:27:23,040
Speaker 1: think while his girlfriend was in the shower. I thought

505
00:27:23,080 --> 00:27:25,960
Speaker 1: there was some bathroom in the apartment. Choosing the apartment,

506
00:27:26,440 --> 00:27:29,639
Speaker 1: there was some bathroom related component in there too, I thought.

507
00:27:29,680 --> 00:27:32,840
Speaker 1: But it's eerie to hear that song for that scene

508
00:27:32,840 --> 00:27:36,120
Speaker 1: when when Richie is cutting his risk knowing. I couldn't

509
00:27:36,119 --> 00:27:37,879
Speaker 1: listen to that song for a while. That was actually

510
00:27:37,880 --> 00:27:40,320
Speaker 1: the first place I heard Elliot Smith, because I grew

511
00:27:40,400 --> 00:27:43,040
Speaker 1: up in not in central Pennsylvania. I didn't really grow

512
00:27:43,080 --> 00:27:45,280
Speaker 1: up somewhere where people were throwing at Elliott Smith around

513
00:27:45,400 --> 00:27:48,000
Speaker 1: as a musical reference. But that was like the first

514
00:27:48,000 --> 00:27:50,520
Speaker 1: place I heard Elliott Smith, and he was a huge

515
00:27:50,520 --> 00:27:53,800
Speaker 1: Beatles fan. There's versions of him doing like because yeah,

516
00:27:54,119 --> 00:27:57,000
Speaker 1: it's beautiful. I also missed Goodwill Hunting as a child,

517
00:27:57,040 --> 00:27:59,119
Speaker 1: so I didn't hear like say Yes or some of

518
00:27:59,160 --> 00:28:02,400
Speaker 1: the other soundtracks or miss Misery, so I had only

519
00:28:02,400 --> 00:28:05,159
Speaker 1: ever heard this song, and it just like bowled me away.

520
00:28:05,440 --> 00:28:07,760
Speaker 1: I can't imagine hay Ju again like a lot of

521
00:28:07,800 --> 00:28:10,000
Speaker 1: the other stuff. I can't imagine a cover of Hey

522
00:28:10,119 --> 00:28:14,840
Speaker 1: Jude by Elliott Smith that wouldn't feel samarial. Yeah, yeah,

523
00:28:14,960 --> 00:28:19,879
Speaker 1: like Jesus. But that's not even the only suicide connection

524
00:28:20,040 --> 00:28:23,480
Speaker 1: to the music in this movie. Yes, the song playing

525
00:28:23,480 --> 00:28:26,240
Speaker 1: when Richie returns to the Tennem bomb House is by

526
00:28:26,320 --> 00:28:29,560
Speaker 1: Nick Drake, who's believed to have died by suicide in

527
00:28:29,640 --> 00:28:33,280
Speaker 1: nineteen seventy four. Um, he took an overdose of medication

528
00:28:33,359 --> 00:28:36,439
Speaker 1: prescribed to help him with his depression, and there's some

529
00:28:36,480 --> 00:28:39,320
Speaker 1: debate about whether or not he intentionally took his own life.

530
00:28:39,560 --> 00:28:43,120
Speaker 1: There's this amazing BBC documentary you can find on YouTube

531
00:28:43,120 --> 00:28:45,920
Speaker 1: called A Skin Too Few, and they speak to Nick

532
00:28:45,960 --> 00:28:48,000
Speaker 1: Drake's sister and others close to him, and they all

533
00:28:48,000 --> 00:28:50,760
Speaker 1: sort of speculate on whether or not he intentionally took

534
00:28:51,120 --> 00:28:54,080
Speaker 1: an overdose of his medication, and his producer used the

535
00:28:54,120 --> 00:28:57,080
Speaker 1: phrase I'll never forget. He said he preferred to imagine

536
00:28:57,160 --> 00:29:01,760
Speaker 1: Nick making a last desperate lunge towards life by taking

537
00:29:02,280 --> 00:29:04,960
Speaker 1: an excess of his medication designed to help him, rather

538
00:29:05,000 --> 00:29:08,480
Speaker 1: than a calculated surrender to death. That's just a phrase

539
00:29:08,520 --> 00:29:11,360
Speaker 1: that always stuck with me. Um. Having said all that,

540
00:29:11,440 --> 00:29:13,760
Speaker 1: I'm completely blanking on what song they use. What Nick

541
00:29:13,840 --> 00:29:15,600
Speaker 1: Drake's song did they use in the World ton of Bombs.

542
00:29:15,640 --> 00:29:19,760
Speaker 1: It's either Pink Moon or Fly Yeah, it's fly right around. Yeah,

543
00:29:19,760 --> 00:29:21,880
Speaker 1: Pink Moon was in the volks right right around the

544
00:29:21,880 --> 00:29:24,360
Speaker 1: same time. I think that Nick Drake Estate was licensing

545
00:29:24,360 --> 00:29:26,760
Speaker 1: a bunch of stuff around this time because Pink Moon

546
00:29:26,800 --> 00:29:29,600
Speaker 1: had famously been in a Volkswagen commercial that got people

547
00:29:29,680 --> 00:29:31,320
Speaker 1: up in arms, back when that was the thing people

548
00:29:31,360 --> 00:29:33,960
Speaker 1: cared about. Well did it get But I thought, in

549
00:29:34,120 --> 00:29:36,360
Speaker 1: my I've read the thirty three and a third book

550
00:29:36,480 --> 00:29:40,720
Speaker 1: on We're going into serious nerdery here on Pink Moon,

551
00:29:41,000 --> 00:29:44,000
Speaker 1: and I thought that was, like the thing that brought

552
00:29:44,240 --> 00:29:46,920
Speaker 1: Nick Drake to prominence was that song being in the

553
00:29:47,000 --> 00:29:52,560
Speaker 1: Volkswagen commercial, because he really outside of I think some nerds, right,

554
00:29:52,640 --> 00:29:55,320
Speaker 1: I mean, he was not really well known. I mean,

555
00:29:55,360 --> 00:29:57,479
Speaker 1: I could be wrong, but I thought I remember that

556
00:29:57,520 --> 00:29:59,240
Speaker 1: being you know, a major point in that in that

557
00:29:59,360 --> 00:30:02,520
Speaker 1: thirty three third book. And you know, if you disagree

558
00:30:02,520 --> 00:30:04,240
Speaker 1: with us, with any of our with any of my

559
00:30:04,280 --> 00:30:07,880
Speaker 1: pitches about alternate music, please feel free to tweet at

560
00:30:07,880 --> 00:30:12,080
Speaker 1: the podcast using the hashtag Amadeo Tuturo and we will

561
00:30:12,160 --> 00:30:16,640
Speaker 1: be sure to engage in a conversation with you about that. Now,

562
00:30:17,000 --> 00:30:20,320
Speaker 1: back into the province of whimsy and away from the

563
00:30:20,360 --> 00:30:23,200
Speaker 1: province of crushing depression, that is the other hallmark of

564
00:30:23,360 --> 00:30:27,200
Speaker 1: Wes Anderson's work. Let's talk about some of the fastidious,

565
00:30:27,240 --> 00:30:31,880
Speaker 1: awesome fashions of the film. Oh yeah, I mean Margo's outfit.

