1 00:00:20,800 --> 00:00:24,040 Speaker 1: Greetings, good people of Hollywood Land. Let me tell you something. 2 00:00:24,200 --> 00:00:28,520 Speaker 1: Buildings burn, people die, but real love is forever. My 3 00:00:28,600 --> 00:00:31,920 Speaker 1: name is Zeth Lundy, writer, showrunner, and good doctor here 4 00:00:31,960 --> 00:00:34,680 Speaker 1: at Double Elvis, and welcome to another installment of a 5 00:00:34,680 --> 00:00:37,639 Speaker 1: little thing we like to call the Screening Room. This 6 00:00:37,680 --> 00:00:40,080 Speaker 1: is our weekly episode of the Pod, in which I 7 00:00:40,120 --> 00:00:42,760 Speaker 1: take you on a deep dive into one movie that 8 00:00:42,840 --> 00:00:46,440 Speaker 1: connects with our subject this week. Our subject this week 9 00:00:47,159 --> 00:00:50,960 Speaker 1: is Brandon Lee, the actor son of Bruce Lee, who 10 00:00:51,000 --> 00:00:54,560 Speaker 1: is also an actor, a filmmaker who revolutionized martial arts 11 00:00:54,600 --> 00:00:57,640 Speaker 1: in the nineteen sixties and nineteen seventies, brought them to Hollywood, 12 00:00:58,280 --> 00:01:01,520 Speaker 1: and both the father and the son died very very young. 13 00:01:02,400 --> 00:01:04,840 Speaker 1: Bruce Lee died in nineteen seventy three at the age 14 00:01:04,880 --> 00:01:08,319 Speaker 1: of thirty two, and then Brandon died on March thirty first, 15 00:01:08,720 --> 00:01:12,160 Speaker 1: nineteen ninety three, just twenty eight years old. If you've 16 00:01:12,160 --> 00:01:14,880 Speaker 1: listened to our fully scripted and sound design episode on 17 00:01:15,040 --> 00:01:18,360 Speaker 1: Brandon Lee from Monday of this week, you know the story. 18 00:01:18,400 --> 00:01:21,160 Speaker 1: And I don't want to spend time rehashing the whole 19 00:01:21,200 --> 00:01:24,360 Speaker 1: thing here, but you know all about how Brandon Lee 20 00:01:24,440 --> 00:01:27,080 Speaker 1: wanted to escape from his father's shadow how he wanted 21 00:01:27,120 --> 00:01:30,240 Speaker 1: to become his own person in Hollywood, which was tough 22 00:01:30,280 --> 00:01:32,280 Speaker 1: because the majority of the offers that he got for 23 00:01:32,360 --> 00:01:35,440 Speaker 1: projects were some sort of martial arts thing that echoed 24 00:01:35,440 --> 00:01:38,399 Speaker 1: his father's legacy. So The Crow was a big deal 25 00:01:38,520 --> 00:01:41,240 Speaker 1: for Brandon because it was his chance to do what 26 00:01:41,280 --> 00:01:43,800 Speaker 1: he wanted to do to make a name for himself, 27 00:01:44,280 --> 00:01:46,320 Speaker 1: and the hope was that it will be the launching 28 00:01:46,360 --> 00:01:51,440 Speaker 1: pad for his career. Now, it's nearly impossible to separate 29 00:01:51,520 --> 00:01:55,160 Speaker 1: the death of Brandon Lee from this film, especially when 30 00:01:55,200 --> 00:01:58,400 Speaker 1: the main character of the movie, Brandon's character, Eric Draven, 31 00:01:59,000 --> 00:02:02,240 Speaker 1: is murdered at the beginning, and you know, when the 32 00:02:02,280 --> 00:02:05,480 Speaker 1: film fast forwards to about a year later, he's resurrected 33 00:02:05,480 --> 00:02:08,680 Speaker 1: as a vigilante who's out to avenge his death in 34 00:02:08,720 --> 00:02:11,200 Speaker 1: the murder of his fiance. The movie is full of 35 00:02:11,240 --> 00:02:14,240 Speaker 1: themes not only of you know, death and rebirth, but 36 00:02:14,280 --> 00:02:17,800 Speaker 1: of invincibility, of eternity, and the ironic thing about it 37 00:02:17,800 --> 00:02:20,119 Speaker 1: all is that you've got this character, Eric Draven, who 38 00:02:20,120 --> 00:02:22,720 Speaker 1: for a large part of the film is unable to 39 00:02:22,760 --> 00:02:26,280 Speaker 1: be killed, unlike the man playing him. It was a 40 00:02:26,320 --> 00:02:30,079 Speaker 1: prop gun used for the murder of Brandon Lee's character 41 00:02:30,280 --> 00:02:34,079 Speaker 1: Eric Draven in the movie that tragically wound up killing 42 00:02:34,120 --> 00:02:37,200 Speaker 1: Brandon Lee. There was a dummy slug that was unknowingly 43 00:02:37,280 --> 00:02:40,000 Speaker 1: lodged in the gun's barrel from an earlier scene that 44 00:02:40,040 --> 00:02:42,880 Speaker 1: they had shot a close up shot of the gun firing. 45 00:02:43,800 --> 00:02:45,560 Speaker 1: The dummy slug was still in there, and when the 46 00:02:45,600 --> 00:02:48,440 Speaker 1: trigger was pulled this second time, that dummy slug was 47 00:02:48,480 --> 00:02:52,400 Speaker 1: dislodged due to the explosive force of the gunpowder. The 48 00:02:52,440 --> 00:02:55,679 Speaker 1: actor who shot the gun, Michael Massey, was playing this 49 00:02:55,840 --> 00:02:59,800 Speaker 1: character Funboy. He's a member of this crew of degenerate 50 00:02:59,760 --> 00:03:03,280 Speaker 1: cris criminals that wreak havoc across a very dark, very wet, 51 00:03:03,360 --> 00:03:07,960 Speaker 1: and very crumbling Detroit, specifically on Devil's Night October thirtieth, 52 00:03:08,000 --> 00:03:10,760 Speaker 1: which is actually based in some truth because in reality, 53 00:03:11,360 --> 00:03:15,040 Speaker 1: vandalism and arson were widespread for years on Devil's Night 54 00:03:15,040 --> 00:03:18,799 Speaker 1: in Detroit. It would be over ten years later until 55 00:03:18,840 --> 00:03:22,760 Speaker 1: Michael Massey actually spoke to the press about what had happened, 56 00:03:22,800 --> 00:03:25,400 Speaker 1: which you know, he was under no obligation to speak 57 00:03:25,440 --> 00:03:28,639 Speaker 1: to the press or anything, but the accident really hit 58 00:03:28,720 --> 00:03:31,320 Speaker 1: him hard. He took a year off from acting, a 59 00:03:31,400 --> 00:03:34,560 Speaker 1: year to kind of process it. I can only imagine 60 00:03:34,600 --> 00:03:36,360 Speaker 1: there was a lot of heavy shit that he went through, 61 00:03:36,360 --> 00:03:39,400 Speaker 1: you know, like the what if of it all, blaming himself. 62 00:03:39,560 --> 00:03:42,800 Speaker 1: I mean, can you imagine? This was basically his first role. 63 00:03:42,960 --> 00:03:45,760 Speaker 1: He had a very brief role in a very very 64 00:03:45,880 --> 00:03:49,600 Speaker 1: very small independent shoestring budget of a film called My 65 00:03:49,680 --> 00:03:52,960 Speaker 1: Father Is Coming a few years before in nineteen ninety one. 66 00:03:52,960 --> 00:03:55,840 Speaker 1: But this was basically his first movie, Michael Massey's first movie, 67 00:03:56,240 --> 00:03:57,920 Speaker 1: and he went on to become, you know, a great 68 00:03:58,000 --> 00:04:01,560 Speaker 1: character actor, a great face, sinister vibes. He was in 69 00:04:01,680 --> 00:04:04,240 Speaker 1: David Lynch's Lost Highway. He was in the Mark Webb 70 00:04:04,560 --> 00:04:07,880 Speaker 1: Amazing Spider Man movies starring Andrew Garfield. He was in 71 00:04:07,920 --> 00:04:11,720 Speaker 1: a couple of David Fincher films. He passed away recently 72 00:04:12,200 --> 00:04:17,080 Speaker 1: in twenty sixteen. Now Ernie Hudson, who you may better 73 00:04:17,120 --> 00:04:21,479 Speaker 1: known as Winston zeb Moore, the fourth Ghostbuster, who joins 74 00:04:21,520 --> 00:04:26,200 Speaker 1: the Ghostbusters like halfway through the first movie. Ernie Hudson 75 00:04:26,240 --> 00:04:28,040 Speaker 1: plays a cop in the film who's there at the 76 00:04:28,040 --> 00:04:30,239 Speaker 1: crime scene at the beginning, and then he befriends Brandon 77 00:04:30,279 --> 00:04:33,719 Speaker 1: Lee's character when he comes back from the dead. But 78 00:04:33,839 --> 00:04:36,440 Speaker 1: Ernie Hudson later said that he actually blamed Michael Massey 79 00:04:36,600 --> 00:04:39,680 Speaker 1: for Brandon's death for a while because, you know, he 80 00:04:39,680 --> 00:04:42,240 Speaker 1: had gotten very close to Brandon on the set. He 81 00:04:42,320 --> 00:04:45,240 Speaker 1: was also dealing with his own grief his brother in law, 82 00:04:45,360 --> 00:04:48,919 Speaker 1: Ernie Hudson's brother in law had suddenly, unexpectedly passed away. 83 00:04:49,760 --> 00:04:52,520 Speaker 1: Kind of hit him in this huge existential way. You know, 84 00:04:52,600 --> 00:04:55,039 Speaker 1: he was at a time when he was putting his 85 00:04:55,080 --> 00:04:57,200 Speaker 1: whole life in perspective. You know, he was frustrated with 86 00:04:57,240 --> 00:04:59,480 Speaker 1: his career and his life. He didn't feel like things 87 00:04:59,520 --> 00:05:01,400 Speaker 1: were going there right way, and so I guess the 88 00:05:01,440 --> 00:05:04,320 Speaker 1: last conversation he actually had with Brandon, he was kind 89 00:05:04,320 --> 00:05:06,600 Speaker 1: of laying this trip on Brandon, and Brandon was like, listen, 90 00:05:06,960 --> 00:05:08,880 Speaker 1: you're going to keep going and it's all going to 91 00:05:08,960 --> 00:05:10,440 Speaker 1: work out, and it's all going to be great, you know, 92 00:05:10,600 --> 00:05:15,640 Speaker 1: very supportive, very positive. But then when Ernie Hudson left 93 00:05:15,920 --> 00:05:18,160 Speaker 1: to go out of state to his brother in law's funeral, 94 00:05:18,800 --> 00:05:20,120 Speaker 1: the day at the funeral, that was the day that 95 00:05:20,160 --> 00:05:24,000 Speaker 1: Brandon Lee died on set. So Ernie Hudson obviously had 96 00:05:24,000 --> 00:05:29,520 Speaker 1: these complicated feelings leading to him blaming Michael Massey for this, 97 00:05:29,640 --> 00:05:33,160 Speaker 1: which he has absolutely no blame in this death. Whatsoever. 