1 00:00:21,239 --> 00:00:24,600 Speaker 1: Greetings, good people of Hollywood Land, and let me ask 2 00:00:24,680 --> 00:00:28,040 Speaker 1: you a question. Do you believe that someone out of 3 00:00:28,080 --> 00:00:31,920 Speaker 1: the past, someone dead, can take possession of a living being. 4 00:00:32,520 --> 00:00:35,960 Speaker 1: My name is Zeth Lundy, writer, showrunner, good doctor, here 5 00:00:36,000 --> 00:00:38,960 Speaker 1: at Double Elvis and welcome to another installment of a 6 00:00:39,000 --> 00:00:41,360 Speaker 1: little thing we like to call the Screening Room. This 7 00:00:41,400 --> 00:00:43,960 Speaker 1: is our weekly episode of the Pod, in which I 8 00:00:43,960 --> 00:00:45,800 Speaker 1: take you on a deep dive into one movie that 9 00:00:45,880 --> 00:00:48,960 Speaker 1: connects with our subject this week, and this week has 10 00:00:49,000 --> 00:00:52,080 Speaker 1: been all about the Maestro Alfred Hitchcock, one of the 11 00:00:52,120 --> 00:00:55,560 Speaker 1: most consequential directors of the twentieth century. I made the 12 00:00:55,680 --> 00:00:59,080 Speaker 1: argument back on Wednesday in the Rap Party that he 13 00:00:59,200 --> 00:01:02,480 Speaker 1: is the veritable template for contemporary filmmaking and the reason 14 00:01:02,560 --> 00:01:06,120 Speaker 1: why we revere filmmakers the way that we do. You 15 00:01:06,160 --> 00:01:07,920 Speaker 1: can go back and check that out if you miss that. 16 00:01:08,040 --> 00:01:10,120 Speaker 1: But today I want to talk about one of my 17 00:01:10,319 --> 00:01:14,080 Speaker 1: favorite films of all time, not just my favorite Hitchcock movie, 18 00:01:14,200 --> 00:01:17,080 Speaker 1: but one of my favorite films period, and that film, 19 00:01:17,120 --> 00:01:20,960 Speaker 1: of course, is Vertigo, the nineteen fifty eight thriller directed 20 00:01:21,000 --> 00:01:25,600 Speaker 1: by Alfred Hitchcock, starring Jimmy Stewart, Kim Novak, Tom Hellmore, 21 00:01:25,920 --> 00:01:31,520 Speaker 1: and Barbara Belgetti's Vertigo not a hugely successful Hitchcock film. 22 00:01:31,640 --> 00:01:36,120 Speaker 1: Upon its release, critics were divided. Many found the movie 23 00:01:36,160 --> 00:01:39,920 Speaker 1: to be way too long, too slow, too hard to follow. 24 00:01:40,800 --> 00:01:44,920 Speaker 1: The fans, the hardcore Hitchcock fans, didn't like the shift 25 00:01:45,000 --> 00:01:48,000 Speaker 1: in tone. It wasn't as playful or as funny as 26 00:01:48,040 --> 00:01:50,960 Speaker 1: some of his previous films, like Strangers on a Train, 27 00:01:51,160 --> 00:01:54,240 Speaker 1: Rear Window to Catch a Thief, or The Man Who 28 00:01:54,320 --> 00:01:58,280 Speaker 1: Knew too Much. Vertigo broke a lot of rules. It 29 00:01:58,440 --> 00:02:01,680 Speaker 1: wasn't so much romantic as many Hitchcock films have been. 30 00:02:01,720 --> 00:02:04,520 Speaker 1: It was a much more dark view of that The 31 00:02:04,560 --> 00:02:07,440 Speaker 1: so called romance at the heart of the film is real. 32 00:02:08,280 --> 00:02:10,440 Speaker 1: It's really more of kind of a fucked up obsession 33 00:02:10,880 --> 00:02:14,840 Speaker 1: than it is romance. This obsession that Jimmy Stewart's character has. 34 00:02:15,400 --> 00:02:17,840 Speaker 1: Even Orson Wells won on the record to say that 35 00:02:17,960 --> 00:02:21,560 Speaker 1: Vertigo sucked even more than Rear Window, and Orson Wells 36 00:02:21,600 --> 00:02:24,880 Speaker 1: really hated Rear Window. But Hitchcock got the last laugh, 37 00:02:25,160 --> 00:02:29,480 Speaker 1: as it were, because the highly respected Site and Sound 38 00:02:29,560 --> 00:02:33,639 Speaker 1: poll in twenty twelve ranked Vertigo as the greatest film 39 00:02:34,160 --> 00:02:37,880 Speaker 1: ever made. This is the Site and Sound magazine Slash 40 00:02:38,280 --> 00:02:42,960 Speaker 1: British Film Institute's poll that takes place every ten years. 41 00:02:43,520 --> 00:02:45,760 Speaker 1: There's a jury of like, I don't know, eight or 42 00:02:45,840 --> 00:02:49,840 Speaker 1: nine hundred. I think critics and writers who for fifty 43 00:02:49,919 --> 00:02:53,760 Speaker 1: years of this poll. Fifty years they voted Orson Wells's 44 00:02:54,160 --> 00:02:58,480 Speaker 1: Citizen Kane as the greatest movie ever made, and then 45 00:02:58,520 --> 00:03:01,600 Speaker 1: in twenty twelve it was dethroned for the first time 46 00:03:01,800 --> 00:03:05,520 Speaker 1: by Vertigo. For those keeping score at home, however, the 47 00:03:05,520 --> 00:03:09,160 Speaker 1: most recent CIT and Sound poll in twenty twenty two 48 00:03:09,480 --> 00:03:11,440 Speaker 1: put a different movie at the number one spot. It 49 00:03:11,560 --> 00:03:17,079 Speaker 1: put the nineteen seventy five Chantel Ackerman film Jean Delmond 50 00:03:17,560 --> 00:03:21,880 Speaker 1: Ventois Cadu Commerce Meal Kat vent Brussel up at the 51 00:03:21,960 --> 00:03:26,040 Speaker 1: number one spot. Sorry for butchering that pronunciation, Shantel Ackerman 52 00:03:26,160 --> 00:03:29,920 Speaker 1: and fans of French cinema my two years of French 53 00:03:29,919 --> 00:03:31,919 Speaker 1: back in high school or not serving me well right now? 54 00:03:33,919 --> 00:03:36,720 Speaker 1: Vertigo coming in at number two in this most recent 55 00:03:36,840 --> 00:03:39,600 Speaker 1: addition of the poll in Citizen Kane at number three, 56 00:03:40,200 --> 00:03:43,840 Speaker 1: Orson Wells is in the minority here with the Vertigo hate, obviously, 57 00:03:44,400 --> 00:03:46,600 Speaker 1: with the Hitchcock hate in general, you've got to think 58 00:03:46,600 --> 00:03:49,360 Speaker 1: that some of that is sour Grapes orson. Wells felt 59 00:03:49,360 --> 00:03:51,800 Speaker 1: so fucked over by Hollywood, by the system. You know, 60 00:03:51,920 --> 00:03:54,720 Speaker 1: imagine you're hailed as this wonder kin, you know, you 61 00:03:54,760 --> 00:03:56,960 Speaker 1: made Citizen Kane when you're twenty five, and then you're 62 00:03:56,960 --> 00:04:01,200 Speaker 1: basically ostracized from the place that was singing your praises. 63 00:04:02,080 --> 00:04:06,440 Speaker 1: And then to have all these feelings simultaneously while watching 64 00:04:06,800 --> 00:04:10,400 Speaker 1: someone like Hitchcock have success after success. But again, I 65 00:04:10,400 --> 00:04:13,200 Speaker 1: think Wells was really in the minority because you know, 66 00:04:13,360 --> 00:04:16,640 Speaker 1: directors like Martin Scorsese have talked about Vertigo at length. 67 00:04:17,080 --> 00:04:19,279 Speaker 1: You know, Scarcese talks about how he and his friends 68 00:04:19,360 --> 00:04:22,080 Speaker 1: saw it at the theater when it was originally released 69 00:04:22,080 --> 00:04:25,039 Speaker 1: in nineteen fifty eight. I think Marty was like fifteen, 70 00:04:25,760 --> 00:04:29,839 Speaker 1: and he talks a lot about how he responded to 71 00:04:29,920 --> 00:04:32,359 Speaker 1: the film. He responded very strongly to it, but he 72 00:04:32,440 --> 00:04:35,800 Speaker 1: didn't know why. He said that they just all of 73 00:04:35,800 --> 00:04:38,320 Speaker 1: them just kind of went along with the picture and 74 00:04:39,000 --> 00:04:43,240 Speaker 1: remembered it for years to come. And now, you know, 75 00:04:43,360 --> 00:04:46,320 Speaker 1: the scenes from hitchcock films that have stayed with him 76 00:04:46,320 --> 00:04:50,320 Speaker 1: the most are not so much stuff like the crazy 77 00:04:50,520 --> 00:04:54,560 Speaker 1: Psycho shower scene, which, by the way, Scorsese used that 78 00:04:54,680 --> 00:04:56,719 Speaker 1: shower scene as the template for one of the boxing 79 00:04:56,760 --> 00:04:59,840 Speaker 1: matches in Raging Bull. Believe it or not, it's pretty cool. 80 00:05:00,320 --> 00:05:03,120 Speaker 1: But more than that, the slow, quiet scenes from Vertigo, 81 00:05:03,279 --> 00:05:06,040 Speaker 1: the scenes of Jimmy Stewart driving around in this car 82 00:05:06,160 --> 00:05:10,440 Speaker 1: following Kim Novak, these scenes where it seems like nothing 83 00:05:10,480 --> 00:05:14,640 Speaker 1: is happening, but they're so so meditative but also a 84 00:05:14,640 --> 00:05:17,839 Speaker 1: little unnerving, And I think scor says he really hits 85 00:05:17,880 --> 00:05:20,679 Speaker 1: the nail on the head with the experience of watching 86 00:05:20,720 --> 00:05:23,200 Speaker 1: this film. You don't know why you're responding to it 87 00:05:23,640 --> 00:05:26,080 Speaker 1: the way that you are, but you are, and you 88 00:05:26,160 --> 00:05:28,320 Speaker 1: just go with it. You know, the first time you 89 00:05:28,360 --> 00:05:31,200 Speaker 1: see this movie, it's almost like the plot falls away 90 00:05:31,279 --> 00:05:34,599 Speaker 1: and you're just flooded with the visuals and the sound. 