566
00:30:31,960 --> 00:30:35,560
Speaker 1: I feel like one out of every four of my

567
00:30:35,640 --> 00:30:38,840
Speaker 1: classmates in high school dressed up as Margo at some point,

568
00:30:39,440 --> 00:30:41,840
Speaker 1: you know, our Halloween during my high school experience. I mean,

569
00:30:41,960 --> 00:30:44,600
Speaker 1: her look is just so cool. So, I mean, it's

570
00:30:44,600 --> 00:30:48,560
Speaker 1: like the prototypical hipster millennial look. I mean, the whole

571
00:30:48,680 --> 00:30:51,000
Speaker 1: the whole production and look of the film is you know,

572
00:30:51,120 --> 00:30:55,880
Speaker 1: it's designed to be era ambiguous, and really it's supposed

573
00:30:55,920 --> 00:30:58,440
Speaker 1: to be. You notice that the characters has grown ups

574
00:30:58,480 --> 00:31:00,640
Speaker 1: are wearing in some cases the idea annical looks that

575
00:31:00,640 --> 00:31:03,400
Speaker 1: they're wearing his kids, because the whole idea was to

576
00:31:03,480 --> 00:31:06,760
Speaker 1: telegraph this sense of arrested development, and they wanted to

577
00:31:06,760 --> 00:31:09,800
Speaker 1: to cling onto the era when they were at their best. So,

578
00:31:09,840 --> 00:31:11,840
Speaker 1: I mean, you know, Margot in the beginning of the movie,

579
00:31:11,880 --> 00:31:14,160
Speaker 1: she's twelve years old and wearing a mink coat and

580
00:31:14,200 --> 00:31:16,640
Speaker 1: a tennis dress, and later on she's wearing the exact

581
00:31:16,680 --> 00:31:19,120
Speaker 1: same thing. And you know, you could see it two ways.

582
00:31:19,120 --> 00:31:21,480
Speaker 1: You could see it as her knowing who she was

583
00:31:21,560 --> 00:31:23,600
Speaker 1: at an early age, but a whole like you know,

584
00:31:24,120 --> 00:31:27,640
Speaker 1: precocious kid, child, genius thing or just they're all in

585
00:31:27,680 --> 00:31:31,000
Speaker 1: a state of perpetual arrested development. But a custom designer,

586
00:31:31,080 --> 00:31:35,000
Speaker 1: Karen Patch, got Margot's famous mink coat design from a

587
00:31:36,080 --> 00:31:39,160
Speaker 1: kind of obscure Peter Seller's movie from nineteen sixty four

588
00:31:39,200 --> 00:31:42,160
Speaker 1: called The World of Henry Orient. Peter Sellers plays this

589
00:31:42,480 --> 00:31:47,040
Speaker 1: concert pianist and these two teen girls are like obsessed

590
00:31:47,080 --> 00:31:49,880
Speaker 1: with him in like Beatlemania style, but instead of like

591
00:31:50,080 --> 00:31:53,000
Speaker 1: four guys playing rock and roll, it's this like Liberace

592
00:31:53,080 --> 00:31:56,160
Speaker 1: style concept. It's weird, but it's it's really funny. Uh.

593
00:31:56,160 --> 00:31:58,680
Speaker 1: And one of the teen girls runs away in is

594
00:31:58,760 --> 00:32:00,960
Speaker 1: dressed in this this mink coat. So where did the

595
00:32:00,960 --> 00:32:04,239
Speaker 1: codes come from? They were actually custom made for the

596
00:32:04,280 --> 00:32:07,680
Speaker 1: film by Fendi. I actually am not familiar with Fendi.

597
00:32:07,760 --> 00:32:09,160
Speaker 1: Can you tell me a little more of Fendi? Have

598
00:32:09,200 --> 00:32:11,880
Speaker 1: no idea what Fendi Gucci, Gucci, Gucci, Gucci, Fendi Fendi

599
00:32:11,960 --> 00:32:15,440
Speaker 1: product basically, so I don't even want to. Don't you

600
00:32:15,440 --> 00:32:21,200
Speaker 1: remember that song creation, No, Fend's what Fendi's. I was

601
00:32:21,240 --> 00:32:25,000
Speaker 1: in my room listening to Simon and Garfunkele whenever that

602
00:32:25,160 --> 00:32:28,239
Speaker 1: came out. What I I don't even know who that is.

603
00:32:28,640 --> 00:32:33,840
Speaker 1: Oh that rapper creation, Yes, currently residing in the where

604
00:32:33,840 --> 00:32:36,520
Speaker 1: are they now? Files? So Fendi, which is an Italian

605
00:32:36,560 --> 00:32:40,400
Speaker 1: company formed and known for its use of fur and

606
00:32:40,480 --> 00:32:43,880
Speaker 1: fur goods and leathers, they made two of these, one

607
00:32:43,920 --> 00:32:47,400
Speaker 1: for Gwyneth Paltrow and one for young Margot, custom made

608
00:32:47,400 --> 00:32:49,160
Speaker 1: for the film. They got to use them for six

609
00:32:49,200 --> 00:32:51,320
Speaker 1: months and then probably sent them back because it was

610
00:32:51,360 --> 00:32:53,560
Speaker 1: like a quarter of the film's budget. Karen Patch also

611
00:32:53,560 --> 00:32:55,760
Speaker 1: made the La cost dressed in the film that Margot

612
00:32:55,800 --> 00:32:58,680
Speaker 1: wears from scratch because the company apparently only made solid

613
00:32:58,720 --> 00:33:01,720
Speaker 1: color dresses, not stripe, so she basically just asked them

614
00:33:01,760 --> 00:33:06,520
Speaker 1: for what does fabric come in bolts bolts bolts of

615
00:33:06,600 --> 00:33:10,120
Speaker 1: fabric and just stitched it. But then they also had

616
00:33:10,160 --> 00:33:12,480
Speaker 1: to get permission from the company to put the alligator

617
00:33:12,480 --> 00:33:14,640
Speaker 1: logo on there because it was not an official product,

618
00:33:14,640 --> 00:33:17,800
Speaker 1: and the I guess the cost is apparently very touchy

619
00:33:17,840 --> 00:33:20,479
Speaker 1: about protecting its brand. But you know what, we're just

620
00:33:20,720 --> 00:33:24,080
Speaker 1: warming up here with the wardrobe stories connected to this film.

621
00:33:24,120 --> 00:33:26,680
Speaker 1: So we talked a little bit about Gene Hackman losing

622
00:33:26,720 --> 00:33:29,400
Speaker 1: his cool with Wes Anderson, So let's talk about one

623
00:33:29,480 --> 00:33:32,920
Speaker 1: of the most Wes Anderson incident of losing your cool?