98 00:05:34,240 --> 00:05:36,160 Speaker 1: But Ernie Hudson tells his story about how a few 99 00:05:36,200 --> 00:05:39,200 Speaker 1: years later, when he was shooting the HBO show Oz, 100 00:05:39,760 --> 00:05:42,440 Speaker 1: he was eating out at a restaurant and who walks 101 00:05:42,440 --> 00:05:45,560 Speaker 1: into the restaurant but Michael Massey and Ernie Hudson tried 102 00:05:45,560 --> 00:05:47,560 Speaker 1: to like hide, hide his face and avoid him because 103 00:05:47,560 --> 00:05:49,800 Speaker 1: he just didn't want to deal with it. But Massey 104 00:05:49,839 --> 00:05:52,039 Speaker 1: came over to his table, and I guess he was 105 00:05:52,040 --> 00:05:55,160 Speaker 1: still just a total wreck, really upset about the whole thing. 106 00:05:55,200 --> 00:05:59,200 Speaker 1: They talked. I think that went a long ways to 107 00:05:59,360 --> 00:06:03,440 Speaker 1: building the friendship that they would continue to have for 108 00:06:03,600 --> 00:06:05,920 Speaker 1: years and years later. Ernie Hudson and Michael Massey were cool. 109 00:06:05,960 --> 00:06:09,119 Speaker 1: They were good friends until Michael Massey's death in twenty 110 00:06:09,160 --> 00:06:12,919 Speaker 1: sixteen at the age of sixty four. The Crow was 111 00:06:12,960 --> 00:06:17,320 Speaker 1: based on a comic book series created by James O'Barr, 112 00:06:17,520 --> 00:06:21,000 Speaker 1: first published by Caliber Comics in nineteen eighty nine. The 113 00:06:21,040 --> 00:06:23,599 Speaker 1: first issue came out in February of that year. February 114 00:06:23,600 --> 00:06:27,719 Speaker 1: eighty nine, so that's months before Tim Burton's Batman hit theaters. 115 00:06:27,920 --> 00:06:31,280 Speaker 1: Now I mentioned Batman because there are some similarities between 116 00:06:31,320 --> 00:06:36,040 Speaker 1: Tim Burton's Batman film and Alex Proyus's Crow film, including 117 00:06:36,040 --> 00:06:38,560 Speaker 1: how the character of Eric Draven looks and how the 118 00:06:38,680 --> 00:06:41,679 Speaker 1: Joker looks and Batman, you know, the face painted white, 119 00:06:42,160 --> 00:06:45,720 Speaker 1: the makeup that's extending the lips into the cheeks. And 120 00:06:45,760 --> 00:06:48,920 Speaker 1: the Crow is also part of this era of dark 121 00:06:48,960 --> 00:06:52,599 Speaker 1: comic book or graphic novel adaptations in the eighties and 122 00:06:52,680 --> 00:06:55,440 Speaker 1: nineties and early two thousands. That all happened before Iron 123 00:06:55,440 --> 00:06:57,839 Speaker 1: Man and the launch of the MCU, which kind of 124 00:06:57,839 --> 00:07:00,560 Speaker 1: took the wheel of the comic book movie crossover in 125 00:07:00,560 --> 00:07:02,719 Speaker 1: two thousand and eight and hasn't really let go since. 126 00:07:03,520 --> 00:07:05,719 Speaker 1: That said, the Crow is much more than a comic 127 00:07:05,720 --> 00:07:09,559 Speaker 1: book movie. It's an urban noir inspired by the dark, 128 00:07:09,600 --> 00:07:14,200 Speaker 1: wet atmosphere of Michael Mann's Thief. It's a vigilante revenge 129 00:07:14,240 --> 00:07:17,760 Speaker 1: film like Walking Tall or Death Wish from the seventies. 130 00:07:18,160 --> 00:07:22,240 Speaker 1: It's a Western, it's a samurai film. It's got that 131 00:07:22,360 --> 00:07:26,280 Speaker 1: mad Max Fury road energy with Brandon Lee shredding the 132 00:07:26,320 --> 00:07:30,360 Speaker 1: electric guitar on the rooftops and then smashing the electric guitar, 133 00:07:31,040 --> 00:07:34,000 Speaker 1: and then that bird Man. The Crow, the Raven echoes 134 00:07:34,160 --> 00:07:37,640 Speaker 1: forward and backwards in time from Edgar Allan Poe to 135 00:07:37,720 --> 00:07:42,360 Speaker 1: Alfred Hitchcock to Game of Thrones, but back to these dark, 136 00:07:42,480 --> 00:07:47,120 Speaker 1: visually arresting comic book films, or I should clarify films 137 00:07:47,120 --> 00:07:49,720 Speaker 1: that feel like they could have been comic book adaptations 138 00:07:49,800 --> 00:07:53,080 Speaker 1: or graphic novel adaptations even if they weren't. I'm thinking 139 00:07:53,120 --> 00:07:56,000 Speaker 1: of movies like Sam Raimi's Dark Man that came out 140 00:07:56,000 --> 00:08:00,760 Speaker 1: in nineteen ninety, Catherine Bigelow's underrated film Ranged Days from 141 00:08:00,800 --> 00:08:04,800 Speaker 1: ninety five, Frank Miller and Robert Rodriguez made Sin City 142 00:08:05,160 --> 00:08:08,840 Speaker 1: in two thousand and five. Even Alex Proyas's next film 143 00:08:08,920 --> 00:08:11,720 Speaker 1: after The Crow, Dark City, which he made in ninety eight. 144 00:08:11,720 --> 00:08:13,760 Speaker 1: These are all part of this lineage. And I also 145 00:08:13,760 --> 00:08:16,120 Speaker 1: feel like the world of The Crow is in some 146 00:08:16,160 --> 00:08:19,840 Speaker 1: ways the world of Abel Farrar's nineteen ninety crime drama 147 00:08:19,920 --> 00:08:22,320 Speaker 1: King of New York. You know, there's a crime lord 148 00:08:22,720 --> 00:08:25,520 Speaker 1: running the town. There's a crew of thieves and junkies 149 00:08:25,560 --> 00:08:28,360 Speaker 1: and killers doing his bidding with a capo of sorts, 150 00:08:28,400 --> 00:08:30,960 Speaker 1: you know, running the crew. Only King of New York 151 00:08:31,000 --> 00:08:34,679 Speaker 1: doesn't have a vigilanti brought back from the dead for revenge. 152 00:08:34,760 --> 00:08:39,600 Speaker 1: But all of these examples are often morally ambiguous works 153 00:08:39,720 --> 00:08:43,040 Speaker 1: or just plain immoral they are dark and disturbed, their 154 00:08:43,160 --> 00:08:46,240 Speaker 1: nineties core. I'm gonna call him. You know, this was 155 00:08:46,280 --> 00:08:48,000 Speaker 1: a whole vibe for a while, and if you were 156 00:08:48,040 --> 00:08:50,720 Speaker 1: there in that moment, you know what I'm talking about. 157 00:08:51,240 --> 00:08:56,560 Speaker 1: David Fincher's seven aon Flux on MTV's Liquid Television late 158 00:08:56,640 --> 00:09:01,240 Speaker 1: night grunge and electronica and trip hop music was grimy. 159 00:09:01,600 --> 00:09:06,280 Speaker 1: Movies were grimy. And when this movie opened on May thirteenth, 160 00:09:06,400 --> 00:09:09,840 Speaker 1: nineteen ninety four, a little over one year since Brandon 161 00:09:09,920 --> 00:09:14,640 Speaker 1: Lee's death, it boasted Mirrormax Film's biggest opening to date. Now, 162 00:09:14,679 --> 00:09:18,640 Speaker 1: Mirramax Films, before the whole Harvey Weinstein controversy of it all, 163 00:09:18,800 --> 00:09:22,679 Speaker 1: before anybody outside the industry knew about the Harvey Weinstein controversy, 164 00:09:22,800 --> 00:09:29,239 Speaker 1: Mirramax Films was bringing, you know, these smaller movies, independent filmmakers, 165 00:09:30,200 --> 00:09:33,840 Speaker 1: singular visions. These are things that were certainly not involved 166 00:09:33,840 --> 00:09:37,000 Speaker 1: in any kind of you know, big budget ip These 167 00:09:37,000 --> 00:09:40,880 Speaker 1: are much more, you know, smaller, more personal films. So 168 00:09:41,000 --> 00:09:44,679 Speaker 1: Miramax in the nineties leading up to The Crow puts 169 00:09:44,679 --> 00:09:48,720 Speaker 1: out movies like Sex, Lies and Videotape, My Left Foot, Cinema, Paradiso, 170 00:09:48,880 --> 00:09:53,160 Speaker 1: The Grifters, Bob Roberts, The Crying Game, The Piano. The 171 00:09:53,200 --> 00:09:57,320 Speaker 1: Piano was a big one with Holly Hunter and Harvey Kaitel, 172 00:09:58,640 --> 00:10:01,200 Speaker 1: and then The Crow comes out. The Crow was technically 173 00:10:01,200 --> 00:10:04,760 Speaker 1: distributed by Dimension Films, which was you know, Mirra Max's 174 00:10:04,800 --> 00:10:07,839 Speaker 1: like horror and sci fi arm But it did eleven 175 00:10:07,880 --> 00:10:10,800 Speaker 1: point seven million dollars in that opening weekend, which was 176 00:10:11,040 --> 00:10:14,360 Speaker 1: more than pulp fiction did for Mirra Max. A few 177 00:10:14,360 --> 00:10:16,880 Speaker 1: months later, pulp Fiction did a little over nine million. 