91 00:05:34,680 --> 00:05:38,960 Speaker 1: My god, the Bernard Herman score. Bernard Herman, who incidentally 92 00:05:39,040 --> 00:05:41,520 Speaker 1: scored Citizen Kane and then who would also go on 93 00:05:41,560 --> 00:05:44,920 Speaker 1: to score Scorsese's Taxi Driver. He also did Psycho for 94 00:05:45,040 --> 00:05:47,480 Speaker 1: Hitchcock and North By Northwest. He had a lot of 95 00:05:47,560 --> 00:05:51,360 Speaker 1: Hitchcock movies scored by Bernard Herman. But this score is 96 00:05:51,600 --> 00:05:54,320 Speaker 1: my favorite Bernard Herrman' score, just like it's my favorite 97 00:05:54,400 --> 00:05:57,400 Speaker 1: Hitchcock movie. It's almost like a Philip Glass or a 98 00:05:57,440 --> 00:06:00,840 Speaker 1: Steve Reich score. It's got those arpeggios and just this 99 00:06:00,960 --> 00:06:04,680 Speaker 1: hypnotic spell that it puts you under. It's just extraordinary, 100 00:06:04,720 --> 00:06:08,839 Speaker 1: extraordinary music. Equally extraordinary is the history of this movie 101 00:06:08,880 --> 00:06:12,200 Speaker 1: and what happened to it after it was originally released. 102 00:06:12,920 --> 00:06:15,239 Speaker 1: If you didn't see this in the theater in nineteen 103 00:06:15,320 --> 00:06:18,000 Speaker 1: fifty eight when it came out, like Martin Scoris says 104 00:06:18,000 --> 00:06:22,479 Speaker 1: he did, you did not see it as it was intended. 105 00:06:22,839 --> 00:06:25,560 Speaker 1: For decades. You actually could not even see it for 106 00:06:25,680 --> 00:06:29,599 Speaker 1: decades because in nineteen sixty one, just a few years 107 00:06:29,640 --> 00:06:34,839 Speaker 1: after Vertigo's original release, Alfred Hitchcock secured full ownership of 108 00:06:34,960 --> 00:06:39,840 Speaker 1: five of his movies, Vertigo, Rear, Window, Rope, The Trouble 109 00:06:39,839 --> 00:06:42,320 Speaker 1: with Harry, and The Man Who Knew Too Much. Now, 110 00:06:43,080 --> 00:06:45,320 Speaker 1: you'd think the reason for a director to do this 111 00:06:45,880 --> 00:06:48,400 Speaker 1: to take control of these films from the studios. And 112 00:06:48,440 --> 00:06:51,360 Speaker 1: this was, by the way, this was a very unusual 113 00:06:51,720 --> 00:06:54,480 Speaker 1: clause in his contract where after a certain number of years, 114 00:06:55,240 --> 00:06:57,360 Speaker 1: the ownership of these films went back to him. It's 115 00:06:57,400 --> 00:07:00,480 Speaker 1: kind of what Ryan Coogler just did with Sinner, only 116 00:07:00,520 --> 00:07:03,560 Speaker 1: it was a much shorter window before Hitchcock took control. 117 00:07:03,920 --> 00:07:06,000 Speaker 1: So you would think that you would do this so 118 00:07:06,040 --> 00:07:08,320 Speaker 1: you could make a profit as a director and as 119 00:07:08,360 --> 00:07:11,800 Speaker 1: an owner of these properties by making a distribution deal 120 00:07:11,880 --> 00:07:15,000 Speaker 1: for them. But Hitchcock didn't do that. Hitchcock actually kept 121 00:07:15,000 --> 00:07:18,880 Speaker 1: the films to himself. He literally banned them from being 122 00:07:18,920 --> 00:07:24,040 Speaker 1: shown to the public, which led to people hosting these underground, 123 00:07:24,080 --> 00:07:28,400 Speaker 1: illegal screenings of these five films. They're forbidden five, as 124 00:07:28,400 --> 00:07:30,520 Speaker 1: they came to be known. So if you had a 125 00:07:30,560 --> 00:07:32,920 Speaker 1: print of one of these, he kept it on the 126 00:07:32,920 --> 00:07:35,280 Speaker 1: downlow because if hitch found out, he'd want to hunt 127 00:07:35,480 --> 00:07:38,560 Speaker 1: down the print and destroy it. There's a story about 128 00:07:38,560 --> 00:07:41,680 Speaker 1: somebody calling to asked Hitchcock for his permission to run 129 00:07:41,720 --> 00:07:43,560 Speaker 1: the movie. Not only did he not give them permission, 130 00:07:43,560 --> 00:07:47,320 Speaker 1: but he wanted to know, like where are you and 131 00:07:47,720 --> 00:07:49,400 Speaker 1: where's the print? Because I want it so I can 132 00:07:49,440 --> 00:07:53,320 Speaker 1: destroy it. He said no to film festivals, to TV stations, 133 00:07:53,760 --> 00:07:56,240 Speaker 1: to college campuses, to movie theaters. He was so hell 134 00:07:56,280 --> 00:07:59,640 Speaker 1: bent on keeping these out of circulation that when Jimmy 135 00:07:59,680 --> 00:08:02,880 Speaker 1: Stewart called him up, his old friend Jimmy Stewart to 136 00:08:03,040 --> 00:08:05,920 Speaker 1: ask him a favor and say, hey, kind of get 137 00:08:05,920 --> 00:08:07,840 Speaker 1: your permission to play a clip from Vertigo at this 138 00:08:07,920 --> 00:08:10,840 Speaker 1: film festival where I'm being honored with like a lifetime 139 00:08:10,880 --> 00:08:15,880 Speaker 1: Achievement award. Hitchcock said, no, why did Alfred Hitchcock do this? 140 00:08:16,720 --> 00:08:20,040 Speaker 1: He never gave away the reason. I believe his agent 141 00:08:20,280 --> 00:08:23,840 Speaker 1: simply said personal reasons when he was asked. But there 142 00:08:23,840 --> 00:08:27,000 Speaker 1: are two theories to this. The first is so Alfred 143 00:08:27,040 --> 00:08:30,720 Speaker 1: Hitchcock was British. The first is that the British tax system, 144 00:08:30,840 --> 00:08:33,640 Speaker 1: which took like ninety percent of your income or something, 145 00:08:34,000 --> 00:08:36,280 Speaker 1: would have eaten away at any of the profits he 146 00:08:36,280 --> 00:08:39,120 Speaker 1: would have made by making distribution deals or by allowing 147 00:08:39,160 --> 00:08:41,880 Speaker 1: them to be released or whatever. But the more likely 148 00:08:41,960 --> 00:08:44,440 Speaker 1: theory is that it was almost like this trust fund 149 00:08:44,480 --> 00:08:47,720 Speaker 1: for his kids and his family, that demand for these 150 00:08:47,760 --> 00:08:50,920 Speaker 1: titles would just grow and grow and grow over the years, 151 00:08:50,960 --> 00:08:54,240 Speaker 1: and so when he did die, his estate could really 152 00:08:54,280 --> 00:08:57,800 Speaker 1: make a big deal with one of the film production companies, 153 00:08:58,280 --> 00:09:01,720 Speaker 1: thus leaving his family well taken care of, and this 154 00:09:01,840 --> 00:09:05,120 Speaker 1: is likely the reason why he held on to those 155 00:09:05,280 --> 00:09:09,200 Speaker 1: privately secretly for so long. It was only when Hitchcock 156 00:09:09,240 --> 00:09:13,320 Speaker 1: died in nineteen eighty that conversations began between studios and 157 00:09:13,400 --> 00:09:16,920 Speaker 1: his estate, and in nineteen eighty three, Vertigo and Rear 158 00:09:16,960 --> 00:09:21,560 Speaker 1: Window were the first to be released once again, I 159 00:09:21,640 --> 00:09:24,040 Speaker 1: believe probably in nineteen eighty three. It's got to be 160 00:09:24,080 --> 00:09:29,079 Speaker 1: back in theaters. But the prints of the films, particularly Vertigo, 161 00:09:29,120 --> 00:09:31,880 Speaker 1: had become so degraded that it was basically like watching 162 00:09:31,960 --> 00:09:34,640 Speaker 1: a shadow of the film's former self. I don't know 163 00:09:35,280 --> 00:09:38,080 Speaker 1: how much audiences knew that in nineteen eighty three that 164 00:09:38,160 --> 00:09:40,560 Speaker 1: what they were seeing was a much lesser product. But 165 00:09:40,760 --> 00:09:44,400 Speaker 1: thanks to our guy, Martin Scorsese again here, he knew 166 00:09:44,400 --> 00:09:49,240 Speaker 1: about film preservation and about restoration, and he knew that 167 00:09:49,280 --> 00:09:51,400 Speaker 1: what he was seeing in nineteen eighty three is not 168 00:09:51,520 --> 00:09:53,959 Speaker 1: what he had seen in nineteen fifty eight, not by 169 00:09:53,960 --> 00:09:57,640 Speaker 1: a lawn shot. It was dirty, the colors were dulled, 170 00:09:58,320 --> 00:10:02,000 Speaker 1: the prints were just junk. So we have scorsesey to 171 00:10:02,040 --> 00:10:05,120 Speaker 1: thank for reviving this movie, because he's the guy who 172 00:10:05,200 --> 00:10:08,720 Speaker 1: literally wrote a letter and sent it to the Execusit Universal, 173 00:10:09,040 --> 00:10:10,640 Speaker 1: who had the rights of the movie in the early 174 00:10:10,720 --> 00:10:14,720 Speaker 1: nineteen nineties, begging for Vertigo to be restored, which it 175 00:10:14,920 --> 00:10:18,960 Speaker 1: was in nineteen ninety six, and at long last people 176 00:10:18,960 --> 00:10:21,280 Speaker 1: were able to see the film in all of its glory. 