624
00:33:33,040 --> 00:33:35,040
Speaker 1: What Why did he do it? Why did you do that?

625
00:33:35,040 --> 00:33:36,720
Speaker 1: So it's kind of amazing. I mean that there's stories

626
00:33:36,720 --> 00:33:40,000
Speaker 1: of Gene Hackman calling Wes Anderson the C word on

627
00:33:40,040 --> 00:33:42,680
Speaker 1: the set and like just being really awful to him,

628
00:33:42,680 --> 00:33:44,479
Speaker 1: and yet he kept as cool. But the thing that

629
00:33:44,600 --> 00:33:47,720
Speaker 1: raid was Anderson apparently fly off the handle. The only

630
00:33:47,720 --> 00:33:53,720
Speaker 1: time on the set concerned Luke Wilson's cuffs. Luke Wilson's character,

631
00:33:53,800 --> 00:33:56,360
Speaker 1: Richie's got this kind of hippie, shaggy tennis look going

632
00:33:56,400 --> 00:33:59,960
Speaker 1: on that was inspired by the seventies tennis star Bjorn Board.

633
00:34:00,360 --> 00:34:03,240
Speaker 1: But I guess when they were fitting Luke Wilson's character

634
00:34:03,320 --> 00:34:05,480
Speaker 1: for a suit, they were at you know, some really

635
00:34:05,600 --> 00:34:08,160
Speaker 1: high in New York tailor, you know, one of those

636
00:34:08,200 --> 00:34:09,920
Speaker 1: boxes in the middle of the room, and they're fitting

637
00:34:09,960 --> 00:34:13,320
Speaker 1: them for this beautiful camel hair suit, and I guess

638
00:34:13,320 --> 00:34:16,680
Speaker 1: Wes kept raising the level of the cuffs and so

639
00:34:16,800 --> 00:34:20,879
Speaker 1: they were getting too high for Luke Wilson's taste. And

640
00:34:20,960 --> 00:34:23,600
Speaker 1: so I guess whenever Wes Andison would turn around, uh,

641
00:34:23,719 --> 00:34:25,719
Speaker 1: lukeuid motion to the tailor and say, you know, hey,

642
00:34:25,719 --> 00:34:27,799
Speaker 1: can we get those lower down a bit. So they

643
00:34:27,840 --> 00:34:30,320
Speaker 1: kept being this back and forth with the tailor about

644
00:34:30,360 --> 00:34:32,960
Speaker 1: lowering the cuffs, bringing them back up, lowering the cuffs,

645
00:34:32,960 --> 00:34:36,160
Speaker 1: bringing them back up. And then I guess we was

646
00:34:36,200 --> 00:34:40,520
Speaker 1: finally realized what was happening. Yanked Luke Wilson off the

647
00:34:40,600 --> 00:34:42,279
Speaker 1: thing that he's standing on the middle of the room

648
00:34:42,320 --> 00:34:44,560
Speaker 1: in the tailor's office, pull him the side and goes,

649
00:34:44,800 --> 00:34:47,960
Speaker 1: this is gonna be the level of the cuffs, and

650
00:34:48,000 --> 00:34:49,879
Speaker 1: then he goes and then and then they're talking about

651
00:34:49,920 --> 00:34:51,680
Speaker 1: this story years later. I think it was like the

652
00:34:51,719 --> 00:34:55,120
Speaker 1: twenty anniversary round table, and uh I was saying, oh, yeah,

653
00:34:55,160 --> 00:34:57,800
Speaker 1: I do remember that. I feel bad about raising my voice.

654
00:34:58,160 --> 00:34:59,960
Speaker 1: I don't think there was any I don't think they're

655
00:35:00,000 --> 00:35:02,120
Speaker 1: does any need for it. I think that's something to

656
00:35:02,160 --> 00:35:04,839
Speaker 1: be said for. Is the actor comfortable with what you're

657
00:35:04,880 --> 00:35:07,120
Speaker 1: putting them in? And then the cherry on top of

658
00:35:07,160 --> 00:35:09,000
Speaker 1: this story is oh yeah. I was like, oh yeah,

659
00:35:09,040 --> 00:35:11,960
Speaker 1: we we framed you above the waist of the time. Anyway,

660
00:35:12,080 --> 00:35:13,960
Speaker 1: no one ever saw the cuff, so it was all

661
00:35:14,440 --> 00:35:17,320
Speaker 1: he got hot unto the collar for literally no reason,

662
00:35:18,080 --> 00:35:21,520
Speaker 1: but not everything in there was So I don't want

663
00:35:21,560 --> 00:35:23,440
Speaker 1: to say frivolous because I guess it turned out to

664
00:35:23,440 --> 00:35:25,640
Speaker 1: bear a real wedge issue, but not everything in there

665
00:35:25,760 --> 00:35:29,360
Speaker 1: was solely aesthetic. Ben Steller asked Wes Anderson at one point,

666
00:35:29,360 --> 00:35:31,440
Speaker 1: why the track suits? Why are my character and his

667
00:35:31,480 --> 00:35:34,240
Speaker 1: son's dressed in red track suits? Anderson replied that because

668
00:35:34,320 --> 00:35:37,000
Speaker 1: Chas was so obsessed with the safety of his sons

669
00:35:37,040 --> 00:35:40,080
Speaker 1: after the death of his wife, that wearing red would

670
00:35:40,080 --> 00:35:42,920
Speaker 1: make everyone easier to see in case of an emergency,

671
00:35:43,040 --> 00:35:45,200
Speaker 1: which is very poignant and like a great bit of

672
00:35:45,640 --> 00:35:48,920
Speaker 1: behind the scenes characterization. But then on the DVD audio commentary,

673
00:35:48,960 --> 00:35:51,680
Speaker 1: he basically just says I had no real reason for

674
00:35:51,719 --> 00:35:53,960
Speaker 1: them to be wearing it. I just always imagined three

675
00:35:54,080 --> 00:35:58,160
Speaker 1: characters in red Adidas track suits. So I kind of

676
00:35:58,200 --> 00:36:00,279
Speaker 1: got the sense that Ben Stiller's character in this movie

677
00:36:00,400 --> 00:36:05,400
Speaker 1: was basically his character from Heavyweights. Do you remember like that?

678
00:36:05,560 --> 00:36:07,360
Speaker 1: Wasn't he always in like a track suit and just

679
00:36:07,440 --> 00:36:09,640
Speaker 1: kind of like, alright, ready, I gotta go. Then when

680
00:36:09,680 --> 00:36:12,640
Speaker 1: he like orders gene hackmen like he lights out. Uh,

681
00:36:12,719 --> 00:36:14,480
Speaker 1: he kind of reminds me of the character in The

682
00:36:14,560 --> 00:36:19,080
Speaker 1: Happy like the sociopathic nurse. We're moving towards a unified

683
00:36:19,160 --> 00:36:22,439
Speaker 1: theory of Ben Stiller here, so steering this ship back

684
00:36:22,480 --> 00:36:26,759
Speaker 1: on track to the production. So we've talked about wardrobe.