178 00:10:17,800 --> 00:10:19,920 Speaker 1: But to zoom out a little bit and think about 179 00:10:20,000 --> 00:10:23,160 Speaker 1: nineteen ninety four, the bigger picture here, You know, this 180 00:10:23,240 --> 00:10:24,920 Speaker 1: is the year of big swings of the movies. It's 181 00:10:24,960 --> 00:10:28,600 Speaker 1: not only Pulp Fiction and The Crow. It's Natural Born Killers, 182 00:10:29,240 --> 00:10:34,920 Speaker 1: It's Interview with the Vampire shash Ank, Redemption, It's Crookland, Speed, Edwood, 183 00:10:35,240 --> 00:10:38,400 Speaker 1: True Lies, Dumb and Dumber. It was a great year. 184 00:10:38,480 --> 00:10:40,400 Speaker 1: It's a great year for cinema. Whether you were into 185 00:10:41,320 --> 00:10:46,800 Speaker 1: broad comedy with Jim Carrey, whether you were into personal 186 00:10:47,520 --> 00:10:51,880 Speaker 1: filmmaking like what Spike Lee delivered with Crookland, whether you 187 00:10:51,920 --> 00:10:53,840 Speaker 1: were kind of going way off the beaten path with 188 00:10:53,960 --> 00:10:56,600 Speaker 1: Tim Burton and Edwood, or whether you were, you know, 189 00:10:56,720 --> 00:10:59,520 Speaker 1: riding with Brandon Lee and the Crow. This was also 190 00:11:00,040 --> 00:11:04,120 Speaker 1: one of the first films shot by cinematographer Darius Wolsky, 191 00:11:04,600 --> 00:11:06,600 Speaker 1: and he went on to shoot films by Tim Burton, 192 00:11:06,640 --> 00:11:10,240 Speaker 1: Tony Scott, Ridley Scott, Robert Zemeckis, and Moore. And to 193 00:11:10,320 --> 00:11:12,800 Speaker 1: this day, one of the greatest things about this film 194 00:11:13,200 --> 00:11:16,920 Speaker 1: is its visual style. This, of course, is a film 195 00:11:16,920 --> 00:11:20,720 Speaker 1: about revenge. It's about omens and birds and the Devil's Night. 196 00:11:21,160 --> 00:11:25,959 Speaker 1: It's about pawnshops and rooftops, chaos, disorder and anarchy. It's 197 00:11:26,000 --> 00:11:29,000 Speaker 1: about death and about living forever. And we're gonna get 198 00:11:29,040 --> 00:11:56,600 Speaker 1: into it right after this. Okay, I will confess. If 199 00:11:56,640 --> 00:11:58,840 Speaker 1: you were listening to the Rap Party earlier this week here, 200 00:11:58,840 --> 00:12:01,280 Speaker 1: you already know this. But I will confess that I 201 00:12:01,320 --> 00:12:04,080 Speaker 1: watched The Crow for the first time in my life 202 00:12:04,120 --> 00:12:08,520 Speaker 1: this week, and I seriously enjoyed it so much. Sidebar 203 00:12:08,640 --> 00:12:10,760 Speaker 1: to that, I told Matt here at Double Elvis that, 204 00:12:11,440 --> 00:12:14,040 Speaker 1: and Matt was like, dude, I swear we did a 205 00:12:14,040 --> 00:12:17,880 Speaker 1: double feature. We rented The Crow and the Terminator back 206 00:12:17,920 --> 00:12:21,719 Speaker 1: in high school and watched those in someone's basement, and 207 00:12:23,720 --> 00:12:27,560 Speaker 1: I told him, I do not remember at all. I 208 00:12:27,679 --> 00:12:30,520 Speaker 1: seriously do not think I've seen this movie ever before. 209 00:12:30,880 --> 00:12:33,720 Speaker 1: But I don't know, man, what do I know? That 210 00:12:33,800 --> 00:12:36,360 Speaker 1: was a long time ago, so could have been could 211 00:12:36,360 --> 00:12:39,400 Speaker 1: be true. But let's just pretend this is my first 212 00:12:39,440 --> 00:12:41,480 Speaker 1: time seeing it, and this is how I'm going into it. Okay. 213 00:12:41,679 --> 00:12:44,240 Speaker 1: It's very much in conversation with a lot of those 214 00:12:44,280 --> 00:12:47,480 Speaker 1: movies I was talking about earlier. It's got a murderous 215 00:12:47,600 --> 00:12:50,520 Speaker 1: row of character actors. There's John Paulito, who was a 216 00:12:50,520 --> 00:12:53,560 Speaker 1: Coen Brothers regular for a long time, playing this smarmy 217 00:12:54,000 --> 00:12:57,199 Speaker 1: pawn shop owner. There's Michael Massey, who I talked about already. 218 00:12:57,280 --> 00:13:00,720 Speaker 1: He reports to T Bird, the cap of sorts in 219 00:13:00,800 --> 00:13:03,880 Speaker 1: charge of this roving group of homicidal maniacs, played by 220 00:13:03,880 --> 00:13:07,680 Speaker 1: the great David Patrick Kelly, who has been in so much. 221 00:13:07,679 --> 00:13:10,000 Speaker 1: He was in The Warriors back in the seventies. He 222 00:13:10,040 --> 00:13:12,040 Speaker 1: was in a bunch of Spike Lee films, David Lynch, 223 00:13:12,080 --> 00:13:15,320 Speaker 1: he was in Twin Peaks. Then there's Michael Wincott who 224 00:13:15,400 --> 00:13:18,720 Speaker 1: plays Top Dollar, the crime lord that t Bird reports to. 225 00:13:19,240 --> 00:13:22,360 Speaker 1: Michael Wincott with the incredible, deep and husky voice, the 226 00:13:22,400 --> 00:13:26,320 Speaker 1: menacing voice. He's got real bad guy energy, especially in 227 00:13:26,360 --> 00:13:29,959 Speaker 1: this one, with this long and silky hair. He's been 228 00:13:30,000 --> 00:13:34,439 Speaker 1: in like Basquiat. Dead Man Romeo is bleeding and then 229 00:13:34,480 --> 00:13:38,319 Speaker 1: playing his muscle Grange is Tony Todd, known best perhaps 230 00:13:38,320 --> 00:13:41,439 Speaker 1: from the Candyman franchise. And this is where the film 231 00:13:41,520 --> 00:13:44,080 Speaker 1: gets these King of New York vibes from me. It's 232 00:13:44,160 --> 00:13:46,000 Speaker 1: like all the guys from that movie, you know, in 233 00:13:46,120 --> 00:13:49,840 Speaker 1: King of New York, Larry Fishburne, Gene Carlo Esposito, Steve Buscemi. 234 00:13:49,880 --> 00:13:53,240 Speaker 1: This like Motley Crew. But this is a great film 235 00:13:53,440 --> 00:13:58,400 Speaker 1: of faces of characters, low life's opportunists, like the most 236 00:13:58,520 --> 00:14:01,960 Speaker 1: ridiculous skeeziest that only the nineteen nineties could give us. 237 00:14:02,000 --> 00:14:04,760 Speaker 1: These are the kind of guys that swallow bullets on 238 00:14:04,800 --> 00:14:07,520 Speaker 1: a dair and put cigarettes out on their tongues, and 239 00:14:07,559 --> 00:14:10,840 Speaker 1: one by one the crow, the resurrected Eric Draven comes 240 00:14:10,840 --> 00:14:14,240 Speaker 1: for them. So this film is pretty simple on the service. 241 00:14:14,280 --> 00:14:17,520 Speaker 1: It's a revenge film, it's a vigilanti film, and it's 242 00:14:17,559 --> 00:14:21,200 Speaker 1: about what remains eternal after we die. It opens on 243 00:14:21,320 --> 00:14:24,000 Speaker 1: Devil's Night, as I mentioned, October thirtieth, and the city 244 00:14:24,120 --> 00:14:27,640 Speaker 1: Detroit is on fire. The camera moves through the city 245 00:14:27,680 --> 00:14:30,760 Speaker 1: at night, show you all these buildings burning. It's basically 246 00:14:30,840 --> 00:14:34,800 Speaker 1: hell right, and eventually the camera lands on this big 247 00:14:34,920 --> 00:14:38,480 Speaker 1: circular window of an apartment six flights up. The glass 248 00:14:38,520 --> 00:14:40,960 Speaker 1: is all broken and busted, and there's the cop Ernie 249 00:14:41,000 --> 00:14:44,720 Speaker 1: Hudson standing there in the apartment, looking out, looking down 250 00:14:44,720 --> 00:14:46,400 Speaker 1: on the street below at a dead body that the 251 00:14:46,400 --> 00:14:49,600 Speaker 1: paramedics and the cops are covering up to take away. 252 00:14:50,240 --> 00:14:53,280 Speaker 1: And inside the apartment, which is lit in this shocking 253 00:14:53,320 --> 00:14:57,320 Speaker 1: red you know again, hell, there's a woman who's bloodied 254 00:14:57,360 --> 00:15:00,080 Speaker 1: on the floor. She's got an oxygen mask on and 255 00:15:00,120 --> 00:15:03,480 Speaker 1: she's obviously fighting for her life. The dead body outside 256 00:15:03,480 --> 00:15:06,160 Speaker 1: in the pavement is Eric Draven Brandon Lee's character, and 257 00:15:06,200 --> 00:15:10,040 Speaker 1: the woman inside the apartment is Draven's fiance, Shelley Webster, 258 00:15:10,200 --> 00:15:14,920 Speaker 1: played by Sophia Shyness. We learn by what the cops 259 00:15:14,920 --> 00:15:17,880 Speaker 1: see in the apartment that Eric was a musician in 260 00:15:17,920 --> 00:15:20,480 Speaker 1: a band, and that Eric and Shelley we're planning to 261 00:15:20,480 --> 00:15:25,200 Speaker 1: get married the following day, Halloween. Now there's narration that 262 00:15:25,240 --> 00:15:27,000 Speaker 1: we hear over all of this, the voice of a 263 00:15:27,040 --> 00:15:31,200 Speaker 1: young girl, and she's saying, when someone dies, a crow 264 00:15:31,360 --> 00:15:35,040 Speaker 1: carries their soul to the land of the dead. Sometimes 265 00:15:35,440 --> 00:15:38,080 Speaker 1: that crow can bring the soul back to put the 266 00:15:38,120 --> 00:15:41,920 Speaker 1: wrong things right, or something to that effect. We soon 267 00:15:42,000 --> 00:15:43,920 Speaker 1: learned that the voice belongs to a girl named Sarah, 268 00:15:43,960 --> 00:15:47,320 Speaker 1: whose mom is this neglectful junkie. In fact, she's got 269 00:15:47,320 --> 00:15:50,560 Speaker 1: something going on with Fumboy from Top Dollars Gang of Thugs. 