177 00:10:21,440 --> 00:10:24,679 Speaker 1: Just as Hitchcock had intended. Now, one of the greatest 178 00:10:24,679 --> 00:10:27,599 Speaker 1: things about this film is how it looks. It was 179 00:10:27,640 --> 00:10:32,040 Speaker 1: shot in Technicolor, and it was shot using VistaVision. VistaVision 180 00:10:32,200 --> 00:10:35,120 Speaker 1: was this film or is this film format that was 181 00:10:35,160 --> 00:10:38,680 Speaker 1: introduced in the early nineteen fifties by Paramount, and it 182 00:10:38,720 --> 00:10:43,080 Speaker 1: was sort of this competition format to twentieth Century Fox's 183 00:10:43,120 --> 00:10:46,719 Speaker 1: CinemaScope film format. So essentially, what's going on here in 184 00:10:46,720 --> 00:10:49,800 Speaker 1: the nineteen fifties is like the advent in television meant 185 00:10:49,800 --> 00:10:52,520 Speaker 1: that there was this big dip in movie going, and 186 00:10:52,600 --> 00:10:56,000 Speaker 1: so in order to entice people back to the theaters, 187 00:10:56,640 --> 00:10:59,839 Speaker 1: movie studios began working on these competing film formats that 188 00:10:59,840 --> 00:11:03,400 Speaker 1: we give you an experience you could not get at home. Right, 189 00:11:03,640 --> 00:11:07,960 Speaker 1: they'd give you a wider, sharper, more immersive image. It's 190 00:11:07,960 --> 00:11:10,680 Speaker 1: something that we all take for granted today when we 191 00:11:10,720 --> 00:11:13,280 Speaker 1: go to the theater, But seventy odd years ago it 192 00:11:13,360 --> 00:11:15,640 Speaker 1: was a huge deal. Okay. In some of the movies 193 00:11:16,080 --> 00:11:19,120 Speaker 1: in the nineteen fifties that were famously shot on VistaVision 194 00:11:19,600 --> 00:11:22,200 Speaker 1: are films like White Christmas, which I believe was the 195 00:11:22,240 --> 00:11:26,680 Speaker 1: first VistaVision movie, The Searchers by John Ford, the ten Commandments, 196 00:11:26,720 --> 00:11:29,719 Speaker 1: and then both Vertigo and north By Northwest, which was 197 00:11:29,760 --> 00:11:32,520 Speaker 1: the Hitchcock film that came out right after Vertigo, were 198 00:11:32,559 --> 00:11:35,480 Speaker 1: shot on this division. Not to get too technical here, 199 00:11:35,640 --> 00:11:38,560 Speaker 1: but it's interesting and it's kind of important to know. 200 00:11:38,640 --> 00:11:41,840 Speaker 1: But you know, a typical thirty five millimeter camera, the 201 00:11:41,840 --> 00:11:45,040 Speaker 1: film is fed in from the magazine through the gate 202 00:11:45,040 --> 00:11:47,280 Speaker 1: in the camera and then back to the mag vertically, right, 203 00:11:47,360 --> 00:11:50,280 Speaker 1: so it's vertical film, and on the film stock itself 204 00:11:50,520 --> 00:11:54,280 Speaker 1: on the negative there are four holes or four perforations 205 00:11:54,320 --> 00:11:57,959 Speaker 1: per frame, right, and twenty four frames gets you one 206 00:11:58,000 --> 00:12:02,320 Speaker 1: second of footage. Of course, now VistaVision camera feeds the 207 00:12:02,360 --> 00:12:05,880 Speaker 1: film horizontally instead of vertically, okay, and the film stock 208 00:12:06,520 --> 00:12:09,839 Speaker 1: has eight perfs per frame, eight perforations per frame instead 209 00:12:09,880 --> 00:12:13,680 Speaker 1: of four, So the negative itself is actually capturing much 210 00:12:13,720 --> 00:12:16,960 Speaker 1: more information. It's giving you more clarity, it's giving you 211 00:12:17,000 --> 00:12:21,199 Speaker 1: more detail this high res image, right. But the VistaVision 212 00:12:21,240 --> 00:12:25,760 Speaker 1: process was so specialized it was expensive, and as the 213 00:12:25,800 --> 00:12:29,920 Speaker 1: industry continued to evolve with more advanced film processes with 214 00:12:30,080 --> 00:12:35,280 Speaker 1: like seventy millimeter, VistaVision eventually became obsolete. Although it's important 215 00:12:35,320 --> 00:12:37,400 Speaker 1: to note it has had a renaissance as of late. 216 00:12:37,880 --> 00:12:40,719 Speaker 1: Paul Thomas Anderson shot one battle after another last year 217 00:12:40,720 --> 00:12:43,560 Speaker 1: on VistaVision. The film The Brutalist from the year before 218 00:12:43,679 --> 00:12:46,000 Speaker 1: was shot on this division, and there's other directors who 219 00:12:46,080 --> 00:12:48,120 Speaker 1: are now kind of starting to fool around with VistaVision 220 00:12:48,200 --> 00:12:52,559 Speaker 1: again because of the way that it looks so Alfred 221 00:12:52,640 --> 00:12:56,199 Speaker 1: Hitchcock's shot Vertigo on VistaVision. He shot it on location 222 00:12:56,280 --> 00:12:59,840 Speaker 1: in San Francisco and northern California, as well as on 223 00:12:59,880 --> 00:13:03,480 Speaker 1: the stages at Paramount Studios, and he was super locked 224 00:13:03,520 --> 00:13:06,000 Speaker 1: in on this, perhaps more locked in than he'd ever 225 00:13:06,080 --> 00:13:08,880 Speaker 1: been before. I mean, the proof is in the putting here, 226 00:13:09,240 --> 00:13:12,880 Speaker 1: the colors, the shot composition, the syntax of the filmmaking. 227 00:13:13,000 --> 00:13:16,720 Speaker 1: Everything is in its right place. Kim Novak talked about 228 00:13:16,760 --> 00:13:20,240 Speaker 1: how Hitchcock even used a metronome on set to get 229 00:13:20,240 --> 00:13:23,560 Speaker 1: the right tempo for scenes like how fast someone should 230 00:13:23,559 --> 00:13:25,839 Speaker 1: be walking up the spiral staircase in the bell Tower, 231 00:13:25,840 --> 00:13:29,080 Speaker 1: that sort of thing. But despite the technical care with 232 00:13:29,200 --> 00:13:31,920 Speaker 1: which the film was made, it does not feel cold 233 00:13:32,000 --> 00:13:35,800 Speaker 1: and technical. It is so warm and tangible as sometimes 234 00:13:35,840 --> 00:13:40,199 Speaker 1: it feels hyper real, almost like a dream, And it 235 00:13:40,240 --> 00:13:42,320 Speaker 1: sounds weird to say, and it's hard to put into 236 00:13:42,320 --> 00:13:45,640 Speaker 1: words for me, but it feels like a poem sounds 237 00:13:45,679 --> 00:13:48,560 Speaker 1: to me. But this movie is very plot driven. So 238 00:13:48,720 --> 00:13:52,360 Speaker 1: what you get is this woozy, warm, hyper real, poetic 239 00:13:52,440 --> 00:13:57,040 Speaker 1: sensation of floating in this intoxicating headspace, the headspace of 240 00:13:57,080 --> 00:14:00,120 Speaker 1: a man who's become obsessed with the woman he's and 241 00:14:00,200 --> 00:14:03,760 Speaker 1: hired to follow, and then obsessed with her doppelganger. But 242 00:14:03,840 --> 00:14:07,079 Speaker 1: that ineffable experience is surrounded by a plot that leads 243 00:14:07,080 --> 00:14:12,000 Speaker 1: you from one intriguing idea in one incredible turn to 244 00:14:12,080 --> 00:14:15,960 Speaker 1: the next. This is a detective movie. It's a mystery, 245 00:14:16,240 --> 00:14:20,520 Speaker 1: a film about bays and trees and Spanish missions. It's 246 00:14:20,520 --> 00:14:24,640 Speaker 1: about being dizzy and confused and obsessed, even if you 247 00:14:24,680 --> 00:14:27,040 Speaker 1: don't know why. And we're going to get into it 248 00:14:27,360 --> 00:14:52,640 Speaker 1: right after this vertigo opens with hands on a ladder, 249 00:14:53,440 --> 00:14:55,760 Speaker 1: A man climbs to the rooftop of a San Francisco 250 00:14:55,800 --> 00:14:58,800 Speaker 1: building at night, followed closely by a cop and then 251 00:14:58,800 --> 00:15:02,440 Speaker 1: by John Scottie fergu, a San Francisco detective played by 252 00:15:02,520 --> 00:15:05,800 Speaker 1: Jimmy Stewart. The man jumps from one roof to another, 253 00:15:06,040 --> 00:15:08,560 Speaker 1: and the cop and Scotty follow, but Scotty doesn't quite 254 00:15:08,600 --> 00:15:11,560 Speaker 1: make