685
00:36:26,880 --> 00:36:29,799
Speaker 1: Moving on to the set and setting of the film.

686
00:36:29,920 --> 00:36:33,319
Speaker 1: Anderson and his assistant Will Sweeney were driving around New

687
00:36:33,360 --> 00:36:36,000
Speaker 1: York with the third guy, whose name is George dreck Culius,

688
00:36:36,520 --> 00:36:39,640
Speaker 1: and in Life Aquatic, the character that Michael Gambon plays

689
00:36:39,719 --> 00:36:43,279
Speaker 1: Oseiri drek Julius, is a reference to him. Anyway, They're

690
00:36:43,280 --> 00:36:46,240
Speaker 1: tooling around New York there in the Hamilton's Heights section

691
00:36:46,320 --> 00:36:49,840
Speaker 1: of Harlem, and they spot this house at three thirty

692
00:36:49,920 --> 00:36:52,839
Speaker 1: nine Convent Avenue. You know, it's a cool house. It's

693
00:36:52,840 --> 00:36:56,440
Speaker 1: got the drum tower. It's just I mean, if you know,

694
00:36:56,520 --> 00:37:00,560
Speaker 1: you know, if you don't stop listening, don't do that.

695
00:37:00,600 --> 00:37:03,560
Speaker 1: We sold ads against this, and so Anderson rewrote the

696
00:37:03,600 --> 00:37:07,560
Speaker 1: film to accommodate this house. But I couldn't get in

697
00:37:07,560 --> 00:37:09,560
Speaker 1: touch with the guy who owned it. They literally just

698
00:37:09,800 --> 00:37:12,680
Speaker 1: left a note on the door. They couldn't find these

699
00:37:12,719 --> 00:37:15,719
Speaker 1: guys because it was a vacant home. It had been

700
00:37:15,800 --> 00:37:18,279
Speaker 1: vacant and they weren't living there. They were planning to

701
00:37:18,280 --> 00:37:21,040
Speaker 1: do extensive renovations on the house, and in one of

702
00:37:21,080 --> 00:37:27,640
Speaker 1: the great instances of either accidental or just negotiated New

703
00:37:27,719 --> 00:37:31,399
Speaker 1: York real estate. No, how the guy bought the house

704
00:37:31,440 --> 00:37:33,760
Speaker 1: after it had been foreclosed, and he paid the exact

705
00:37:33,800 --> 00:37:36,640
Speaker 1: amount that the production wound up paying to use it.

706
00:37:36,920 --> 00:37:38,759
Speaker 1: So he essentially got a free house out of the

707
00:37:38,760 --> 00:37:41,319
Speaker 1: world Tenant Bombs and it's the Royal Tenant Bombs House.

708
00:37:41,480 --> 00:37:43,840
Speaker 1: Although that is probably more of a millstone around his

709
00:37:43,920 --> 00:37:45,960
Speaker 1: neck these days given the people who want to probably

710
00:37:45,960 --> 00:37:47,719
Speaker 1: show up and take pictures in front of it. I

711
00:37:47,840 --> 00:37:51,080
Speaker 1: imagine one of the selling points for the production was

712
00:37:51,160 --> 00:37:54,520
Speaker 1: that it was pre any kind of big renovation, so

713
00:37:54,680 --> 00:37:57,120
Speaker 1: they could, I imagine, go in there and do whatever

714
00:37:57,120 --> 00:37:59,600
Speaker 1: they wanted to it. I wonder if the owner left

715
00:37:59,600 --> 00:38:02,120
Speaker 1: it a low own. I mean, just think about I mean,

716
00:38:02,120 --> 00:38:04,759
Speaker 1: obviously there's just twenty years before Airbnb, but I mean,

717
00:38:05,080 --> 00:38:07,960
Speaker 1: can you imagine, like if the house was just left

718
00:38:07,960 --> 00:38:11,640
Speaker 1: the way that it was during the spice and stuff around?

719
00:38:11,719 --> 00:38:14,239
Speaker 1: Oh yeah, it would be amazing. Um, while we're talking

720
00:38:14,239 --> 00:38:17,040
Speaker 1: about locations, let's talk about you know, I think a

721
00:38:17,080 --> 00:38:19,839
Speaker 1: favor of yours whenever you stay in Manhattan, Jordan, isn't

722
00:38:19,840 --> 00:38:24,280
Speaker 1: that right? Oh? Yes, of course the Waldorf story. Actually,

723
00:38:24,320 --> 00:38:26,239
Speaker 1: I don't think they have hotel rooms anymore. I think

724
00:38:26,280 --> 00:38:29,280
Speaker 1: their condos now, like like the Plaza and Chelsea hotel

725
00:38:29,680 --> 00:38:33,280
Speaker 1: places are are moving from being hotels to to condos

726
00:38:33,280 --> 00:38:36,560
Speaker 1: and stuff. But um, this was apparently was Anderson's first

727
00:38:36,600 --> 00:38:39,560
Speaker 1: film shot out of Texas, and you said earlier, I mean,

728
00:38:39,600 --> 00:38:42,439
Speaker 1: in addition to this being era agnostic, it was also

729
00:38:42,600 --> 00:38:47,000
Speaker 1: place agnostic too. I mean, was intentionally avoided virtually all

730
00:38:47,120 --> 00:38:51,680
Speaker 1: shots of skyscrapers and really distinctive New York landmarks because

731
00:38:51,680 --> 00:38:53,360
Speaker 1: he wanted this to be, in his words, a fairy

732
00:38:53,360 --> 00:38:56,000
Speaker 1: tale city. It was a scene when Royal and Pagoda

733
00:38:56,000 --> 00:38:58,120
Speaker 1: are talking in Battery Park, which is way at the

734
00:38:58,120 --> 00:39:01,200
Speaker 1: southern end of Manhattan. I guess as Anderson had the

735
00:39:01,280 --> 00:39:04,760
Speaker 1: character Pagoda stand directly in front of Statue of Liberty

736
00:39:05,040 --> 00:39:07,320
Speaker 1: on purpose, just so I wouldn't show up on the shot,

737
00:39:07,800 --> 00:39:10,480
Speaker 1: which is something that I guess Gene Hackman was teased

738
00:39:10,480 --> 00:39:13,200
Speaker 1: Wes Anderson's were disturbed by. He thought it was so

739
00:39:13,280 --> 00:39:17,000
Speaker 1: weird to like block out this incredible, you know, iconic landmark.