270 00:15:51,120 --> 00:15:54,120 Speaker 1: And Sarah, the girl, was close to Eric and Shelley. 271 00:15:54,360 --> 00:15:56,600 Speaker 1: They kind of treated her like their own looked after her. 272 00:15:57,240 --> 00:15:59,800 Speaker 1: But Eric is dead now and Shelley dies shortly after 273 00:15:59,800 --> 00:16:02,440 Speaker 1: in the hospital, So Sarah visits their graves, and when 274 00:16:02,480 --> 00:16:04,800 Speaker 1: she does, we see this crow land on top of 275 00:16:04,960 --> 00:16:08,720 Speaker 1: Eric's headstone and start to tap on it. So a 276 00:16:08,800 --> 00:16:12,240 Speaker 1: year later, the next Devil's Night, something incredible happens, and 277 00:16:12,240 --> 00:16:16,080 Speaker 1: we've already been prepared for this possibility by Sarah's narration 278 00:16:16,160 --> 00:16:19,400 Speaker 1: from earlier. Eric Draven literally climbs out of the ground, 279 00:16:19,480 --> 00:16:23,240 Speaker 1: out of his grave, resurrected as it were, this crow, 280 00:16:23,760 --> 00:16:27,800 Speaker 1: this Raven. I'm guessing the former because that's the name 281 00:16:27,840 --> 00:16:30,640 Speaker 1: of the film. But at one point Eric Draven is 282 00:16:30,680 --> 00:16:33,280 Speaker 1: like quoting Eggar Allen pose the Ravens, So what do 283 00:16:33,360 --> 00:16:37,000 Speaker 1: I know? But this crow is like his constant companion. 284 00:16:37,240 --> 00:16:39,760 Speaker 1: He shows up right before Draven does, so like when 285 00:16:39,800 --> 00:16:42,920 Speaker 1: the bad guys they the crows like this premonition. The 286 00:16:42,920 --> 00:16:44,600 Speaker 1: bad guys will see the crow first, and then they'll 287 00:16:44,600 --> 00:16:48,440 Speaker 1: see they'll see Draven, and it's like Dravens seeing the 288 00:16:48,440 --> 00:16:50,360 Speaker 1: world through his eyes. We get a lot of crow 289 00:16:50,640 --> 00:16:54,560 Speaker 1: cam POV shots here. But once he comes out of 290 00:16:54,560 --> 00:16:57,600 Speaker 1: the grave, Eric Draven drags his ass back to his apartment, 291 00:16:57,960 --> 00:17:00,280 Speaker 1: which you know, one year later, is still in this 292 00:17:00,320 --> 00:17:03,040 Speaker 1: state of complete disaster. The window is still smashed out. 293 00:17:03,720 --> 00:17:06,280 Speaker 1: This tells you something about the state of crime and 294 00:17:06,320 --> 00:17:10,880 Speaker 1: this particular whatever timeline we are in Detroit here, something 295 00:17:10,880 --> 00:17:13,000 Speaker 1: about the state of crime versus the state of law enforcement. 296 00:17:13,280 --> 00:17:16,280 Speaker 1: But anyways, he's there. He has this visceral flashback of 297 00:17:16,320 --> 00:17:19,320 Speaker 1: the night that he was murdered and that his fiance Shelley, 298 00:17:19,400 --> 00:17:22,720 Speaker 1: was brutally attacked, sexually assaulted by this group of violent 299 00:17:22,760 --> 00:17:28,239 Speaker 1: degenerates and she dies later. Draven also discovers that if 300 00:17:28,280 --> 00:17:32,520 Speaker 1: he gets wounded, he heals, he is seemingly invincible, so 301 00:17:32,960 --> 00:17:36,679 Speaker 1: he suits up. Basically, he paints his face, dons this 302 00:17:36,800 --> 00:17:39,679 Speaker 1: slick all black outfit, and he heads out into the 303 00:17:39,680 --> 00:17:44,320 Speaker 1: perpetually dark and dank city to get his revenge. It's 304 00:17:44,359 --> 00:17:48,920 Speaker 1: a Bonker's film in the best way. It's very serious 305 00:17:49,440 --> 00:17:52,399 Speaker 1: and somber and brooding, as I was led to believe, 306 00:17:52,880 --> 00:17:56,040 Speaker 1: but it's also not afraid to get really crazy and 307 00:17:56,160 --> 00:17:59,800 Speaker 1: really silly. Brandon Lee, for one, can be very silly 308 00:18:00,080 --> 00:18:02,760 Speaker 1: and looks like he's enjoying himself doing it, and the 309 00:18:02,880 --> 00:18:06,080 Speaker 1: character actors playing the bad guys definitely get silly and 310 00:18:06,160 --> 00:18:09,440 Speaker 1: chew the scenery like the pros that they are. Because essentially, 311 00:18:10,080 --> 00:18:12,919 Speaker 1: once the resurrected Eric Draven sets out to get his 312 00:18:13,000 --> 00:18:15,560 Speaker 1: revenge and goes after all these dudes like that's the movie, 313 00:18:15,920 --> 00:18:19,639 Speaker 1: the movie becomes a vibe. It's one set piece after another, 314 00:18:20,160 --> 00:18:23,400 Speaker 1: including an amazing shootout fight that happens indoors when these 315 00:18:23,880 --> 00:18:26,000 Speaker 1: bad dudes are all kind of having a meeting together. 316 00:18:26,640 --> 00:18:29,600 Speaker 1: There's some serious Dark Knight energy here. By the way, 317 00:18:29,640 --> 00:18:31,879 Speaker 1: I don't know if Christopher Nolan would cough to this, 318 00:18:32,480 --> 00:18:36,000 Speaker 1: you know, talk about taking yourself seriously. I think perhaps 319 00:18:36,040 --> 00:18:38,040 Speaker 1: Nolan is a little too cool for school to say, 320 00:18:38,359 --> 00:18:40,359 Speaker 1: but I feel like there was so much here that 321 00:18:40,440 --> 00:18:44,040 Speaker 1: gave him inspiration for The Dark Knight. They're both vigilani films, 322 00:18:44,080 --> 00:18:46,600 Speaker 1: of course, but even the way The Dark Knight opens 323 00:18:46,600 --> 00:18:48,760 Speaker 1: with that long shot moving to the high rise building 324 00:18:48,760 --> 00:18:51,239 Speaker 1: and then the windows blown out echoes back to how 325 00:18:51,280 --> 00:18:54,800 Speaker 1: the Crow opens, and then the shootout scene with with 326 00:18:54,960 --> 00:18:58,560 Speaker 1: top dollars crew. You know, was interesting that Brandon Lee's 327 00:18:58,560 --> 00:19:02,040 Speaker 1: stunt double was Sileski, because Stileski would go on to 328 00:19:02,119 --> 00:19:05,640 Speaker 1: direct after years as a stuntman, most notably the John 329 00:19:05,680 --> 00:19:10,399 Speaker 1: Wick films, and those films coined the gun fou action genre, 330 00:19:10,480 --> 00:19:14,160 Speaker 1: as it were, these graceful, balletic gunfights that are very 331 00:19:14,240 --> 00:19:17,720 Speaker 1: much a part of The Crow's DNA. This is all 332 00:19:17,760 --> 00:19:22,639 Speaker 1: to say, I think maybe that The Crow is a 333 00:19:22,680 --> 00:19:27,359 Speaker 1: part of contemporary films and the way that filmmakers think 334 00:19:27,560 --> 00:19:30,760 Speaker 1: and make movies, perhaps more than I would have given 335 00:19:30,800 --> 00:19:34,120 Speaker 1: it credit for without having seen it. But now having 336 00:19:34,160 --> 00:19:38,480 Speaker 1: seen it, it's really striking me as something that could 337 00:19:38,520 --> 00:19:40,560 Speaker 1: potentially have been some sort of formative thing for a 338 00:19:40,560 --> 00:19:44,520 Speaker 1: lot of filmmakers that came after. But what roots it 339 00:19:45,000 --> 00:19:47,760 Speaker 1: in the nineteen nineties for me isn't just this aesthetic. 340 00:19:48,200 --> 00:19:50,960 Speaker 1: It's also the character of the young girl Sarah, who's 341 00:19:51,000 --> 00:19:54,400 Speaker 1: wise beyond her years. She's effectively having to raise herself 342 00:19:54,720 --> 00:19:57,359 Speaker 1: to be a good person in all this depravity and decay. 343 00:19:57,880 --> 00:20:00,560 Speaker 1: You know, she's like the jaded gen x Avatar that 344 00:20:00,640 --> 00:20:03,280 Speaker 1: all of us gen X kids can see this world through. 345 00:20:03,920 --> 00:20:06,000 Speaker 1: You know, you may feel that despite all your rage, 346 00:20:06,040 --> 00:20:08,200 Speaker 1: you're still just a rat in a cage, like Eric Draven. 347 00:20:08,280 --> 00:20:11,040 Speaker 1: But the more appropriate gen X character here is Sarah 348 00:20:11,280 --> 00:20:13,920 Speaker 1: keeping everything at arm's length. She's the one who should 349 00:20:13,960 --> 00:20:15,359 Speaker 1: be down in the muck and in the shit with 350 00:20:15,400 --> 00:20:17,199 Speaker 1: all these low lives, but she's able to hold her 351 00:20:17,240 --> 00:20:22,040 Speaker 1: head up and keep herself clean the Smashing Pumpkins illusion. 