it. He loses his grip, slides down this slanted roof, 255 00:15:11,720 --> 00:15:14,280 Speaker 1: and clings to the edge, holding on for dear life. 256 00:15:14,800 --> 00:15:18,160 Speaker 1: The cop stops his pursuit, turns around and attempts to 257 00:15:18,200 --> 00:15:21,240 Speaker 1: help pull Scotty up, but as he does so, the 258 00:15:21,280 --> 00:15:25,840 Speaker 1: cop stumbles and falls to his death below. Scotty watches 259 00:15:25,920 --> 00:15:29,280 Speaker 1: in horror as this happens, his eyes widening, something inside 260 00:15:29,360 --> 00:15:33,840 Speaker 1: him changing forever. The experience of watching someone fall to 261 00:15:33,920 --> 00:15:37,600 Speaker 1: their death scars Scotty and leads to his developing acrophobia, 262 00:15:37,760 --> 00:15:40,560 Speaker 1: a fear of heights and the vertigo that accompanies it. 263 00:15:40,640 --> 00:15:43,360 Speaker 1: So when we next see him, he's retired from the 264 00:15:43,400 --> 00:15:45,440 Speaker 1: force and he's trying to figure out how he can 265 00:15:45,520 --> 00:15:48,280 Speaker 1: cure this fear of heights that now plagues him. His 266 00:15:48,320 --> 00:15:52,080 Speaker 1: ex fiance instill His good friend Midge, a fashion designer 267 00:15:52,160 --> 00:15:54,880 Speaker 1: played by Barbara bel Guettis, thinks that maybe what he 268 00:15:54,960 --> 00:15:56,920 Speaker 1: needs is another shock to the system to get rid 269 00:15:56,920 --> 00:15:58,840 Speaker 1: of it, like you know, hair or the dog after 270 00:15:58,880 --> 00:16:01,840 Speaker 1: a night out drinking. But Scotty is taking things easy 271 00:16:02,280 --> 00:16:04,800 Speaker 1: and so on an old friend from college, this guy, 272 00:16:04,840 --> 00:16:07,800 Speaker 1: Gavin Elster played by Tom Hellmore, asks if he can 273 00:16:07,840 --> 00:16:12,200 Speaker 1: do some seemingly uneventful detective work and follow his wife around. 274 00:16:12,240 --> 00:16:15,160 Speaker 1: Scotty takes the job, but not after insisting to his 275 00:16:15,200 --> 00:16:17,960 Speaker 1: old friend that he's not the right guy for the job, which, 276 00:16:17,960 --> 00:16:20,280 Speaker 1: of course, this is the best kind of set up, 277 00:16:20,280 --> 00:16:22,360 Speaker 1: the best kind of drama, the hero that does not 278 00:16:22,440 --> 00:16:26,040 Speaker 1: want to go on the journey they're about to go on. Now. 279 00:16:26,120 --> 00:16:29,080 Speaker 1: Gavin doesn't think his wife is cheating, but he thinks 280 00:16:29,080 --> 00:16:31,880 Speaker 1: that she might be in danger. She's been wandering around, 281 00:16:32,320 --> 00:16:34,800 Speaker 1: driving great distances and not telling him about it. She 282 00:16:34,920 --> 00:16:38,720 Speaker 1: drifts off when she talks, and it's all put this 283 00:16:38,800 --> 00:16:41,840 Speaker 1: crazy notion in Gavin's head that she's somehow been possessed 284 00:16:41,880 --> 00:16:45,880 Speaker 1: by the spirit of someone dead. So Scotty goes into 285 00:16:45,880 --> 00:16:48,120 Speaker 1: this whole thing as a skeptic. But as he begins 286 00:16:48,120 --> 00:16:51,760 Speaker 1: to follow Gavin's wife around that's Madaline played by Kim Novak, 287 00:16:52,200 --> 00:16:55,560 Speaker 1: he starts to notice some strange things. She visits the 288 00:16:55,600 --> 00:16:58,720 Speaker 1: grave of a woman named Carlotta Valdez who died one 289 00:16:58,800 --> 00:17:01,280 Speaker 1: hundred years prior, and then she goes to an art 290 00:17:01,320 --> 00:17:04,760 Speaker 1: museum where she stares at a painting of that same woman, Carlotta, 291 00:17:04,840 --> 00:17:08,919 Speaker 1: And as Scotty watches Madeline look at the painting, he 292 00:17:08,960 --> 00:17:12,720 Speaker 1: begins to see some uncanny resemblances. The bouquet that's next 293 00:17:12,760 --> 00:17:15,200 Speaker 1: to Madeline on the bench is just like the bouquet 294 00:17:15,240 --> 00:17:18,480 Speaker 1: that Carlotta is holding in the picture. Both Madeline and 295 00:17:18,560 --> 00:17:21,200 Speaker 1: Carlotta have their hair done up in exactly the same way. 296 00:17:21,800 --> 00:17:27,680 Speaker 1: Bernard Herman's eerie, inquisitive score perfectly compliments the way Scottie 297 00:17:27,720 --> 00:17:30,199 Speaker 1: is now looking, which is the look of a man 298 00:17:30,240 --> 00:17:33,200 Speaker 1: who's suddenly gone from a skeptic to a guy who 299 00:17:33,240 --> 00:17:36,679 Speaker 1: is intrigued. Right, his skepticism is just fading away, and 300 00:17:36,720 --> 00:17:39,000 Speaker 1: it only gets more intriguing when he finds out that 301 00:17:39,080 --> 00:17:44,160 Speaker 1: this Carlotta figure died of suicide. So when Scotti follows 302 00:17:44,160 --> 00:17:46,600 Speaker 1: Madeline around the city, finally to San Francisco Bay with 303 00:17:46,680 --> 00:17:50,359 Speaker 1: the golden gate Bridge looming in the background, Madelyn jumps 304 00:17:50,359 --> 00:17:52,879 Speaker 1: in the water. It's like this self fulfilling prophecy, right, 305 00:17:53,240 --> 00:17:55,480 Speaker 1: So Scotty jumps in after her saves her. In the 306 00:17:55,520 --> 00:17:57,560 Speaker 1: next day, she comes around to thank him, and they 307 00:17:57,600 --> 00:18:00,520 Speaker 1: end up spending the day together, including this beautiful and 308 00:18:00,560 --> 00:18:04,840 Speaker 1: haunting scene shot in the mirror woods, and you're like, Okay, 309 00:18:05,000 --> 00:18:07,040 Speaker 1: this is where the guy who was hired to follow 310 00:18:07,080 --> 00:18:11,359 Speaker 1: his friend's wife, now falls in love with his friend's wife. Right, yes, 311 00:18:11,760 --> 00:18:14,960 Speaker 1: But even though this is happening, even though they end 312 00:18:15,040 --> 00:18:17,960 Speaker 1: up embracing and kissing and falling for each other, the 313 00:18:18,000 --> 00:18:20,840 Speaker 1: whole day is like this psychological probe where Scotty is 314 00:18:20,880 --> 00:18:23,760 Speaker 1: asking Madeline all these questions about whatever it is she's 315 00:18:23,800 --> 00:18:26,560 Speaker 1: going through. It's almost like she's got this past life 316 00:18:26,560 --> 00:18:29,280 Speaker 1: that is haunting her, is driving her to do things 317 00:18:29,359 --> 00:18:33,119 Speaker 1: like jump in the bay. Scotty is really starting to 318 00:18:33,160 --> 00:18:35,919 Speaker 1: believe this theory, Gavin's theory that you know, Madeline is 319 00:18:35,920 --> 00:18:38,800 Speaker 1: somehow possessed by this woman who committed suicide, you know, 320 00:18:38,840 --> 00:18:41,640 Speaker 1: because she's started. She's telling Scotty that she doesn't want 321 00:18:41,640 --> 00:18:43,720 Speaker 1: to end up like this Carlotta Vadez. She doesn't want 322 00:18:43,760 --> 00:18:45,920 Speaker 1: to die. He tells her that he's there for her. 323 00:18:46,320 --> 00:18:49,680 Speaker 1: But when they wind up with this Spanish mission that day, 324 00:18:49,760 --> 00:18:51,680 Speaker 1: she runs into the church and up to the top 325 00:18:51,680 --> 00:18:54,679 Speaker 1: of the bell tower, and Scotty wants to chase after her, 326 00:18:54,680 --> 00:18:58,119 Speaker 1: but his acrophobia, his vertigo won't let him. And you know, 327 00:18:58,160 --> 00:19:01,359 Speaker 1: we're shown this by Hitchcock does this so called dolly 328 00:19:01,480 --> 00:19:04,560 Speaker 1: zoom shot where the camera is zooming in while it's 329 00:19:04,600 --> 00:19:07,760 Speaker 1: simultaneously dollying out, or you can do it vice versa. 