740
00:39:17,080 --> 00:39:19,399
Speaker 1: But Wes Anderson really wanted it to be this kind

741
00:39:19,440 --> 00:39:24,120
Speaker 1: of strange, dreamy, fairytale place. In addition to using the

742
00:39:24,160 --> 00:39:26,920
Speaker 1: house up in the Hamilton Heights section of Harlem. They

743
00:39:27,000 --> 00:39:29,880
Speaker 1: used the world Orf Astoria for the hotel shot. What

744
00:39:30,000 --> 00:39:33,640
Speaker 1: is the Lindbergh Hotel kept a couple of rooms at

745
00:39:33,640 --> 00:39:36,319
Speaker 1: the Lindbergh Hotel Storia for those of you who don't know,

746
00:39:36,320 --> 00:39:40,080
Speaker 1: it was a very very very upscale hotel, and I

747
00:39:40,120 --> 00:39:44,359
Speaker 1: guess they didn't really want their ritzy locale sullied with

748
00:39:44,960 --> 00:39:48,440
Speaker 1: film production team, so they only even two hours to

749
00:39:48,560 --> 00:39:51,000
Speaker 1: use the location to shoot, which is why when you

750
00:39:51,040 --> 00:39:54,080
Speaker 1: look at the overhang where you know it says Lindbergh

751
00:39:54,080 --> 00:39:57,560
Speaker 1: Hotel right out front, it's just covered with fabric, Like

752
00:39:57,600 --> 00:39:59,959
Speaker 1: they clearly just put up a little piece of fab

753
00:40:00,280 --> 00:40:02,640
Speaker 1: over the world offer story of signs to cover it

754
00:40:02,719 --> 00:40:04,520
Speaker 1: up real quickly because they were working on such a

755
00:40:04,560 --> 00:40:06,840
Speaker 1: tight deadline. Well, the rest of I mean, as you

756
00:40:06,920 --> 00:40:09,760
Speaker 1: might expect from filming in that part of Manhattan, somebody's

757
00:40:09,760 --> 00:40:12,680
Speaker 1: always got to make a stink. That's right. They were filming,

758
00:40:12,840 --> 00:40:16,480
Speaker 1: you know again Manhattan. People with money there maybe not

759
00:40:16,600 --> 00:40:19,680
Speaker 1: necessarily want, you know, a film crew block in their home.

760
00:40:20,040 --> 00:40:22,640
Speaker 1: There's a scene where Gene Hackman's chasing Angelica Houston down

761
00:40:22,680 --> 00:40:24,879
Speaker 1: the streets. It's the same one where she slaps him.

762
00:40:24,880 --> 00:40:26,840
Speaker 1: The one where she he tells her that he's dying.

763
00:40:27,320 --> 00:40:28,960
Speaker 1: There's a moment when he kind of picks up his

764
00:40:29,000 --> 00:40:32,240
Speaker 1: pace to kind of chase her down. There's a mattress

765
00:40:32,280 --> 00:40:35,360
Speaker 1: on the street, and the mattress was placed there to

766
00:40:35,600 --> 00:40:39,680
Speaker 1: block out the home that didn't want to be on camera,

767
00:40:40,080 --> 00:40:42,680
Speaker 1: Like they just refused a great like you don't want

768
00:40:42,680 --> 00:40:44,359
Speaker 1: to be on film, We're just gonna cover your house

769
00:40:44,400 --> 00:40:49,879
Speaker 1: with a dirty mattress. Um. Continuing around the setting of

770
00:40:49,920 --> 00:40:52,920
Speaker 1: Not New York, they filmed the tennis scenes at Forest

771
00:40:53,000 --> 00:40:57,280
Speaker 1: Hills Stadium in Queens Um very fairy famous tennis stadium.

772
00:40:57,719 --> 00:40:59,719
Speaker 1: So it's the iconic matches were there, don't they They

773
00:40:59,760 --> 00:41:03,120
Speaker 1: call a wind swept fields or something because you think so, yeah,

774
00:41:03,320 --> 00:41:06,719
Speaker 1: strange days of wind swept fields. Yeah, and so there's

775
00:41:06,719 --> 00:41:10,040
Speaker 1: a plaquet Forest Hill Stadium that says on these hallowed grounds.

776
00:41:10,239 --> 00:41:13,439
Speaker 1: Richie Tennenbaum played the worst tennis of his life, long

777
00:41:13,520 --> 00:41:20,000
Speaker 1: lived the Bomber. It's so good. And having said all that,

778
00:41:20,040 --> 00:41:22,600
Speaker 1: we'll be right back with more too much information right

779
00:41:22,640 --> 00:41:38,239
Speaker 1: after this, well, from Tennis to Felonies, Richie has his falcon. Mordecai.

780
00:41:38,840 --> 00:41:41,520
Speaker 1: The falcon was played by four different birds. I think

781
00:41:41,520 --> 00:41:43,520
Speaker 1: it's actually a hawk in the long shots of it

782
00:41:43,560 --> 00:41:47,719
Speaker 1: flying at the end of the movie Autobaum Society listeners.

783
00:41:49,120 --> 00:41:52,759
Speaker 1: But apparently at one point one of the Mordecai falcons

784
00:41:52,920 --> 00:41:56,200
Speaker 1: flew away and was found by a resident in New

785
00:41:56,280 --> 00:42:00,320
Speaker 1: Jersey who kept it and tried to get ransom money

786
00:42:00,360 --> 00:42:04,000
Speaker 1: for it. And I guess in Jersey, and I guess

787
00:42:04,000 --> 00:42:06,480
Speaker 1: like the production got cops involved, and it took two

788
00:42:06,520 --> 00:42:10,000
Speaker 1: weeks to get this bird back. And uh was Anderson?

789
00:42:10,040 --> 00:42:12,640
Speaker 1: I think it was in the in the common director's

790
00:42:12,640 --> 00:42:17,359
Speaker 1: commentary DVD track, he said, just putting an incredible understatement.

791
00:42:17,840 --> 00:42:20,640
Speaker 1: It's very complicated the fly birds in the city, and

792
00:42:20,680 --> 00:42:23,440
Speaker 1: it really shouldn't be done. And while we're on the

793
00:42:23,480 --> 00:42:26,960
Speaker 1: topic of questionable animal practices, let's talk about the Dalmatian mice.

794
00:42:27,600 --> 00:42:29,799
Speaker 1: And these are the mice that will poke it. Other

795
00:42:29,920 --> 00:42:32,359
Speaker 1: mice at the character of Chaz Bread as a young boy,

796
00:42:32,440 --> 00:42:34,960
Speaker 1: which are kind of like a recurring character throughout the film.