352 00:20:22,080 --> 00:20:25,320 Speaker 1: There is a great transition point here for me to 353 00:20:25,359 --> 00:20:28,840 Speaker 1: talk about the soundtrack to The Crow. We talked this 354 00:20:28,880 --> 00:20:31,720 Speaker 1: week all about your favorite movie soundtracks of all time. 355 00:20:32,080 --> 00:20:34,200 Speaker 1: That was our question of the week here in Hollywood Land, 356 00:20:34,200 --> 00:20:37,200 Speaker 1: and many, many, many of you said that The Crow 357 00:20:37,400 --> 00:20:40,800 Speaker 1: was your favorite. This soundtrack came out a few months 358 00:20:40,800 --> 00:20:43,600 Speaker 1: before the movie did, in March nineteen ninety four, the 359 00:20:43,680 --> 00:20:47,240 Speaker 1: same day as Hoist by Fish, the same day as 360 00:20:47,320 --> 00:20:51,280 Speaker 1: This Toilet Earth by Gwar, the same day as Promenade 361 00:20:51,640 --> 00:20:56,639 Speaker 1: by the Divine Comedy, but maybe even more important, the 362 00:20:56,720 --> 00:21:01,320 Speaker 1: same month as The Downward Spiral Else, the same month 363 00:21:01,359 --> 00:21:05,880 Speaker 1: as Beck's Mellow Gold, the same month as super Unknown 364 00:21:06,080 --> 00:21:10,479 Speaker 1: by Soundgarden, Brutal Youth by Elvis Costello Vauxhall and I 365 00:21:10,600 --> 00:21:13,840 Speaker 1: by Morrissey. It was a strong month, guys, March nine 366 00:21:14,000 --> 00:21:17,399 Speaker 1: ninety four. The force was strong with us. So here's 367 00:21:17,520 --> 00:21:21,040 Speaker 1: what's on this soundtrack. The soundtratch of the Crow, You've Got, 368 00:21:21,080 --> 00:21:25,400 Speaker 1: Burned by the Cure, You've Got Golgotha Tenement Blues by 369 00:21:25,480 --> 00:21:29,800 Speaker 1: Machines of Loving Grace, Big Empty by Stone Temple Pilots, 370 00:21:30,160 --> 00:21:32,159 Speaker 1: which that was a big shift at the time for 371 00:21:32,320 --> 00:21:35,199 Speaker 1: STP was it not? Was that the second record or 372 00:21:35,200 --> 00:21:38,159 Speaker 1: was that the third record? I feel like once they 373 00:21:38,160 --> 00:21:42,000 Speaker 1: were sort of derided as sort of like what do 374 00:21:42,000 --> 00:21:43,960 Speaker 1: people call them? Not like pearl jam Light, but it 375 00:21:44,040 --> 00:21:47,959 Speaker 1: was something like that. But Big Empty was a total 376 00:21:48,000 --> 00:21:51,399 Speaker 1: shift and totally loved that song. Nine Inch Nail is 377 00:21:51,440 --> 00:21:55,240 Speaker 1: covering Joy Division's Dead Souls, which is an if you 378 00:21:55,320 --> 00:21:58,280 Speaker 1: know you know your moment because the original comic of 379 00:21:58,320 --> 00:22:02,639 Speaker 1: the Crow, I believe, was dedicated to Ian Curtis of 380 00:22:02,800 --> 00:22:06,000 Speaker 1: Joy Division. There was some Joy Division Easter eggs in there. 381 00:22:07,320 --> 00:22:10,040 Speaker 1: We've got a rage against the Machine track here, Darkness 382 00:22:10,440 --> 00:22:13,440 Speaker 1: Colored Me Once by the Violent Femmes, Ghost Rid by 383 00:22:13,560 --> 00:22:17,200 Speaker 1: Rollin's Band, Milk Toast by Helmet, the Badge by Pantera 384 00:22:17,720 --> 00:22:22,199 Speaker 1: Slip Slide, Melting by for Love Not Lisa. We've got 385 00:22:22,240 --> 00:22:24,440 Speaker 1: in My Life with a thrill Kill Cult track here 386 00:22:24,560 --> 00:22:27,399 Speaker 1: after the Flesh, speaking of which My Life with the 387 00:22:27,440 --> 00:22:30,440 Speaker 1: Thrill Kill Cult are featured in the film Playing Live 388 00:22:30,840 --> 00:22:34,480 Speaker 1: at This Club, The Jesus and Mary Chain Snake Driver. 389 00:22:34,760 --> 00:22:37,760 Speaker 1: We've got a medicine track here Time Baby three, and 390 00:22:37,800 --> 00:22:40,240 Speaker 1: then it caps off with it Can't Rain All the 391 00:22:40,280 --> 00:22:45,719 Speaker 1: Time by Jane Sibbery. This was the collection of songs 392 00:22:45,760 --> 00:22:49,359 Speaker 1: that made up the hour plus soundtrack to The Crow, 393 00:22:50,119 --> 00:22:53,239 Speaker 1: which hit number one on the Billboard two hundred. That's 394 00:22:53,280 --> 00:22:55,000 Speaker 1: the album chart, by the way. It's not like a 395 00:22:55,040 --> 00:22:58,760 Speaker 1: soundtrack chart. It's all the albums that were out. It 396 00:22:58,920 --> 00:23:03,359 Speaker 1: hit number one the week of June fourth of that year, 397 00:23:03,640 --> 00:23:06,760 Speaker 1: ninety four. And this is what it beat out. It 398 00:23:06,800 --> 00:23:10,080 Speaker 1: beat out Tim McGraw not a moment too soon. That 399 00:23:10,160 --> 00:23:13,800 Speaker 1: was number two. It beat out The Sign by Asa 400 00:23:13,880 --> 00:23:17,520 Speaker 1: Bass That was number three. It beat out Guys, It 401 00:23:17,560 --> 00:23:21,840 Speaker 1: beat out Chant by the Benedictine Monks of Santo Domingo 402 00:23:22,240 --> 00:23:24,760 Speaker 1: de Silos, And I got to speak on this for 403 00:23:24,760 --> 00:23:28,920 Speaker 1: a minute. The nineties were wild. There was an album 404 00:23:29,720 --> 00:23:34,639 Speaker 1: of chants by Benedictine Monks that made it onto the 405 00:23:34,640 --> 00:23:39,120 Speaker 1: top ten album chart the Billboard Charts. Okay, sandwich between 406 00:23:39,840 --> 00:23:45,160 Speaker 1: Ace of Bass and the soundtrack to Above the Rim. 407 00:23:45,640 --> 00:23:48,280 Speaker 1: This is the world that we come from. You all 408 00:23:48,320 --> 00:23:50,520 Speaker 1: know this, We all love it. I just wanted to 409 00:23:50,560 --> 00:23:52,800 Speaker 1: bring you back there for a moment, and I got 410 00:23:52,840 --> 00:23:56,919 Speaker 1: to say all this talk about music, the music of 411 00:23:56,960 --> 00:24:00,080 Speaker 1: The Crow has got me super pumped to make a 412 00:24:00,119 --> 00:24:03,800 Speaker 1: mixtape inspired by this film. So let's do that, shall we? 413 00:24:03,800 --> 00:24:21,720 Speaker 1: We shall rate after this. Okay, guys, listen, if you're 414 00:24:21,720 --> 00:24:23,720 Speaker 1: new to the show, if you're new to Hollywoodland, new 415 00:24:23,760 --> 00:24:27,040 Speaker 1: to the screening room. This is our Friday show here. 416 00:24:27,880 --> 00:24:30,240 Speaker 1: This is the part of the screening room where I 417 00:24:30,240 --> 00:24:35,240 Speaker 1: make a hypothetical, metaphorical, possibly potential mixtape, an old school mixtape, 418 00:24:35,240 --> 00:24:37,399 Speaker 1: you know, the kind you used to make for that 419 00:24:37,760 --> 00:24:40,040 Speaker 1: girl or guy you had a crush on, the one 420 00:24:40,040 --> 00:24:42,720 Speaker 1: that you put way too much time to thinking about 421 00:24:42,760 --> 00:24:46,879 Speaker 1: the song selection, the flow, the meaning behind each track. 422 00:24:47,760 --> 00:24:50,040 Speaker 1: So let's all close our eyes now imagine we are 423 00:24:50,080 --> 00:24:52,960 Speaker 1: back in nineteen ninety four when this film came out, 424 00:24:53,160 --> 00:24:58,800 Speaker 1: and let's make a mixtape inspired by The Crow. Now caveat. 425 00:24:59,320 --> 00:25:01,560 Speaker 1: Someone called out once on this earlier when I first 426 00:25:01,560 --> 00:25:04,800 Speaker 1: started doing this and said, Hey, shouldn't the songs on 427 00:25:04,840 --> 00:25:09,200 Speaker 1: your mixtape have come out before the movie came out? 428 00:25:09,320 --> 00:25:13,520 Speaker 1: Are you cheating by including songs from beyond the release 429 00:25:13,600 --> 00:25:16,960 Speaker 1: date of the movie? To which I said, I hear you. 430 00:25:18,240 --> 00:25:20,560 Speaker 1: I do hear you, but I don't want that to 431 00:25:20,640 --> 00:25:23,400 Speaker 1: inhibit the creative flow here of whatever songs we're picking 432 00:25:23,440 --> 00:25:26,400 Speaker 1: for this mixtape. That said, I haven't really been keeping 433 00:25:26,440 --> 00:25:29,919 Speaker 1: scoring myself, but today that listener will be happy to 434 00:25:30,000 --> 00:25:32,160 Speaker 1: know that I was able to select songs that all 435 00:25:32,200 --> 00:25:34,920 Speaker 1: came out either in nineteen ninety four or before. I 436 00:25:34,960 --> 00:25:38,119 Speaker 1: think they're all before nineteen ninety four. Okay, So, and 437 00:25:38,800 --> 00:25:41,119 Speaker 1: also caveat number two. This is like if this was 438 00:25:41,119 --> 00:25:43,160 Speaker 1: a David Foster Wallace book, this would be like the 439 00:25:43,520 --> 00:25:45,399 Speaker 1: six foot note at the bottom of the page. Okay. 440 00:25:47,520 --> 00:25:50,880 Speaker 1: This is a little challenging to do because The Crow 441 00:25:50,960 --> 00:25:54,080 Speaker 1: has such an iconic soundtrack that goes with it. It's 442 00:25:54,080 --> 00:25:56,080 Speaker 1: a soundtrack that a lot of you love. It's a 443 00:25:56,080 --> 00:25:59,520 Speaker 1: soundtrack that's been like certified three times platinum by the 444 00:25:59,560 --> 00:26:03,000 Speaker 1: Recording Industry Association of America. So to be like, I'm 445 00:26:03,000 --> 00:26:04,639 Speaker 1: going to make a nixstape about The Crow, it's kind 446 00:26:04,640 --> 00:26:06,400 Speaker 1: of it's like, well, it's kind of already been done, dude, 447 00:26:06,440 --> 00:26:09,560 Speaker 1: but just roll with me. Here. I'm coming in from 448 00:26:09,560 --> 00:26:15,159 Speaker 1: my own perspective, and here we go. Song number one 449 00:26:14,240 --> 00:26:19,760 Speaker 1: on side A here is I Am the Resurrection by 450 00:26:19,920 --> 00:26:23,520 Speaker 1: The Stone Roses. This is from their nineteen eighty nine 451 00:26:23,520 --> 00:26:26,320 Speaker 1: debut album This is the album that's got I want 452 00:26:26,320 --> 00:26:29,800 Speaker 1: to be Adored. She bangs the drums made of stone, 453 00:26:30,000 --> 00:26:32,919 Speaker 1: and then this one I Am the Resurrection. It's the 454 00:26:32,960 --> 00:26:35,840 Speaker 1: eight minute closer, one of the best closing tracks on 455 00:26:35,880 --> 00:26:38,200 Speaker 1: her record. By the way, fun fact. By the way, 456 00:26:38,840 --> 00:26:42,840 Speaker 1: Stone Roses bass player MANI played the bass riff to 457 00:26:43,119 --> 00:26:45,800 Speaker 1: the Beatles tax Man backwards and that's how they got 458 00:26:45,840 --> 00:26:49,119 Speaker 1: the riff for this song. And the second half of 459 00:26:49,160 --> 00:26:53,840 Speaker 1: this eight minute tune is this funky like Madchester instrumental jam, 460 00:26:54,359 --> 00:26:57,560 Speaker 1: which is this is a major record, the Stone Roses debut. 