330 00:19:07,760 --> 00:19:10,399 Speaker 1: I guess this is a move used by Scorsese and 331 00:19:10,440 --> 00:19:14,000 Speaker 1: many others, but it was pioneered by Hitchcock, and I believe, 332 00:19:15,040 --> 00:19:17,320 Speaker 1: I believe this was the first film to ever use this. 333 00:19:17,720 --> 00:19:20,080 Speaker 1: So Scotty is frozen in fear right, he cannot follow 334 00:19:20,119 --> 00:19:22,919 Speaker 1: her up up to the top of the tower, and 335 00:19:22,960 --> 00:19:25,760 Speaker 1: so he's left to watch her do what he feared 336 00:19:26,119 --> 00:19:28,720 Speaker 1: she was going to do. You know what Carlata Valdez 337 00:19:28,760 --> 00:19:32,440 Speaker 1: had done. She throws herself off the tower to her death, 338 00:19:32,840 --> 00:19:36,520 Speaker 1: and once again Scotty is sent into shock. Now, Hitchcock 339 00:19:36,720 --> 00:19:40,879 Speaker 1: is famously a proponent of the so called mcguffin. The 340 00:19:40,960 --> 00:19:44,439 Speaker 1: mcguffin is a device used by filmmakers that's like a 341 00:19:44,480 --> 00:19:46,520 Speaker 1: red herring. It's something that throws you off the scent, 342 00:19:46,840 --> 00:19:49,399 Speaker 1: away from what's really important. It's, you know, the money 343 00:19:49,440 --> 00:19:52,560 Speaker 1: that Jane Lee steals at the beginning of Psycho. It's 344 00:19:52,600 --> 00:19:56,879 Speaker 1: whatever's inside Marcellus Wallace's suitcase in pulp fiction, and here 345 00:19:57,280 --> 00:20:01,400 Speaker 1: in Vertigo, it's the possession of Madeline by Carlotta Valdez's 346 00:20:01,440 --> 00:20:04,679 Speaker 1: such a rich and intoxicating mcguffin, though, because it lends 347 00:20:04,680 --> 00:20:09,680 Speaker 1: this incredible air of mystery and intrigue and supernatural possibilities, 348 00:20:09,720 --> 00:20:13,200 Speaker 1: even that really enhance this the film's hard to explain 349 00:20:13,720 --> 00:20:17,639 Speaker 1: vibe in general. So what happens now is that Scotty 350 00:20:17,680 --> 00:20:20,159 Speaker 1: becomes incredibly depressed. He's wandering the city, He's going to 351 00:20:20,240 --> 00:20:23,639 Speaker 1: places that Madeline used to frequent. There's this amazing moment 352 00:20:23,720 --> 00:20:25,760 Speaker 1: in this restaurant. I think it's the place where he 353 00:20:25,800 --> 00:20:29,560 Speaker 1: first saw Madeline in the flesh. The walls are like 354 00:20:29,600 --> 00:20:32,880 Speaker 1: this ornate red velvet. They look velvety in their textured 355 00:20:33,359 --> 00:20:36,600 Speaker 1: and the contrast between these red walls and kim Novak 356 00:20:36,600 --> 00:20:39,560 Speaker 1: with their blonde hair and this deep green colored sash 357 00:20:39,640 --> 00:20:42,000 Speaker 1: or whatever it is draped around her neck, it's just 358 00:20:42,000 --> 00:20:44,679 Speaker 1: as exquisite. But there's this moment here now in the 359 00:20:44,720 --> 00:20:47,680 Speaker 1: movie where we're faked out. We think we're seeing Madeline 360 00:20:47,720 --> 00:20:51,000 Speaker 1: just as Scotty is from behind, with the hair and 361 00:20:50,480 --> 00:20:53,760 Speaker 1: the suit she's wearing. But she turns around and it's 362 00:20:53,800 --> 00:20:58,320 Speaker 1: just another woman. But then Scotty runs into another woman 363 00:20:58,359 --> 00:21:00,639 Speaker 1: on the street walking along with her friends, and she 364 00:21:00,720 --> 00:21:04,480 Speaker 1: bears a striking resemblance to Madeleine. Only this woman is 365 00:21:04,520 --> 00:21:08,120 Speaker 1: a brunette. She wears her hair differently, you know, unlike Madeleine, 366 00:21:08,119 --> 00:21:10,520 Speaker 1: who is a blonde. And she says her name is Judy. 367 00:21:10,640 --> 00:21:15,320 Speaker 1: Now Judy is also played by Kim Novak, so Scotty's 368 00:21:15,800 --> 00:21:19,240 Speaker 1: he's just beside himself. He basically follows her, his obsession 369 00:21:19,240 --> 00:21:22,119 Speaker 1: with the memory of Madeleine growing stronger, he begins a 370 00:21:22,119 --> 00:21:24,960 Speaker 1: relationship with this woman Judy, even though you can tell 371 00:21:25,000 --> 00:21:27,760 Speaker 1: at first at least Judy is basically like, who the 372 00:21:27,840 --> 00:21:29,600 Speaker 1: hell is this weird oak creep and why is he 373 00:21:29,680 --> 00:21:32,119 Speaker 1: so into me? But Scotty is so obsessed with the 374 00:21:32,160 --> 00:21:35,520 Speaker 1: memory of Madeline that he makes Judy like change her 375 00:21:35,560 --> 00:21:38,679 Speaker 1: hair and change your clothes so that she looks more 376 00:21:39,240 --> 00:21:43,800 Speaker 1: like Madeleine. And at this point it's this weird psycho 377 00:21:43,800 --> 00:21:49,200 Speaker 1: sexual madness that has overtaken the character of Scottie. Now. 378 00:21:49,840 --> 00:21:55,240 Speaker 1: David Fincher a contemporary filmmaker very influenced by Hitchcock. He 379 00:21:55,280 --> 00:21:58,919 Speaker 1: was speaking in this great documentary called Hitchcock Trufo that 380 00:21:59,000 --> 00:22:01,200 Speaker 1: I mentioned in the Rap Party this week. It's based 381 00:22:01,240 --> 00:22:04,359 Speaker 1: on these conversations that Hitchcock had with this French filmmaker 382 00:22:04,760 --> 00:22:09,320 Speaker 1: francois true faue and a bunch of modern contemporary directors 383 00:22:09,320 --> 00:22:13,000 Speaker 1: who are unpacking Hitchcock's work and talking about it and 384 00:22:13,080 --> 00:22:15,560 Speaker 1: this whole psycho sexual thing or whatever makes me think 385 00:22:15,600 --> 00:22:18,520 Speaker 1: of this David Fincher quote from this documentary. He says, 386 00:22:19,840 --> 00:22:22,320 Speaker 1: if you think you can hide what your interests are, 387 00:22:22,480 --> 00:22:27,360 Speaker 1: what your purient interests are, what your noble interests are, 388 00:22:27,840 --> 00:22:30,160 Speaker 1: what your fascinations are, if you think you can hide 389 00:22:30,160 --> 00:22:33,639 Speaker 1: that in your work as a film director, you're nuts. 390 00:22:34,119 --> 00:22:36,680 Speaker 1: I think Hitchcock was one of the first guys who said, 391 00:22:37,040 --> 00:22:38,840 Speaker 1: I'm going to go with it. I gotta be me. 392 00:22:40,200 --> 00:22:43,800 Speaker 1: And perhaps this is why Hitchcock labored over every detail 393 00:22:43,840 --> 00:22:46,000 Speaker 1: of this film more than many of his others, because 394 00:22:46,040 --> 00:22:48,480 Speaker 1: it's so obviously a personal film for him. And I 395 00:22:48,480 --> 00:22:50,840 Speaker 1: don't mean personal and like, oh, this movie is the 396 00:22:50,840 --> 00:22:53,080 Speaker 1: story of my childhood. No, I mean personal and like, 397 00:22:53,600 --> 00:22:58,080 Speaker 1: just like David Fincher said, his purient interests, his excessive 398 00:22:58,080 --> 00:23:03,040 Speaker 1: fascination with sex, with the sexual proclivities of others, and 399 00:23:03,080 --> 00:23:06,960 Speaker 1: with his muses, his leading ladies who were absolutely unattainable 400 00:23:06,960 --> 00:23:10,119 Speaker 1: to him. Now, one of Hitchcock's greatest leading ladies was 401 00:23:10,160 --> 00:23:14,360 Speaker 1: Grace Kelly, who starred in dial m for Murder, Rear Window, 402 00:23:14,440 --> 00:23:16,920 Speaker 1: and Catch a Thief. Much has been written about how 403 00:23:16,960 --> 00:23:20,840 Speaker 1: Grace Kelly was this platonic ideal for Hitchcock, this unattainable 404 00:23:21,240 --> 00:23:25,200 Speaker 1: platonic ideal in which he could focus his most prurient interests. 405 00:23:25,560 --> 00:23:28,760 Speaker 1: But Grace Kelly retired from acting in nineteen fifty six 406 00:23:28,840 --> 00:23:31,680 Speaker 1: at the age of twenty six, two years before Vertigo, 407 00:23:31,960 --> 00:23:35,280 Speaker 1: when she married the Prince of Monaco and became Princess Grace. 408 00:23:35,920 --> 00:23:39,399 Speaker 1: So Hitchcock loses his muse and then he spends the next, 409 00:23:39,400 --> 00:23:42,919 Speaker 1: however many years, trying to recreate Grace Kelly in the 410 00:23:42,960 --> 00:23:46,240 Speaker 1: image of these other blonde actresses, whether it's Doris Day 411 00:23:46,680 --> 00:23:49,560 Speaker 1: and The Man who Knew Too Much, or Vera Miles 412 00:23:49,600 --> 00:23:51,920 Speaker 1: and The row Man, and then to Kim Novak and 413 00:23:52,000 --> 00:23:56,320 Speaker 1: later Tippyhedron Vera Miles who would later appear in Psycho. 414 00:23:56,400 --> 00:23:59,560 Speaker 1: She was supposed to play Madeline slash Judy in Vertigo. 415 00:23:59,600 --> 00:24:01,880 Speaker 1: She actually did hair and makeup tests and all that, 416 00:24:02,280 --> 00:24:04,159 Speaker 1: but she wound up pregnant, I believe, and she had 417 00:24:04,160 --> 00:24:06,199 Speaker 1: to bow out, and that's when kim Novak stepped in. 418 00:24:06,720 --> 00:24:09,680 Speaker 1: But there is just so much to unpack here psychologically 419 00:24:09,760 --> 00:24:12,520 Speaker 1: when it comes to the character of Scotty trying to 420 00:24:12,520 --> 00:24:15,399 Speaker 1: make this woman Judy look just like the object of 421 00:24:15,400 --> 00:24:18,520 Speaker 1: his obsession, Madeline, and how that all relates to whatever 422 00:24:18,560 --> 00:24:21,080 Speaker 1: was going on with Hitchcock and his own obsessions. We 423 00:24:21,160 --> 00:24:23,720 Speaker 1: know that these obsessions came to a very violent and 424 00:24:24,000 --> 00:24:28,439 Speaker 1: controlling climax when it came to Hitchcock's work with Tippy Hedron. 