797
00:42:35,000 --> 00:42:38,359
Speaker 1: They're always popping up. They they're not real. They were

798
00:42:38,400 --> 00:42:43,680
Speaker 1: just white mice that somebody sharpie dots onto, which was

799
00:42:43,920 --> 00:42:48,160
Speaker 1: Anderson later admitted that he quote doesn't know the legality,

800
00:42:48,200 --> 00:42:51,400
Speaker 1: but um the Royal Tenebounds still got the no animals

801
00:42:51,400 --> 00:42:55,080
Speaker 1: were harmed marked by the American Human Associations. It all

802
00:42:55,160 --> 00:42:58,399
Speaker 1: checks out. If anyone's looking it was. If anyone's looking

803
00:42:58,440 --> 00:43:01,200
Speaker 1: for the line that the American team in Association will draw,

804
00:43:01,320 --> 00:43:03,520
Speaker 1: it's that you can color mice and still not have

805
00:43:03,600 --> 00:43:06,480
Speaker 1: harmed animals. Maybe they didn't know, maybe they Maybe we're

806
00:43:06,480 --> 00:43:09,720
Speaker 1: blowing the whistle on that now years later. I also

807
00:43:09,760 --> 00:43:11,520
Speaker 1: have no good segue for this one. But now we're

808
00:43:11,520 --> 00:43:14,120
Speaker 1: just gonna talk about Eli. Baby. I can imagine your

809
00:43:14,160 --> 00:43:19,680
Speaker 1: favorite fair He's so good. It's such a weirdly specific

810
00:43:20,120 --> 00:43:24,640
Speaker 1: arc type of like literary man obsessed with the American

811
00:43:24,760 --> 00:43:29,080
Speaker 1: West and like doing mescaline and having all these weird

812
00:43:29,160 --> 00:43:32,719
Speaker 1: celebrity friends, like like the like the guys he's listening

813
00:43:32,760 --> 00:43:36,799
Speaker 1: to reggae with. It's just it's so funny and so specific.

814
00:43:36,920 --> 00:43:40,120
Speaker 1: I love him so dearly. It's such a great character. Um.

815
00:43:40,200 --> 00:43:42,759
Speaker 1: The painting hanging above his couch. When you in the

816
00:43:42,800 --> 00:43:47,040
Speaker 1: aforementioned Uh, did you just say you're on mescaline? Indeed

817
00:43:47,080 --> 00:43:49,640
Speaker 1: I am very much so. In that scene. The painting

818
00:43:49,640 --> 00:43:53,200
Speaker 1: hanging above the couches by Mexican artist Miguel Calderone and

819
00:43:53,280 --> 00:43:56,320
Speaker 1: that actually belongs to Wes Anderson. Can you describe that painting?

820
00:43:56,320 --> 00:43:58,160
Speaker 1: I mean, I I just saw it last night and

821
00:43:58,200 --> 00:44:02,600
Speaker 1: I can't describe that painting. It is uh, it's it's

822
00:44:02,640 --> 00:44:05,439
Speaker 1: also I don't know. Everything about this character is so good.

823
00:44:05,719 --> 00:44:07,880
Speaker 1: It's so in keeping. It's like that kind of like

824
00:44:08,480 --> 00:44:15,839
Speaker 1: chest beating American Southwest machismo. It's so funny. Yeah, I mean,

825
00:44:16,080 --> 00:44:18,320
Speaker 1: this is the one of like the guy being beaten

826
00:44:18,440 --> 00:44:22,279
Speaker 1: or pulled apart by people in masks. I don't know.

827
00:44:22,320 --> 00:44:25,439
Speaker 1: I can't believe was Anderson has that. That doesn't really

828
00:44:25,480 --> 00:44:32,160
Speaker 1: seem in keeping in you know, his whole yeah, mm hmm.

829
00:44:33,160 --> 00:44:36,960
Speaker 1: But it's not the only audio visual reference. The Wilson's mother,

830
00:44:37,400 --> 00:44:41,040
Speaker 1: Laura Wilson, she was actually a close collaborator of Richard Avedon,

831
00:44:41,360 --> 00:44:46,440
Speaker 1: very famous photographer anyways, and specifically she worked on his

832
00:44:46,640 --> 00:44:49,359
Speaker 1: in the American West series. It's a blink and you'll

833
00:44:49,400 --> 00:44:51,720
Speaker 1: miss it part. It's the photo clipping he like hash

834
00:44:51,760 --> 00:44:56,000
Speaker 1: sends to Ethelene and where he's holding like a snake

835
00:44:57,000 --> 00:45:00,880
Speaker 1: that's been cut in half, like a rattlesnake, bare chested

836
00:45:01,280 --> 00:45:04,560
Speaker 1: and um, that is a reference to a portrait from

837
00:45:04,600 --> 00:45:06,960
Speaker 1: the Avedon series of a young man holding a snake,

838
00:45:07,360 --> 00:45:10,680
Speaker 1: which is apparently like an inside joke for them. They

839
00:45:10,719 --> 00:45:13,400
Speaker 1: have like a recurring family bit between the Wilson brothers

840
00:45:13,400 --> 00:45:17,640
Speaker 1: about this abandon thing. So that's a much more culturally

841
00:45:17,719 --> 00:45:20,480
Speaker 1: high salutant reference than I would give them credit for.

842
00:45:20,800 --> 00:45:23,600
Speaker 1: But continuing on, one of the lines that own Wilson

843
00:45:23,680 --> 00:45:26,120
Speaker 1: ad libs is after his stint in rehab or he's

844
00:45:26,120 --> 00:45:28,840
Speaker 1: doing rope tricks and he says, winds blowing up a

845
00:45:28,880 --> 00:45:32,080
Speaker 1: gale today. That is I don't even know how we

846
00:45:32,200 --> 00:45:35,560
Speaker 1: found this fact. The second time he's ad libbed a

847
00:45:35,640 --> 00:45:38,080
Speaker 1: line about wind blowing up a gale, he does it

848
00:45:38,239 --> 00:45:41,520
Speaker 1: behind behind enemy lines. I mean if if if you

849
00:45:41,560 --> 00:45:45,640
Speaker 1: add libble line twice, is that living? Oh yeah, when

850
00:45:45,680 --> 00:45:49,719
Speaker 1: it behind enemy lines come out two thousand one, same year,

851
00:45:49,840 --> 00:45:51,839
Speaker 1: so he's probably just shooting them both at the same

852
00:45:51,880 --> 00:45:55,640
Speaker 1: time and just recycled his line. Good for Owen Wilson,

853
00:45:55,800 --> 00:45:58,120
Speaker 1: but it's a it's the other Wilson brother who has

854
00:45:58,160 --> 00:46:01,920
Speaker 1: the record for most intense ad it's when he punches

855
00:46:01,960 --> 00:46:03,960
Speaker 1: the glass. He goes, do you want to do you

856
00:46:03,960 --> 00:46:07,200
Speaker 1: want to get? The guy punches the glass in in

857
00:46:07,440 --> 00:46:11,880
Speaker 1: uh the guys sleeping with Margot? Yeah, what should we do?