461 00:26:57,600 --> 00:27:00,760 Speaker 1: It's a major record of the whole Madchester and pop movements. 462 00:27:00,800 --> 00:27:03,520 Speaker 1: I'd argue it's sort of like a bridge between those 463 00:27:03,520 --> 00:27:07,520 Speaker 1: two if you like. But here's the thing I gotta raise. 464 00:27:07,560 --> 00:27:10,480 Speaker 1: I gotta raise a beef here their second album, their 465 00:27:10,520 --> 00:27:13,440 Speaker 1: final album, Second Coming, which came out like five years 466 00:27:13,520 --> 00:27:15,119 Speaker 1: later in ninety four, I think the same year The 467 00:27:15,160 --> 00:27:18,119 Speaker 1: Crow came out. This record always gets shit on and 468 00:27:18,200 --> 00:27:22,200 Speaker 1: I think it's awesome. Okay, that opening track Breaking into Heaven, 469 00:27:22,240 --> 00:27:26,080 Speaker 1: which it's got to be inspired by the incredible experimental 470 00:27:26,080 --> 00:27:29,040 Speaker 1: records that Talk Talk made after their pop phase, like 471 00:27:29,320 --> 00:27:32,680 Speaker 1: Spirit of Eden and Laughingstock. These incredible records. If you 472 00:27:32,680 --> 00:27:36,720 Speaker 1: guys don't know those Breaking into Heaven this also has 473 00:27:36,800 --> 00:27:41,960 Speaker 1: ten story, love song and love spreads. All I'm saying is, guys, 474 00:27:42,400 --> 00:27:45,800 Speaker 1: justice for second Coming. Okay, this record is not as 475 00:27:45,840 --> 00:27:47,760 Speaker 1: bad as people made it out to be when it 476 00:27:47,800 --> 00:27:51,800 Speaker 1: first came out. It's so good and justice for that 477 00:27:51,840 --> 00:27:55,040 Speaker 1: record and also big ups too the Stone Roses I 478 00:27:55,080 --> 00:27:57,840 Speaker 1: Am the Resurrection, which should be obvious why I'm including 479 00:27:57,840 --> 00:28:00,680 Speaker 1: it here on this mixtape All Righter two. We're gonna 480 00:28:00,720 --> 00:28:02,760 Speaker 1: shift gears here and we're gonna go with a little 481 00:28:02,840 --> 00:28:06,919 Speaker 1: song called You're Gonna Get Yours by Public Enemy Again. 482 00:28:07,440 --> 00:28:09,320 Speaker 1: This is a song off a debut album. This is 483 00:28:09,480 --> 00:28:13,600 Speaker 1: pees nineteen eighty seven debut YO bum Rush the Show. 484 00:28:14,280 --> 00:28:18,800 Speaker 1: The first track. I love this record. There's it's uh, 485 00:28:19,240 --> 00:28:22,160 Speaker 1: you know. I would argue that the next the next 486 00:28:22,160 --> 00:28:24,360 Speaker 1: two records UH takes the Nation of Millions and fear 487 00:28:24,359 --> 00:28:27,480 Speaker 1: of a Black Planet are probably stronger than this. But 488 00:28:27,520 --> 00:28:31,880 Speaker 1: I just love the energy and how how low fi 489 00:28:31,920 --> 00:28:35,399 Speaker 1: it is, and how they're just so hungry and uh 490 00:28:35,640 --> 00:28:38,080 Speaker 1: this this song comes out with a with a bam. 491 00:28:38,160 --> 00:28:42,320 Speaker 1: It's incredible. Now You're Gonna Get Yours. The song is 492 00:28:42,360 --> 00:28:45,720 Speaker 1: not so much about revenge from beyond the grave. It's 493 00:28:45,760 --> 00:28:50,400 Speaker 1: more about, uh, you know, badass Oldsmobile ninety eight's ninety 494 00:28:50,400 --> 00:28:53,600 Speaker 1: eight models. It's like Little Deuce Coop or four oh nine, 495 00:28:53,600 --> 00:28:55,840 Speaker 1: but instead of the Beach Boys and you know, life 496 00:28:55,880 --> 00:28:58,720 Speaker 1: is a breeze, sweetheart over there on the California coast 497 00:28:58,800 --> 00:29:01,240 Speaker 1: and Hawthorne and the sixties, this is Chuck d in 498 00:29:01,280 --> 00:29:04,280 Speaker 1: Flavor Flave and the Bomb Squad confronting the reality of 499 00:29:04,360 --> 00:29:08,680 Speaker 1: New York City in the late eighties. And still, even 500 00:29:08,720 --> 00:29:10,479 Speaker 1: though this is about a car, it's still got that 501 00:29:10,600 --> 00:29:13,840 Speaker 1: attitude of the guy doing whatever needs doing, even if 502 00:29:13,880 --> 00:29:15,960 Speaker 1: that means crawling out of your own gravesite to make 503 00:29:16,000 --> 00:29:20,080 Speaker 1: sure the other guy gets his. You're Gonna Get Yours 504 00:29:20,200 --> 00:29:23,080 Speaker 1: famously sampled and both Pump up the Volume by Mars 505 00:29:23,400 --> 00:29:28,200 Speaker 1: and the Beast Boys. Eggman all Right, Track number three listen, 506 00:29:28,280 --> 00:29:30,520 Speaker 1: we gotta do it. I gotta go with the obvious 507 00:29:30,520 --> 00:29:32,800 Speaker 1: thing here and choose a song by the Black Crows 508 00:29:33,440 --> 00:29:35,880 Speaker 1: and keeping in with a theme of this film, the 509 00:29:35,960 --> 00:29:38,320 Speaker 1: various themes of this film, I'm gonna go with a 510 00:29:38,360 --> 00:29:42,320 Speaker 1: song called black Moon Creeping. This is from the Southern 511 00:29:42,360 --> 00:29:45,760 Speaker 1: Harmony and Musical Companion. What a name for a record. 512 00:29:46,160 --> 00:29:49,640 Speaker 1: The Southern Harmony and Musical Companion is basically telling you 513 00:29:50,040 --> 00:29:52,640 Speaker 1: this is a definitive document here, and you're gonna accept 514 00:29:52,640 --> 00:29:55,840 Speaker 1: that fact. This is their second album, The Crows nineteen 515 00:29:55,880 --> 00:29:59,680 Speaker 1: ninety two, Dirty Riff. It's double with a talk box, 516 00:30:00,680 --> 00:30:03,240 Speaker 1: which is amazing. Uh, people don't use the talk box 517 00:30:03,440 --> 00:30:06,080 Speaker 1: as much anymore. This is an item, by the way, 518 00:30:06,120 --> 00:30:09,160 Speaker 1: when you would order shit out of an instrument catalog, 519 00:30:09,920 --> 00:30:12,120 Speaker 1: you know, like back in the day before you know, 520 00:30:12,480 --> 00:30:15,719 Speaker 1: guitar centers were everywhere you'd order, and it was like 521 00:30:16,160 --> 00:30:18,840 Speaker 1: talk boxes in the catalog were the one thing that 522 00:30:18,880 --> 00:30:22,880 Speaker 1: you could not return because the whole, the whole process 523 00:30:22,880 --> 00:30:24,880 Speaker 1: of using a talk box is that you're you're taking 524 00:30:25,240 --> 00:30:27,080 Speaker 1: a tube basically, and you're putting it like in your 525 00:30:27,120 --> 00:30:30,080 Speaker 1: mouth to talk while you play your guitar. And so 526 00:30:30,560 --> 00:30:33,920 Speaker 1: all these companies were like, uh, there's a no return 527 00:30:33,960 --> 00:30:37,240 Speaker 1: mamsey on talkboxes, which is probably one of the reasons 528 00:30:37,240 --> 00:30:39,240 Speaker 1: why I never bought one, and also because I think 529 00:30:39,240 --> 00:30:41,120 Speaker 1: you use that once and then you could really never 530 00:30:41,240 --> 00:30:43,640 Speaker 1: use it again. It's unlike a wah wah pedal. Like 531 00:30:43,680 --> 00:30:46,320 Speaker 1: the talk box, it's gonna get it's people are gonna 532 00:30:46,320 --> 00:30:49,200 Speaker 1: get tired of that. Anyways, back to the Black Crows here. 533 00:30:49,760 --> 00:30:52,239 Speaker 1: People always compare these guys to the Rolling Stones, but 534 00:30:52,560 --> 00:30:55,240 Speaker 1: to me, they were always much more like the Faces. 