425 00:24:28,440 --> 00:24:31,640 Speaker 1: That's what our episode from back on Monday, the scripted episode, 426 00:24:31,680 --> 00:24:36,280 Speaker 1: is largely about. But it's a whirlpool of obsession. To 427 00:24:36,400 --> 00:24:39,480 Speaker 1: quote SCORSESEI and speaking of which I haven't even talked 428 00:24:39,560 --> 00:24:44,359 Speaker 1: yet about this incredible nightmare sequence that Scotty has, you know, 429 00:24:44,400 --> 00:24:48,520 Speaker 1: talk about whirlpool. It's the most abstract, creatively wacko thing 430 00:24:49,000 --> 00:24:50,840 Speaker 1: Hitchcock ever did. And this is a guy that made 431 00:24:50,840 --> 00:24:54,359 Speaker 1: a dream sequence with salvad Or Dally. Right, Okay, So 432 00:24:54,400 --> 00:24:56,680 Speaker 1: at this point I've broken the flow here of talking 433 00:24:56,760 --> 00:24:59,840 Speaker 1: about what happens in the film the exposition, which is 434 00:24:59,840 --> 00:25:01,760 Speaker 1: by design because listen, I don't want this whole thing 435 00:25:01,760 --> 00:25:04,640 Speaker 1: to be a plot me talking about the movie's plot, 436 00:25:04,760 --> 00:25:07,480 Speaker 1: you know. And also, even though Vertigo has been out 437 00:25:07,480 --> 00:25:10,160 Speaker 1: there for years and years, it's really cool to go 438 00:25:10,200 --> 00:25:13,680 Speaker 1: into this movie blind and not know what's coming, because 439 00:25:13,720 --> 00:25:15,800 Speaker 1: after I left off there in my recounting of the 440 00:25:15,800 --> 00:25:18,720 Speaker 1: film's events, there are at least another three or four 441 00:25:18,800 --> 00:25:21,399 Speaker 1: twists in the film's plot, and some of them might 442 00:25:21,440 --> 00:25:23,440 Speaker 1: even pass you by the first time you watch this. 443 00:25:23,440 --> 00:25:27,880 Speaker 1: This is one of Hitchcock's most watchable films. Rewards repeated 444 00:25:27,960 --> 00:25:31,000 Speaker 1: viewings in a big way, and honestly, I probably didn't 445 00:25:31,000 --> 00:25:33,320 Speaker 1: even come around to ranking this as my favorite Hitchcock 446 00:25:33,359 --> 00:25:36,760 Speaker 1: movie until I had seen it a few times. It's 447 00:25:36,800 --> 00:25:39,040 Speaker 1: so good, in fact, that it makes me want to 448 00:25:39,040 --> 00:25:43,359 Speaker 1: make a mixtape full of songs inspired by it, which 449 00:25:43,359 --> 00:26:10,960 Speaker 1: is what we're gonna do right after this quick break. Okay, guys, 450 00:26:10,960 --> 00:26:13,760 Speaker 1: we're back, and I would like to make a mixtape 451 00:26:14,040 --> 00:26:17,560 Speaker 1: inspired by the nineteen fifty eight Alfred Hitchcock film Vertigo. 452 00:26:18,080 --> 00:26:19,960 Speaker 1: This is the part of the show, of course, if 453 00:26:20,000 --> 00:26:23,680 Speaker 1: you've heard it before, where I make a hypothetical, metaphorical, 454 00:26:23,880 --> 00:26:28,160 Speaker 1: potentially possible mixtape, an old school mixtape. So let's unwrap 455 00:26:28,560 --> 00:26:31,639 Speaker 1: our maxill tape here forty five minutes aside, pop it 456 00:26:31,680 --> 00:26:34,119 Speaker 1: in the deck, queue it up, and get to work. 457 00:26:34,560 --> 00:26:37,760 Speaker 1: The first song I thought about for this mixtape is 458 00:26:37,800 --> 00:26:41,880 Speaker 1: a song called Dizzy by the band Throwing Muses. This 459 00:26:41,960 --> 00:26:45,960 Speaker 1: is off their third studio album, Hunk Papa nineteen eighty nine, 460 00:26:46,119 --> 00:26:48,600 Speaker 1: was released on four AD in the UK and Sire 461 00:26:48,640 --> 00:26:52,920 Speaker 1: in the US. Recorded at the legendary Florid Apache Studios 462 00:26:52,960 --> 00:26:56,920 Speaker 1: in Boston, where my guy Jake Brennan I believe, spent 463 00:26:57,000 --> 00:26:59,360 Speaker 1: some time back in the day. Throwing Muses were from 464 00:26:59,440 --> 00:27:02,240 Speaker 1: Rhode Island, but they moved to Boston and became a 465 00:27:02,240 --> 00:27:04,840 Speaker 1: part of that scene, which at the time included the Pixies, 466 00:27:05,359 --> 00:27:09,200 Speaker 1: Dinosaur Junior Buffalo, Tom Lemonhead's you know the Greater Boston scene. 467 00:27:09,480 --> 00:27:12,320 Speaker 1: Mission a Burma was a little bit earlier. This is 468 00:27:12,359 --> 00:27:16,600 Speaker 1: the band that featured stepsisters Christian Hirsch and Tanya Donnelly. 469 00:27:16,720 --> 00:27:19,160 Speaker 1: Tanya went on to Forearm Belly. They had that song 470 00:27:19,200 --> 00:27:21,240 Speaker 1: feed the Tree in the nineties if you remember that 471 00:27:21,320 --> 00:27:23,879 Speaker 1: on MTV. This is the first Throwing Music album I 472 00:27:23,920 --> 00:27:25,720 Speaker 1: ever got. I got it on cassette, I think from 473 00:27:25,760 --> 00:27:29,320 Speaker 1: Strawberries and right away you know this band. They have 474 00:27:29,440 --> 00:27:32,600 Speaker 1: such an off kilter vibe, primarily due to the very 475 00:27:32,720 --> 00:27:37,159 Speaker 1: unorthodox songwriting of both Kristin Hirsch and Tanya Donnelly, but 476 00:27:37,240 --> 00:27:41,679 Speaker 1: mostly Kristin Hirsch. I interviewed her years ago and she 477 00:27:41,840 --> 00:27:45,280 Speaker 1: talked about how songs just come to her as these 478 00:27:45,359 --> 00:27:48,919 Speaker 1: like auditory hallucinations, is how she put it. Those were 479 00:27:48,960 --> 00:27:52,359 Speaker 1: her words, and it started one day and it was 480 00:27:52,400 --> 00:27:55,560 Speaker 1: really scary when it started, and then she grew to 481 00:27:55,640 --> 00:27:58,760 Speaker 1: learn how to accept these and how to use them 482 00:27:59,240 --> 00:28:03,840 Speaker 1: and as which she writes like unlike anyone else, she 483 00:28:03,960 --> 00:28:08,520 Speaker 1: has one of the most singular songwriting styles. I love 484 00:28:08,560 --> 00:28:11,000 Speaker 1: this record so much. I love this song, Dizzy. I 485 00:28:11,000 --> 00:28:13,600 Speaker 1: love this record because it was the first Throwing Muses 486 00:28:13,960 --> 00:28:16,199 Speaker 1: tape I ever got. If you are new to the 487 00:28:16,240 --> 00:28:21,120 Speaker 1: Throwing Muses universe, their album's House Tornado and The Real Ramona, 488 00:28:21,280 --> 00:28:24,600 Speaker 1: and also University, which came out after Tonya left for Belly. 489 00:28:24,640 --> 00:28:28,200 Speaker 1: Those are all killer as well. All right, next song 490 00:28:28,240 --> 00:28:31,199 Speaker 1: here I'm going to put on this hypothetical mixtape is 491 00:28:31,440 --> 00:28:34,919 Speaker 1: a song called I Want You by Elvis Costello and 492 00:28:34,960 --> 00:28:37,720 Speaker 1: the Attractions. This is from the album Blood and Chocolate, 493 00:28:38,040 --> 00:28:41,440 Speaker 1: one of two albums that Elvis released in nineteen eighty six. 494 00:28:41,880 --> 00:28:44,080 Speaker 1: This one was produced by his old mate Nick Lowe. 495 00:28:44,280 --> 00:28:46,960 Speaker 1: The other one, King of America, was produced by T 496 00:28:47,120 --> 00:28:50,440 Speaker 1: Bone Burnett, who incidentally we talk a lot about t 497 00:28:50,560 --> 00:28:52,760 Speaker 1: Bow and Burnett and our new episode of this film 498 00:28:52,760 --> 00:28:56,040 Speaker 1: should be played loud over on the disgrace Land All 499 00:28:56,120 --> 00:28:59,959 Speaker 1: Access Patreon. The new episode is all about The Big Lebowski, 500 00:29:00,240 --> 00:29:03,400 Speaker 1: which t Bow and Burnett was the musical archivist for 501 00:29:03,520 --> 00:29:05,680 Speaker 1: that film. If you don't know what I'm talking about, 502 00:29:06,160 --> 00:29:09,640 Speaker 1: we had this video podcast exclusive to Patreon that Jake 503 00:29:09,680 --> 00:29:11,720 Speaker 1: and I co host once a month. It's about an 504 00:29:11,720 --> 00:29:14,840 Speaker 1: hour long every episode. You can go to Disgrace lamppod 505 00:29:14,880 --> 00:29:18,040 Speaker 1: dot com to learn more and to sign up. But anyways, 506 00:29:18,360 --> 00:29:21,320 Speaker 1: Blood and Chocolate was kind of like Elvis's return to 507 00:29:21,440 --> 00:29:24,960 Speaker 1: rock and roll after making some very eighties sounding pop 508 00:29:25,000 --> 00:29:28,480 Speaker 1: records and also a country record that he made in Nashville. 