858
00:46:11,880 --> 00:46:14,400
Speaker 1: Do you want to get him punches? The window in

859
00:46:14,800 --> 00:46:18,080
Speaker 1: that was improvised and that the cut, so that must

860
00:46:18,120 --> 00:46:20,640
Speaker 1: have been real glass. Well, so that's why they do

861
00:46:20,680 --> 00:46:23,040
Speaker 1: the cut then, because they pull in a tight shot

862
00:46:23,080 --> 00:46:26,279
Speaker 1: on his face because Wes Anderson was like, oh, I

863
00:46:26,320 --> 00:46:28,160
Speaker 1: bet he just like cut his hand open there and

864
00:46:28,560 --> 00:46:31,320
Speaker 1: when it just immediately to keep shooting went to a

865
00:46:31,320 --> 00:46:33,680
Speaker 1: ghost to a tight shot. But he's fine. Another just

866
00:46:33,960 --> 00:46:38,040
Speaker 1: file in the hand trauma category under the Yeah, we

867
00:46:38,120 --> 00:46:40,239
Speaker 1: really got to get on that. Wikipedia just adding the

868
00:46:40,360 --> 00:46:45,399
Speaker 1: hand fixation category. And while we're talking about royal ten

869
00:46:45,440 --> 00:46:51,319
Speaker 1: em bombs, we have to talk about type faces, and

870
00:46:51,400 --> 00:46:54,480
Speaker 1: that one for all you type faces out there, this

871
00:46:54,480 --> 00:46:57,120
Speaker 1: one goes out to you. Let's play the hits future

872
00:46:57,920 --> 00:47:03,560
Speaker 1: future of fucking bold um. But you know it's not

873
00:47:03,640 --> 00:47:08,680
Speaker 1: just Futura. No, you've also got that filthy, prestigious woman

874
00:47:08,760 --> 00:47:14,080
Speaker 1: of the night Helvetica. You can cut all that personifying

875
00:47:14,280 --> 00:47:17,320
Speaker 1: font type face is like, didn't they make the documentary

876
00:47:17,360 --> 00:47:20,839
Speaker 1: about Helvetica, like helveticas Like, I'm not familiar. I think

877
00:47:20,880 --> 00:47:23,520
Speaker 1: it's that's just the mescaline trip. If you with me, men,

878
00:47:24,320 --> 00:47:27,560
Speaker 1: like the backstory about your favorite font type face. It's

879
00:47:27,560 --> 00:47:29,759
Speaker 1: not even my favorite font type face in the movie.

880
00:47:29,760 --> 00:47:32,120
Speaker 1: It's my favorite type face in the movie now that

881
00:47:32,239 --> 00:47:34,759
Speaker 1: you mention it is the one that they used for

882
00:47:34,880 --> 00:47:38,960
Speaker 1: Ethelene's a Family of Geniuses, which is Milano. So there

883
00:47:39,000 --> 00:47:43,680
Speaker 1: you have it. Jordan's If you're interested in sharing what

884
00:47:43,920 --> 00:47:49,439
Speaker 1: your favorite uh type faces from West Anderson's film The World,

885
00:47:49,440 --> 00:47:51,800
Speaker 1: Time of Bombs or otherwise, please tweet at the podcast

886
00:47:51,880 --> 00:47:55,000
Speaker 1: using the hashtag on the do tuturo. Al Right, well

887
00:47:55,040 --> 00:47:58,719
Speaker 1: we burned two minutes about type face. So the heart

888
00:47:58,719 --> 00:48:01,160
Speaker 1: bosses are in their offices right out, like, wow, Alex

889
00:48:01,160 --> 00:48:03,600
Speaker 1: and Jordan's pitched this is a pop culture show and

890
00:48:03,680 --> 00:48:08,839
Speaker 1: now they're fetishizing fonts. Should we do something? Yeah, adds

891
00:48:08,880 --> 00:48:11,680
Speaker 1: against typeface and then adds against type face. Baby. So

892
00:48:11,719 --> 00:48:15,319
Speaker 1: now let's move into what they call the trades. What

893
00:48:15,440 --> 00:48:18,359
Speaker 1: the trades reported on Royal tenements of the time, Jordan,

894
00:48:18,400 --> 00:48:20,360
Speaker 1: how to do critically, how to do commercially? How to

895
00:48:20,400 --> 00:48:22,839
Speaker 1: do an awards season? Yeah, I mean, despite it's it's

896
00:48:22,880 --> 00:48:26,120
Speaker 1: really strong reputation, it kind of got a lukewarm response. Um,

897
00:48:26,160 --> 00:48:28,839
Speaker 1: it did better than Rushmore. Wes Anderson's prior movie, but

898
00:48:29,160 --> 00:48:31,680
Speaker 1: it wasn't a huge smash. I think domestically it gross

899
00:48:31,800 --> 00:48:34,880
Speaker 1: fifty two million on a twenty one million dollar budget.

900
00:48:35,200 --> 00:48:38,279
Speaker 1: It also didn't clean up during Award show season. I

901
00:48:38,440 --> 00:48:41,960
Speaker 1: want to alone Golden Globe for Gene Hackman, which is

902
00:48:42,040 --> 00:48:45,120
Speaker 1: kind of hilarious after all that, and I was also

903
00:48:45,160 --> 00:48:48,960
Speaker 1: nominated for the screenplay. But yeah, like I really focusing

904
00:48:49,040 --> 00:48:51,440
Speaker 1: on the fact that for all of Gene Hackman's bitching

905
00:48:51,480 --> 00:48:54,239
Speaker 1: and moaning about wanting to retire, he apparently did a

906
00:48:54,280 --> 00:48:57,840
Speaker 1: few more films after The Royal Tenant Bounds. His final

907
00:48:57,880 --> 00:49:02,560
Speaker 1: film role was apparently Come to Moose Sports with Ray Romano,

908
00:49:02,760 --> 00:49:04,759
Speaker 1: and I'm I'm pretty sure that, like it wasn't like

909
00:49:04,760 --> 00:49:07,160
Speaker 1: something that he filmed years earlier than it came out later. Like,

910
00:49:07,200 --> 00:49:09,600
Speaker 1: I think that was the last movie he like went

911
00:49:10,280 --> 00:49:14,959
Speaker 1: and made with Ray Romano. The Everybody everybody truly does

912
00:49:15,239 --> 00:49:17,719
Speaker 1: love Raymond. Maybe he liked the script they wrote for him,

913
00:49:17,800 --> 00:49:19,680
Speaker 1: the part they wrote for him, he felt they did.

914
00:49:20,160 --> 00:49:23,680
Speaker 1: He felt the writers too sport. Yeah, you guys really

915
00:49:23,719 --> 00:49:25,920
Speaker 1: know me. I mean, I have to say, I've never

916
00:49:25,960 --> 00:49:28,160
Speaker 1: actually seen that movie. I'm just assuming that it's it's

917
00:49:28,160 --> 00:49:32,160
Speaker 1: a giant Stephen Pile. I really, let's see it has

918
00:49:32,200 --> 00:49:40,839
Speaker 1: a rotten tomato score. Oh man, Gene, what are you doing?

919
00:49:40,920 --> 00:49:45,080
Speaker 1: That's you have to edit? You have to edit all

920
00:49:45,160 --> 00:49:49,920
Speaker 1: that in? Just how's he doing? Should we do a

921
00:49:50,000 --> 00:49:54,399
Speaker 1: news a news result for Gene Hackman? His birthdays coming up? Well,

922
00:49:54,480 --> 00:49:58,720
Speaker 1: let's dedicate this episode to Gene Hackman and his least

923
00:49:58,719 --> 00:50:05,000
Speaker 1: favorite cinematic ex evans. You know, Jordan's The film's bigger

924
00:50:05,080 --> 00:50:08,279
Speaker 1: legacy might actually be on television. That is absolutely right.