535 00:30:56,120 --> 00:30:59,920 Speaker 1: The Faces that's Rod Stewart, Ronnie Wood, Ronnie Lane, Kenny Jones, 536 00:31:00,800 --> 00:31:06,720 Speaker 1: Ian McLaughlin. Rod Stewart famously joined that band after Steve 537 00:31:06,840 --> 00:31:09,920 Speaker 1: Marriott left to form Humble Pie. They were the small 538 00:31:09,960 --> 00:31:12,560 Speaker 1: faces in the Marriott years and then they became just 539 00:31:12,600 --> 00:31:15,160 Speaker 1: faces with Rod Stewart. Kind of like a Fleetwood Mac 540 00:31:15,200 --> 00:31:18,760 Speaker 1: scenario where the band completely changed when a member or 541 00:31:18,880 --> 00:31:21,520 Speaker 1: a couple of members left and some others joined. And 542 00:31:21,560 --> 00:31:24,720 Speaker 1: it's also that rare case in which both phases of 543 00:31:24,760 --> 00:31:29,960 Speaker 1: the band totally rule. You can make a case for 544 00:31:30,000 --> 00:31:32,120 Speaker 1: the Fleetwood Mac as well. I mean, there were so 545 00:31:32,200 --> 00:31:35,560 Speaker 1: many eras for Fleetwood Mac. There were like three distinct 546 00:31:36,120 --> 00:31:39,200 Speaker 1: eras of Fleetwoodmac before Lindsay Buckingham and Stevie Nicks even 547 00:31:39,280 --> 00:31:43,360 Speaker 1: even joined. But the Small Faces were awesome. The Faces 548 00:31:43,360 --> 00:31:46,080 Speaker 1: were awesome, or I guess it's just faces. But I 549 00:31:46,080 --> 00:31:48,400 Speaker 1: always found the Black Crows to be more like the Faces, 550 00:31:48,440 --> 00:31:51,560 Speaker 1: a little shaggier, a little drunker. And this is one 551 00:31:51,560 --> 00:31:56,280 Speaker 1: of the best records of the nineties, Black Crows. The 552 00:31:56,360 --> 00:31:59,240 Speaker 1: song is black Moon Creeping, all right, staying with the 553 00:31:59,320 --> 00:32:01,640 Speaker 1: Ronnie Wood vibe here. The next track is going to 554 00:32:01,640 --> 00:32:03,920 Speaker 1: be a tracked by the band the Birds. But it's 555 00:32:03,960 --> 00:32:05,800 Speaker 1: not the Birds that you're thinking of. It's not the 556 00:32:05,840 --> 00:32:10,400 Speaker 1: b y r Ds, the Roger McGuinn David Crosby band 557 00:32:10,640 --> 00:32:14,480 Speaker 1: from the sixties. This is the Birds spelled like the 558 00:32:14,520 --> 00:32:18,480 Speaker 1: Animal br Ds. And this is a song, a single 559 00:32:18,520 --> 00:32:22,160 Speaker 1: from nineteen sixty four called You're on My Mind. This 560 00:32:22,200 --> 00:32:25,200 Speaker 1: is the band that Ronnie Wood was in. I think 561 00:32:25,240 --> 00:32:30,200 Speaker 1: it was his first major band he was in. He 562 00:32:30,400 --> 00:32:32,720 Speaker 1: quit this band at some point, along with the bass 563 00:32:32,720 --> 00:32:36,240 Speaker 1: player Kim Gardner. They both quit to go join the 564 00:32:36,320 --> 00:32:41,440 Speaker 1: Creation together, the Creation, who were behind this incredible song 565 00:32:41,480 --> 00:32:44,640 Speaker 1: called Making Time that Wes Anderson used to great effect 566 00:32:44,680 --> 00:32:48,880 Speaker 1: in the film Rushmore. But they Ronnie and Kim joined 567 00:32:48,920 --> 00:32:53,160 Speaker 1: the creation. I think after sort of there like they're 568 00:32:53,560 --> 00:32:56,440 Speaker 1: the cool shit they made making time and they were 569 00:32:56,480 --> 00:32:58,960 Speaker 1: probably on their way out. But for this, this song, 570 00:32:59,040 --> 00:33:01,400 Speaker 1: for this band, think the Yardbirds, think British r and 571 00:33:01,440 --> 00:33:04,120 Speaker 1: b British Invasion. Something about these tracks from this era 572 00:33:04,200 --> 00:33:06,080 Speaker 1: that just like they snap like a rubber band. The 573 00:33:06,120 --> 00:33:09,040 Speaker 1: sound is like switchblade sharp, you know, and the energy 574 00:33:09,560 --> 00:33:11,440 Speaker 1: is just off the charts. There's not a lot of 575 00:33:11,560 --> 00:33:15,480 Speaker 1: invention here, but the performance is great. And listen, You're 576 00:33:15,520 --> 00:33:16,960 Speaker 1: on my mind. This is the name of the song. 577 00:33:17,000 --> 00:33:20,480 Speaker 1: I'm sure Eric Draven's fiance was on his mind both 578 00:33:20,520 --> 00:33:22,120 Speaker 1: as he died and when he was brought back to life. 579 00:33:22,120 --> 00:33:24,600 Speaker 1: So that's what I'm thinking about there. Okay, next track 580 00:33:24,640 --> 00:33:26,960 Speaker 1: here on our mixtape is going to be a song 581 00:33:27,000 --> 00:33:30,880 Speaker 1: called Sweet Revenge by John Prine. This is the title 582 00:33:30,920 --> 00:33:33,920 Speaker 1: track to his nineteen seventy three album, his third album, 583 00:33:34,840 --> 00:33:37,320 Speaker 1: John Prime was an enigma for me for a long time, 584 00:33:37,440 --> 00:33:40,000 Speaker 1: or maybe not even an I shouldn't say that, I 585 00:33:40,080 --> 00:33:42,520 Speaker 1: just didn't. I didn't investigate him as much as I 586 00:33:42,560 --> 00:33:45,720 Speaker 1: should have, and I think because for some reason I 587 00:33:45,720 --> 00:33:49,120 Speaker 1: thought he was just a soft, squishy singer songwriter type, 588 00:33:49,520 --> 00:33:52,880 Speaker 1: which is all good, but listen, I ain't got time 589 00:33:52,880 --> 00:33:55,360 Speaker 1: in my life for anybody else besides James Taylor when 590 00:33:55,400 --> 00:33:57,880 Speaker 1: it comes to the soft, squishy singer songwriter. So I 591 00:33:57,920 --> 00:34:00,400 Speaker 1: didn't want to have to push jt aside a little 592 00:34:00,400 --> 00:34:02,680 Speaker 1: bit to make room for John Prin. So I kind 593 00:34:02,680 --> 00:34:04,440 Speaker 1: of blocked John Prian out for a while. But once 594 00:34:04,520 --> 00:34:11,360 Speaker 1: I realized, man, he's funny, he's absurd, he's political, he's prickly, 595 00:34:11,440 --> 00:34:16,520 Speaker 1: he's ornery. This is something I kind of realized a 596 00:34:16,560 --> 00:34:20,040 Speaker 1: few years ago, but for whatever reason, I haven't gone 597 00:34:20,080 --> 00:34:22,239 Speaker 1: down the John Prime rabbit hole. And I think I'm 598 00:34:22,360 --> 00:34:25,200 Speaker 1: ready to slip into my John Prime phase, kind of 599 00:34:25,239 --> 00:34:27,640 Speaker 1: like I went into a Robert Palmer phase and a 600 00:34:27,640 --> 00:34:30,440 Speaker 1: little Feet phase recently, where I just bands an artist 601 00:34:30,520 --> 00:34:33,839 Speaker 1: I never really explored before. But I'm ready. I'm ready 602 00:34:33,880 --> 00:34:37,440 Speaker 1: to dive into John Prime's extensive back catalog and just 603 00:34:37,640 --> 00:34:40,560 Speaker 1: go nuts. So I'm gonna do that and I'll report 604 00:34:40,600 --> 00:34:45,680 Speaker 1: pack at some point. Sweet Revenge has this incredible defiance 605 00:34:45,719 --> 00:34:48,839 Speaker 1: to it. The song. It sounds like Steve Earl if 606 00:34:48,840 --> 00:34:51,640 Speaker 1: Steve Earle was making records in the seventies and he 607 00:34:51,719 --> 00:34:54,680 Speaker 1: was okay with letting his natural humor come through in 608 00:34:54,760 --> 00:34:59,160 Speaker 1: his lyrics. But that's John Prian again. Sweet Revenge. All right. 609 00:34:59,200 --> 00:35:01,000 Speaker 1: The next track, I'm gonna go to here again, another 610 00:35:01,080 --> 00:35:04,719 Speaker 1: tonal shift. This is a song just called Birds by 611 00:35:04,960 --> 00:35:09,120 Speaker 1: Neil Young from his third solo studio album, After the 612 00:35:09,160 --> 00:35:13,880 Speaker 1: gold Rush, that came out in nineteen seventy. It's just 613 00:35:13,880 --> 00:35:16,400 Speaker 1: a beautiful song. I mean, this whole album is great. 614 00:35:16,480 --> 00:35:18,799 Speaker 1: This whole album goes back and forth between these really 615 00:35:18,840 --> 00:35:22,520 Speaker 1: like quiet, hushed songs. It's just Neil at piano or 616 00:35:22,560 --> 00:35:25,280 Speaker 1: Neil with his guitar, and then like you know, full 617 00:35:25,320 --> 00:35:30,520 Speaker 1: out the full band, you know, the Crazy Horse, Southern Man, 618 00:35:30,520 --> 00:35:33,319 Speaker 1: that kind of stuff. But this is just Neil and 619 00:35:33,400 --> 00:35:37,480 Speaker 1: his piano. This one Birds. Danny Whitten and Ralph Molina 620 00:35:37,560 --> 00:35:42,080 Speaker 1: from Crazy Horse contribute harmony vocals. Lover, there will be 621 00:35:42,120 --> 00:35:45,560 Speaker 1: another one who will hover over you beneath the song 622 00:35:46,080 --> 00:35:48,120 Speaker 1: is one of the lyrics and it's just so beautiful. 623 00:35:48,360 --> 00:35:52,920 Speaker 1: Neil is just the man, guys. This run this, Neil Young, run, 624 00:35:53,520 --> 00:35:56,880 Speaker 1: Neil Young run. Try saying that three times fast or 625 00:35:56,920 --> 00:36:00,520 Speaker 1: five times fast or whatever, two times fast. Even Neil, 626 00:36:00,600 --> 00:36:03,160 Speaker 1: He's got his self titled record and everybody knows this 627 00:36:03,239 --> 00:36:06,759 Speaker 1: is nowhere then after the gold Rush, Harvest on the 628 00:36:06,800 --> 00:36:10,760 Speaker 1: Beach Tonight's the Night Zuma. That's just for studio records. 