509 00:29:29,160 --> 00:29:32,120 Speaker 1: This one is one of his rawest sounding records, and 510 00:29:32,560 --> 00:29:35,360 Speaker 1: this song, in particular, I Want You, is one of 511 00:29:35,400 --> 00:29:38,600 Speaker 1: his most menacing. It's told from the point of view 512 00:29:38,640 --> 00:29:40,960 Speaker 1: of a man who's not only obsessed, but he's jealous 513 00:29:41,560 --> 00:29:47,280 Speaker 1: and angry and definitely capable of some kind of emotional 514 00:29:47,320 --> 00:29:51,479 Speaker 1: and or physical violence. And how the tension builds in 515 00:29:51,520 --> 00:29:54,440 Speaker 1: this song. You know, the Great Attractions, one of the 516 00:29:54,520 --> 00:29:57,200 Speaker 1: greatest backing bands of all time. It's just so visceral 517 00:29:57,600 --> 00:30:01,040 Speaker 1: great stuff. I want You, Elvis Costello. Next song here 518 00:30:01,120 --> 00:30:03,640 Speaker 1: on the mixtape is a song called Everything Reminds Me 519 00:30:03,880 --> 00:30:07,480 Speaker 1: of Her by Elliot Smith. This is from his two 520 00:30:07,520 --> 00:30:11,040 Speaker 1: thousand album Figure Eight. You know, being a fan of 521 00:30:11,160 --> 00:30:14,320 Speaker 1: Elliot's at the time and sort of watching his rise 522 00:30:14,680 --> 00:30:17,680 Speaker 1: there throughout the nineties, there was something really special when 523 00:30:17,720 --> 00:30:20,400 Speaker 1: he made the jump from the super indie kill rock 524 00:30:20,400 --> 00:30:26,240 Speaker 1: Stars label two DreamWorks and made his first major label record, XO, 525 00:30:26,320 --> 00:30:28,640 Speaker 1: which came out two years prior to this one. It 526 00:30:28,680 --> 00:30:30,800 Speaker 1: was kind of like giving this lo fi diy kid 527 00:30:30,840 --> 00:30:34,760 Speaker 1: the keys to this technicolor kingdom, and the musical palette 528 00:30:35,240 --> 00:30:38,560 Speaker 1: just exploded in a way that was so exhilarating to 529 00:30:38,600 --> 00:30:41,160 Speaker 1: listen to. I still remember the first time I heard XO, 530 00:30:41,280 --> 00:30:44,240 Speaker 1: and it was really really special. And then it went 531 00:30:44,320 --> 00:30:48,240 Speaker 1: even further on Figure eight with these intricate arrangements. I 532 00:30:48,280 --> 00:30:51,840 Speaker 1: think he was recording an Abbey Road studios for this one. 533 00:30:52,040 --> 00:30:55,440 Speaker 1: But this song Everything Reminds Me Of Her is very quiet. 534 00:30:55,480 --> 00:30:59,480 Speaker 1: It's just Elliott's double voice, his double tracked acoustic guitar, 535 00:31:00,120 --> 00:31:02,880 Speaker 1: and then this choice electric guitar with a little bit 536 00:31:02,920 --> 00:31:05,440 Speaker 1: of reverb on top of it. This song has got 537 00:31:05,880 --> 00:31:09,480 Speaker 1: incredible lines like the spin of the earth and pale 538 00:31:09,520 --> 00:31:12,520 Speaker 1: as silhouette of the sun on the steeple, which is 539 00:31:12,600 --> 00:31:15,840 Speaker 1: just amazing. This little gem, this little quiet gem of 540 00:31:15,840 --> 00:31:18,760 Speaker 1: a tune on a record that features much more elaborate experimentation. 541 00:31:18,880 --> 00:31:21,840 Speaker 1: So that's Elliott Smith. Everything reminds me of her. We're 542 00:31:21,880 --> 00:31:23,240 Speaker 1: going to go in a different direction for the next 543 00:31:23,280 --> 00:31:26,680 Speaker 1: track here. This one is called it Ain't No Use. 544 00:31:27,120 --> 00:31:29,720 Speaker 1: This is by The Meters, off their nineteen seventy four 545 00:31:29,760 --> 00:31:35,719 Speaker 1: album Rejuvenation, produced by Alan Toussant, Ziggy art Leo and 546 00:31:35,800 --> 00:31:39,320 Speaker 1: George New Orleans Finest. One of the most funky bands 547 00:31:39,320 --> 00:31:42,520 Speaker 1: of all time. I was talking about funky fo funky 548 00:31:42,560 --> 00:31:48,160 Speaker 1: the other day. These dudes are certainly masters of funky sounds. 549 00:31:48,480 --> 00:31:50,880 Speaker 1: This song not only brings the funk and the groove 550 00:31:50,920 --> 00:31:53,000 Speaker 1: and the bassline and the wicki wacky guitar, but it 551 00:31:53,040 --> 00:31:56,400 Speaker 1: does something so atypical of a Meter song. The Meters 552 00:31:56,400 --> 00:32:00,000 Speaker 1: are generally very tight and short. This song's nearly twelve minute. 553 00:32:00,040 --> 00:32:02,640 Speaker 1: It's long, and it has one of the most badass 554 00:32:02,800 --> 00:32:06,320 Speaker 1: extended jams on the back of it. The song is 555 00:32:06,560 --> 00:32:09,920 Speaker 1: It's basically done by the four minute mark, and then 556 00:32:09,960 --> 00:32:12,520 Speaker 1: there's this breakdown and the guys kind of bring it 557 00:32:12,560 --> 00:32:14,440 Speaker 1: down in the building blocks and build it back up. 558 00:32:15,120 --> 00:32:17,880 Speaker 1: It's very It reminds me of something that would have 559 00:32:17,880 --> 00:32:21,800 Speaker 1: been on Isaac Haye's Hot Buttered Soul, but it's a 560 00:32:21,880 --> 00:32:24,960 Speaker 1: little bit more I don't know. It's a little bit 561 00:32:25,000 --> 00:32:27,560 Speaker 1: more tightly wound, I guess, but it has a very 562 00:32:27,560 --> 00:32:30,640 Speaker 1: similar this is piano part during the breakdown that's playing. 563 00:32:30,680 --> 00:32:34,280 Speaker 1: It's very, very similar to that incredible song off Hot 564 00:32:34,280 --> 00:32:39,040 Speaker 1: Buttered Soul with the really really long title that I 565 00:32:39,280 --> 00:32:42,040 Speaker 1: probably not even come close to pronouncing if I tried 566 00:32:42,040 --> 00:32:43,400 Speaker 1: to pronounce it right now, But you guys are what 567 00:32:43,400 --> 00:32:45,720 Speaker 1: I'm talking about. They're really long title on Hot Buttered 568 00:32:45,720 --> 00:32:48,320 Speaker 1: Soul that Public Enemy sampled on. It takes the nation 569 00:32:48,400 --> 00:32:51,160 Speaker 1: millions to hold us back. It's great. It's you know 570 00:32:51,280 --> 00:32:53,920 Speaker 1: in the song, it ain't no use to cut you loose. 571 00:32:54,040 --> 00:32:56,480 Speaker 1: I wouldn't last to day. You know. They're putting it 572 00:32:56,560 --> 00:32:59,120 Speaker 1: all out there, begging and pleading with the music, just 573 00:32:59,160 --> 00:33:02,720 Speaker 1: like Scottie's begging and pleading with Judy to dress the 574 00:33:02,720 --> 00:33:05,240 Speaker 1: way that he wants to. I think you could argue 575 00:33:05,240 --> 00:33:08,200 Speaker 1: that this track is obsessed as well. It's obsessed with badass, 576 00:33:08,520 --> 00:33:11,680 Speaker 1: funky stuff and to keep the badass funky stuff going. 577 00:33:12,200 --> 00:33:17,240 Speaker 1: Next track is hypnotized by the notorious Big This is 578 00:33:17,240 --> 00:33:20,360 Speaker 1: the first single from his Life After Death double album, 579 00:33:20,680 --> 00:33:23,600 Speaker 1: released a few weeks after his murder in nineteen ninety seven. 580 00:33:24,280 --> 00:33:27,160 Speaker 1: It's got that killer hook that's sung by Pamela Longe 581 00:33:27,160 --> 00:33:30,120 Speaker 1: from the R and B group Total. There's the diddy 582 00:33:30,160 --> 00:33:32,360 Speaker 1: of it all here. I got to separate the art 583 00:33:32,400 --> 00:33:37,320 Speaker 1: from the artist. But the song, which I'm including here 584 00:33:37,440 --> 00:33:41,560 Speaker 1: for the hypnotizing quality of vertigo. The song is one 585 00:33:41,600 --> 00:33:43,120 Speaker 1: of those like, oh shit, we need to get the 586 00:33:43,200 --> 00:33:45,640 Speaker 1: room back songs that DJs use, like when they've lost 587 00:33:45,720 --> 00:33:47,960 Speaker 1: the room and they got to get people back. Mark 588 00:33:48,040 --> 00:33:50,520 Speaker 1: Ronson wrote about these kinds of songs and his memoir 589 00:33:51,360 --> 00:33:53,560 Speaker 1: Night People that I read recently. He may have even 590 00:33:53,600 --> 00:33:56,719 Speaker 1: referred to this song hypnotized as one of those songs. 