925
00:50:08,520 --> 00:50:11,759
Speaker 1: So the rest of the development, creator Mitchell Hurwitz had

926
00:50:11,800 --> 00:50:14,800
Speaker 1: been inspired to create a similar sort of Sallenger style

927
00:50:15,000 --> 00:50:18,320
Speaker 1: rip off, which is his words about a big family,

928
00:50:18,880 --> 00:50:22,040
Speaker 1: and he was discouraged when he saw the Royal tennem

929
00:50:22,080 --> 00:50:24,319
Speaker 1: Bombs because he thought the idea was too similar to

930
00:50:24,320 --> 00:50:25,880
Speaker 1: what he wanted to do with the rest of development,

931
00:50:26,320 --> 00:50:29,360
Speaker 1: So he actually shelved the idea for a year. And meanwhile,

932
00:50:29,360 --> 00:50:31,880
Speaker 1: Alec Baldwin, who narrated the Royal tannem Bombs, said that

933
00:50:31,920 --> 00:50:36,520
Speaker 1: he based his performance as Jack Donahey on Dirty Rock

934
00:50:36,719 --> 00:50:40,840
Speaker 1: on Gene Hackman's performances Royal, which kind of makes sense.

935
00:50:40,880 --> 00:50:46,040
Speaker 1: The lovable but the really strange part was the narration

936
00:50:46,080 --> 00:50:49,719
Speaker 1: in the movie almost wasn't used, according to Baldwin at least,

937
00:50:49,800 --> 00:50:52,520
Speaker 1: and you've got to consider the source here. Uh. Baldwin

938
00:50:52,719 --> 00:50:56,239
Speaker 1: said that uh was Anderson approached him or when he

939
00:50:56,280 --> 00:50:58,120
Speaker 1: was doing the narration, basically said, I don't know why

940
00:50:58,120 --> 00:51:00,360
Speaker 1: the producers are insisting I have a voice so or

941
00:51:00,719 --> 00:51:02,560
Speaker 1: and I'm never going to use it, so don't worry.

942
00:51:02,640 --> 00:51:04,799
Speaker 1: Just just just dash it off, just you know, don't worry,

943
00:51:04,880 --> 00:51:08,520
Speaker 1: I'm gonna use it. Wes Anderson denies that that exchange

944
00:51:08,520 --> 00:51:10,920
Speaker 1: ever took place, So maybe he was just trying to

945
00:51:11,000 --> 00:51:14,279
Speaker 1: like loosen Alec up, and maybe it was like a

946
00:51:14,480 --> 00:51:20,759
Speaker 1: directorial strategy or somebody's lying because I guess. Later years later,

947
00:51:20,800 --> 00:51:23,880
Speaker 1: at the twentie Anniversary round table, Alec told this story,

948
00:51:24,000 --> 00:51:27,080
Speaker 1: and Wes said, you know, like your voice is a

949
00:51:27,120 --> 00:51:29,839
Speaker 1: bigger character as anybody else's. I mean, you're the whole movie.

950
00:51:29,920 --> 00:51:33,560
Speaker 1: Your voice is just a strong thing. So it remains

951
00:51:33,600 --> 00:51:36,160
Speaker 1: to be seeing whether or not that's actually true. But yeah,

952
00:51:36,200 --> 00:51:41,120
Speaker 1: that was, Um, I guess that. Really, I have nothing

953
00:51:41,160 --> 00:51:43,480
Speaker 1: to add to that. I was waiting to see you

954
00:51:43,520 --> 00:51:48,640
Speaker 1: if you were just punching myself out, I got there's

955
00:51:48,640 --> 00:51:55,520
Speaker 1: gotta be a fact. There's gotta be something cut me mick. Um, yeah,

956
00:51:55,600 --> 00:51:58,320
Speaker 1: I I the only thing. I mean, I already yelled

957
00:51:58,360 --> 00:52:00,360
Speaker 1: at this. I don't really have anything to add to this.

958
00:52:00,600 --> 00:52:03,200
Speaker 1: I love this movie dearly. Um. There's a quote I

959
00:52:03,440 --> 00:52:09,120
Speaker 1: found here from Sophie Chajara's review at Enemy, which is

960
00:52:09,520 --> 00:52:13,680
Speaker 1: sure it's endlessly quotable, both verbally and visually. Have you

961
00:52:13,719 --> 00:52:16,960
Speaker 1: seen that color palette? But it's the pain and sweetness

962
00:52:17,000 --> 00:52:19,040
Speaker 1: at the center of the world tenembombs that will keep

963
00:52:19,040 --> 00:52:23,040
Speaker 1: you revisiting this twenty one century classic. Well said person

964
00:52:23,080 --> 00:52:27,719
Speaker 1: that's not Heigl, George, do you have anything? Uh no,

965
00:52:28,239 --> 00:52:31,919
Speaker 1: hell yeah, well royal tenembombs, Baby, I don't know what else.

966
00:52:32,120 --> 00:52:35,360
Speaker 1: That's we're going out. We're going out gracelessly. It's punching

967
00:52:35,400 --> 00:52:37,600
Speaker 1: ourselves out, and I mean I wish we had some

968
00:52:37,680 --> 00:52:40,560
Speaker 1: kind of like incredible Wes Anderson needle drop to to

969
00:52:40,760 --> 00:52:44,120
Speaker 1: end this episode on well, to cleanse the listeners, to

970
00:52:44,120 --> 00:52:47,920
Speaker 1: cleanse your speakers of these this hour of TWEE, we're

971
00:52:47,920 --> 00:52:52,480
Speaker 1: gonna broadcast the sound of monster Trucks. I'm Alex Hegel

972
00:52:52,600 --> 00:52:55,040
Speaker 1: and I'm Jordan run Tak. Thank you so much for

973
00:52:55,120 --> 00:52:57,919
Speaker 1: listening to too much information. We'll catch you next time.

974
00:53:11,560 --> 00:53:14,080
Speaker 1: Too Much Information was a production of I Heart Radio.

975
00:53:14,320 --> 00:53:17,560
Speaker 1: The show's executive producers are Noel Brown and Jordan run Talk.

976
00:53:17,719 --> 00:53:20,960
Speaker 1: The supervising producer is Mike John's. The show was researched,

977
00:53:21,080 --> 00:53:23,760
Speaker 1: written and hosted by Jordan run Talk and Alex Heigel,

978
00:53:24,080 --> 00:53:27,200
Speaker 1: with original music by Seth Applebaum and the Ghost Funk Orchestra.

979
00:53:27,680 --> 00:53:29,719
Speaker 1: If you like what you heard, please subscribe and leave

980
00:53:29,800 --> 00:53:32,320
Speaker 1: us a review. For more podcasts and I heart Radio,

981
00:53:32,440 --> 00:53:35,440
Speaker 1: visit the I heart Radio app, Apple podcast, or wherever

982
00:53:35,520 --> 00:53:36,800
Speaker 1: you listen to your favorite shows