629 00:36:10,760 --> 00:36:12,960 Speaker 1: There were some other like compilations or live things in 630 00:36:13,000 --> 00:36:16,839 Speaker 1: there throughout, but that is an all time run and 631 00:36:16,880 --> 00:36:20,080 Speaker 1: that is from like the early seventies to like barely 632 00:36:20,080 --> 00:36:22,480 Speaker 1: the late seventies. It's like, what is Zuma like seventy 633 00:36:22,680 --> 00:36:27,800 Speaker 1: six or seventy seven? Maybe I mean fucking incredible man. Anyways, birds, 634 00:36:28,360 --> 00:36:31,680 Speaker 1: there's some beauty for you to end my contribution to 635 00:36:31,719 --> 00:36:33,640 Speaker 1: this mixtape right now, and I'm going to hand it 636 00:36:33,680 --> 00:36:36,120 Speaker 1: over to you. What do you think? What songs am 637 00:36:36,160 --> 00:36:39,160 Speaker 1: I missing here? Give me some good songs about revenge, 638 00:36:39,200 --> 00:36:43,400 Speaker 1: about vigilantes, about crows, and maybe some nineties era scus 639 00:36:43,440 --> 00:36:47,359 Speaker 1: and sleeves. Call or text me six one seven nine 640 00:36:47,360 --> 00:36:50,560 Speaker 1: oh six six six three eight. You can email me 641 00:36:50,600 --> 00:36:53,799 Speaker 1: at disgracelampod at gmail dot com. You can get at 642 00:36:53,800 --> 00:36:56,920 Speaker 1: me at the socials at disgracelam pod, or if you're 643 00:36:56,920 --> 00:37:01,080 Speaker 1: a member of Disgraceland All Access on Patreon, jump in 644 00:37:01,160 --> 00:37:04,640 Speaker 1: the chat, listen, reach out to me, and who knows, 645 00:37:04,680 --> 00:37:06,799 Speaker 1: next week in the rap Party, I might play or 646 00:37:06,960 --> 00:37:10,640 Speaker 1: read your response. So while you're doing that thinking of 647 00:37:10,760 --> 00:37:13,120 Speaker 1: some songs for our Crow mixtape. Here, I'm gonna take 648 00:37:13,200 --> 00:37:15,520 Speaker 1: one more quick break, but I'll be right back in 649 00:37:15,560 --> 00:37:33,800 Speaker 1: a flash. All right, everybody, thank you so much for 650 00:37:33,840 --> 00:37:36,600 Speaker 1: hanging out with me here again in the screening room 651 00:37:36,680 --> 00:37:39,440 Speaker 1: in Hollywood Lands. I know a lot of you all 652 00:37:39,520 --> 00:37:42,560 Speaker 1: here are big fans of The Crow. You've been sounding 653 00:37:42,600 --> 00:37:44,959 Speaker 1: off on it all week, which is awesome. I'm glad 654 00:37:44,960 --> 00:37:49,560 Speaker 1: that I finally got to see it for the first time, or, 655 00:37:49,760 --> 00:37:51,840 Speaker 1: if Matt is correct, for the second time, but the 656 00:37:51,880 --> 00:37:55,200 Speaker 1: first time I'm remembering it. Listen, guys, you know there 657 00:37:55,239 --> 00:37:56,760 Speaker 1: was a lot of it slot going on in high school. 658 00:37:56,760 --> 00:37:58,640 Speaker 1: I don't know, there's things that I just don't remember. 659 00:38:00,320 --> 00:38:03,040 Speaker 1: I'm just gonna leave it at that. I'm already thinking 660 00:38:03,120 --> 00:38:08,279 Speaker 1: to next week, which is another superhero of sorts. Here 661 00:38:08,320 --> 00:38:11,759 Speaker 1: in our Superheroes and the Supernatural month, We've got our 662 00:38:11,800 --> 00:38:15,080 Speaker 1: fully scripted and sound design episode on George Reeves of 663 00:38:15,200 --> 00:38:18,520 Speaker 1: Superman fame, the og Superman, well, the I guess the 664 00:38:18,800 --> 00:38:21,480 Speaker 1: first to play him in a TV show or a movie, right, 665 00:38:21,840 --> 00:38:24,640 Speaker 1: George Reeves was the guy in the TV show. I'm 666 00:38:24,640 --> 00:38:28,000 Speaker 1: not sure what my film is going to be in 667 00:38:28,040 --> 00:38:30,200 Speaker 1: the screening room next week. I have a few options. 668 00:38:31,040 --> 00:38:34,720 Speaker 1: One is Stupid Obvious, which is a movie that's actually 669 00:38:34,719 --> 00:38:38,399 Speaker 1: called Hollywood Land, which is all about the mysterious death 670 00:38:38,440 --> 00:38:41,080 Speaker 1: of George Reeves and about, you know, in the mysteries 671 00:38:41,080 --> 00:38:44,399 Speaker 1: of la then and now at large. But if I'm 672 00:38:44,440 --> 00:38:47,719 Speaker 1: being honest, I'm not crazy about that movie. So I 673 00:38:47,800 --> 00:38:50,160 Speaker 1: was gonna try to think outside the box, and I 674 00:38:50,200 --> 00:38:52,399 Speaker 1: have a couple ideas for what I'm gonna do. But 675 00:38:52,800 --> 00:38:55,000 Speaker 1: you guys are just gonna have to wait with baited 676 00:38:55,080 --> 00:38:58,040 Speaker 1: breath for through that one, as I'm sure you will. 677 00:38:59,040 --> 00:39:01,160 Speaker 1: Also next week. I think there's a lot going on 678 00:39:01,200 --> 00:39:04,080 Speaker 1: next week. I hinted at it. I think Jake hinted 679 00:39:04,120 --> 00:39:07,640 Speaker 1: at it. We've got some We've got potentially some announcements 680 00:39:07,640 --> 00:39:10,160 Speaker 1: next week coming, so you want to be here for that. 681 00:39:10,360 --> 00:39:13,080 Speaker 1: Make sure you catch all that stuff and do not 682 00:39:13,239 --> 00:39:18,480 Speaker 1: miss a thing. Like our guy Steven Tyler in Aerosmith 683 00:39:18,600 --> 00:39:22,160 Speaker 1: once sang in the meantime our question of the week 684 00:39:22,200 --> 00:39:24,600 Speaker 1: next week. This was prompted by a listener in the 685 00:39:24,680 --> 00:39:26,239 Speaker 1: Rap Party, by the Way, who called in and was 686 00:39:26,239 --> 00:39:28,160 Speaker 1: talking about Vertigo and was talking about ways and once 687 00:39:28,160 --> 00:39:30,719 Speaker 1: you could change the ending of Vertigo, not necessarily to 688 00:39:30,760 --> 00:39:32,480 Speaker 1: make it better, but just sort of like, Hey, wouldn't 689 00:39:32,520 --> 00:39:35,520 Speaker 1: this be cool? And it got me thinking what movie 690 00:39:36,000 --> 00:39:40,360 Speaker 1: ending would you change? In other words, what movie is 691 00:39:40,440 --> 00:39:43,560 Speaker 1: perfect until the ending? If you could just change the 692 00:39:43,640 --> 00:39:45,000 Speaker 1: ending of a movie and it would just make that 693 00:39:45,040 --> 00:39:48,759 Speaker 1: movie even better, what would it be? Hit me up 694 00:39:48,800 --> 00:39:51,239 Speaker 1: and let me know. Six one seven nine oh six 695 00:39:51,680 --> 00:39:54,879 Speaker 1: six six three eight. Also, guys, if you want more 696 00:39:54,880 --> 00:39:56,960 Speaker 1: of this, if you want more talk about movies and 697 00:39:57,000 --> 00:39:59,800 Speaker 1: true crime, music and true crime, if you want to 698 00:39:59,800 --> 00:40:03,200 Speaker 1: hang out and communicate with all the fellow discos out there, 699 00:40:03,600 --> 00:40:05,520 Speaker 1: all these other people that are interested in exactly what 700 00:40:05,560 --> 00:40:09,760 Speaker 1: you're interested in, come on over to Disgraceland All Access 701 00:40:10,200 --> 00:40:13,680 Speaker 1: and Patreon hang out with us. You can get ad 702 00:40:13,719 --> 00:40:16,120 Speaker 1: free listening over there to all of our episodes for 703 00:40:16,200 --> 00:40:20,680 Speaker 1: both Disgraceland and hollywood Land. You can get our Patreon 704 00:40:20,760 --> 00:40:24,960 Speaker 1: exclusive video podcast. This film should be played loud, which 705 00:40:25,040 --> 00:40:27,920 Speaker 1: is the only place where hollywood Land and Disgraceland come 706 00:40:27,920 --> 00:40:33,359 Speaker 1: together and make a joyful noise. I don't know. We 707 00:40:33,440 --> 00:40:36,640 Speaker 1: talk about the incredible soundtracks and needle drops and scores 708 00:40:36,680 --> 00:40:39,640 Speaker 1: of our favorite movies. We've got a brand new episode 709 00:40:39,680 --> 00:40:41,600 Speaker 1: out there on The Big Lebowski and we're going to 710 00:40:41,640 --> 00:40:45,399 Speaker 1: tape one for later this month on high fidelity very soon. 711 00:40:45,600 --> 00:40:49,839 Speaker 1: So do that. Disgracelamdpod dot com for more information and 712 00:40:49,920 --> 00:40:52,759 Speaker 1: to sign up. Now I'm going to leave you all 713 00:40:52,800 --> 00:40:55,960 Speaker 1: here with this. Here's what America was watching at the 714 00:40:56,000 --> 00:41:00,480 Speaker 1: movies in May of nineteen ninety four, the year that 715 00:41:00,560 --> 00:41:06,439 Speaker 1: The Crow was released in theaters. Number one The Flintstones, 716 00:41:06,880 --> 00:41:12,480 Speaker 1: directed by Brian Levan. Number two Maverick directed by Richard Donner. 717 00:41:13,719 --> 00:41:17,000 Speaker 1: Number three The Crow. He was directed by Alex Proyas 718 00:41:17,040 --> 00:41:19,960 Speaker 1: selected by Charles. Number four acted by When a Man 719 00:41:19,960 --> 00:41:23,279 Speaker 1: Loves a Woman Number directed by Luis and Dokil. Escape 720 00:41:23,400 --> 00:41:26,760 Speaker 1: directed by directed Number five four Weddings and a Funeral 721 00:41:26,880 --> 00:41:30,319 Speaker 1: Maverick directed by Mike Newandrew, directed by Spike. Number six 722 00:41:30,960 --> 00:41:34,920 Speaker 1: Beverly Hills. Cop three was directed by John Landis Chers. 723 00:41:35,280 --> 00:41:41,680 Speaker 1: Number seven said wiers quit talking and start mixing.