591 00:33:56,920 --> 00:33:59,080 Speaker 1: But maybe it's just I don't know, maybe it's just 592 00:33:59,080 --> 00:34:02,000 Speaker 1: the gen X in me. But when this tune comes on, 593 00:34:02,080 --> 00:34:04,640 Speaker 1: you got to stop what you're doing and you gotta 594 00:34:04,680 --> 00:34:08,120 Speaker 1: get down man. Biggie. The dude was just so smooth. 595 00:34:08,239 --> 00:34:11,279 Speaker 1: This is just an all time track. So that's hypnotized 596 00:34:11,400 --> 00:34:14,200 Speaker 1: on our mixtape here, and we're gonna take it down 597 00:34:14,239 --> 00:34:16,520 Speaker 1: as a tiny bit with our next song here, which 598 00:34:16,600 --> 00:34:19,440 Speaker 1: is Sitting on the Dock of the Bay by Otis Reading. 599 00:34:19,480 --> 00:34:22,960 Speaker 1: Another posthumous release. This one came out in early nineteen 600 00:34:23,000 --> 00:34:26,120 Speaker 1: sixty eight, shortly after Otis was killed in that plane 601 00:34:26,120 --> 00:34:29,520 Speaker 1: crash in December of sixty seven. This was on Stacks 602 00:34:29,600 --> 00:34:33,920 Speaker 1: Volt at co whatever Let's become his signature song, co 603 00:34:34,000 --> 00:34:37,040 Speaker 1: written with Steve Cropper, the house guitar player at Stacks 604 00:34:37,080 --> 00:34:39,800 Speaker 1: at the time there, member of Booker T and MG's 605 00:34:40,440 --> 00:34:43,319 Speaker 1: Otis had so much promise. His career was nowhere near 606 00:34:43,320 --> 00:34:45,319 Speaker 1: its apex, and you know, he was part of that 607 00:34:45,360 --> 00:34:48,320 Speaker 1: whole Monterey pop scene. He was tuned into what was 608 00:34:48,360 --> 00:34:50,640 Speaker 1: going on in the rock and roll world, and I 609 00:34:50,680 --> 00:34:53,160 Speaker 1: think he wanted to make a like a Sergeant Pepper's 610 00:34:53,200 --> 00:34:55,880 Speaker 1: Soul album and that's where sitting on the Dock of 611 00:34:55,920 --> 00:34:58,160 Speaker 1: the Bay fits in. That's where he was going with that, 612 00:34:58,520 --> 00:35:00,600 Speaker 1: and it also fits into our themes here, Vertigo. You 613 00:35:00,600 --> 00:35:02,440 Speaker 1: know where we're not just sitting on the dock of 614 00:35:02,440 --> 00:35:05,799 Speaker 1: the bay with Madeline Scottie, but we are jumping in 615 00:35:06,120 --> 00:35:08,920 Speaker 1: speaking of jumping in. I want you, guys to jump in. 616 00:35:08,960 --> 00:35:11,160 Speaker 1: What do you think? What songs am I missing? Give 617 00:35:11,200 --> 00:35:15,040 Speaker 1: me some good songs about Vertigo, about acrophobia, about obsession, 618 00:35:15,360 --> 00:35:18,480 Speaker 1: about long walks in California forest and walking to the 619 00:35:18,560 --> 00:35:20,960 Speaker 1: top of a bell tower and a Spanish mission and 620 00:35:21,480 --> 00:35:24,600 Speaker 1: all that jazz. Call or text me at six one 621 00:35:24,680 --> 00:35:27,960 Speaker 1: seven nine oh six six six three eight. You can 622 00:35:28,000 --> 00:35:31,080 Speaker 1: email Disgrace lamppod at gmail dot com, hit me up 623 00:35:31,080 --> 00:35:34,360 Speaker 1: on the socials at Disgrace lamb Pod, or of course, 624 00:35:34,440 --> 00:35:37,080 Speaker 1: if you're a member of Disgrace Land all access over 625 00:35:37,120 --> 00:35:41,040 Speaker 1: in Patreon, hit me up in the chat. While you're 626 00:35:41,040 --> 00:35:43,120 Speaker 1: doing that. I'm gonna take one more quick break, but 627 00:35:43,160 --> 00:35:46,120 Speaker 1: don't nobody go nowhere. I will return and just I'm 628 00:35:58,960 --> 00:36:01,480 Speaker 1: all right, guys, Thanks so much for hanging out with 629 00:36:01,600 --> 00:36:05,160 Speaker 1: me here in the screening room again. I'm curious if 630 00:36:05,200 --> 00:36:08,279 Speaker 1: you've seen Vertigo, what do you think? Is it your 631 00:36:08,280 --> 00:36:11,480 Speaker 1: favorite hitchcock? Is it your least favorite hitchcock? Have you 632 00:36:11,560 --> 00:36:14,400 Speaker 1: not seen it? If you haven't seen it, maybe what 633 00:36:14,440 --> 00:36:16,680 Speaker 1: are you doing this weekend? Give it a give it 634 00:36:16,719 --> 00:36:20,680 Speaker 1: a give it a spin. Looks like it's on MGM 635 00:36:20,800 --> 00:36:25,160 Speaker 1: plus streaming, which you can subscribe to via Amazon Prime 636 00:36:25,200 --> 00:36:27,200 Speaker 1: maybe some other places too. You can rent it on 637 00:36:27,280 --> 00:36:30,279 Speaker 1: vod I've got the Old School DVD, which is cool. 638 00:36:30,320 --> 00:36:32,840 Speaker 1: I have. I have this Hitchcock box that I got 639 00:36:33,080 --> 00:36:35,520 Speaker 1: a while ago. It's got like twelve films or something. 640 00:36:35,560 --> 00:36:37,600 Speaker 1: It has all the classic films from the fifties and 641 00:36:37,600 --> 00:36:39,839 Speaker 1: the sixties and in it. Take it for a spin 642 00:36:39,840 --> 00:36:41,640 Speaker 1: this weekend. Check it out and then hit me up 643 00:36:41,640 --> 00:36:44,439 Speaker 1: and let me know your thoughts and perhaps I will 644 00:36:44,440 --> 00:36:47,400 Speaker 1: play your voicemail or read your text or your email 645 00:36:47,520 --> 00:36:50,279 Speaker 1: next week in the Rap party again. That number to 646 00:36:50,360 --> 00:36:53,240 Speaker 1: get in touch is six one seven nine oh six 647 00:36:53,840 --> 00:36:58,200 Speaker 1: six six three eight, or if you're an emailing kind 648 00:36:58,200 --> 00:37:02,520 Speaker 1: of person, you can email us at Disgrace Lampod at 649 00:37:02,520 --> 00:37:05,760 Speaker 1: gmail dot com. A couple of housekeeping items here before 650 00:37:06,000 --> 00:37:10,279 Speaker 1: I split next week. Coming at you on Monday, our 651 00:37:10,400 --> 00:37:15,319 Speaker 1: fully scripted sound design episode on Brandon Lee. Tuesday, I 652 00:37:15,360 --> 00:37:18,719 Speaker 1: believe is the anniversary of his death way back in 653 00:37:18,840 --> 00:37:23,040 Speaker 1: nineteen ninety three. Wednesday, we got the wrap party again Friday. 654 00:37:23,520 --> 00:37:25,880 Speaker 1: The film in the screening room will be, of course, 655 00:37:26,000 --> 00:37:29,440 Speaker 1: The Crow, which is the nineteen ninety four film stars 656 00:37:29,520 --> 00:37:32,840 Speaker 1: Brandon Lee in his final film role. Brandon Lee was 657 00:37:32,960 --> 00:37:37,120 Speaker 1: tragically killed on the set of The Crow. You can 658 00:37:37,200 --> 00:37:39,399 Speaker 1: hear all about that in our scripted episode, and then 659 00:37:39,440 --> 00:37:41,720 Speaker 1: come back on Friday and we'll talk about The Crow 660 00:37:42,160 --> 00:37:46,360 Speaker 1: and its legacy, which includes its soundtrack, one of the 661 00:37:46,400 --> 00:37:49,840 Speaker 1: few soundtracks in history that actually made it to number 662 00:37:49,880 --> 00:37:53,400 Speaker 1: one on the Billboard Album chart, which got me thinking. 663 00:37:53,480 --> 00:37:55,879 Speaker 1: Question of the week for next week, what is your 664 00:37:56,000 --> 00:38:02,040 Speaker 1: favorite movie soundtrack of all time? Favorite movie soundtrack? Hit 665 00:38:02,120 --> 00:38:05,359 Speaker 1: me up six one seven nine oh six six six 666 00:38:05,719 --> 00:38:09,560 Speaker 1: three eight let me know. Until then, guys, I'm going 667 00:38:09,640 --> 00:38:12,640 Speaker 1: to leave you here with this. This is what America 668 00:38:12,680 --> 00:38:16,880 Speaker 1: was watching at the movies in nineteen eighty three, the 669 00:38:17,000 --> 00:38:20,360 Speaker 1: year that Vertigo was finally available to be seen by 670 00:38:20,400 --> 00:38:25,640 Speaker 1: the public again in more than two decades. Number one 671 00:38:26,000 --> 00:38:30,120 Speaker 1: Star Wars Episode six, Return of the Jedi, directed by 672 00:38:30,160 --> 00:38:34,600 Speaker 1: Richard Mark Kwant Number two Tutsi directed by Sidney Pollock. 673 00:38:35,480 --> 00:38:39,480 Speaker 1: Number three Flashdance directed by Adrian Lyone directed by John 674 00:38:39,840 --> 00:38:44,439 Speaker 1: Number four direct Trading Places directed by John Lenny. Number 675 00:38:44,480 --> 00:38:47,880 Speaker 1: five directed by One Names directed by John Batter directed 676 00:38:47,880 --> 00:38:51,960 Speaker 1: by John Blis. Number six Octopussy directed by John Glenn. 677 00:38:52,920 --> 00:38:58,080 Speaker 1: Number seven Staying Alive directed by Sylicester slone number eight 678 00:39:00,160 --> 00:39:02,600 Speaker 1: Wit talking and start mixing